Dissertationen zum Thema „Mayrand“

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In this dissertation, we analyze the short crime stories by Mayrant Gallo ? one of the most productive writers from Bahia presently ? trying to demonstrate the theme of crime as a metaphor of the world we live in, which is often violent and corrupt. In the work of the author in question ? as well as in the work of many others crime fiction writers ?, we show clearly that the representation of the criminal universe is a method or a means of making the reader reflect on things more widely than the simple ?who killed? questioning. We aim to demystify the ideia very widespread among literary critics that crime fiction is a ?minor genre?. In this regard, we discuss the characteristics, similarities and differences between its types: detective fiction, noir and ?action? fiction. This last type, although practiced by writers like Edgar Allan Poe e Jorge Luis Borges, for example, had its terminology coined only in 2005, by Mayrant Gallo, who is also a teacher and a crime fiction theorist, a genre which has been insufficiently researched in the academy.
Neste trabalho, analisamos os contos policiais do escritor Mayrant Gallo ? um dos mais fecundos autores da Bahia na contemporaneidade ? tentando demonstrar a tem?tica do crime como uma met?fora, uma meton?mia do mundo em que vivemos, muitas vezes violento e corrupto. Na obra do autor em foco ? assim como na de tantos outros escritores de hist?rias policiais ? evidenciamos a representa??o do universo criminal como um m?todo, um meio de levar o leitor a reflex?es bem mais amplas do que ao mero questionamento do ?quem matou?. Objetivamos desmitificar a ideia, que ainda perdura entre os cr?ticos liter?rios, de que a narrativa policial ? um ?g?nero menor?. Para tanto, discutimos as caracter?sticas, semelhan?as e diferen?as dos tipos da modalidade estudada: de enigma, noir e ?de a??o?. Este ?ltimo, apesar de ter sido praticado por escritores como Edgar Allan Poe e Jorge Luis Borges, por exemplo, teve a sua terminologia cunhada apenas em 2005, por Mayrant Gallo, que, al?m de escritor, ? professor e te?rico da literatura policial, pouco divulgada no ?mbito universit?rio.

Lake basins contain depositional systems whose stratigraphy and sedimentology are highly influenced by allogenic and authigenic processes. Identifying the relative roles of these controls is complicated in settings where both tectonic and climate influences control sediment inputs and accommodation availability. In order to identify how these controls may interact in carbonate lake basins the lacustrine Mayrán Formation, northeast México was investigated. The Mayrán Formation is well exposed and the strata geometries are well preserved. The necessary data needed to unravel these complexities was obtained using field based techniques (geological and structural mapping, sedimentary logging and sampling), combined with optical and electron optical microscopy, mineralogical (XRD), and geochemical (oxygen and carbon stable isotopes, total organic carbon [TOC], organic carbon isotopes, and U-Pb carbonate dating) techniques, to characterise the lake basins. These data reveal that the Mayrán Formation was deposited in four, northerly, down-stepping, broadly coeval, hydrologically linked, carbonate-dominated lake subbasins (the Mayrán Basin system), that formed at different elevations spanning ~500 m. Subbasin geomorphology was controlled by the inherited topography of the exhumed and eroded Parras foreland fold-and-thrust belt, as a result, the subbasins are compartmentalized by prominent sandstone ridges that form sills between subbasins. Sedimentary infill of the subbasins consists of a fluvio-lacustrine succession (carbonate and clastic) that overly an angular unconformity truncating the folded and faulted Cretaceous bedrock. Clastic sediments were preferentially trapped in the most proximal subbasin in the south, adjacent to the mountain front. In more distal settings to the north, carbonate production resulted in deposition of horizontally bedded lacustrine limestones with subordinated siliciclastics and evaporite minerals. Carbonate deposition occurred during overfilled to balance filled conditions. Prominent aggradational to progradational tufa clinoforms form at the spillover points between the subbasins, and interfinger up- and down-dip with the horizontally bedded lacustrine limestones. The tufas consist of steeply dipping clinoforms that prograde northwards. They formed by