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Dissertations / Theses on the topic 'Contemporary Spanish literature'
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Arzac, Sergio. "Spanish Migration in Contemporary Spanish Literature and Film." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84163/.
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Spain underwent drastic social and political changes in the last decades of the twentieth century which also affected the nation’s patterns of emigration. Contemporary Spanish literature and film that portray these decades reflect the country’s fluctuating characteristics of migration. ¡Vente a Alemania, Pepe! (1971) by Pedro Lazaga, Coto vedado (1985) by Juan Goytisolo, El hijo del acordeonista (2003) by Bernardo Atxaga, and Yoyes (2000) by Helena Taberna demonstrate Spain’s migration trends during the last years of Franco’s dictatorship and the transition to democracy. The nation’s highly increased socioeconomic development in the 1970s and 1980s which eventually led to a first-world status also affected emigration, which can be seen in Carlota Fainberg (1999) by Antonio Muñoz Molina, Kasbah (2000) by Mariano Barroso, Restos de carmine (1999) by Juan Madrid, and Map of the Sounds of Tokyo (2009) by Isabel Coixet.
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Morgan-Tamosunas, Erica Charlotte. "Towards a cultural analysis of contemporary Spanish cinema." Thesis, Anglia Ruskin University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369152.
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Hawkey, James William. "Language policy and language contact in Barcelona : a contemporary perspective." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/3085.
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The present thesis provides an analysis of language policy and language contact in present-day Barcelona. On the one hand, the effectiveness of the implementation of Catalan-medium education in Catalonia will be critically evaluated. On the other hand, Catalan-Castilian bilinguals' awareness of non-normative instances of language contact will be assessed. This thesis brings these two strands together, in order to paint an accurate picture of the current Catalan sociolinguistic situation. The 1983 Llei de Normalització Lingüística had numerous consequences, including the introduction of Catalan as the chief medium of education in Catalonia. Such legislation had many aims, not least to 'ensure Catalan language competence'. But to what extent has this been successful? Furthermore, the varieties of Catalan and Castilian in Barcelona are characterised by centuries of language contact, which has resulted in the incursion of numerous, non-normative linguistic items and constructions in both languages. To what extent are speakers aware of such non-normative language? Moreover, how do these questions concerning language policy and language contact bear upon one another? This thesis is therefore looking at the consequences of language policy and of language contact. With the aid of an innovative, three-dimensional model of sociolinguistic phenomena, it will be shown that these are maximally differentiated, yet clearly related. These will be termed top-down phenomena and bottom-up phenomena respectively. This is to be tested using a unique fieldwork experiment whereby fifty bilingual Catalan-Castilian Barcelonians of two different generations (one educated in Catalan, the other in Castilian, due to different linguistic policies) are asked to identify instances of non-normative language contact in two prepared texts. This work will allow conclusions to be drawn regarding the effectiveness of Catalan medium education, as well as offering insight into the nature of how we examine issues of language policy and language contact.
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Saar, Amy L. "Solitary Women Wanderers: Urban Stories of Resistance in Contemporary Spanish Women's Narrative." Thesis, view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3113027.
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Thesis (Ph. D.)--University of Oregon, 2003.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 213-219). Also available for download via the World Wide Web; free to University of Oregon users.
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Davies, Faye Margarita. "Narratives of otherness: Masculinity and identity in contemporary Spanish literature for children and adolescents." Thesis, University of Auckland, 1998. http://wwwlib.umi.com/dissertations/fullcit/9841949.
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While members of any group of men may appear to be ordinary gendered examples of humanity, behind their physical similarities lie many socio-political and familial differences; thus it is only by knowing such men as individuals that their identities are revealed. Such is the aim of this thesis: to discover the 'real man' behind the statistics about sex-roles and the predominance of male characters in children's and adolescents' literature. From within a selection of Spanish texts a variety of male characters are analysed, focusing on six major roles: father, grandfather, imaginary friend, detective, outlaw or similar marginalised man, and foreign other, with particular attention paid to the Gypsy. All the chapters are linked by the Bakhtinian theory that dialogue with the other leads to the development of a character's or potential reader's sense of identity. The first chapter, concerning fatherhood, is related to a person's sense of intrinsic identity, given with their name and genetic heritage. The grandfather represents a similar sense of family continuity, as well as enabling the young reader to understand Spain's recent historical and rural past. An imaginary friend may symbolise an aspect of identity concerned with a child's ability to achieve a goal or to occupy a special place within the family. Detective stories are analogous to the young person's developing identity as a reader able to decipher the mysteries of texts, whilst marginalised men typify children themselves: persons who have neither status nor money, but who are able to indulge in carnivalistic behaviour which adults call 'play.' The development of one's sense of national identity is fomented through interaction with texts about foreigners who have contributed to Spain's growth as a nation from pre-historic times to the present. A brief critical evaluation of the role of women in detective fiction and as marginalised figures is offered by way of contrast in the appropriate chapters. The thesis concludes that, when analysed as individuals, many male characters demonstrate traits not traditionally considered masculine, and that it is necessary to look beyond mere representations of gender in judging the value of characters in literature for children and adolescents.Whole document restricted, but available by request, use the feedback form to request access.
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Urraro, Laurie Lynne. "EROTICIZING THE MARGINS: SEX AND SEXUALITY IN CONTEMPORARY FEMALE-AUTHORED SPANISH DRAMA." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300405282.
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Cunniffe, Peña Kathleen. "Irlandés in the Americas: Irish Themes and Affinities in Contemporary Spanish American Narrative." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/427339.
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SpanishPh.D.
This dissertation examines Irish characters, themes and literary affinities in modern and contemporary Spanish American literature (1944-2011), focusing on novels and short stories by eight authors: El otro Joyce by Roberto Ferro, “Dublín al sur” by Isidoro Blaisten, El sueño del celta by Mario Vargas Llosa, selections from Ficciones by Jorge Luis Borges, Entre gringos y criollos and Quema su memoria by Eduardo Cormick, selected stories by Viviana O’Connell, La importancia de llamarse Daniel Santos by Luis Rafael Sánchez, and The Brief Wondrous Life of Oscar Wao by Junot Díaz. As the above list of authors suggests, Irish themes, characters, and intertextualities are present throughout the region’s Spanish-language literature, from some of its most celebrated writers like Borges and Vargas Llosa to contemporary authors such as O’Connell and Cormick. The prologue introduces the historical context of the Irish in Latin America as well as a theoretical framework to support the analyses in subsequent chapters. Each chapter is then dedicated to a different facet of the Irish-Latin American literary connection. Chapter 1 explores the translation of James Joyce into Spanish and the way in which contemporary Argentine writers dialogue with Joyce, problematizing the act of translation. Chapter 2 focuses on the ambiguous nature of Irish characters in Borges’s Ficciones and Vargas Llosa’s historical fiction El sueño del celta. Chapter 3 is dedicated to Latin American writers of direct Irish descendance and their expression of Irishness in the Americas. Finally, Chapter 4 analyzes echoes of Oscar Wilde in Caribbean Latino literature. The central question is how and why these Irish connections manifest themselves in contemporary Spanish American narrative. Ultimately, this dissertation argues that Irish characters and themes present a broader, more hybrid vision of Latin American identity, recognizing the multiplicity of languages, narratives, and selves.
Temple University--Theses
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Diego, Rivera Hernandez Raul. ""Symbolic and Global Violence in Contemporary Mexican and Spanish Crime Fiction"." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338381722.
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Ellison, Mahan L. "Literary Africa: Spanish Reflections of Morocco, Western Sahara, and Equatorial Guinea in the Contemporary Novel, 1990-2010." UKnowledge, 2012. http://uknowledge.uky.edu/hisp_etds/7.
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This dissertation analyzes the strategies that Spanish and Hispano-African authors employ when writing about Africa in the contemporary novel (1990-2010). Focusing on the former Spanish colonial territories of Morocco, Western Sahara, and Equatorial Guinea, I analyze the post-colonial literary discourse about these regions. This study examines the new ways of conceptualizing Africa that depart from an Orientalist framework as advanced by the novelists Lorenzo Silva, Concha López Sarasúa, Ramón Mayrata, María Dueñas, Fernando Gamboa, Montserrat Abumalham, Javier Reverte, Alberto Vázquez-Figueroa, and Donato Ndongo. Their works are representative of a recent trend in Spanish letters that signals a literary focus on Africa and the African Other.
I examine these contemporary novels within their historical context, specifically engaging with the theoretical ideas of Edward Said’s Orientalism (1978), to determine to what extent his analysis of Orientalist discourse still holds value for a study of the Spanish novel of thirty years later. In addition, the work of theorists such as Gil Anidjar, Emmanuel Levinas, James C. Scott, Ryszard Kapuściński, Georges Van den Abbeele and Chandra Mohanty contribute to the analyses of specific works. These theorists provide a theoretical framework for my thesis that contemporary Spanish authors are writing Africa in ways that undermine and circumvent the legacy of Orientalist discourse. I seek to highlight the innovative approaches that these authors are taking towards their literary engagement with Africa.
The imaginary that pertains to Africa has served an integral role in the history and creation of modern Spain, and it is illuminating to trace the influences that it continues to exert on Spanish writers. In the last thirty years, Spain’s relationship with Africa has dramatically changed through peace treaties, the independence of nations, migratory patterns, tourism, and in other substantial ways. Within this dissertation, I address these changes by focusing on literary representations of political engagement, gender issues, and travel to highlight how Africa is represented in light of these recent developments. As Spanish authors continue to engage with and to write about Africa, this study hopes to show that Orientalism is no longer a prevalent discourse in the contemporary Spanish novel.
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Cordy, Raven. "Making Christian Art in a Contemporary Setting." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/601.
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Over the past 4 and a half years, I have studied contemporary art and seen countless artworks being made in an academic setting. In doing so, I have come to the realization that religious content is rare in today’s time. While it is not actively discouraged, the environment I am in and the current art community does not seem to be particularly interested in merging the two concepts. Without understanding why, I subconsciously kept art and my faith as separate entities for the first few years of my higher education. But as I matured and developed my own artwork, I began to feel as though my identity and my interests should be rooted in my relationship with God. Upon this reflection, I began looking for ways to make Christian art in a contemporary setting that could also be accepted by those who do not share my faith.
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Madrid, David G. C. "In Search of Elysium: Spanish Poetry of Difference at the Dawn of the 21st Century." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1468574822.
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Herrera, Adriana. "Ficción Extrema: Deslizamientos en la Realidad a Través de la Relación Entre Arte y Literatura (Max Aub, Leonora Carrington y Enrique Vila-Matas)." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1741.
