My dissertation explores the ways in which writers and artists from Spain and Latin America create works of art in which the environment plays a central role. My purpose is to reflect the variety of perspectives and modes of expression that the ongoing environmental crisis generates in these artists. I propose a more concrete approach to the concept of ecopoetics, one that is not limited to literary works but is also concerned with a more ample spectrum of cultural imagination and reflection, as well as on how artists can impact their communities through their work. I formulate a more precise notion of the concept of ecopoetics, one which is based on the particular genre or art form creators use to express themselves. This approach combines both the traditional notion of poetics as the variety of elections made by an author in terms of subject, composition, style, etc.; and the perception of a new type of sensibility that centers on the relationships between human beings and the environment. I argue that this concept of ecopoetics, as it is integrally related to the choices made by artists in terms of genre, mediums used, vision of the world and modes of expression, allows me to explore the diversity of viewpoints and artistic possibilities produced in the Luso-Hispanic area. The broad area I chose to work in also allows me to explore the connections among these texts and works of art in order to look for shared images and motives that all show a growing awareness of the ecological crisis. This kind of analysis is integrated with social, cultural, racial and gender perspectives. My research also explores how the ethical commitment to the environment assumes a variety of perspectives. That is the reason I include works from poetry, narrative, comics, documentary, installations and sculptures. I center my analysis on authors such as Jaime Quezada (Chile), Jorge Riechmann and José María Merino (both from Spain), Julio Ramón Ribeyro (Peru) and Rubem Fonseca (Brazil). I also work with comic artists Miguelanxo Prado and Francesc Capdevila (Max) from Spain, as well as Mexican comic artists Jis and Trino and Edgar Clément. I analyze the documentary Waste Land (2010), by Lucy Walker, which follows the work of Vik Muniz in Jardim Gramacho, the biggest dump in the world; and the Cuban artist Héctor Gallo, who builds his sculptures and installations in a marginal neighborhood in Havana.

abstract: Las Islas Canarias son un archipiélago de la costa africana situado a cien kilómetros de la costa de Marruecos y del Sáhara Occidental. Estas islas fueron conquistadas a finales del siglo XV y son actualmente parte del Estado español, y su posición como punto de paso tricontinental ha facilitado una historia colonial que es paralela a la del Caribe y que está caracterizada por la asimilación de sus poblaciones indígenas, las plantaciones de caña de azúcar y el comercio esclavista atlántico, la emergencia de un Nuevo Mundo, las migraciones constantes desde las Islas Canarias hacia el Caribe, el desarrollo de movimientos independentistas y la turistificación del paraíso caribeño/canario, entre otros aspectos. La identidad de las Islas Canarias, si embargo, ha permanecido en una posición ambigua en la discusión de conceptos de tricontinentalidad o puente entre continentes, cuando estas islas no son simplemente consideradas como una región más de España con ligeras diferencias. Desde el Caribe, varios autores regionales han cuestionado sus propias identidades proponiendo los conceptos de creolización, relación o meta-archipiélago. Las ideas comunes exploradas por intelectuales de ambos archipiélagos incluyen los conceptos de colonialidad, modernidad, mitologización de la isla, fragmentación, atlanticidad, frontera y ultraperiferia, entre otros. De esta manera, esta tesis doctoral conecta las Islas Canarias y el Caribe a través de la exploración de sus discursos identitarios, y aplica a Canarias las teorías poscoloniales desarrolladas en el Caribe. Partiendo del análisis de diversos trabajos de Fernando Ortiz, Antonio S. Pedreira, Édouard Glissant, Jean Bernabé, Patrick Chamoiseau, Raphael Confiant, Antonio Benítez Rojo, José Luis González, Juan Flores, Gustavo Pérez-Firmat, Walter Mignolo, Enrique Dussel, Gloria Anzaldúa y Juan Manuel García Ramos, entre otros, esta tesis propone el término canaribeñidad para definir el desarrollo bilateral y común de las identidades nacionales en las Islas Canarias y el Caribe, destacando la contribución canaria a la identidad caribeña (la fundación de la literatura cubana, el guajiro/jíbaro, la brujería…) y viceversa (discursos independentistas y nacionalistas, la experiencia diaspórica, la música, el tabaco, el sentido de fraternidad con el Caribe…). El corpus analizado en esta disertación incluye obras literarias transatlánticas, desde las primeras crónicas hasta ejemplos de teatro, novelas, ensayos, artículos periodísticos y poesía de los siglos XVI-XX. / Dissertation/Thesis / Doctoral Dissertation Spanish 2019

This dissertation explores the theme of drugs in Spanish, Colombian and Mexican cultural production. A first part of this investigation consists of establishing the historical contexts of these cultural products within their respective country. In a second part, I theorize about the space that characterizes the drug narratives. A third part consists of analyzing the important recurrent characters in these narratives and, based on this analysis, developing a descriptive catalogue of archetypes.

This dissertation explores the theme of drugs in Spanish, Colombian and Mexican cultural production. A first part of this investigation consists of establishing the historical contexts of these cultural products within their respective country. In a second part, I theorize about the space that characterizes the drug narratives. A third part consists of analyzing the important recurrent characters in these narratives and, based on this analysis, developing a descriptive catalogue of archetypes.

This dissertation explores the theme of drugs in Spanish, Colombian and Mexican cultural production. A first part of this investigation consists of establishing the historical contexts of these cultural products within their respective country. In a second part, I theorize about the space that characterizes the drug narratives. A third part consists of analyzing the important recurrent characters in these narratives and, based on this analysis, developing a descriptive catalogue of archetypes.

This dissertation explores the theme of drugs in Spanish, Colombian and Mexican cultural production. A first part of this investigation consists of establishing the historical contexts of these cultural products within their respective country. In a second part, I theorize about the space that characterizes the drug narratives. A third part consists of analyzing the important recurrent characters in these narratives and, based on this analysis, developing a descriptive catalogue of archetypes.