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Dissertations / Theses on the topic 'Experimental poetry, Latin American'
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Ledesma, Eduardo. "The Historic Avant-Garde, the Neo-Avant-Garde and the Digital Age: Experimental Visual-Textual Forms in the Luso-Hispanic World." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10286.
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My dissertation examines the experimental poetry of three periods, the historical avant-garde of the 1920s, the neo-avant-gardes of the 1950s, 60s, and 70s, and the digital avant-garde (from the 1990s until the present), drawing on the works of poets from the Luso-Hispanic world including the Iberian Peninsula and Latin America. Scholars such as Renato Poggioli and Peter Bürger define the avant-garde as radically new and unrepeatable, an "advanced" guard that exhausted its aesthetic and political possibilities. I challenge this view by establishing a continuity of avant-gardes that emerge during periods of technological innovation and cultural exchange, introducing new artistic modalities, engaging with emerging media and re-purposing the strategies of past avant-gardes to their own historical conditions. Experimental poetic practices such as visual, kinetic, phonetic, concrete, video poetry, and poetic performance have unfolded over time and across national boundaries in response to global, social, and technological forces. My focus is on poetry broadly understood as works that "experiment" with the interplay between the visual, the sonorous and the verbal, questioning both genre and medium specificity, and contesting traditional discipline-bound tools of analysis. In order to critically approach poems that are often not printed on a page, and depend on more than verbal communication, I draw on disciplines such as literary analysis--including close-readings--media theory, and film analysis, and deploy theories of metaphor, embodiment and affect to interpret works that focus on the materiality of language through typographic experiments, script animation, and performance. The selection includes poems by authors from the 1920s such as Josep M. Junoy, Joan Salvat-Papasseit, José Juan Tablada, Guilherme de Almeida; neo-avant-garde visual and concrete poets from the 1960s such as Joan Brossa, Julio Campal, Edgardo Vigo, and Décio Pignatari; and their contemporary counterparts working with digital media such as Ana María Uribe, Olga Delgado, María Mencía, Arnaldo Antunes, and Eduardo Kac. Examining digital poetry in the light of older poetic practices, I compare and contrast how artists have queried the status of literature as a purely script-based art, considering how notions of experimental literature have changed through time (diachronically), but also isolate each period (synchronically).Romance Languages and Literatures
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Strittmatter, Jorge Emilio. "Tres Poetas con Heráclito: Borges, Hahn, Pacheco." Miami University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=miami1188431523.
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Franklin, Kelly Scott. "Out of place: Walt Whitman and the Latin American avant-gardes." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/5755.
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The poetry, prose, and personality of Walt Whitman have attained a truly global circulation, and scholarship continues to reveal his complex and lasting impact on literature, art, and politics around the world. This dissertation reveals Walt Whitman's extensive appropriation by the Latin American avant-garde, an artistic current that encompassed dozens of regional, national and transnational vanguardia movements across the Americas from roughly 1918 through the late 1930s. My work tells the story of how these pugnacious literary and artistic communities used Whitman as the raw material for a self-consciously "modern" art, as they circulated, adapted, and repurposed the US poet and his texts. The dissertation moves from south to north, beginning in Chile, proceeding to Nicaragua and Mexico, and ending with Latino writers in the United States. "Out of Place: Walt Whitman and the Latin American Avant-Gardes" argues that the literary and political appropriation of Whitman becomes a part of these movements' active participation in the hemispheric and global conversation of their day. What these aggressive avant-garde groups find useful, provocative, or generative in Whitman, then, offers us a unique perspective that cannot be left out of American literary studies. For as they wrestle with Whitman and the concept of "America," as they adapt Whitman into their notions of art, of nation and of language, and as they read him against the backdrop of globalization and modernity, a new Walt Whitman emerges, a vanguardista Whitman who sheds new light on the enduring relevance of his own radical project of making a poetry for the Americas.
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Brown, Nathan. "The materials technoscience and poetry at the limits of fabrication /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1678685111&sid=4&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Evans, Meagan. "Sounding Silence: American Women's Experimental Poetics." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12946.