inorganic and biogenically mediated calcite precipitation as waters from the topographically upper lake overflowed the sill. U-Pb dating of speleothem cements formed in the tufas yield a Pliocene age (3.06 ± 0.2 Ma). The horizontally bedded limestones that predominantly fill the subbasins are composed of nine lithofacies. These are: ostracode mudstone-wackestone, clotted boundstone, gastropod wackestone-packstone, oncoid wackestone-packstone, stromatolite, charophyte wackestone-packstone, marlstones, crystalline carbonate and evaporite minerals. These lithofacies contain variable proportions of production-derived components, with subordinated detrital and diagenetic components. They overall contain inorganic and organic calcite (average 91%), organic matter (average 12.6 % TOC) and subordinated detrital quartz, feldspar and clay. Stable isotope conditions from stromatolite laminations (δ13C -6.3‰ and δ18O -8.0‰), and micritic matrix from samples in all the subbasins (δ13C -5.7‰ and δ18O -8.4‰), indicate that overall calcite deposition occurred in freshwater lakes, under predominantly oxic conditions. Carbonate particles deposited mainly by in situ disaggregation and by settling. Significant preservation of the organic matter likely occurred because of the fine grained carbonate matrix, and because of moderate rates of both carbonate sediment and organic matter production. Stacking patterns in the lake successions show an overall shallowing upward cyclicity. It is considered, that the effects of inherited basin geomorphology and climate, ultimately controlled facies variability and strata geometries in these subbasins.

En Cuba y Brasil, así como en algunos países de América Latina no se puede hablar de cultura sin tener en consideración los elementos de origen africana que están presentes en la música, en los bailes, en las fiestas populares, en la culinaria, en el teatro, en las artes plásticas, y también en la literatura. El objetivo de este trabajo es analizar la representación del sagrado de raíces africanas en cuatro novelas latinoamericanas, que son: O compadre de Ogum (2006), del brasileño Jorge Amado; Del amor y otros demonios (2004), Del colombiano Gabriel García Márquez; Como un mensajero tuyo (1998), de la cubana Mayra Montero y Ponciá Vicêncio (2006), de la brasileña Conceição Evaristo. Analizo, en los tres primeros, la presencia de lo sagrado y lo profano y la forma con la que los narradores utilizan la ironía como estrategia para invertir la hegemonía de las religiones. Fue posible observar la existencia, en esas tres novelas, de personajes híbridos, los mensajeros que se dislocan entre mundos aparentemente opuestos realizando puntos de unión entre ellos. Con el propósito de observar como el mito yoruba ultrapasa los personajes en las narrativas contemporánea escrita por mujeres, comparé las obras Como un mensajero tuyo (1998) e Poncia Vicêncio (2006). Aunque en esas dos obras los orishas aparezcan de forma menos evidente, ellos no se debilitan, pues los personajes rescriben esos mitos en el texto literario otorgándole un papel destacado a las figuras femeninas.
Em Cuba e no Brasil, assim como em alguns países da América Latina, não se pode falar de cultura sem ter em consideração os elementos de origem africana que estão presentes na música e dança, nas festas populares, na culinária, no teatro, nas artes plásticas, e também na literatura. O objetivo deste trabalho é analisar a representação do sagrado de raízes africanas em quatro romances latino-americanos, que são: O compadre de Ogum (2006), do brasileiro Jorge Amado; Del amor y otros demonios (2004), do colombiano Gabriel García Márquez; Como un mensajero tuyo (1998), da cubana Mayra Montero; e Ponciá Vicêncio (2006), da brasileira Conceição Evaristo. Analiso, nos três primeiros, a presença do sagrado e do profano e a forma como os narradores utilizam a ironia como estratégia para inverter a hegemonia das religiões. Foi possível observar a existência, nesses três romances, de personagens híbridos, os mensageiros , que se movimentam fazendo uma ponte de união entre dois mundos aparentemente conflitantes. Com o propósito de observar como o mito yoruba permeia os personagens das narrativas contemporâneas de autoria feminina, comparei as obras Como un mensajero tuyo (1998) e Poncia Vicêncio (2006). Embora nessas duas obras os orixás apareçam de forma menos ostensiva, eles não enfraquecem, pois os personagens reescrevem esses mitos no texto literário outorgando um papel de destaque às figuras femininas.