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Si el siglo XX creó una extendida conciencia sobre las variantes de la intertextualidad en la ficción literaria, hoy enfrentamos transformaciones en la naturaleza de la ficción y sus relaciones con otras formas discursivas y/o creativas como el arte, y con la misma realidad, que es posible designar con el concepto de ficción extrema. Desde “Don Quijote” o “Las meninas” hay incursiones en la metaficción y/o autorrefecividad. Pero a partir de las vanguardias modernistas y de modo creciente en los estertores de la postmodernidad nos abocamos a un singular tipo de hipertextualidad que desbordando lo literario se apropia de prácticas artísticas (o lo contrario) como recurso para la transposición de sus ficciones, no sólo de uno a otro campo, sino para su inserción en la realidad: la ficción extrema.
Max Aub (España 1903-México 1973), Leonora Carrington (Inglaterra 1917-México 2011) y Enrique Vila-Matas (España 1958), radicalizaron este tránsito o filtración de los imaginarios artísticos y literarios subvirtiendo las delimitaciones entre —pintor catalán Jusep Torres Campalans, junto con sus obras pictóricas, creadas como sombra o doble de Picasso. Así insertó su existencia en ciertos dominios del cubismo como un modo de meta-crítica artística. Carrington asumió un doble animal que transitó entre cuentos y cuadros y se inscribió en la memoria del surrealismo. Vila-Matas narró su “Historia abreviada de la literatura portátil” como un doble del espectro Marcel Duchamp —a su vez asaltado por otros— que reescribe la memoria del dadaísmo de tal modo que ha llegado a ser confundida con un ensayo. La revisión de las estrategias de la ficción extrema en estos autores junto con las de otros contemplados en el epilogo —Mario Bellatín, y los artistas Liliana Porter, Luis Camnitzer, José Guillermo Castillo, Ana Tisconia, Rubén Torres Llorca y Carlos Amorales— arroja nueva luz sobre sus obras, enriquece los estudios transatlánticos y revela la movilidad y multiplicación de la identidad y los deslizamientos de la ficción en la realidad como signos de tránsito a la altermodernidad.
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Icleanu, Constantin C. "A CASE FOR EMPATHY: IMMIGRATION IN SPANISH CONTEMPORARY MEDIA, MUSIC, FILM, AND NOVELS." UKnowledge, 2017. http://uknowledge.uky.edu/hisp_etds/33.
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This dissertation analyzes the representations of immigrants from North Africa, Latin America, and Eastern Europe in Spain. As engaged scholarship, it seeks to better the portrayal of immigrants in the mass media through the study of literature, film, and music about immigration spanning from the year 2000 to 2016. Because misconceptions continue to propagate in the media, this dissertation works to counteract anti-immigrant, xenophobic representations as well as balance out overly positive and orientalized portrayal of immigrants with a call to recognize immigrants as human beings who deserve the same respect, dignity, and rights as any other citizen.
Chapter 1 examines and analyzes the background to immigration in Spain by covering demographics, the mass media, and political theories related to immigration. Chapter 2 analyzes Spanish music about immigration through Richard Rorty’s social theory of ‘sentimental education’ as a meaningful way to redescribe marginalized minorities as full persons worthy of rights and dignity. Chapter 3 investigates the representation of immigrants in Spanish filmic shorts and cinema. Lastly, Chapter 4 demonstrates how literary portrayals of immigrants written by undocumented immigrants can give rise to strong characters that avoid victimization and rear empathy in their readers in order to affect a social change that minimizes cruelty.
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Henricksen, Richard A. "The Flux of Agency: Unsettling Objects in Contemporary Spanish Civil War Novels (1998-2008)." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1470585727.
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Kennedy, Lea Graner. "Teaching appreciation of Spanish-American culture and history through contemporary Latino literature : a multicultural approach to integrating diversity appreciation into high school curriculum /." View abstract, 1999. http://library.ctstateu.edu/ccsu%5Ftheses/1529.html.
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Thesis (M.A.)--Central Connecticut State University, 1999.Thesis advisor: Antonio García-Lozada, Ph. D. "...in partial fulfillment of the requirements for the degree of Master of Arts in Spanish." Includes bibliographical references (leaves 163-168).
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Barragan, Nieto Jose Pablo. "De bubas y anticuerpos: un estudio comparativo de algunas respuestas culturales al mal francés y el sida en España." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5412.
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The significant cultural impact of HIV/AIDS has led to the production of an impressive amount of scholarship in the US and Northern Europe since the outbreak of the epidemic in 1980. In contrast, the study of the cultural representations of HIV/AIDS has been largely overlooked in the realm of Spanish literary criticism. The purpose of my dissertation is to address that void through the analysis of a representative corpus of texts and artistic works from different periods and genres that acknowledge the impact of the epidemic in Spain. More particularly, this dissertation analyzes Spanish literary and artistic representations of HIV/AIDS through a critical comparison with other written materials produced in the 16th and 17th centuries as a reaction to the syphilis epidemic that hit Europe at the time, also known as the Great Pox.
The corpus of texts used in this dissertation includes Francisco Delicado’s La Lozana andaluza (1528); two short novels by Miguel de Cervantes (1547-1616); individual poems and collections of poetry by authors such as Francisco de Quevedo (1580-1645), Anastasio Pantaleón de Ribera (1600-1629), Aníbal Núñez (1944-1987), or Galician-language poet Lois Pereiro (1958-1996); as well as artistic works and performances by AIDS activist Pepe Espaliú (1955-1993). I explore this corpus through an interdisciplinary approach bringing into play, among others, historical and medical discourses, biopolitics, sociology of literature, semiology, as well as theories about violence and empathy.
In my comparative examination of these authors’ representations of disease, I argue that contemporary writers approached HIV/AIDS using a framework inspired on the aesthetic and epistemic strategies developed in the 16th and 17th centuries in the context of the emergence of the Baroque. This framework allowed modern authors to confront the uncertainties caused by Post-Modernity and HIV/AIDS, and inspired them to depict the pandemic by means of metaphor and indirectness.
The ultimate goal of my research is to uncover variables that will help to enlighten the well-documented historical trend to stigmatize sexual transmitted and infectious diseases. My work also sheds light on the reasons behind the slow emergence of epidemic diseases as objects of cultural debate in Spain, as well as on the social, political and ethical consequences of this slowness. Finally, I argue that there are some specifically artistic and literary responses to the Great Pox and HIV/AIDS that can help to understand the nature of these diseases and to distinguish discriminatory usages of these phenomena.
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Bilodeau, Annik. "The Politics of Cosmopolitanism in Contemporary Spanish American Literature: Elena Poniatowska, Mario Vargas Llosa, and Jorge Volpi Within a Disputed Tradition." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35573.
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This dissertation asserts that the tortuous relationship Spanish American literature had with cosmopolitanism since the Wars of Independence reached a turning point towards the end of the second half of the twentieth century. While the literary production of the nineteenth and most of the twentieth century was centred on the Spanish American nation and the continent, contemporary literature has become increasingly deterritorialized, and has begun to present narrative worlds and discuss issues that transcend this circumscribed universe. The discerning of this articulation of global issues in contemporary literature – which I contend is predicated on the concept of cosmopolitanism – is the primary objective of this investigation.
The five novels examined here are Elena Poniatowska’s La “Flor de Lis” (1988), Mario Vargas Llosa’s El Paraíso en la otra esquina (2003) and El sueño del celta (2010), and Jorge Volpi’s El fin de la locura (2003) and No será la Tierra (2006). This study aims to describe and assess an evolving perspective on the treatment of cosmopolitanism in Spanish America. I trace the shift from the previous generations’ main preoccupation with aesthetic cosmopolitanism, which sought to engage Latin American literary discourse with the Western canon, to what I identify as the current political implication of the concept. To this end, I show that whereas mid-twentieth century authors displaced cosmopolitanism in favour of more politically expedient concepts, authors now plot it in their novels as a means of discussing issues of identity and citizenship in an increasingly globalized world.
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Mueller, Stephanie Ann. "Conflicting identities in Spain's peripheries: centralist Spanish nationalism in contemporary cultural production of Catalonia and the Basque country." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2588.
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This dissertation analyzes symbolic and political discourse in the works of three controversial intellectuals who participate in the contemporary debate on nationalisms in Spain. Basque poet and essayist Jon Juaristi (b. 1951), after brief involvement in ETA during the late 1960s and early 1970s, evolved into one of Spain's most outspoken critics of Basque nationalism, a position that led to death threats from ETA and eventually his permanent abandonment of the region. After founding his theater company Els Joglars in 1962, Catalan playwright Albert Boadella (b. 1943) used it as a vehicle to fight the Francoist dictatorship and promote a Catalan nationalist agenda. However, he eventually reversed his position on the issue of Catalan and Spanish nationalisms and became a political enemy to many in his home region. Finally, Basque filmmaker Julio Medem (b. 1958) caused outrage throughout much of Spain in 2003 with a documentary film exploring the clash between Spanish and Basque identities. In my examination of Boadella's and Juaristi's autobiographies and Medem's documentary I explore the ways each author portrays himself as subverting, transgressing, or transcending the sub-state nationalisms that are virtually hegemonic in their regions, and I reveal how each author's treatment of gender, especially his representations of masculinity, either undermines or substantiates the purportedly "non-nationalist" position he stakes. I argue that Juaristi's and Boadella's restrictive, traditionalist gender constructions reveal conservative Spanish nationalist discourses which prevent them from surpassing the rigid power structures that nourish the opposition between Spain's center and periphery, while Medem's cinematic work does present the possibility of breaking free from the boundaries of the conflict of national identities through the transcendence of patriarchal nationalist symbolism - both Basque and Spanish.
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Machín-Lucas, Jorge. "La espiral ontológica e intertextual en la poesía de José Ángel Valente: creación poética y búsqueda íntimo-mística en los albores de la premodernidad." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1115931846.
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CHIODAROLI, SARA. "Voci migranti nella letteratura spagnola contemporanea." Doctoral thesis, Università degli studi di Bergamo, 2012. http://hdl.handle.net/10446/26700.
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The phenomenon of immigration in contemporary Spain has led the country to face new forms of cultural production, as literature, proceeding from extra cultural contexts now included in the local territory. The post-colonial perspective has been meaningful to analyse the literary texts recollected in this work, but the sight proposed by Homi Komi Bhabha and Spivak needed to be revised according to a new historical context. The western metropolis that hosts the XXI century migrants is not anymore linked to a postcolonial and decolonized world, but to a new form of renovated colonialism, expressed in the enclosure of EU frontiers, in the political and media production of ‘illegality’ and in the economical slavery of the ‘North’ on the ‘South’. The “absence” of colonized people has been reactivated in the denial of existence of contemporary ‘il/legal beings’, invisible in the darkness of their irregular condition or, if they are legal, still not visible in the obscurity of stereotypes and racism of European citizens.