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Traditional feminist readings have valued women's writing that voices silenced experiences. In contrast, other twentieth-century theoretical formulations regard absences, refusals, and silences as constitutive of aesthetic practice rather than as imposed upon it. This dissertation attends carefully to how U.S. women writers approach the nonlinguistic, accounting for how they have been silenced as well as for the kinds of silencing that women poets themselves perform. It argues that U.S. women's experimental poetry is driven by contradictory relationships to language and silence: in one strain, gendered cultural repression spurs American women poets to push language into new territory, often figured as speaking out. But in another mode, female identification with the nonrational or nonlinguistic, whether externally enforced or strategically inhabited, impels women to develop poetic silences in order to resist the impositions of language on a feminized other. Meeting these simultaneous and opposed goals--creating poetic forms capable of greater expressive range while signaling the inadequacy of linguistic expression--necessitates formal experimentation. My primary claim that an unresolved ambivalence toward the nonlinguistic drives innovation dictates an emphasis on formal technique, including syntax, rhyme and meter, sentence and stanza structure, and figuration. This attention to poetic particulars grounds my contextualization of the work of each poet I consider--Emily Dickinson, Lorine Niedecker, and Gwendolyn Brooks--in relation to her own life, to broader literary and cultural histories, and to poststructuralist theories of language.
The first chapter of my dissertation explores the role that early American, particularly Puritan and Transcendental, attitudes toward wilderness shape poetic motivations both to extend and limit the reach of language throughout the nineteenth and twentieth centuries. In subsequent chapters, I evaluate how those motivations change in the context of Dickinson's nineteenth-century spirituality, Niedecker's modernist and postmodernist anxieties about the role of the poet, and Brooks's engagement with the politics and aesthetics of black nationalism. Reading U.S. women's poetic innovation as simultaneously breaking and cultivating silences opens a dialogue among historically feminist understandings of silence as oppressive, theories that put silence at the heart of poetic impulse, and avant-garde theoretical conceptions of linguistic experimentation as a feminist project.
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Glover, Adam Gregory. "POETICS OF ENCHANTMENT: LANGUAGE, SACRAMENTALITY, AND MEANING IN TWENTIETH-CENTURY ARGENTINE POETRY." UKnowledge, 2011. http://uknowledge.uky.edu/hisp_etds/3.
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This dissertation explores the relationship between language, sacramentality, and enchantment in three twentieth-century Argentine poets: Francisco Luis Bernárdez (1900-1976), Jorge Luis Borges (1899-1986), and Alejandra Pizarnik (1936-1972). It seeks to ask and answer two fundamental questions. First, to what extent might it be possible to understand the conception of poetic language characteristic of modern poetry as an articulation, however muffled and secularized, of a sacramental apprehension of language and world? Second, how might such a conception be related to what Max Weber famously called “the disenchantment of the world”? The dissertation begins with a broad overview of the development of the concept of disenchant within Western culture and then proceeds to a reading of the three poets mentioned above. Special attention is given throughout both to historical and political context and to the specific ways in which Bernárdez, Borges, and Pizarnik understand and employ poetic language. In each case, I attempt to show how, among both secular and religious poets, language retains vestiges of a sacramental understanding of the world.
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Gutiérrez, Arturo J. "Itinerarios de la ciudad en la poesía venezolana: una metáfora del cambio." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242832373.
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Strittmatter, Jorge Emilio. "Tres poetas con Heráclito Borges, Hahn, Pacheco /." Oxford, Ohio : Miami University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1188431523.
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Fraser, Barbara Kelly. "The intimacy of humankind : convergences and divergences and of love in Latin American poetry 1950-1990." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/46116.