« noir-e-s fantômes» n’est pas une simple formulation appellative, le terme «fantôme» dans cette thèse désigne le déni et le rejet psycho-social de la présence et de l’histoire culturelle des noir-e-s aux formations identitaires caribéennes et américaines actuelles. Force est de constater que malgré les efforts en faveur de la réhabilitation humaine et sociale, la présence des noir-e-s reste encore «fantôme» dans les littératures canoniques, les manuels scolaires et les discours officiels caribéens et latino-américains. Cela est d’autant plus notoire à Porto Rico, état non souverain des Etats-Unis d’Amérique. De ce fait, ma thèse propose une relecture de l’historiographie officielle et des pratiques discursives en vigueur à Porto Rico loin des postulats hégémoniques qui minimisent le rôle fondateur des noir-e-s aux formations socio-culturelles portoricaines. Partant précisément de l’analyse critique de Fe en disfraz (2009) de Mayra Santos Febres et Capá Prieto (2010) d’Yvonne Denis Rosario, ma thèse de doctorat entend montrer comment le fantôme se manifeste dans les œuvres littéraires de ces deux auteures. Celle-ci questionnera également la légitimité des discours en vigueur au regard du statut politique particulier de Porto Rico
“Blackness as ghost” is not a fanciful phrase. In the present context, the word “fantôme” is the psycho-social denial and rejection of the presence of Blacks and their cultural history in present-day Caribbean and American identity-building. It is noteworthy that, despite various efforts to restore their human and social dignity, Blacks’ presence is still invisible in canonical literary books, textbooks, and in the official discourses of the Caribbean and Latin America. This is even more visible in Porto Rico—a non sovereign state of the United States of America. From that perspective, my PhD thesis proposes a new interpretation of national and official Puerto Rican historiography and its discursive practices far from the hegemonic assumptions that downplay the founding role of Blacks in Puerto Rican socio-cultural identity. Drawing from Fe in disfraz (2009) by Mayra Santos Febres and Capá Prieto (2010) by Yvonne Denis Rosario, my PhD dissertation aims to show how the ghost appears in the literary works of the above mentioned authors. It also questions the legitimacy of current discourses vis-à-vis Puerto Rico's special political status

Esta tesis investiga la representación de la violencia en las obras de seis autores tijuanenses o que han tenido en Tijuana su centro artístico y productivo: Rosina Conde, Luis Humberto Crosthwaite, Heriberto Yépez, Regina Swain, Mayra Luna y Rafa Saavedra. Dichos libros tienen en común, además, el haber sido publicados en los últimos 30 años aproximadamente, hecho que permite situarlos en el marco de la posmodernidad y de una estética posmoderna. La hipótesis principal de la investigación es que en los trabajos de todos estos escritores se puede hallar una conexión entre violencia privada (familiar, de pareja etc.) y violencia pública (económica, política, social etc.). Por lo tanto, los conflictos personales —y las dinámicas de poder que a través de estos se dan— se sitúan en un contexto fronterizo donde lo local, lo nacional y lo global se solapan. Desde una perspectiva teórica que ha buscado una síntesis entre la biopolítica, los estudios poscoloniales y los estudios fronterizos, se han propuesto, para la obra de cada autor, específicos núcleos semánticos que conectan lo público con lo privado. En el caso de Rosina Conde, se trata de la familia; en el de Heriberto Yépez, la maquila y la familia; en la obra de Luis Humberto Crosthwaite se ha destacado la importancia del territorio, tanto los barrios como la frontera entre Estados Unidos y México. En los libros de Swain, Luna y Saavedra, se ha hecho hincapié en un desplazamiento de la atención hacia el sujeto. Por lo tanto, aunque ciertos elementos semánticos no pierdan su interés (la familia o la pareja), se ha subrayado la transformación de la mirada de estos artistas, cada vez más atentos al aislamiento de sus personajes. Los autores estudiados, además, desde el punto de vista formal, muestran una tendencia a romper ciertos esquemas narrativos, apostando por la fragmentación, por el uso del castellano y del inglés, o por una hibridación de los géneros literarios y por formas experimentales de conjugar lo literario con lo metaliterario, según los casos.