The analysis of some meaningful literary texts of immigrant authors living in Spain, such as Najat El Hachmi, Saïd El Kadaoui, Víctor Ombga and Sivia Cuevas-Morales, has shown interesting results on the variability of self-representation forms and on the effects that the anti-immigration EU policy has on the expression of the ‘in-between’ voices.
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Gómez, Sobrino Isabel. "Poesia hecha cancion: adaptaciones musicales de textos poeticos en España desde 1960 hasta el 2010." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367937390.
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Fiuza, Adriana Aparecida de Figueiredo [UNESP]. "Releituras da história franquista nos romances Galíndez e Autobiografía del general Franco de Manuel Vázquez Montalbán." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/103658.
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Made available in DSpace on 2014-06-11T19:32:48Z (GMT). No. of bitstreams: 0
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fiuza_aaf_dr_assis.pdf: 1161946 bytes, checksum: 9f341e2fae5b39fbe336c8d5ff5e40f8 (MD5)Este estudo propõe-se a investigar, em uma perspectiva comparatista, como ocorre a releitura da história e a retomada da memória esquecida da Espanha franquista, por meio do discurso da ficção. Tendo como corpus os romances Galíndez (1990) e Autobiografía del general Franco (1992) do escritor Manuel Vázquez Montalbán, a pesquisa enfatiza o estudo da metaficção historiográfica e o papel de relevância destas obras, como modelo estético para outras narrativas que surgiriam, posteriormente, no campo da literatura espanhola e que também abordariam a temática da Guerra Civil e do franquismo. A tese indaga sobre como estas narrativas históricas se inserem no contexto de uma estética da Pós-Modernidade, sem, no entanto, deixar que a relativização da história amenize os horrores da violência, da repressão e do abuso de poder presentes nas ditaduras trujillista e franquista. Portanto, apesar destas narrativas de Manuel Vázquez Montalbán se construírem com os recursos estéticos característicos da metaficção historiográfica, como a metaficção, a paródia, o pastiche, a ironia, as relações intertextuais e a autorreflexividade, não abandonam o caráter de reivindicação por uma estética da ética e de uma história não oficial das ditaduras
This study investigates, in a comparative perspective, the process of rereading history and reviving the forgotten memory of Francoist Spain by the fictional discourse. Based on the novels Galíndez (1990) and Autobiografía del general Franco (1992) by Manuel Vázquez Montalbán, this research highlights the study of the historiographic metafiction and the role played by these works as aesthetic models for other narratives which would later arise in the Spanish literature, and which would also address the subject of the Spanish Civil War and the Francoism. This study investigates how these historical narratives arise in the context of an aesthetics of Postmodernity, without, however, letting the relativization of history fade the horrors of violence, repression and abuse of power seen in Trujillo‟s and Franco‟s dictatorial governments. Therefore, although these narratives by Manuel Vázquez Montalbán incorporate the typical aesthetic resources of historiographic metafiction, such as metafiction, parody, pastiche, irony, intertextuality and self-reflexivity, they do not abandon the characteristic of claiming for an aesthetics of ethics and an unofficial history of the dictatorships
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Guzman-Medrano, Gael. "Post-Revolutionary Post-Modernism: Central American Detective Fiction by the Turn of the 21st Century." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/917.
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Contemporary Central American fiction has become a vital project of revision of the tragic events and the social conditions in the recent history of the countries from which they emerge. The literary projects of Sergio Ramirez (Nicaragua), Dante Liano (Guatemala), Horacio Castellanos Moya (El Salvador), and Ramon Fonseca Mora (Panama), are representative of the latest trends in Central American narrative. These trends conform to a new literary paradigm that consists of an amalgam of styles and discourses, which combine the testimonial, the historical, and the political with the mystery and suspense of noir thrillers. Contemporary Central American noir narrative depicts the persistent war against social injustice, violence, criminal activities, as well as the new technological advances and economic challenges of the post-war neo-liberal order that still prevails throughout the region.
Drawing on postmodernism theory proposed by Ihab Hassan, Linda Hutcheon and Brian MacHale, I argued that the new Central American literary paradigm exemplified by Sergio Ramirez’s El cielo llora por mí, Dante Liano’s El hombre de Montserrat, Horacio Castellanos Moya’s El arma en el hombre and La diabla en el espejo, and Ramon Fonseca Mora’s El desenterrador, are highly structured novels that display the characteristic marks of postmodern cultural expression through their ambivalence, which results from the coexistence of multiple styles and conflicting ideologies and narrative trends. The novels analyzed in this dissertation make use of a noir sensitivity in which corruption, decay and disillusionment are at their core to portray the events that shaped the modern history of the countries from which they emerge. The revolutionary armed struggle, the state of terror imposed by military regimes and the fight against drug trafficking and organized crime, are among the major themes of these contemporary works of fiction, which I have categorized as perfect examples of the post-revolutionary post-modernism Central American detective fiction at the turn of the 21st century.
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Reyes, Clara Irene. "Aesthetics: beauty and the sublime in the representation of violence an analysis of contemporary film and novel in Spain and Latin America /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1091660144.
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Sainz-Pardo, Gonzalez Carlos. "Écriture et engagement dans les romans d’Andrés Sorel (1963-2013)." Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAL026/document.
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Romancier, essayiste, ancien secrétaire général de la Asociación Colegial de Escritores de España, Andrés Sorel (Ségovie, 1937) est surtout connu pour son activité de militant antifranquiste. Il a pourtant publié à ce jour quinze romans et un nombre considérable d'essais. Depuis les années soixante, toute son œuvre est écrite sous le signe de l’engagement, ce qui peut expliquer en partie une forme de mise à l'écart du marché éditorial. Cette thèse vise à analyser comment sa dissidence intellectuelle contre l’idéologie dominante se construit dans sa production romanesque. On tentera de définir les contours de l’engagement, que ce soit à travers son rôle d’intellectuel, dans ses aspects les plus controversés, ou à travers les caractéristiques de son écriture engagée, dans sa dimension textuelle et avant-textuelle. On analysera également comment les marqueurs de l’engagement se développent dans la construction du narrateur, de ses personnages et de la temporalité. En prêtant toujours une attention égale au contenu idéologique et à sa mise en forme, Sorel conçoit l’écriture comme un exercice de réhabilitation de la mémoire des vaincus, s'inscrivant ainsi – et d'une certaine façon inaugurant – le « roman de la mémoire » qui domine le panorama littéraire de l'Espagne de ces deux dernières décennies. Il s’agit donc d'analyser la tension dialectique qui se joue entre un récit fictionnel et des modalités qui empruntent au factuel, notamment à l'essai. À travers la pluralité des témoignages littéraires, les textes de Sorel cherchent ainsi à faire émerger les vérités cachées et à redonner une voix à ceux qui en ont été privés. On étudiera par quels dispositifs formels ses récits constituent un contre-pouvoir contre le discours dominant des régimes autoritaires, totalitaires ou démocratiques. En dernier lieu, on analysera la dimension pragmatique d’une écriture qui prétend transformer la réalité, pour saisir le degré de visibilité de son discours littéraire et de sa présence médiatique, ainsi que la façon dont ses romans sont perçus par la critique littéraire. On cherchera enfin à esquisser les typologies du lecteur véhiculées par le récit, que ce soit pour les légitimer ou pour les rejeterAs a novelist, essayist, and former general secretary of the Asociación Colegial de Escritores de España, Andrés Sorel (Segovia, 1937) is best known for his anti-Franco activism. To this day, he has published fifteen novels and a considerable number of essays. Since the nineteen sixties, all his work has been written under the sign of commitment, which may partly explain his side-lining from the editorial market. This thesis aims at analyzing how his intellectual disagreement with the dominant ideology is built up in his novelistic production. We will attempt to define the outlines of commitment, whether through his part as an intellectual, in its most controversial aspects, or through the characteristics of his committed writing, in its textual and pre-textual dimension. We will also analyze how the markers of commitment develop in the construction of the narrator, his characters and temporality. By always paying equal attention to the ideological content and its shaping, Sorel conceives writing as an exercise of rehabilitation of the memory of the vanquished, thus becoming a part of – and in a certain way launching – the "novel of the memory" which has dominated the literary panorama of Spain for the last two decades. It is therefore a matter of analyzing the dialectical tension that is played out between a fictional narrative and a method that uses factual elements, especially experimenting. Through the plurality of literary testimonies, Sorel’s texts seek to bring out the hidden truths and give a voice to those who have been deprived of it. We will study the formal devices through which his stories establish a counter power against the dominant discourse of authoritarian, totalitarian or democratic regimes. Lastly, we will analyze the pragmatic dimension of a writing style that claims to transform reality, in order to grasp the degree of visibility of its literary discourse and its media presence, as well as the way in which his novels are perceived by literary criticism. We will finally try to outline the reader types conveyed by the story, whether to legitimize or to reject them
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Fiuza, Adriana Aparecida de Figueiredo. "Releituras da história franquista nos romances Galíndez e Autobiografía del general Franco de Manuel Vázquez Montalbán /." Assis : [s.n.], 2010. http://hdl.handle.net/11449/103658.