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This dissertation examines the interchange between individual and social love, eros and philadelphos in the writings of four Latin American poets of the Cold War Era: Pablo Neruda, Ernesto Cardenal, Gioconda Belli and Raúl Zurita. Chronologically I frame this work beginning with Neruda’s return to writing love poetry in the early 1950’s up until the breakdown of collectivist movements in the late 1980’s with the expansion of capitalism and the return to democracy in the Southern Cone and in parts of Central America. Geographically, I focus on two countries which have had democratic revolutions in the 20th century in which literature has played a social role: Chile and Nicaragua. Drawing on Gilles Deleuze and Félix Guattari’s theories on Romanticism and territorialisation I establish several major points of divergence between eros and philadelphos and then examine the ways each poet manages these differences in their attempt to create a committed poetry oriented towards expressing collective realities and promoting social change
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Chaves, Gustavo Adolfo. "Tradición y ruptura en la poesía de Carlos de la Ossa." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/247/.
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Platt, Mary Hartley. "Epic reduction : receptions of Homer and Virgil in modern American poetry." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9d1045f5-3134-432b-8654-868c3ef9b7de.
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The aim of this project is to account for the widespread reception of the epics of Homer and Virgil by American poets of the twentieth century. Since 1914, an unprecedented number of new poems interpreting the Iliad, Odyssey and Aeneid have appeared in the United States. The vast majority of these modern versions are short, combining epic and lyric impulses in a dialectical form of genre that is shaped, I propose, by two cultural movements of the twentieth century: Modernism, and American humanism. Modernist poetics created a focus on the fragmentary and imagistic aspects of Homer and Virgil; and humanist philosophy sparked a unique trend of undergraduate literature survey courses in American colleges and universities, in which for the first time, in the mid-twentieth century, hundreds of thousands of students were exposed to the epics in translation, and with minimal historical contextualisation, prompting a clear opportunity for personal appropriation on a broad scale. These main matrices for the reception of epic in the United States in the twentieth century are set out in the introduction and first chapter of this thesis. In the five remaining chapters, I have identified secondary threads of historical influence, scrutinised alongside poems that developed in that context, including the rise of Freudian and related psychologies; the experience of modern warfare; American national politics; first- and second-wave feminism; and anxiety surrounding poetic belatedness. Although modern American versions of epic have been recognised in recent scholarship on the reception of Classics in twentieth-century poetry in English, no comprehensive account of the extent of the phenomenon has yet been attempted. The foundation of my arguments is a catalogue of almost 400 poems referring to Homer and Virgil, written by over 175 different American poets from 1914 to the present. Using a comparative methodology (after T. Ziolkowski, Virgil and the Moderns, 1993), and models of reception from German and English reception theory (including C. Martindale, Redeeming the Text, 1993), the thesis contributes to the areas of classical reception studies and American literary history, and provides a starting point for considering future steps in the evolution of the epic genre.
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Lee, Debbie. "When east meets west : an examination of the poetry of the Asian diaspora in Spanish America /." free to MU campus, to others for purchase, 2001. http://wwwlib.umi.com/cr/mo/fullcit?p3012993.
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Thesis (Ph. D.)--University of Missouri-Columbia, 2001.Poems in Spanish with English analysis. Typescript. Vita. Includes bibliographical references (leaves 182-185). Also available on the Internet.
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Bolanos-Salvatierra, Luis M. "Annotated bibliography of Salomon de la Selva's collected poems." FIU Digital Commons, 2009. http://digitalcommons.fiu.edu/etd/1721.
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The purpose of my project is to provide a compilation of the work of Nicaraguan born poet, Salomon De la Selva, who incidentally was nominated for a Nobel Prize in 1919, and was the first Latin-American poet to publish extensively in English. In order to achieve this goal, my research methods included the substantial use of the Internet, as well as two investigative trips to Mexico and one to Nicaragua, which ultimately led me to uncover a total of 135 unaccounted English-language poems. In addition, De la Selva's uniqueness lies in the fact that he was a truly bilingual writer, who was equally able to create both in English and Spanish, simultaneously. Therefore, my project not only represents an act of reclamation, but the new material also provides new exciting possibilities for his work by facilitating an intertextual analysis of his poems, which will aid in understanding the complexities of bilingualism.