This thesis investigates the representation of violence in the works of six authors from Tijuana or who have had their artistic and productive center in Tijuana: Rosina Conde, Luis Humberto Crosthwaite, Heriberto Yépez, Regina Swain, Mayra Luna and Rafa Saavedra. What these books have in common —besides having been published in the last 30 years— is that this fact allows them to be placed within the framework of postmodernism and a postmodern aesthetic. The main hypothesis of this investigation is that in the works of all these writers a connection can be found between private violence (sexual, familiar etc.) and public violence (economic, political, social, etc.). Therefore, personal conflicts —and the power dynamics that occur through them— are situated in a border context where the local, national and global dimensions overlap. After looking for a synthesis among biopolitics, postcolonial studies and border studies from a theoretical perspective, specific semantic elements that connect the public dimension with the private one have been proposed for the work of each author. In the case of Rosina Conde, it is about the family; in the one of Heriberto Yépez, the “maquila” and the family; Luis Humberto Crosthwaite's work has highlighted the importance of territory, both the neighborhoods and the border between the United States and Mexico. In the books of Swain, Luna and Saavedra, emphasis has been placed on a shift of attention towards the subject. Therefore, although certain semantic elements don’t lose their interest (the family or the couple), it has been underlines how the outlook of these artists has changed, becoming more and more attentive to the isolation of their characters. From the formal point of view, then, a tendency to break certain narrative schemes has been shown, gambling on fragmentation, on the use of both Spanish and English, or on a hybridization of literary genres and experimental forms of conjugation of the literary with the metaliterary dimenson.

xi, 236 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Writers in the Caribbean, like writers throughout the postcolonial world, return to colonial texts to rewrite the myths that justified and maintained colonial control. Exemplary of a widespread, regional phenomenon that begins at mid-century, writers such as Aimé Césaire and George Lamming take up certain texts such as Shakespeare's The Tempest and recast them in their own image. Postcolonial literary theory reads this act of rewriting the canon as a political one that speaks back to power and often advocates for political and cultural independence. Towards the end of the twentieth century and at the beginning of the twenty-first century, Caribbean women writers begin a new wave of rewriting that continues in this tradition, but with certain differences, not least of which is a focused attention to gender and sexuality and to the literary legacies of romance. In the dissertation I consider a number of novels from throughout the region that rewrite the romance, including Jean Rhys's Wide Sargasso Sea (1966), Maryse Condé's La migration des coeurs (1995), Mayra Santos-Febres's Nuestra señora de la noche (2006), and Dionne Brand's In Another Place, Not Here (1996). Romance, perhaps more than any other literary form, exerts an allegorical force that exceeds the story of individual characters. The symbolic weight of romance imagines the possibilities of a social order--a social order dependent on the sexual behavior of its citizens. By rewriting the romance, Caribbean women reconsider the sexual politics that have linked women with metaphorical constructions of the nation while at the same time detailing the extent to which transnational forces, including colonization, impact the representation of love and desire in literary texts. Although ultimately these novels refuse the generic requirements of the traditional resolution for romance (the so-called happy ending), they nonetheless gesture towards a reordering of community and a revised notion of kinship that recognizes the weight of both gendered and sexual identities in the Caribbean.