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Orientador: Antonio Roberto EstevesBanca: Maria Dolores Aybar Ramirez
Banca: Silvia Inês Cárcaro de Arcuri
Banca: Magnolia Brasil Barbosa do Nascimento
Banca: Cátia Inês Negrão Berlini de Andrade
Resumo: Este estudo propõe-se a investigar, em uma perspectiva comparatista, como ocorre a releitura da história e a retomada da memória esquecida da Espanha franquista, por meio do discurso da ficção. Tendo como corpus os romances Galíndez (1990) e Autobiografía del general Franco (1992) do escritor Manuel Vázquez Montalbán, a pesquisa enfatiza o estudo da metaficção historiográfica e o papel de relevância destas obras, como modelo estético para outras narrativas que surgiriam, posteriormente, no campo da literatura espanhola e que também abordariam a temática da Guerra Civil e do franquismo. A tese indaga sobre como estas narrativas históricas se inserem no contexto de uma estética da Pós-Modernidade, sem, no entanto, deixar que a relativização da história amenize os horrores da violência, da repressão e do abuso de poder presentes nas ditaduras trujillista e franquista. Portanto, apesar destas narrativas de Manuel Vázquez Montalbán se construírem com os recursos estéticos característicos da metaficção historiográfica, como a metaficção, a paródia, o pastiche, a ironia, as relações intertextuais e a autorreflexividade, não abandonam o caráter de reivindicação por uma estética da ética e de uma história não oficial das ditaduras
Abstract: This study investigates, in a comparative perspective, the process of rereading history and reviving the forgotten memory of Francoist Spain by the fictional discourse. Based on the novels Galíndez (1990) and Autobiografía del general Franco (1992) by Manuel Vázquez Montalbán, this research highlights the study of the historiographic metafiction and the role played by these works as aesthetic models for other narratives which would later arise in the Spanish literature, and which would also address the subject of the Spanish Civil War and the Francoism. This study investigates how these historical narratives arise in the context of an aesthetics of Postmodernity, without, however, letting the relativization of history fade the horrors of violence, repression and abuse of power seen in Trujillo‟s and Franco‟s dictatorial governments. Therefore, although these narratives by Manuel Vázquez Montalbán incorporate the typical aesthetic resources of historiographic metafiction, such as metafiction, parody, pastiche, irony, intertextuality and self-reflexivity, they do not abandon the characteristic of claiming for an aesthetics of ethics and an unofficial history of the dictatorships
Doutor
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Montás, Lucía M. "LA CIUDAD DE LAS LETRADAS: REESCRIBIENDO SANTO DOMINGO EN LA NARRATIVA FEMENINA URBANA DOMINICANA DEL NUEVO MILENIO." UKnowledge, 2018. https://uknowledge.uky.edu/hisp_etds/36.
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In the last few decades, Dominican female writers have contributed significantly to the literary representation of the city of Santo Domingo and urban life. This dissertation studies how these female writers produce a cultural paradigm for criticizing the urban crisis in the Dominican Republic that at times is at odds with much narrative written by men and with key concepts in Urban Theory that are taken for granted. The authors I study, Ángela Hernández, Emilia Pereyra, Emelda Ramos, Aurora Arias and Rita Indiana Hernández, understand the city and redefine the urban model by expressing their dissatisfaction in the civilizing and modernizing potential of urban space in their texts. I specifically analyze novels and short stories through a reinterpretation of Henri Lefebvre’s concept of “the Right to the City” that considers issues such as gender, race and identity by using an interdisciplinary theoretical framework that includes Geography, Urban Studies, Feminism, Queer Studies and Sociology.
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Checchia, Cristiane. "Percepção, recordação e linguagem - ensaio e ficção em El río sin orillas, de Juan José Saer." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-05032013-101500/.
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Este trabalho objetiva percorrer a partir de El río sin orillas os núcleos irradiadores fundamentais da poética do escritor argentino Juan José Saer (1937-2005), procurando analisar a matéria comum e as especificidades entre a escrita do ensaio e a prosa ficcional do autor. Publicado originalmente em 1991, El río sin orillas indaga sobre a história, a literatura e o imaginário cultural da sociedade argentina a partir de sua relação com o Rio da Prata. Ao longo da leitura de El río sin orillas, propõe-se ainda promover um diálogo do texto com a tradição do ensaísmo hispano-americano e, mais precisamente, com uma tradição de textos que o próprio Saer põe em evidência ao valorizar o caráter inclassificável de algumas obras. A partir destes objetivos principais, foram selecionados temas e questões que permitem analisar em El río sín orillas o deslocamento em dupla mão entre a escrita ensaística e a ficcional, bem como a tênue linha de fronteira que persiste entre os dois campos discursivos: o problema dos gêneros literários e a tradição das obras inclassificáveis; o entre-lugar estrangeiro; a literatura pensada pelo autor como uma antropologia especulativa; a invenção do passado; a violência e a política; a criação da geografia singular da zona saeriana.This thesis explores the fundamental irradiating nuclei of the poetics of the Argentine writer Juan José Saer (1937-2005) in the essay El río sin orillas, aiming to analyze the the common aspects and specificities between the essay writing and fictional prose of the author. Originally published in 1991, El río sin orillas probes the history, literature and cultural imagination of Argentinian society through their relation with the River Plate. Along our reading of El río sin orillas, we also propose to promote a dialogue with the Hispanic- American tradition of essay writing and, more precisely, with the tradition of writing that Saer himself reveals through his valorization of the unclassifiable character of certain texts. In addition to these main goals, some themes and issues that allow us to analyze the two-way traffic between the authors essays and fictional prose as well as the blurry boundary between these two discursive fields have been selected: the problem of literary genres and the tradition of unclassifiable works; the in between space of the foreigner; the notion of literature in Saer as speculative anthropology; the invention of the past; violence and politics; and the creation of a singular geography of Saerian zone.
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Bonvalot, Anne-Laure. "Formes nouvelles de l'engagement dans le roman espagnol actuel : Alfons Cervera, Belén Gopegui, Isaac Rosa." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30032.
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On prétend éprouver dans cette étude l'hypothèse suivante : le retour, dans le roman espagnol récent, d'un courant défendant ouvertement la puissance critique et politique de l'écriture littéraire. Saisie à la fois comme discours social et comme forme du savoir, la littérature serait dès lors porteuse de dissensus et potentiellement transformatrice. Cette tendance à contre-Courant, si elle reste minoritaire, n'en est pas moins profondément significative. Au plan esthétique, la revendication des notions de responsabilité, d'intentionnalité et de politicité de l'écriture n'implique pas de recourir à la transparence et au monologisme du roman à thèse. Elle induit plutôt un réinvestissement paradoxal des formes brisées du postmodernisme littéraire, situant la fiction politique du côté de la problématisation des canons et des normes, de la dénaturalisation, de la désidentification et du décentrement, de la critique des partages établis ou de la perturbation des places, plutôt que dans la certitude monolithe et l'imposition autoritaire du message. Sur cette inscription générique paradoxale s'articule un nouveau réalisme critique, qui problématise à l'envie l'injonction mimétique tout en revendiquant l'héritage du grand roman social. Au plan théorique et rhétorique, l'adoption d'une posture maximaliste où se donnent à lire les fondements conceptuels de l'engagement classique – interventionnisme, historicisme, injonction au positionnement, projet de dévoilement – s'accompagne d'un rejet de la catégorie d'écriture engagée, à laquelle les auteurs préfèrent d'autres vocables – écriture résistante, révolutionnaire ou responsable. À la croisée du roman mémoriel et de la fiction politique – deux tendances dont on analysera les jeux de recouvrement –, notre corpus d'étude se compose de treize romans de trois écrivains représentatifs de ce courant : Alfons Cervera, Belén Gopegui et Isaac Rosa, trois romanciers dont l'œuvre semble indiquer l'émergence d'un nouveau paradigme esthétique dont on se propose d'analyser les enjeux formels, théoriques et institutionnelsI intend to verify in this study the following hypothesis : the resurgence, in the recent Spanish novel, of a trend openly defending the critical and political power of literary writing. Seen both as a social discourse and as a form of knowledge, literature would therefore be the bearer of dissent and would be potentially transformative. This tendency against the current, while remaining minor, is nevertheless profoundly significant. As far as aesthetics is concerned, the claim of notions such as responsibility, intentionality and politicality of writing does not imply a resort to the transparency and monologism of the thesis novel. This new trend rather implies a paradoxical reinvestment of the shattered forms of literary postmodernism; it sets political fiction along with problematizing canons and norms, denaturalizing, de-Identifying, decentralizing, and criticizing the established categories or reregulating all representations of places. This trend does not allude to a monolithic conviction or an authoritative imposition of a message. From this paradoxical and generic inscription emerges a new critical realism, which problematizes over and over again the mimetic injunction while claiming the heritage of the great social novel. From a theoretical and rhetorical point of view, the adoption of a maximalist position in which one can read the conceptual foundations of classical engagement – interventionism, historicism, the injunction to take a stand, the project of unveiling – goes along with the rejection of the category of engaged literature, to which the authors prefer other terms – resistance, revolutionary or responsible writing. At the crossroads of the memorial novel and political fiction – two tendencies which I shall analyze for movements of coincidence – the corpus of my study is composed of thirteen novels by three writers representative of this new current : Alfons Cervera, Belén Gopegui and Isaac Rosa, three novelists whose works seem to indicate the emergence of a new aesthetic paradigm of political and literary engagement in today's Spanish novel which I shall analyze the formal, theoretical and institutional stakes
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Foehn, Salomé. "Les philosophes de l'exil républicain espagnol de 1939 : autour de José Bergamín, Juan David García Bacca et María Zambrano (1939-1965)." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/2551.
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Spanish Republican philosophers in exile defended the Second Republic, legally proclaimed on April 14, 1931. They embraced the anti-fascist cause rising in the 1920s and the 1930s in Europe. During the Civil War, which lasted three years, they stood among the people. 1939 saw the victory of General Francisco Franco, supported by Nazi Germany and the Italy of Mussolini. Threatened with death, they had no choice but to escape from Spain. Some intellectuals experienced French concentration camps but, for the most part, they found refuge in Latin America, especially in Mexico and Venezuela. In exile, they swore to remain loyal to the Second Republic and to the spirit of the Spanish people. Moved by liberal views and humane ideals, these philosophers belonged to the vanquished, as those everywhere in Europe who rose against Fascist barbarity. As a result, their respective works are still widely unknown today – despite relentless efforts made to promote their thought to a larger audience for over half a century. In addition to the historical context of crisis during the interwar period, the situation of Spanish philosophy itself is suggestive. Indeed, Spanish philosophy was institutionalised at the beginning of the twentieth century only: the Schools of Madrid and Barcelona were created. These politics of cultural and intellectual renovation are first bestowed upon the generation of philosophers I study, born in the 1900s. When the Spanish War erupts, they had become professionals of international recognition. This shows the actual limits of academic philosophy, incapable of acknowledging unorthodox ways of philosophising. The experience of exile itself serves in my opinion as a catalyst: Spanish Republican philosophers in exile seek emancipation from academic conventions to philosophise freely; that is, in Spanish and according to the spirit of the people. No doubt “poetic reason” – the true invention of Spanish Republican exile – stems from this ideal of autonomous thinking.
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Chávez, Díaz Liliana Guadalupe. "Based on true stories : representing the self and the other in Latin American documentary narratives." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/267817.