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Piantanida, Cecilia. "Classical lyricism in Italian and North American 20th-century poetry." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4422c01a-ba88-4fe0-a21f-4804e4c610ce.
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This thesis defines ‘classical lyricism’ as any mode of appropriation of Greek and Latin monodic lyric whereby a poet may develop a wider discourse on poetry. Assuming classical lyricism as an internal category of enquiry, my thesis investigates the presence of Sappho and Catullus as lyric archetypes in Italian and North American poetry of the 20th century. The analysis concentrates on translations and appropriations of Sappho and Catullus in four case studies: Giovanni Pascoli (1855-1912) and Salvatore Quasimodo (1901-1968) in Italy; Ezra Pound (1885-1972) and Anne Carson (b. 1950) in North America. I first trace the poetic reception of Sappho and Catullus in the oeuvres of the four authors separately. I define and evaluate the role of the respective appropriations within each author’s work and poetics. I then contextualise the four case studies within the Italian and North American literary histories. Finally, through the new outlook afforded by the comparative angle of this thesis, I uncover some of the hidden threads connecting the different types of classical lyricism transnationally. The thesis shows that the course of classical lyricism takes two opposite aesthetic directions in Italy and in North America. Moreover, despite the two aesthetic trajectories diverging, I demonstrate that the four poets’ appropriations of Sappho and Catullus share certain topical characteristics. Three out of four types of classical lyricism are defined by a preference for Sappho’s and Catullus’ lyrics which deal with marriage rituals and defloration, patterns of death and rebirth, and solar myths. They stand out as the epiphenomena of the poets’ interest in the anthropological foundations of the lyric, which is grounded in a philosophical function associated with poetry as a quest for knowledge. I therefore ultimately propose that ‘classical lyricism’ may be considered as an independent historical and interpretative category of the classical legacy.
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Iris, Manuel. ""Channel of Channels": A Comparative Study of the Poetic Works of Gonzalo Rojas, Ali Chumacero, Fernando Charry Lara, and Juan Sanchez Pelaez, and Their Interactions with the Literary Field." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378108965.
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Montan~ez, Morillo Mari´a Soledad. "Creation and marginalisation in women’s writing in mid-twentieth-century Uruguay : the case of Concepción Silva Bélinzon’s poetry." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3098.
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This thesis explores how women's writing in mid-twentieth century Uruguay enables a reconsideration of the intertwined hegemonic practices of literary canon formation and national identity in this seminal period. Within a national history and a cultural tradition conceived of as patriarchal, progressive and homogeneous, in correspondence to a European/Eurocentric concept of time and historicism, women writers struggled to find a recognised position from which to speak. Nevertheless, like other marginal groups, women writers have challenged the hegemonic discourses of modernity in Uruguay, as elsewhere in Latin America, producing what can be described, following Elaine Showalter, as a double-voiced textual strategy that replicates as well as subverts the dominant order. In this respect, Concepción Silva Bélinzon (Montevideo, 1900-1987) offers a remarkable case study to show how women's poetry destabilises and renegotiates the great discourses of modernity. Socially and culturally marginalised, Silva Bélinzon's life demonstrates the failures and limitations of a patriarchal/paternalistic society, while her poetry problematises the homogeneous national discourses of modern Uruguay, exposing the discontinuity inherent to a national history conceived of as masculine, linear and teleological. Silva Bélinzon's poetry has been defined as a synthesis of Modernismo and Surrealism, and described as a combination of free associations, biblical references and metaphysical concerns, all expressed within conventional metric forms, notably, the sonnet. Her poetry has been considered incoherent and bizarre, and has thus received little critical attention. However, one of the most interesting characteristics of her poetry has been overlooked. That is, the juxtaposition of different artistic trends and the dialectical tension that exists between the use of random, discontinuous and disconnected images within strict traditional poetic forms. The theoretical approach of this thesis is predominantly framed by postcolonial, feminist and gender theories, including those of Homi K. Bhabha and Judith Butler. In addition, drawing on Henri Bergson's work, Matière et mémoire (1896) and Marcel Proust's well-known idea of mémoire involontaire, I interpret Silva Bélinzon's elliptical poetry as a virtual journey through layers of the personal and national pasts that thereby deterritorialises the national, hegemonic discourses of the modern nation. Thus, using Silva Bélinzon's poetry as a case study, the thesis aims to demonstrate how women writers ‘overlap in the act of writing the nation' (Bhabha 2003: 292).