Committee in charge: Karen McPherson, Chairperson, Romance Languages; David Vazquez, Member, English; Tania Triana, Member, Romance Languages; Judith Raiskin, Outside Member, Womens and Gender Studies

The first attempts to subvert the erotic representation in Puerto Rican literature can be found in literary works produced in the middle of the twentieth century. These representations were at first timid, and then gradually they became more explicit in the seventies, but it was not until the eighties and nineties that erotic visions became more common. The purpose of this research is to analyze the erotic representation in the works of Mayra Santos Febres, especially in El cuerpo correcto . The intention is to bring forward a topic that ironically has had both a persistent presence and a relegated position in Puerto Rican literary tradition. By taking into account Puerto Rican Erotic Literature from the end of the nineteen century to the present, predominantly women's short stories, I attempt to trace the erotic patterns that are subveredt in Santos Febres' short stories. I also study the correlation between Santo Febres' fictional and nonfictional works to establish if it is possible to talk of an erotic poetics in her works. My final objective is to show how the writing of this contemporary author shifts the erotic tradition in Puerto Rican literature. Santos Febres achieves this objective when, in El cuerpo correcto , she includes some sexual practices that are considered as paraphilias or perversions and places emphasis on their human part. This approach to perversions makes this book unique in Puerto Rican Literature.

La recherche, construction et révision de l’identité nationale ont très longtemps constitué les éléments propulseurs de la production littéraire et intellectuelle de Porto Rico. Pourtant vers le milieu des années 90, un nouveau consensus émerge entre les écrivains qui revendiquent massivement la fin de la littérature en tant que lieu d’où forger la conscience nationale et refuse le leadership intellectuel qui avait jusqu’alors définit le travail littéraire. Les auteurs qui commencent à se manifester à ce moment se désintéressent du nationalisme comme thème littéraire. Le militantisme politique et la volonté de confrontation, modes représentationnels caractéristiques de la génération antérieure, disparaissent pour laisser place à une écriture exploratoire, centrée sur ses propres procédés, et apparemment apolitique. Une telle perte d’ancrages nationaux et territoriaux est significative de la conscience exacerbée que possèdent ces écrivains de la complexité des dynamiques culturelles qui régissent le monde postmoderne et globalisé, ainsi que de la « valeur » et de la position « marginale » qu’on leur attribue dans l’écologie mass-médiatique culturelle actuelle. La production narrative de Mayra Santos-Febres est paradigmatique de ces changements. J’aborde dans son écriture une série de dispositifs métalittéraires, autoréflexifs, « érographiques », et historiographiques qui, bien qu’ils résistent à une catégorisation homogène, démontrent un même intérêt pour des phénomènes interstitiels. En me basant sur les concepts de liminalité, principalement depuis la perspective de Victor Turner et d’écriture auto-réflexive (Patricia Waugh, Linda Hutcheon), j’analyse le positionnement liminal qu’assume Santos-Febres dans la structure culturelle globalisée actuelle, et la façon dont sa prise de position, également liminale, c’est-à-dire, sa prise de parole et son engagement se traduisent par un rapprochement narcissique à l’exercice littéraire autant dans les formes qu’elle crée qu’au niveau sémantique, narratif et discursif. Le premier chapitre analyse les contes « Dilcia M. » et « Acto de Fe » (Pez de vidrio) comme témoignages de l’érosion du patriotisme et militantisme antérieur; « La escritora» (Pez de vidrio) qui marque pour l’auteure un passage vers une esthétique centrée sus ses propres procédés créatifs; et le roman Cualquier miércoles soy tuya qui dramatise le positionnement assumé par les écrivains dans la chaine culturelle globalisée actuelle. Le second chapitre aborde la configuration des corps, espaces urbains et de l’écriture dans El cuerpo correcto qui, à travers une exubérance sexuelle/textuelle, projette des variantes réactualisées de la traditionnelle dichotomie corps/écriture. Le troisième chapitre se penche sur la configuration du travesti dans Sirena Selena vestida de pena. J’y propose de voir le travestisme, le boléro et l’écriture comme un triple exercice métalittéraire. Le dernier chapitre aborde le procédé de re-signification littéraire des images sédimentées de subordination et d’infériorité de sujet « noir ». Nuestra Señora de la Noche se penche sur la re-signification de l’hyper-sexualisation et « exotisation » qui a cimenté la construction de « l’immoralité » de la femme noire. Fe en disfraz aborde le sadomasochisme comme espace de re-signification des schèmes de domination et soumission inscrits dans l’histoire esclavagiste de Porto Rico et du trauma qui origine, et subsiste, d’une telle hiérarchie.