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This doctoral thesis studies the relationship between journalism and literature in contexts in which freedom of speech is at risk. It takes as primary sources a variety of nonfiction, crónicas, literary journalism and testimonial novels published by Latin American authors in Spanish, from the 1950s to the 2000s. I propose the concept ‘documentary narratives’ to refer to all literary modes of discourse which are related, in diverse degrees, to a journalistic representation of reality. My corpus covers a wide range of topics such as social protests, dictatorships, civil wars, natural disaster, crime and migration. While scholars have focused on the rhetoric and history of this kind of narratives, my reading considers the real, face-to-face encounter between the journalist and others. I argue that the representation of these encounters influences the pact with the reader and challenges the notion of truthfulness. I contend that documentary narratives can serve as a tool for the transmission of knowledge and the production of public debate in societies marked by political and social instability. In a world overwhelmed by data production and immersed in violent acts against those to be considered ‘Others’, I argue that storytelling is still an essential form of communication among individuals, classes and cultures. Contrary to the authors’s intentions of documenting others’ lives, I conclude that these stories offer an (interrupted) account of oneself, that is, the account of a contemporary storyteller pursuing a rarely fulfilled desire of getting to know the Other truly. The thesis has two appendices. Appendix 1 showcases archival material that support some of my arguments. Appendix 2 includes the transcripts of the interviews that I conducted with eight Latin American authors: Elena Poniatowska, Leila Guerriero, Cristian Alarcón, Arturo Fontaine, Santiago Roncagliolo, Francisco Goldman, Martín Caparrós, and Juan Villoro.
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Besse, Nadège. "Réfléchir la transmission au féminin. Étude de la relation mère-fille chez sept auteures catalanes." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL138.
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Cette thèse a pour objet l'analyse de la relation mère-fille dans un corpus composé de treize œuvres majoritairement romanesques, publiées entre 1962 et 2015, de sept auteures catalanes. Ces dernières écrivent en castillan (Esther Tusquets, Ana María Moix et Milena Busquets), en catalan (Mercè Rodoreda, Carme Riera et Maria Mercè Roca) ou dans les deux langues (Jenn Díaz). La mère est liée aux origines et à l'identité et, de fait, la relation mère-fille est souvent une zone ravagée, conflictuelle, du moins complexe, ce qui en fait un sujet d'écriture extrêmement riche. Nous proposons ainsi une analyse à la croisée de l'histoire, de la sociologie, de la psychologie, de la psychanalyse et de la littérature qui offre une approche nouvelle de la relation de la mère à la fille et de la fille à la mère. Ce travail comparatif nous permet d'établir des similitudes entre les représentations de la figure maternelle, des typologies de mères, tout en constatant la diversité et la complexité des relations mère-fille dans ces œuvres et de leur traitement littéraire. La mère devient sous la plume de ces sept auteures un personnage central, à la fois réel et symbolique, qui est revisité, réinventé et transmis à travers les pages de l'œuvre littéraire. Par ce processus, l'écriture devient un moyen de perpétuer la présence de la mère, de la faire exister de manière immortelle dans la mémoire collectiveThe purpose of this thesis is to analyze the mother-daughter relationship in a corpus composed of thirteen works, mainly novels, published between 1962 and 2015, by seven Catalan authors. The latter write in Castilian (Esther Tusquets, Ana María Moix and Milena Busquets), in Catalan (Mercè Rodoreda, Carme Riera and Maria Mercè Roca) or in both languages (Jenn Díaz). The mother is linked to origins and identity and, in fact, the mother-daughter relationship is often a ravaged, conflicting, at least complex, area, which makes it an extremely rich subject for writing. We thus propose an analysis at the crossroads of history, sociology, psychology, psychoanalysis and literature which offers a new approach to the relationship of mother to daughter and of daughter to mother. This comparative work allows us to establish similarities between the representations of the maternal figure, typologies of mothers, while noting the diversity and complexity of the mother-daughter relationships in these works and their literary treatment. The mother becomes under the pen of these seven authors a central character, both real and symbolic, who is revisited, reinvented and transmitted through the pages of the literary work. Through this process, writing becomes a means of perpetuating the presence of the mother, of making her exist immortally in the collective memory
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Gullo, Anne Sophie. "L'oeuvre en prose (2001-2014) d'Alejandro Lopez Andrada : vers l'élégie." Thesis, Normandie, 2019. http://www.theses.fr/2019NORMC026.
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Alejandro López Andrada, poète, romancier et essayiste appartenant à la « génération des fils » comme la nomme Juan Vila, retrace le passé perdu ou en voie de disparition de son Andalousie natale. Sa prose se démarque par son caractère élégiaque et en dépit de la diversité générique qui caractérise ses œuvres, celles-ci ont en commun l’expression d’un sentiment nostalgique. Cette étude s’attache à présenter, en premier lieu, la voix narrative qui s’exprime dans le corpus choisi ainsi que la subjectivité qui la définit, puis, dans un second temps, les modes d’expression de cette nostalgie à travers l’exaltation de l’enfance dans laquelle s’inscrit la représentation de la terre natale andalouse. Enfin, la dernière partie de ce travail est consacrée à l’humanisme chrétien qui se dégage des textes, lesquels traduisent ainsi la foi personnelle de l’auteur. Celle-ci se manifeste notamment par l’expression de l’amour de l’Autre, de la revendication de valeurs et modes de vie renvoyant à nouveau à la période de l’enfance de l’auteur et par le poids important du religieux dans l’ensemble de son œuvreAlejandro Lopez Andrada, a poet, novelist and essayist from the "generation of sons" as Juan Vila calls it, traces the lost or disappearing past of his native Andalusia.His prose is notable for its elegiac character and despite the generic diversity that characterises his works, they all express a feeling of nostalgia.This study aims to present, in the first instance, the narrative voice that is expressed in the chosen corpus as well as the subjectivity that defines it, and, secondly, the expression of this nostalgia through the exaltation of childhood, in which the representation of the Andalusian homeland is enshrined. Finally, the last part of this work is devoted to the Christian humanism that emerges from the texts, which reflect the author's own personal faith. This particularly manifests itself in the expression of love of the Other, in the demand for the values and way of life which hark back to the author's childhood and by the weight given to the importance of religion in all his work
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Cobos, Gil Miguel. "Tierra de campos, tierra de sueños : Cartografía posmoderna de la sociedad española contemporánea." Thesis, Högskolan Dalarna, Spanska, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-35984.
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Esta investigación tiene como propósito desentrañar la sociedad española que sedescribe en la novela Tierra de campos del autor español David Trueba, con elobjetivo de cartografiarla y encontrar en ella rasgos comunes y propios de unasociedad posmoderna.Para ello se recurrirá a los postulados de la teoría de la posmodernidad deFredrik Jameson y se centrará especialmente en los conceptos de espacio y tiempo.De la novela se extraerán los rasgos distintivos de los personajes, de los lugares ydel contexto en el que esta acontece para poder configurar un paisaje amplio de lasociedad a la que pertenecen y de esta forma acercarse al objetivo del estudio.Como resultado de la investigación se ha podido definir la sociedadespañola descrita en la novela como de carácter posmoderno, pero con unaspeculiaridades propias derivadas de la herencia de las antiguas estructuras deltardofranquismo.The following research is intended to ascertain and furthermore describe in depththe way in which David Trueba’s fictional novel Tierra de campos reflects thecontemporary Spanish society. And by so doing, an analysis of whether Spanishsociety can genuinely be considered postmodern, will be presented.The analysis will be supported by a focus on the space-temporal scope asit is asserted in Fredrik Jameson’s theory on post-modernism. Taking the novel byTrueba as a main source, reference characters, places, setting as well as context, willplay an important role in the mapping out of all shared features of the society thatthe novel describes in order to approach the purpose of the study.As a result of this research, we have been able to properly define the societydepicted in the novel as one clearly pertaining to the post-modern timeline,nonetheless bearing some of the inherent traces derived from the rusty structurescharacteristic of the last period of Franco’s dictatorship.
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Fontaine, Clarisse. "La trilogie de Rafael Chirbes ou l’histoire d’une génération." Thesis, Pau, 2017. http://www.theses.fr/2017PAUU1038/document.
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Le présent travail se consacre à l’étude de la trilogie de l’écrivain espagnol Rafael Chirbes (1949-2015), constitué de La larga marcha, La caída de Madrid et Los viejos amigos, et à travers laquelle l’auteur retrace l’histoire récente de l’Espagne, depuis la guerre civile jusqu’au retour d’un régime démocratique, en passant par le franquisme. L’étude narrative de chacun des trois romans couplée à une approche collective permettra d’observer comment l’histoire des personnages finit par retracer celle de l’Espagne et celle de la génération désenchantée de l’auteur lui-mêmeThis work is dedicated to the study of the trilogy of the Spanish writer Rafael Chirbes (1949-2015), made uo of the Larga marcha, La caída de Madrid and Los viejos amigos, and through which the author recounts the recent history of Spain, since the civil war until the return of a democratic regime, via the Francoism period. The narrative study of each novels coupled with a collective approach will allow us to observe how the story of the characters ends up recounting Spain’s History as well as the story of the author’s disillusioned generation
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Franzoni, Maria Auxiliadora. "Os caminhos da poesia em Juan Rámon Jiménez /." Assis : [s.n.], 2006. http://hdl.handle.net/11449/103681.
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Orientador: Antonio Roberto EstevesBanca: Heloisa Costa Milton
Banca: Ana Maria Domingues de Oliveira
Resumo: Diario de un poeta reciencasado (1917) é o livro que dá entrada à segunda época da poesia de Juan Ramón Jiménez. Ele é um elo entre as duas épocas do poeta: estabelece a unidade, a continuidade, mas também as mutações. Nada é tão importante no Diario quanto seu profundo e misterioso simbolismo. Um aspecto a que Juan Ramón Jiménez se mantém fiel desde o início de sua poesia e que se reforça é manter com a natureza e com a mulher uma ambígua relação de profunda e recíproca atração e aversão. Nesse processo o poeta acaba por colocar-se à distância, olhando e corrigindo. Ao isolar-se da natureza e da mulher, ao observar de longe, ao enquadrá-las em cenas, mantendo a atitude de um voyeur que tudo vê - mas corrige - o poeta constrói sua arte. O espaço e o tempo passam a ser mostrados em dimensões diferentes. São essas novas relações do eu poético com a natureza, com a mulher, com o espaço, com o tempo e com sua alma que fazem de Diario de un poeta reciencasado uma obra metafísica. Sob esse enfoque analisamos seus poemas nos caminhos da terra, do mar e do céu, enfatizando que esses caminhos marcam a entrada de Juan Ramón na segunda e última época de sua poesia e concorrem para a construção do que foi o signo da escola juanramoniana: a poesia em movimento.
