Made available in DSpace on 2016-08-29T14:11:36Z (GMT). No. of bitstreams: 1 tese_9608_Dissertação versão final - Vitor Vogas - versão BC.pdf: 1367848 bytes, checksum: 2a31c733e644befc3db5e7a4b88cbdcd (MD5) Previous issue date: 2016-03-09 / RESUMO De 1976 a 1983, a Argentina foi governada por uma ditadura militar. Para manter a população sob controle e eliminar qualquer ameaça à ordem instituída, esse regime autoritário praticou algumas estratégias de dominação no contexto da chamada guerra suja. Nesta dissertação, trataremos de comprovar como Luisa Valenzuela buscou, particularmente entre as décadas de 70 e 90, exercer o que ela mesma tratava como compromisso ético do escritor: denunciar o que os outros nem sequer ousavam mencionar. Baseados em reflexões de Alfredo Bosi, buscaremos demonstrar como, sem perder de vista a qualidade estética nem abrir mão do cuidado com a linguagem, Valenzuela exercitou uma narrativa de resistência, seja tomando-a como tema, seja, destacadamente, como processo inerente à própria escrita. Para isso, valeu-se daquilo que denominamos estratégias de resistência: contra o monopólio do discurso, adotou a pluralidade de vozes, a relativização da realidade e a exposição do discurso literário (logo, de qualquer outro) como construção; para se opor à supressão das diferenças, usou fartamente a ambiguidade e pôs em primeiro plano o mesmo eu que o regime preferia anular; para enfrentar a difusão do medo e o uso sistemático da violência como política de Estado, recorreu ao humor, ao sexo e à erotização da violência mesma; para lutar contra o silêncio e o esquecimento patrocinados pelas autoridades, manifestou a coragem de oferecer um testemunho literário da barbárie inominável, fazendo-o por meio de obras de teor orgulhosamente ficcional. Consciente do poder desestabilizador da palavra, Valenzuela usou como arma declarada a linguagem literária, tão letal e manipulável quanto o veneno dos sapos cuspidos ao falar por uma de suas personagens. Palavras-chave: Luisa Valenzuela; Resistência; Memória.

S’inscrivant dans la perspective des études féministes, ce travail se propose d’appréhender le positionnement de l’écrivaine contemporaine Luisa Valenzuela (1938) dans le champ littéraire argentin au regard de la problématique des rapports de genre en littérature. Avec une production romanesque qui s’étend des années soixante-dix à nos jours, la trajectoire de Luisa Valenzuela, qui a traversé l’ensemble des étapes de l’avènement à la consolidation du positionnement féministe dans le champ littéraire argentin et les a thématisées dans son œuvre, apparaît emblématique de la réaction des écrivaines de sa génération à l’ordre sexué du discours littéraire. Afin d’envisager les stratégies de positionnement de l’autrice en contexte, nous proposons une réhistoricisation des rapports de genre en matière de légitimité littéraire dans le champ argentin. Nous analysons les enjeux des discours qui soutiennent tant la structuration masculiniste du champ autour de l’exclusion des femmes que les stratégies subversives d’inclusion féministes qui ont permis aux écrivaines des années quatre-vingt de négocier une position d’énonciation légitime. Quelle politique d’exclusion/intégration mène l’institution littéraire vis-à-vis des femmes ? Quel rôle jouent les discours fictionnels et les métatextes critiques qui convoquent la « différence des sexes » dans la construction de l’autorité énonciative ? Comment les discours féministes se sont-ils emparés des rapports entre création et identités sexuées ? Quelles variations originales vis-à-vis de ces scénarios énonciatifs féministes propose Luisa Valenzuela dans son œuvre ? Autant de questions que la présente étude aborde à travers une analyse de la construction des positionnements masculinistes et féministes qui s’attache à identifier les acteurs, les enjeux et les stratégies qui caractérisent cette lutte au sein de laquelle la trajectoire de Valenzuela prend son sens. / This work being part of the tradition in feminist studies, grasps the position of Luisa Valenzuela woman writer, in the Argentinian field towards the issue of gender relations in literature. The writing of her novels stretches from the seventies to nowadays, the path of Valenzuela, who has gone through the entire institutionalization steps of feminist position and has brought them as theme in her work, appears symbolic of women writers of her generation towards the sexual order of literary discourse. Considering the strategies of the woman writer in context, we put forward a “rehistoricisation” of gender relations towards literary legitimacy. We analyse what is at stake in discourses that attend as much the structure of mannishistic of literary field on the exclusion of women as the subversive inclusion that allowed the nineteen nineties women writers to negotiate a position of justified statement. What is the role fictional discourses and critical metatexts play that call the differences of sexes in the building of enunciative authority? How the feminist discourses managed to get hold of the relations between creation and sexual identities? What original variations towards these enunciative feminist patterns does Valenzuela put forward in her work? This hereby study tackles these questions through an analysis of the structure of feminist and male chauvinism positioning that tends to identify the protagonists, the issues and the strategies that characterize this struggle where Valenzuela path gets sense.