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Del, Barco Valeria. "Diálogos Transoceánicos Coloniales: Poética Criolla en Negociación." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22672.
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My dissertation focuses on the poetic production of three criollas —the offspring of Spaniards in the Americas— in dialogic relation with prominent male writers across the Atlantic. The works studied, Clarinda’s Discurso en loor de la Poesía (1608); Epístola a Belardo (1621) by Amarilis; and Sor Juana’s Primero sueño (1692) and La Respuesta (1691), span the entirety of the 17th century, in both the Viceroyalty of Perú and New Spain. Important interventions in Latin American colonial culture have noted criollos’ ambivalence towards the culture inherited from Spain as well as the need to assert their cultural agency through writing. The poets at the center of my study participate in this preoccupation with the added complication of being women, whose works are habitually read in isolation, as exceptions. My dissertation defines a feminine criolla poetics dialogically negotiated with western tradition, be it Spanish gongorismo or Italian humanism, while highlighting the tension between inserting themselves in the canon and critiquing it. In place of readings that emphasize the transfer of discourse and knowledge from the center to the periphery, from the metropole to the colonies, I demonstrate that the writings of these women challenge, or even reverse, this logic.
My study analyzes rhetorical and intertextual strategies by which criollas, twice removed from power due to their birthplace and gender, negotiated a space in the canon. My analysis reveals the acute consciousness of gender that informs each woman’s writing; however, I also participate in recent movements in criticism and theory that interrogate conventional notions of power, space and the directionality of colonial exchange. This dissertation examines the processes of cultural appropriation as it defines a feminine criolla poetics dialogically negotiated with western tradition, one that also opens up a space to critique this tradition through parody, irony and textual transformation.
This dissertation is written in Spanish.
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Pieterse, Annel. "Language limits : the dissolution of the lyric subject in experimental print and performance poetry." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71855.
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Thesis (PhD)--Stellenbosch University, 2012.ENGLISH ABSTRACT: In this thesis, I undertake an extensive overview of a range of language activities that foreground the materiality of language, and that require an active reader oriented towards the text as a producer, rather than a consumer, of meaning. To this end, performance, as a function of both orality and print texts, forms an important focus for my argument. I am particularly interested in the effect that the disruption of language has on the position of the subject in language, especially in terms of the dialogic exchange between local and global subject positions. Poetry is a language activity that requires a particular attention to form and meaning, and that is licensed to activate and exploit the materiality of language. For this reason, I have focused on the work of a selection of North American poets, the Language poets. These poets are primarily concerned with the performative possibilities of language as it appears in print media. I juxtapose these language activities with those of a selection of contemporary South African poets whose work is marked by the influence of oral forms, and reveals telling interplays between media. All these poets are preoccupied with the ways in which the sign might be disrupted. In my discussion of the work of the Language poets, I consider how examples of their print poetics present the reader with language fragments, arranged according to non-syntactic principles. Confronted by the lack of an individuated lyric subject around whom these fragments might cohere, the reader is obliged to make his/her own connections between words, sounds and phrases. Similarly, in the work of the performance poets, I identify several aspects in the poetry that trouble a transparent transmission of expression, and instead require the poetry to be read as an interrogation of the constitution of the subject. Here, the ―I‖ fleetingly occupies multiple, shifting subject positions, and the poetic interplay between media and language tends towards a continuous destabilising of the poetic self. Poets and performers are, to some extent, licensed to experiment with language in ways that render it opaque. Because the language activities of poets and performers are generally accommodated within the order of symbolic or metaphoric language, their experimentation with non-communicative excesses can be understood as part of their framework. However, in situations where ―communicative‖ language is expected, the order of literal or forensic language cannot accommodate seemingly non-communicative excesses that appear to render the text opaque. Ultimately, I am concerned with exploring the manner in which attention to the materiality of language might open up alternative understandings of language, subjectivity and representation in South African public discourse. My conclusion therefore considers the consequences when the issues opened up by the poetry – questions of self and subject, authority and representation – are translated into forensic frameworks and testimonial discourse.