For a long time, the construction and revision of national identity constituted the driving forces of literary and intellectual production in Puerto Rico. Around the mid 90s, however, a new consensus emerges among writers, which on a massive scale claims the end of literature as a space for forging national consciousness and rejects the intellectual leadership that had defined literary work until that time. At this point, emerging writers lose interest in nationalism as a literary theme. Political militancy and the desire for confrontation, representational modes that were typical of the previous generation, collapse to give way to exploratory writing, centered on its own processes, and apparently apolitical. This loss of territorial markers explains the heightened perception that those writers have of the complex cultural dynamics that govern the postmodern and globalized world, and of the “value” and “marginal” position that is attributed to them in the current mass-media cultural ecology. The narrative production of Mayra Santos-Febres is paradigmatic of these changes. I approach a series of meta-literary, self-reflexive, “erographic,” and historiographical devices in her writing, which, although they resist homogeneous categorization, share a concern for interstitial phenomena. Basing myself on the concepts of liminality, primarily from the perspective of Victor Turner, and of self-reflexive writing (Patricia Waugh, Linda Hutcheon), I analyse the liminal positioning that Santos-Febres adopts within the globalized cultural structure and the way in which her stance is equally liminal. In other words, her speech and commitment become a narcissistic approach to the practice of writing both in terms of the forms that it creates and with regard to semantics, narrative, and discourse. The first chapter analyses the stories, “Dilcia M.” and “Acto de Fe” (Pez de vidrio), as testimonies of the erosion of earlier forms of patriotism and feminist militancy; “La escritora” (Pez de vidrio), which for the author marks a transition toward an aesthetic centred on her own creative processes; and the novel Cualquier miércoles soy tuya, which dramatizes the stance adopted by writers in the current globalized cultural chain. The second chapter deals with the configuration of bodies, urban spaces, and writing in El cuerpo correcto, which, through a sexual/textual exuberance, project updated versions of the traditional body/writing binary. The third chapter focuses on the configuration of the transvestite in Sirena Selena vestida de pena and suggests viewing transvestism, the bolero, and writing as a triple meta-literary practice. The final chapter deals with the literary re-signification of the “sedimented” images of subordinated “black” subjects. Nuestra Señora de la Noche focuses on the re-signification of hyper-sexualization and exoticization, which cemented the construction of black women’s “immorality”. Fe en disfraz discusses sadomasochism as a space of re-signification of the dominant/submissive configuration inscribed in Puerto Rican slave history, and of the trauma that originates and survives in this hierarchy.
La construcción y revisión de la identidad nacional constituyeron, por un largo tiempo, los elementos propulsores de la producción literaria e intelectual en Puerto Rico. Hacia mediados de los años 90, sin embargo, emerge entre los escritores un nuevo consenso que reivindica masivamente el fin de la literatura como espacio de fragua de la conciencia nacional y rechaza el liderazgo intelectual que había definido el quehacer literario hasta el momento. Los escritores que empiezan a manifestarse en ese momento pierden el interés en el nacionalismo como tema literario. El militantismo político y la voluntad de confrontación, modos representacionales característicos de la generación anterior, se desmoronan para ceder paso a una escritura exploratoria, centrada en sus propios procesos y aparentemente apolítica. Tal pérdida de anclajes nacionales y territoriales traduce la percepción exacerbada que tienen esos escritores de las complejas dinámicas culturales que rigen el mundo postmoderno y globalizado, y del “valor” y de la posición “marginal” que se les atribuye en la ecología massmediática cultural actual. La producción narrativa de Mayra Santos-Febres es paradigmática de dichos cambios. Abordo en su escritura una serie de dispositivos metaliterarios, auto-reflexivos, “erográficos” e historiográficos que si resisten a una categorización homogénea comparten una misma preocupación por fenómenos intersticiales. Basándome en los conceptos de liminalidad, principalmente, desde