No description available.

Thesis (B.A.)--Bi-College (Haverford and Bryn Mawr Colleges) Comparative Literature Program, 2002. / Includes bibliographical references.

Thesis (Ph. D.)--University of Washington, 1996. / Vita. Includes bibliographical references (leaves [214]-226).

This master´s thesis deals with Ultra-wideband and reveals present stage of this technology and situation on marketplace. In this work I will mention the milestones of its history and describe main fundamentals of communication and modulation methods in UWB systems. This work provides an overview of methods in pseudo-noise code design. The practical part includes UWB system simulation based on BPSK modulation and Directsequence multi-access scenario. This work presents BPSK modulated signal behavior in UWB channel model, where AWGN noise and multi-path energy is taken into account. Only physical layer was tested. At the end of this thesis, the summary and conclusion simulation results will be discussed. Bit error rate characteristic is a product of this testing.

[pt] O relato brevíssimo é um espaço particular que vem experimentando um crescimento sustentado desde meados do século XX, especialmente na América Latina. Uma plétora de escritores e de antologias organizadas nesse formato invadiu o mercado editorial hispano-americano nos últimos anos. Trata-se da microficção, uma narrativa que cabe no espaço de uma página. Muitas das ferramentas narrativas dos pequenos relatos provêm do conto, do qual herda a capacidade de criar uma tensão, um ritmo que se traduz na sua pulsão interna, embora nelas também haja ressonâncias de outros gêneros. Na economia da linguagem da microficção esconde-se um olhar lúdico com forte presença do humor e da paródia no tratamento de certas temáticas. Situações do cotidiano, contos populares ou versões corriqueiras de clássicos da literatura misturam-se com ângulos inéditos da condição humana. Vozes aparentemente anônimas trazem de um lugar de não-tempo e de não-espaço histórias que provocam um despertar dos sentidos sobre aquilo que, em princípio, parece inexplicável. A perspectiva de análise a que nos propomos é a da recriação da tendência atual da praxis cultural de desintegração dos gêneros, examinando alguns de seus antecedentes, várias das características que constituem as microficções, como também a idéia de resistência que a atomização da narrativa em pequenos blocos (fragmentos) acarreta. A dissertação aborda a microficção como uma forma de escrita fragmentária e faz algumas leituras sobre a sua relação com a geometria de fractais a partir da obra de Ana María Shua, Luisa Valenzuela e Marina Colasanti. / [en] The very short stories belong to a particular narrative space which has been experiencing a sustained growth since the middle of XX century, especially in Latin America. During the last years, many writers and anthologies around this narrative form have appeared in hispano-american book market. It`s the microfiction, a narrative that fits in a single page. Many narrative tools of these fictions arise from the short stories, from which they inherit the capacity of recreate tension. A rhythm that is translated in an internal pulse, even though resonances of other genres can be identified in these minimum stories. Microfiction´s language economy hides a ludic glance with a strong presence of humor and parody in the treatment of certain themes. Everyday situations, popular tales or hilarious versions of literature`s classics are blended with unknown perspectives of the human condition. Stories are told by apparently anonimous voices from a field of no-time and no-space inducing the awakening of senses over those things that in principle seem unexplainable. The analytical perspective that this study proposes is the recreation of the current cultural praxis trends of genre disintegration, by looking at some of its previous manifestations, its constitutive characteristics, as well as the implications of the resistance that the atomization of narrative in small fragments brings about. This thesis embraces microfiction as a fragmentary narrative, also analysing its relationship with fractal geometry throughout Ana Maria Shua, Luisa Valenzuela and Marina Colasanti`s work.