Abstract: Diario de un poeta reciencasado is the book that starts the second season of Juan Ramón Jiménez poetry. Itþs a link between two poet seasons, and establish the unity, the literary composition continuity, but also the mutations. Nothing is more important in the Diary than the deep and misterius simbolism. One aspect that Juan Ramón Jiménez maintain fidelity since the begin of his literary composition and reinforce in Diario is to maitain with the nature and with the woman one deep, reciprocal atraction and aversion ambiguous relation. In this process he puts himself faraway, looking and correcting. Isolating himself from nature and the woman, looking them from farway, framing them in scenes and with them maintain the attitude of one voyeur that see everything - but corrects - the poet build his art. The space and time becomes to be showed in a strange dimensions out of reality. This is the new relations from himself poetic with the nature, with the woman, with the space, with the time and with him soul makes the Diario de un poeta reciencasado one literary composition metaphysics. Under this view we analyse his poems in earth, sea and sky ways, emphasizing that this ways mark the Juan Ramón entrance in the second and last season os his poetry and concour for the construction that was the juanramoniana school sign: the poetry in movement.
Doutor
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Fintzel, Julie. "Le personnage apocryphe dans l'oeuvre de Max Aub." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3072.
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Notre travail s'inscrit dans une perspective d'histoire de la littérature et cherche à conduire une réflexion globale sur la nature, la signification et la portée de l’utilisation de l’apocryphe chez l'écrivain espagnol Max Aub (Paris, 1903, Mexico, 1972). Le procédé sous-tend l'ambitieux projet de "El Laberinto Mágico" _Le Labyrinthe Magique ̶, qui regroupe les œuvres consacrées à la guerre civile espagnole. Max Aub rompt avec une première pratique expérimentale de la littérature pour se focaliser désormais sur le jeu d’un personnage résolument plongé dans l’Histoire, et la création du personnage apocryphe prend chez l'auteur une valeur de témoignage existentiel, qui dépasse la dimension ludique du mélange entre fiction et réalité. Dans un siècle caractérisé par les guerres et la violence, chez un auteur profondément marqué par la guerre civile espagnole et la douloureuse expérience du déracinement, le personnage apocryphe renvoie aussi à la question identitaire, autant qu’à l’expérience de l’altérité et à l’exploration d’autres possibles itinéraires existentiels. Cette exploration des limites du genre narratif contribue à la résolution de la « crise du roman » des années vingt, s'inscrit dans une double perspective européenne et nationale, et s'ancre dans l'Histoire au point de donner de celle-ci une vision nouvelleThis doctoral thesis has benn aproached in a perspective of history of literature, and aims to consider a global thought about the nature, the meaning and the impact of the use of the apocryphal for the Spanish writer Max Aub (Paris, 1903, Mexico City, 1972). The process underpins the ambitious project of "El Laberinto Mágico" ̶The Magic Labyrinth ̶, which groups together the works dedicated to the Spanish Civil War. Max Aub breaks with a first experimental practice of literature to focus from this point onward on the game of a character firmly immersed in History. The creation of the apocryphal character takes for the author a value of existential testimony, which goes beyond the playful dimension of the fiction and reality mix. In a century characterized by wars and violence, in an author deeply marked by the Spanish Civil War and the painful uprooting experience, the apocryphal character also goes back to the question of identity, as well as the otherness experience , and the exploration of the other possible existential paths. This exploration of the limits of the narrative genre contributes to the resolution of the "crisis of the novel" in the twenties, it is also part of a double perspective, national and European, and is anchored in History, to the point where it gives of it a new vision
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Merlos, Lucas. "L’Espagne face à son passé : écriture romanesque et stratégies documentaires." Thesis, Université Grenoble Alpes (ComUE), 2019. http://www.theses.fr/2019GREAL023.
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Cette thèse vise à définir les contours d’une nouvelle modalité du traitement romanesque du passé apparue dans les lettres espagnoles à l’orée du XXIe siècle : le roman documentaire de la mémoire. Un nombre significatif de récits littéraires réalistes, et parfois factuels, portent sur le passé de l’Espagne contemporaine, généralement dans ses aspects les plus traumatiques – guerre civile, Franquisme, violences lors de la Transition –. Pour accéder à ce passé et le représenter, ils mobilisent le document et des formes documentaires à l’image du document d’archive ou du témoignage. Nous posons comme hypothèse que cette mobilisation et cette mise en scène des sources historiques dans un cadre littéraire revient à construire des récits sur l’origine de l’Espagne actuelle à même de participer à l’élaboration d’un récit mémoriel commun et, dans le même mouvement, à interroger et à revendiquer la place de la littérature dans la constitution des savoirs. Dans cette perspective, les romans documentaires de la mémoire constitueraient le lieu d’une tension entre document et monument, entre connaissance et reconnaissance. Pour mettre à l’épreuve cette double hypothèse identitaire d’une reconfiguration de la mémoire et d’une expansion du champ de la littérature, nous procédons à une analyse des diverses stratégies documentaires à l’œuvre dans quatre romans documentaires de la mémoire représentatifs de la diversité idéologique et esthétique de ce sous-genre narratif (Isaac Rosa, El vano ayer, 2004 ; Benjamín Prado, Mala gente que camina, 2006 ; Javier Cercas, Anatomía de un instante, 2009 ; Andrés Trapiello, Ayer no más, 2012). Nous décrivons et interprétons tout d’abord les modalités documentaires à l’œuvre dans ces récits sous le prisme de la notion d’effet de document. Nous constatons ainsi que les récits mobilisent le document et mobilisent des codes narratifs factuels afin de constituer des documents mémorables. Nous abordons dans un second temps la figure du narrateur-enquêteur, qui, animés par un « mal d’archive », retournent aux sources de l’Espagne actuelle et engagent le lecteur à s’identifier à leurs quêtes et aux récits qu’elles induisent. Enfin, nous montrons dans un troisième temps comment ces textes, par le biais de montages documentaires mais aussi par la reprise partielle ou totale des codes du roman à thèse, s’intègrent sur un mode contre-discursif dans un interdiscours large et interrogent ainsi la place de la littérature et de l’écrivain dans le champ des discours sur le réelThis thesis aims to outline a new way of dealing with the past that has appeared in Spanish letters at the beginning of the 21st century: the documentary novel of memory. A significant number of realistic, and sometimes factual, literary narratives deal with the past of contemporary Spain, generally in its most traumatic aspects - Civil War, Francoism, violence during the Transition -. To access and represent this past, they mobilize the document and documentary forms such as the archive document or the testimony. We propose the hypothesis that this mobilization and staging of historical sources in a literary context amounts to constructing narratives on the origin of contemporary Spain capable of participating in the elaboration of a common memory narrative and, in the same movement, to question and claim the place of literature in the constitution of knowledge. In this perspective, documentary novels of memory would constitute the place of a tension between document and monument, between knowledge and recognition. To test this double identity hypothesis of a reconfiguration of memory and an expansion of the field of literature, we analyze the various documentary strategies at work in four documentary novels of memory that represent the ideological and aesthetic diversity of this narrative subgenre (Isaac Rosa, El vano ayer, 2004 ; Benjamín Prado, Mala gente que camina, 2006; Javier Cercas, Anatomía de un instante, 2009; Andrés Trapiello, Ayer no más, 2012). We first describe and interpret the documentary modalities at work in these narratives under the prism of the notion of document effect. We see that novels mobilize the document and mobilize factual narrative codes to create memorable documents. We then turn to the figure of the narrator-investigator, who, animated by an “archive fever”, return to the sources of contemporary Spain and engage the reader to identify with their quests and the narratives they induce. Finally, we show in a third step how these texts, through documentary montages and the partial or total reuse of codes from the roman à thèse , are integrated, in a counter-discursive mode, in a broad interdiscourse and thus question the place of literature and the writer in the discursive field on reality
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Marcari, Maria de Fátima Alves de Oliveira [UNESP]. "A recriação do siglo de oro espanhol em El Capitán Alatriste, de Arturo Pérez-Reverte." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/103664.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Este trabalho tem como objetivo analisar os seis romances que constituem a série El capitán Alatriste (1996-2006), do escritor espanhol Arturo Pérez-Reverte, com o intuito de comprovar a tese de que a reescritura do século XVII espanhol elaborada pela série tem a pretensão de veicular um conhecimento “objetivo e verdadeiro“ da história, por meio de uma visão monológica dos fatos históricos ficcionalizados, reafirmando, assim, pressupostos da narrativa histórica clássica. Para tanto, apoiamos nossa análise na investigação do hibridismo formal, que se configura por meio da exploração simultânea de gêneros, tais como a narrativa histórica, as memórias, o romance de formação, o romance picaresco e o romance-folhetim, cujo paradigma é ditado pela obra de Alexandre Dumas. Na análise da releitura do folhetim, servimo-nos das teorizações de Umberto Eco (1964 e 1978) sobre a literatura de massa, procurando demonstrar que as narrativas assumem formas recorrentes, nas quais detectamos homologias entre as estruturas narrativas, o enredo e as proposições ideólogicas do autor No exame dos procedimentos narrativos, analisamos, dentre outros aspectos, as características do personagem-narrador, o qual funciona como intérprete autorizado dos acontecimentos históricos ficcionalizados, na medida em que se configura também como porta-voz do sistema de valores preconizado nos romances. Assim sendo, demonstramos que a revisitação da história espanhola proposta pelos romances tende a enaltecer as dimensões heróicas da história imperial espanhola.
This research was carried out to analyze the six novels of the series El capitán Alatriste (1996- 2006), by the Spanish writer Arturo Pérez-Reverte, to prove the thesis that the rewriting of the Spanish 19th century organized by the series claims at spreading an “objective and true” knowledge of history, by means of a monological vision of historical facts turned into fiction, thus reaffirming the presuppositions of classical historical narrative. Therefore, our analysis is based on the investigation of the formal hybridism which is formed by means of the simultaneous exploitation of genres, such as the historical narrative, memoirs, the didactic novel, the picaresque novel and the serial novel whose paradigm is provided by Alexandre Dumas’ works. In the analysis of serial rewriting, we made use of Umberto Eco’s theorizations (1964 and 1978) about mass literature, trying to prove that narratives takes on recurrent forms, in which one may find out homologies between the narrative structures, the plot and the author’s ideological propositions. In the examination of the narrative procedures, among other features we analyzed the characteristics of the character-narrator, who acts as an authorized interpreter of the historical events turned into fiction, to the extent that he also takes the shape of a spokesman of value system confirmed in the novels. In that case, we proved that the revisiting of the Spanish history proposed in novels tends to exalt the heroic dimensions of the Spanish imperial history.