la perspectiva de Victor Turner, y de escritura auto-reflexiva (Patricia Waugh, Linda Hutcheon), analizo el posicionamiento liminal que asume Santos-Febres en la estructura cultural globalizada y la manera en que su toma de posición igualmente liminal, es decir, su toma de palabra y compromiso se traducen en un acercamiento narcisista al ejercicio escritural tanto en las formas que crea como a nivel semántico, narrativo y discursivo. El primer capítulo analiza los cuentos “Dilcia M.” y “Acto de Fe” (Pez de vidrio) como testimonios de la erosión del patriotismo y militantismo feminista anterior, “La escritora” (Pez de vidrio) que marca para la autora una transición hacia una estética centrada en sus propios procesos creativos, y la novela Cualquier miércoles soy tuya que dramatiza el posicionamiento asumido por los escritores en la cadena cultural globalizada actual. El segundo capítulo aborda la configuración de los cuerpos, espacios urbanos y de la escritura en El cuerpo correcto que, a través de una exuberancia sexual/textual, proyecta variantes reactualizadas del tradicional binomio cuerpo/escritura. El tercer capítulo enfoca la configuración del travesti en Sirena Selena vestida de pena y propone ver el travestismo, el bolero y la escritura como un triple ejercicio metaliterario. El último capítulo se acerca a la re-significación literaria de las imágenes sedimentadas de subordinación del sujeto “negro”. Nuestra Señora de la Noche enfoca la re-significación de la hiper-sexualización y exotización que cimentó la construcción de la “inmoralidad” de la mujer negra. Fe en disfraz aborda el sadomasoquismo como espacio de re-significación de los esquemas de dominación/sumisión inscritos en la historia esclavista puertorriqueña y del trauma que origina y subsiste de tal jerarquía.

abstract: ABSTRACT This dissertation focuses on the narrative fiction of three women writers from the Spanish-speaking Caribbean who have been publishing since the nineteen-nineties. The short stories and novels of Mayra Santos-Febres from Puerto Rico, Ena Lucía Portela from Cuba, and Ángela Hernández Núñez from the Dominican Republic, have been analyzed within a theoretical framework composed of Antonio Benítez Rojo and Édouard Glissant’s ideas about Caribbean cultural expression and Rosi Braidotti and Elizabeth Groz’s writings about the body in current feminist studies. In doing so this study has sought to demonstrate how contemporary Caribbean women writers employ a nomadic aesthetic that opens up a multitude of possibilities of meanings for bodies, and by extension subjects, that have traditionally been obscured by the Cartesian binary that separates the body from the mind. In spite of being culturally, sexually and racially specific bodies, the bodies that appear in the work of Santos-Febres, Portela and Hernández Núñez are in constant movement and metamorphoses. Therefore, special attention is paid to the ways in which these bodies are open to social completion making them favorable locations for negotiations of power, resistance to normative identities, and the production of new systems of knowledge that not only recognize the importance of the body but also acknowledge the value of the affects. RESUMEN Esta tesis trata la narrativa de tres escritoras del Caribe hispano-hablante que comenzaron a publicar a partir de los años noventa. Los cuentos y novelas de Mayra Santos-Febres de Puerto Rico, Ena Lucía Portela de Cuba, y Ángela Hernández Núñez de la República Dominicana, han sido analizados a través de un marco teórico compuesto de las ideas sobre la expresión cultural caribeña de Antonio Benítez Rojo y Édouard Glissant y los escritos sobre el cuerpo en los estudios feministas actuales de Rosi Braidotti y Elizabeth Grosz. Al hacerlo, este estudio se ha propuesto demostrar cómo las escritoras caribeñas contemporáneas emplean una estética nómade que abre las posibilidades de significado para los cuerpos y sujetos que han sido ocultados tras el binario cartesiano que separa el cuerpo de la mente. A pesar de ser cuerpos cultural, sexual y racialmente específicos, los cuerpos que aparecen en los textos de Santos-Febres, Portela y Hernández Núñez están en continuo movimiento y metamorfosis. Por lo tanto, se presta especial atención a los modos en los cuales estos cuerpos permanecen abiertos hacia la terminación social lo que los hace espacios propicios para las negociaciones de poder, la resistencia a las identidades normativas y la producción de nuevos sistemas epistemológicos que no solo reconocen la importancia del cuerpo sino que también el valor de los afectos.