AFRIKAANSE OPSOMMING: My proefskrif bied ‘n breedvoerige oorsig van ‘n reeks taal-aktiwiteite wat die materialiteit van taal sigbaar maak. Hierdie taal-aktiwiteite skep tekste wat die leser/kyker noop om as vervaardiger, eerder as verbruiker, van betekenis in ‘n aktiewe verhouding met die teks te tree. Die performatiewe funksie van beide gesproke sowel as gedrukte taal vorm dus die hooffokus van my argument. Ek stel veral belang in die effek wat onderbrekings en versteurings in taal op die subjek van taal uitoefen, en hoe hierdie prosesse die die dialogiese verhouding tussen lokale en globale subjek-posisies beïnvloed. Poëtiese taal-aktiwiteite word gekenmerk deur ‘n fokus op vorm en die verhouding tussen vorm en inhoud. Terwyl die meeste taalpraktyke taaldeursigtigheid vereis ter wille van direkte kommunikasie, het poëtiese taal tot ‘n mate die vryheid om die materaliteit van taal te gebruik en te ontgin. Om hierdie rede fokus ek selektief op die werk van ‘n groep Noord-Amerikaanse digters, die sogenaamde ―Language poets‖. Hierdie digters is hoofsaaklik met die performatiewe moontlikhede van gedrukte taal bemoeid. Voorts word hierdie taal-aktiwiteite met ‘n seleksie kontemporêre Suid-Afrikaanse digters se werk vergelyk, wat gekenmerk word deur die invloed van gesproke taalvorms wat met ‘n verskeidenhed media in wisselwerking gestel word. Al hierdie digters is geïnteresseerd in die maniere waarop die inherente onstabiliteit van linguistiese aanduiers ontgin kan word. In my bespreking van die werk van die Language poets ondersoek ek voorbeelde van hul gedrukte digkuns wat die leser voor taalfragmente te staan bring wat nie volgens die gewone reëls van sintaks georganiseer is nie. Die gebrek aan ‘n geïndividualiseerde liriese subjek, waarom hierdie fragmente ‘n samehangendheid sou kon kry, noop die leser om haar eie verbindings tussen woorde, klanke en frases te maak. Op ‘n soortgelyke wyse identifiseer ek verskeie aspekte wat die deursigtige versending van taaluitinge in die werk van sekere Suid-Afrikanse performance poets belemmer. Hierdie gedigte kan eerder gelees word as ‘n interrogasie van die proses waardeur die samestelling van die subjek in taal geskied. In hierdie gedigte bewoon die ―ek‖ vlietend ‘n verskeidenheid verskuiwende subjek-posisies. Die wisselwerking van verskillende media dra ook by tot die vermenigvuldiging van subjek-posisies, en loop uit op ‘n performatiewe uitbeelding van die destabilisering van die digterlike ―self.‖ Digters en performers is tot ‘n mate vry om met die vertroebelingsmoontlikhede van taal te eksperimenteer. Omdat die taal-aktiwiteite van digters en performers gewoonlik binne die orde van simboliese of metaforiese taal val, kan hul eksperimentering met die nie-kommunikatiewe oormaat van taal binne hierdie raamwerk verstaan word. Hierdie oormaat kan egter nie binne die orde van letterlike of forensiese taal geakkommodeer word nie. Ten slotte voer ek aan dat ‘n fokus op die materialiteit van taal alternatiewe verstaansraamwerke moontlik maak, waardeur ons begrip van die verhouding tussen taal, subjektiwiteit en representasie in die Suid-Afrikaanse publieke diskoers verbreed kan word. In my slothoofstuk oorweeg ek wat gebeur as die kwessies wat deur die bogenoemde performatiewe taal-aktiwiteite opgeroep word – vrae rondom die self en die subjek, outoriteit en representasie – binne ‘n forensiese raamwerk na die diskoers van getuienis oorgedra word
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Moss, Grant Daryl. "Political Poetry in the Wake of the Second Spanish Republic: Rafael Alberti, Pablo Neruda, and Nicolas Guillen." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1280872939.