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Léveillé, Maxime. "Le roman amplifié : musique et musicalité dans la prose de fiction espagnole contemporaine (1993-2014)." Thesis, Reims, 2018. http://www.theses.fr/2018REIML006.
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Cette thèse a pour ambition d’étudier le dialogue interartiel entre la musique et la littérature dans la prose de fiction espagnole contemporaine, depuis l’émergence de la « Génération X » au début des années 1990. Dans un contexte de massification culturelle, l’éclosion de ce groupe d’auteurs porté notamment par Ray Loriga ou José Ángel Mañas, a signalé un accroissement constant et durable de la perméabilité du roman à la musique. Une telle influence est ainsi notable dans certaines œuvres d’Agustín Fernández Mallo, l’un des principaux représentants du mouvement « mutant » qui a vu le jour en 2007, et dans celle d’auteurs non affiliés à un groupe littéraire particulier, tels Aixa de la Cruz, Belén Gopegui, Guillermo Aguirre, Pablo Gutiérrez, ou Kiko Amat. La mélomanie de ces écrivains est fondatrice d’un projet interartistique où l’invention littéraire boit à la source d’un imaginaire musical foisonnant, dont la textualisation aboutit à considérer le roman comme une forme esthétisée par la musique. Les romans étudiés sont ainsi traversés par une poétique de la dissémination qui a pour effet d’étendre la musicalité aux différentes composantes du récit, et d’accroître les dispositions perceptives du texte afin de stimuler l’imaginaire auditif du lecteur. La fascination pour la musique dessine donc une constellation d’œuvres dont les constantes sonores, musicales, génériques, thématiques, diégétiques et stylistiques seront analysées en éprouvant le concept d'amplification, que nous définissons comme les voies qu’emprunte la littérature de fiction pour accroître le pouvoir de la mimésis, créer du récit, et signifier hors des frontières du roman grâce à la musiqueThe aim of this thesis is to study the interartistic dialogue between music and literature in contemporary Spanish prose fiction since the emergence of “X generation” at the beginning of the 1990s. In a context of mass culture, the rise of this group of writers, namely led by Ray Loriga or José Angel Manas, has revealed a constant and lasting permeability of novels to music. Thus, such an influence is visible in some of the works of Augustin Fernández Mallo, one of the main representatives of the “mutant” movement that appeared in 2007 and in that of writers who were not connected to any particular literary group, such as Aixa de la Cruz, Belén Gopegui, Guillermo Aguirre, Pablo Gutiérrez, ou Kiko Amat. The love of music in these writers is the basis of an interartistic project where literary invention is connected to an abundant musical imaginary world, and its textualisation brings us to consider the novel as a musical aesthetic form. Thus, the novels studied are filled with a poetics of dissemination, which expands musicality to different components of the story and increases the perceptive dispositions of the text, so that the auditory imagination of the reader is stimulated. So, the fascination for music gives birth to a constellation of works whose resonant, musical, generic, thematic diegetic and stylistic aspects will be analysed through the concept of amplification that we define as the paths used by fiction to increase the power of mimesis, create a story and signify something beyond the frontiers of the novel, thanks to music
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Fauquet, Isabelle. "L'exemplarité de la fiction dans le roman espagnol contemporain." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00766393.
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Cette thèse analyse comment la fiction espagnole contemporaine renoue avec la tradition de l'exemplarité littéraire, à travers l'étude d'un corpus de sept œuvres publiées au tournant du XXe (1998-2004). Elle tente de mettre en lumière l'évolution de la notion d'exemplarité dans une perspective diachronique mais aussi synchronique, à travers le prisme du paradigme de pensée contemporain centré sur la notion d'individu. Les nouvelles modalités de l'exemplarité au sein de la prose narrative actuelle sont appréhendées à partir de la réactivation de son support traditionnel -- la figure du héros -- mais aussi des possibilités nouvelles qu'offrent le questionnement des frontières génériques et l'ambiguïté du pacte de lecture. Dans un monde dépourvu de consensus idéologique, les auteurs du corpus forgent leur propre grille d'interprétation du réel et substituent des réponses éthiques particulières, mais toutefois crédibles et acceptables par le lecteur, à l'imposition de vérités globales et universelles. L'exemplarité, telle qu'elle est à l'œuvre dans le roman actuel, entraîne alors une nouvelle forme d'engagement caractérisée par l'énoncé d'une éthique consubstantielle à la création littéraire.
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Franzoni, Maria Auxiliadora [UNESP]. "Os caminhos da poesia em Juan Rámon Jiménez." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/103681.
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franzoni_ma_dr_assis.pdf: 649296 bytes, checksum: f6fa76a9cda2589ae1acece2c2f21fa9 (MD5)Diario de un poeta reciencasado (1917) é o livro que dá entrada à segunda época da poesia de Juan Ramón Jiménez. Ele é um elo entre as duas épocas do poeta: estabelece a unidade, a continuidade, mas também as mutações. Nada é tão importante no Diario quanto seu profundo e misterioso simbolismo. Um aspecto a que Juan Ramón Jiménez se mantém fiel desde o início de sua poesia e que se reforça é manter com a natureza e com a mulher uma ambígua relação de profunda e recíproca atração e aversão. Nesse processo o poeta acaba por colocar-se à distância, olhando e corrigindo. Ao isolar-se da natureza e da mulher, ao observar de longe, ao enquadrá-las em cenas, mantendo a atitude de um voyeur que tudo vê - mas corrige - o poeta constrói sua arte. O espaço e o tempo passam a ser mostrados em dimensões diferentes. São essas novas relações do eu poético com a natureza, com a mulher, com o espaço, com o tempo e com sua alma que fazem de Diario de un poeta reciencasado uma obra metafísica. Sob esse enfoque analisamos seus poemas nos caminhos da terra, do mar e do céu, enfatizando que esses caminhos marcam a entrada de Juan Ramón na segunda e última época de sua poesia e concorrem para a construção do que foi o signo da escola juanramoniana: a poesia em movimento.
Diario de un poeta reciencasado is the book that starts the second season of Juan Ramón Jiménez poetry. Itþs a link between two poet seasons, and establish the unity, the literary composition continuity, but also the mutations. Nothing is more important in the Diary than the deep and misterius simbolism. One aspect that Juan Ramón Jiménez maintain fidelity since the begin of his literary composition and reinforce in Diario is to maitain with the nature and with the woman one deep, reciprocal atraction and aversion ambiguous relation. In this process he puts himself faraway, looking and correcting. Isolating himself from nature and the woman, looking them from farway, framing them in scenes and with them maintain the attitude of one voyeur that see everything - but corrects - the poet build his art. The space and time becomes to be showed in a strange dimensions out of reality. This is the new relations from himself poetic with the nature, with the woman, with the space, with the time and with him soul makes the Diario de un poeta reciencasado one literary composition metaphysics. Under this view we analyse his poems in earth, sea and sky ways, emphasizing that this ways mark the Juan Ramón entrance in the second and last season os his poetry and concour for the construction that was the juanramoniana school sign: the poetry in movement.
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Marcari, Maria de Fatima Alves de Oliveira. "A recriação do "siglo de oro" espanhol em "El Capitán Alatriste", de Arturo Pérez-Reverte /." Assis : [s.n.], 2008. http://hdl.handle.net/11449/103664.
Full textAbstract:
Orientador: Antonio Roberto EstevesBanca: Heloisa Costa Milton
Banca: Maria Dolores Aybar Ramirez
Banca: Silvia Inês Cárcamo
Banca: Lygia Rodrigues Vianna Peres
Resumo: Este trabalho tem como objetivo analisar os seis romances que constituem a série El capitán Alatriste (1996-2006), do escritor espanhol Arturo Pérez-Reverte, com o intuito de comprovar a tese de que a reescritura do século XVII espanhol elaborada pela série tem a pretensão de veicular um conhecimento "objetivo e verdadeiro" da história, por meio de uma visão monológica dos fatos históricos ficcionalizados, reafirmando, assim, pressupostos da narrativa histórica clássica. Para tanto, apoiamos nossa análise na investigação do hibridismo formal, que se configura por meio da exploração simultânea de gêneros, tais como a narrativa histórica, as memórias, o romance de formação, o romance picaresco e o romance-folhetim, cujo paradigma é ditado pela obra de Alexandre Dumas. Na análise da releitura do folhetim, servimo-nos das teorizações de Umberto Eco (1964 e 1978) sobre a literatura de massa, procurando demonstrar que as narrativas assumem formas recorrentes, nas quais detectamos homologias entre as estruturas narrativas, o enredo e as proposições ideólogicas do autor No exame dos procedimentos narrativos, analisamos, dentre outros aspectos, as características do personagem-narrador, o qual funciona como intérprete autorizado dos acontecimentos históricos ficcionalizados, na medida em que se configura também como porta-voz do sistema de valores preconizado nos romances. Assim sendo, demonstramos que a revisitação da história espanhola proposta pelos romances tende a enaltecer as dimensões heróicas da história imperial espanhola.
Abstract: This research was carried out to analyze the six novels of the series El capitán Alatriste (1996- 2006), by the Spanish writer Arturo Pérez-Reverte, to prove the thesis that the rewriting of the Spanish 19th century organized by the series claims at spreading an "objective and true" knowledge of history, by means of a monological vision of historical facts turned into fiction, thus reaffirming the presuppositions of classical historical narrative. Therefore, our analysis is based on the investigation of the formal hybridism which is formed by means of the simultaneous exploitation of genres, such as the historical narrative, memoirs, the didactic novel, the picaresque novel and the serial novel whose paradigm is provided by Alexandre Dumas' works. In the analysis of serial rewriting, we made use of Umberto Eco's theorizations (1964 and 1978) about mass literature, trying to prove that narratives takes on recurrent forms, in which one may find out homologies between the narrative structures, the plot and the author's ideological propositions. In the examination of the narrative procedures, among other features we analyzed the characteristics of the character-narrator, who acts as an authorized interpreter of the historical events turned into fiction, to the extent that he also takes the shape of a spokesman of value system confirmed in the novels. In that case, we proved that the revisiting of the Spanish history proposed in novels tends to exalt the heroic dimensions of the Spanish imperial history.
Doutor
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Juan, Moreno Dolores. "'La poesía no ha caído en desgracia'. Fuentes clásicas y contemporáneas en la obra poética de Aurora Luque." Doctoral thesis, Universitat de les Illes Balears, 2015. http://hdl.handle.net/10803/288205.