Dissertation/Thesis
Doctoral Dissertation Spanish 2015

Thesis (M.A.) -- Central Connecticut State University, 2009.
Thesis advisor: Antonio García-Lozada. "... in partial fulfillment of the requirements for the degree of Master of Arts in Spanish Language and Hispanic Cultures." Includes bibliographical references (leaves 191-201). Abstract available via the World Wide Web.

Afro-Puerto Rican Mayra Santos-Febres's novel Sirena Selena vestida de pena (2000) demonstrates the intrinsic social relationship that exists between generations in Puerto Rico and Dominican Republic. The historical similarity between these regions permits a comparison in life stories of marginalized peoples. Puerto Rican godmothers and transvestites Martha Divine and Valentina Frenesâi prepare goddaughter, quinceänera and bolerista Sirena Selena in her performance in order to launch a career and conquer the strategies of survival. Meanwhile, Dominican millionaire Hugo Graubel manages his life publicly as a heterosexual husband and privately as a gay man and strongly attempts to capture enigmatic Sirena Selena. Whereas the Dominican, pre-adolescent, poor, and mulatto Leocadio discovers the veiled world of tourism that offers alternate possibilities of economic survival. The previous generations' transgression of society's binary definitions created alternate spaces that continue to pave the way for future generations that will refuse and resist conforming to static patriarchal and heterosexual mainstream classifications
by Ariana Heydi Magdaleno
Abstract in English
Thesis (M.A.)--Florida Atlantic University, 2009
Includes bibliography
Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web

Summaries in German and English
Text in German
Angestoßen durch ein vom evangelischen Jugendwerk getragenes Projekt hat sich eine zu-nehmende Zahl von Jugendgemeinden in Orten und Bezirken der württembergischen Lan-deskirche etabliert. Diese Jugendgemeinden zielen auf verbindliche gottesdienstliche Ge-meinschaft und verstehen sich nicht nur als Jugendarbeit, sondern wollen ein eigenes Ge-meindebewusstsein entwickeln. Da sich Jugendgemeinden naturgemäß besonders auf das Jugendalter konzentrieren, werden sich junge Erwachsene eine andere geistliche Heimat suchen müssen, sobald sie sich zu sehr vom Jugendalter entfernen. Diese Masterarbeit setzt sich zum Ziel, Faktoren zu ermitteln, die zu einem gelingenden Wechsel ehemaliger Mitglieder von Jugendgemeinden in landeskirchliche Ortsgemeinden beitragen, bzw. Faktoren zu finden, die zu einer Abwanderungsbewegung derselben führen. Dafür werden Leitfadeninterviews mit ehemaligen Mitgliedern von Jugendgemeinden durch-geführt und entsprechend der qualitativen Inhaltsanalyse nach Philipp Mayring ausgewertet. Auf Basis dieser ermittelten Faktoren sollen Handlungsempfehlungen zur Erneuerung der Praxis entwickelt werden sowie die Faktoren mit der praktisch-theologischen sowie inner-kirchlichen Diskussion in Verbindung gebracht werden.
Initiated by a project of the youth division of the protestant church in Württemberg, an in-creasing number of youth churches (“Jugendgemeinden”) have been formed in different parishes and districts of the protestant church in Württemberg (“Evangelische Kirche in Würt-temberg”). These youth churches view themselves as more than the current understanding of normal youth ministry. They conduct regular youth worship services, have a congregation of committed members and develop the self-understanding of an actual church. Because youth churches target a teenage demographic, its members are placed in the position of needing to search for another church home once they become too old for the youth church. This dissertation aims to find factors which aid the transition of former members of youth churches into protestant local church congregations (“landeskirchliche Ortsgemeinden”) and respectively find factors which lead to migration outside these protestant church congregations. To that end, guided interviews are conducted with former members of youth churches and are analyzed by employing the qualitative content analysis method by Philipp Mayring. These determined factors form the basis for recommendations for action and a renewed church practice. They are discussed within the practical-theological and church context.
Philosophy, Practical & Systematic Theology
M. Th. (Practical Theology)