A partir de la teoría del trauma propuesta por Cathy Caruth en los años noventa del siglo pasado, los estudios del trauma volvieron a obtener la atención de la crítica literaria. Si bien el enfoque de Caruth es en primer lugar psicoanalítico se fundamenta también en perspectivas historiográficas y sociológicas. En consecuencia, su teoría nos es muy útil para analizar una selección de obras de Luisa Valenzuela cuya trama se desarrolla bajo la última dictadura militar argentina (1976-1983). Específicamente queremos analizar la influencia que el encierro tiene sobre los personajes, partiendo de un análisis que trabaje conjuntamente tanto la representación del espacio narrativo como la representación del trauma. El método que se utilizará será el de una lectura minuciosa —close reading— de los relatos, articulando las nociones de casa y la dialéctica de lo dentro y lo de fuera de Bachelard para trabajar el encierro en los espacios públicos y privados, por un lado, y una construcción del trauma siguiendo a Caruth desde tres perspectivas psicológicas para entender mejor la tortura, por el otro. De esta forma, nuestra contribución consiste en llevar a cabo una lectura de la obra seleccionada de Valenzuela para poder entender en qué medida el encierro influye sobre el trauma provocado por la tortura durante la época dictatorial. / Since the theory of trauma was proposed by Cathy Caruth in the nineties of the last century, trauma studies have once again obtained the attention of literary criticism. Although Caruth’s approach is primarily psychoanalytical, it is also based on historiographical and sociological perspectives. Consequently, her theory is especially useful to the current study when analyzing a selection of works by Luisa Valenzuela, that take place during the last Argentinian military dictatorship (1976-1983). Specifically, it is intended to analyze the influence that confinement has on characters, beginning from an analysis that regards both the representation of the narrative space and the representation of trauma. The method applied will be that of a close reading of the stories, articulating Bachelard's notions of house and dialect of inside and outside to examine, on the one hand, confinement in public and private spaces and, on the other hand, a construction of trauma that follows Caruth’s theory from three different psychological perspectives to better understand torture. Along these lines, this study’s contribution consists of carrying out a reading of Valenzuela's selected literary works, in order to understand to what degree confinement influences the trauma that torture causes during the dictatorship.

Thesis (B.A.)--Haverford College, Dept. of Spanish, 2002. / Includes bibliographical references.

This dissertation discusses the implied reader in the EnCuento series illustrated childrens stories. All the stories are written by well-known Hispanic authors. This work elucidates historical, cultural, and semiotic gaps in the reading process. It explores the ways in which textual elements- such as style, focalization, and manipulation of readers expectations - affect the implied readers ability to produce or extract meaning. Our study will add to knowledge of the function of the implied reader in childrens texts. This study is divided into four chapters, each focusing on the implied reader. Chapter 1 provides an introduction to the series discussing three books that are easy to understand, with simple vocabulary, chronological plots, and strong protagonists. Chapter 2 explores irony in two horror stories; Chapter 3 discusses books that promote a particular ideology. Finally, Chapter 4 explores books with protagonists who are outsiders. The books within each chapter have enough in common in terms of decodability that they seem to pursue the same kind of implied reader. Each chapter illustrates the way that style, point of view, manipulation of readers expectations, and telltale gaps affect the implied readers ability to make meaning. Within the series, each contributing author creates a system through which the reader can participate in the story. The authors intent is to communicate meaning to the implied reader. In sum, interpreting texts is communication between author and reader. In all of the EnCuento texts, authors employ response- inviting structures, making them interpretable on many levels. This study further analyzes EnCuento stories the better to decide if their primary purpose is didactic. Because of the political content of texts written for adults- as in the case of the stories written by Benedetti, Paz, and Valenzuela - I expected them to communicate a clear political message to their child readers. The thesis also inquires into whether books are, in fact written for children and children exclusively. Because the EnCuento authors are accomplished writers of adult literature, this study analyzes the degree to which the authors communicate specifically with a child audience. Finally, the dissertation analyzes the illustrations in several of the texts and finds that book illustrations are essential to making connections with the reader. It also explores cultural references to decide if they are specific to Latin America.