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La presente tesis doctoral tiene como propósito analizar las fuentes clásicas y
contemporáneas que alimentan el imaginario de la poeta Aurora Luque (Almería,
1962) a través de una serie de referentes que, recuperando las palabras de
Andújar Almansa, configura su “ADN poético” (Andújar Almansa en Luque
2008b: 13). Tomando como punto de partida la teoría intertextual incluida en
Palimsestos. Literatura de segundo grado de G. Gennette, se recorrerán los
poemarios de la autora almeriense publicados entre 1982 y 2014 en busca de
señales literarias que conduzcan a sus puntos de origen, representación última de
las afinidades lectoras de la poeta. El contenido de esta tesis está distribuido en
tres grandes bloques temáticos: el primero de ellos está dedicado a la palabra
comprometida de Aurora Luque donde se examina la inspiración literaria que la
autora ha hallado en la realidad circundante y en el devenir de la historia y la
intrahistoria; el segundo se ocupa por extenso de las fuentes clásicas en su poesía
(Safo, Catulo, Epicuro, Platón, la mitología clásica) y de los puentes que se
establecen entre la antigüedad, la modernidad y las exigencias de lo posmoderno;
finalmente, el tercer bloque se reserva al estudio de las manifestaciones literarias
y artísticas cercanas en el tiempo: entre el siglo XIX y el advenimiento del séptimo
arte, así como en los diferentes períodos del siglo XX, Luque encuentra ciertos
referentes con los que se siente hermanada (Sophia de Mello, Luis Cernuda,
Friedrich Hölderlin, Emily Dickinson) porque la conectan, una vez más, con los
preceptos básicos de la antigüedad clásica.This PhD Dissertation aims to analyze the Classical and Contemporary sources present in Aurora Luque’s poetical imaginary. Starting from Gennette’s intertextual theory included in Palimpsests. Literature in the Second Degree, and in order to unveil those literary marks that allow us to better understand the ultimate representations of the poet’s literary affinities, I will explore Luque’s published work between 1982 and 2014. The thesis is divided into three major blocks: the first is dedicated to Luque’s “political word” and it examines the literary inspiration that the author has found in the surrounding reality as well as in the course of History and "Intrahistoria"; the second focuses on the Classical sources in her poetry (Sappho, Catullus, Epicurus, Plato, Classical Mythology) and it analyzes the connection between antiquity and postmodernism; and finally, the third block is dedicated to the study of Contemporary literary and artistic manifestations: Luque’s poetical referents, many of which can be found in the advent of cinematography and in the literature of the 19th and 20th century (Sophia de Mello, Luis Cernuda, Friedrich Hölderlin, Emily Dickinson), inevitably connects her to the cardinal canons of Classical Antiquity.
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Díaz, Fernández Estrella. "La colección "La sonrisa vertical" y la representación literaria de las minorías sexuales." Doctoral thesis, Universitat de Lleida, 2017. http://hdl.handle.net/10803/405758.
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La col•lecció de narrativa eròtica «La sonrisa vertical» (Barcelona: Tusquets Editores) nasqué en plena transició democràtica, el 1977, a càrrec de Luis García Berlanga i Beatriz de Moura, amb un doble propòsit: rescatar un gènere literari fins aquell moment censurat per les lleis franquistes i apostar per la narrativa de joves autors, tant en llengua catalana com espanyola. L’interès d’una col•lecció d’aquestes característiques no és exclusivament literari, ja que, donada l’ època turbulenta en la qual es va gestar i l’aposta ideològica editorial, va albergar volums amb una notable voluntat de ruptura política i moral. En aquest sentit, no van escassejar les representacions de personatges amb sexualitats heterodoxes, entre les quals, donada la legislació vigent (Llei de Perillositat i Rehabilitació Social), bé s’hi podrien incloure les de lesbianes, gais i persones trans. Aquesta tesi doctoral pretén oferir una anàlisi de les molt diverses creacions d’autors espanyols i hispanoamericans que, en especial, van afavorir la representació de personatges lèsbics entre 1977 i 2014 amb l’objectiu de valorar la seva identitat literària i la seva rellevància històrica i social.La colección de narrativa erótica «La sonrisa vertical» (Barcelona: Tusquets Editores) nació en plena transición democrática, en 1977, de la mano de Luis García Berlanga y Beatriz de Moura, con un doble propósito: rescatar un género literario hasta aquel momento censurado por las leyes franquistas y apostar por la narrativa de jóvenes autores, tanto en lengua catalana como española. El interés de una colección de estas características no es exclusivamente literario, ya que, dada la época turbulenta en que se gestó y la apuesta ideológica de la editorial, albergó volúmenes con una notable voluntad de ruptura política y moral. En este sentido, no escasearon las representaciones de personajes con sexualidades heterodoxas, entre las cuales, dada la legislación vigente (Ley de Peligrosidad y Rehabilitación Social), bien podrían incluirse las de lesbianas, gais y personas trans. Esta tesis doctoral pretende ofrecer un análisis de las muy diversas creaciones de autores españoles e hispanoamericanos que, en especial, favorecieron la representación de personajes lésbicos entre 1977 y 2014 con el objetivo de valorar su entidad literaria y su relevancia histórica y social.
The collection of erotic narrative «La sonrisa vertical» (Barcelona: Tusquets Editores) was born in full democratic transition, in 1977, it was created by Luis García Berlanga and Beatriz de Moura, with a double purpose: a genre up to that moment censored by the laws rescuing Francoists and betting on the narrative of young authors, both in Catalan and Spanish. The interest of a collection of these characteristics is not exclusively literary, since, the turbulent period in which it was gestated and the ideological bet of the publishing company, lodged volumes with a remarkable will of political and moral breach. In this sense, the representations of characters with heterodox sexualities were not scarce, among which, given the current legislation (Law of Dangerousness and Social Rehabilitation), well those of lesbians, gays and people could be included trans. This Ph. D. dissertation intends to offer an analysis of the very different creations of Spanish and Latin American authors who, especially, favoured the representation of lesbian characters between 1977 and 2014 with the aim of valuing their literary entity and their historical and social relevance.
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Carrasco, Cristina. "Autobiographical metaficitons in contemporary Spanish literature." Thesis, 2007. http://hdl.handle.net/2152/3011.
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Carrasco, Cristina 1975. "Autobiographical metaficitons in contemporary Spanish literature." 2007. http://hdl.handle.net/2152/13181.
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Graf, Amara Ann. "Literary translations : telenovelas in contemporary Chicana literature." 2008. http://hdl.handle.net/2152/11671.
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Chicana literature is often discussed in relation to broad literary or theoretical movements (post-modernism, magic realism, or feminism) but these approaches often fail to account for or even consider other culturally derived sources of critical interrogation. For example, Chicana authors, through direct references or allusions, demonstrate that Spanish-language soap operas, known as telenovelas, have a cultural currency that can bridge people across generations, nationalities, and class differences. Telenovelas also have theoretical value, for these productions often feature stories that address issues of race, class, gender, nationality, language, and violence. Reading contemporary Chicana literature through the lens of the telenovela, including its history and status as a cultural form, reveals the ways in which Chicana authors not only rely on but also revise the form. They disrupt the rigid Manichean world view present in telenovelas by challenging heteronormative romance and traditional gender roles to allow for alternate stories, where endings are not always tidy or happy. Drawing on recent ethnographic research in communication studies, I examine the history of Spanish-language television within the U.S. to substantiate the cultural currency of and show how the telenovela permeates and informs Mexican-American identity. Relying on the work of Jesús Martín-Barbero, I trace the development of the melodrama and romance genres out of which telenovelas emerge, evolving from newspaper serials, radionovelas, fotonovelas, to comic strip novels or libros semanales. I focus on the literary roots of the telenovela genre (with its origins in 19th century European serialized fiction) in relation to early Mexican-American historical romance narratives (María Amparo Ruiz de Burton, Jovita González, and Eve Raleigh). Based on Gustavo Aprea and Rolando C. Martínez Mendoza's definition of the telenovela genre, I examine how contemporary Chicana fiction (Denise Chávez, Ana Castillo, Sandra Cisneros, and Nina Marie Martínez) both conforms to and deviates from the generic conventions. I provide a culturally based critical strategy for offering alternate readings of Chicana literature to show how these authors use the popularity of the telenovela form to reach a specific audience and lend new insight into how viewers, familiar with the genre conventions, are comparable to literary critics.text
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Rodrigues, Cecilia Paiva. "No Círculo do Uroboro: Articulações Identitárias na Narrativa de Milton Hatoum." 2012. https://scholarworks.umass.edu/open_access_dissertations/662.
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This dissertation examines the four novels published to date by Milton Hatoum, a contemporary Lebanese-Brazilian author from the Amazon region. There are a great number of critical readings of his work that foreground the postmodern dissolution and fragmentation of the self, of human relationships, and also of national identity. In contrast to such approaches, I propose what I call a reading of hope. I argue that Hatoum is at the forefront of a shift in sensibility in Brazilian literature, one that simultaneously demonstrates certain aspects of postmodernism, but also breaks with other elements of it. In order to illustrate this issue, I analyze how Hatoum's characters forge personal identities, utilizing the mythological symbol of the uroboro (the snake that bites its own tail) as the organizing structure of my analysis. The uroboro has historically been used to represent circularity in the cycles of nature, communal and personal renewal, the return to origins, and self-reflection. In addition to circularity, the symbol has also been visually depicted as half black and half white, creating a duality that stresses interdependence rather than binary logic. With the above characteristics of circularity and duality in mind, the postmodern aspect that I analyze in Hatoum's work is its break with binary logic. First, I identify a variety of dualities extant in the novels, from language and silence to myth and reality, that instead of canceling each other out complement one another and emphasize identity's inherent ambiguity. Next, I analyze the rupture with postmodernism, which comes with Hatoum's characters' perpetual search for a more meaningful relationship with others, the environment, and themselves. As a consequence, the postmodern rootless and unstable characters give way to individuals that express more humane concerns (the recovery of the past as a value, self-reflection, and the search for familial bonds as well as for a connection with beauty and aesthetic pleasure through the arts). The symbol of the uroboro thus provides a graphic means of metaphorically representing not only the characters' identity as ambiguous and self-reflective, but also Hatoum's novels as simultaneously working within and breaking with postmodernism.
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Cívico, Lyons Inmaculada Concepción. "The construction of male subjectivity by four contemporary Spanish women writers." Thesis, 2006. http://hdl.handle.net/2152/2483.
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