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Talavera, Ibarra Pedro Leonardo. "The changing view on the world : from symbolism to avant-garde in Russian, French and Latin American literature /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Thesis (Ph. D.)--University of Texas at Austin, 1999.Vita. Text in English, with some Russian, French and Spanish. Includes bibliographical references (leaves 222-240). Available also in a digital version from Dissertation Abstracts.
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Sharper, Donna C. "Llamadas para la liberación en los salmos de Ernesto Cardenal." University of Toledo / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1481326494397004.
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Aguirre, Lina. "ENTRE LA VULNERABILIDAD Y EL GOCE: PRECARIEDAD Y GLOBALIZACION EN EL ARTE JOVEN CHILENO ACTUAL." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345488169.
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Vimos, Victor. "La lengua liminal: acercamiento poetico y ritual a La noche de Jaime Saenz, Las armas molidas de Juan Ramirez Ruiz, y “Boletin y elegia de las mitas” de Cesar Davila Andrade." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin162325079450489.
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Divett, Andrew Brennan. "Musical Ekphrasis in the Poetry of Nicolás Guillén, Federico García Lorca, and Langston Hughes." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955012/.
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Musical ekphrasis was occurring in the twentieth century in different centers around the world, Cuba: Andalusia, Spain; and Harlem, New York, simultaneously. The writers at the heart of this movement used poetry about music as a means to celebrate the cultures of the marginalized people in their lands, los negros, los gitanos, and African-Americans. The purpose of this study is to define musical ekphrasis and identify it in the works of Nicolás Guillén, Federico García Lorca, and Langston Hughes. Also explored are the common characteristics in ekphrastic poetry by the three poets and the common themes found in their ekphrastic poetry, as well as common influences. Each author is considered in the context of his surroundings and his respective culture, and how that influenced his musical tastes as well as his writing style.
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Bonifacio, Peralta Ayendy José. "Poems in the U.S. Popular Press, 1855-1866." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu155533852650219.
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Sepúlveda, Jesús. "Toward a poetic of de-inhabitation /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3080597.
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Thesis (Ph. D.)--University of Oregon, 2003.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 166-175). Also available for download via the World Wide Web; free to University of Oregon users.
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Garcia, Hugo. "Detras de la imagen de la ciudad virreinal sujeto, violencia y fragmentacion /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1155586392.
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Elizondo, Luna Roberto Carlos. "Medusa House." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1429271265.
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Bruzual, Alejandro. "Narrativas contaminadas tres novelas Latinoamericanas el tungsteno, parque industrial y cubagua /." [Pittsburgh, PA] : University of Pittsburgh, 2006. http://etd.library.pitt.edu/ETD/available/etd-12052006-172521/unrestricted/ABruzual%5FDissertation2.pdf.
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Rodabaugh, Hannah Marie. "A Flower Opened in the Stinking." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1280785012.
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Paula, Marcelo Ferraz de. "Poesia e diálogos numa ilha chamada Brasil." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-12122012-121826/.
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A veiculação de uma perspectiva comunitária voltada para a aproximação/integração dos países latino-americanos recebeu destacada importância nas produções culturais brasileiras das décadas de 1960 e 1970. Especialmente no âmbito das manifestações artísticas, novas articulações em torno de uma identidade latino-americana surgiam na pauta dos debates político-culturais. A partir deste contexto, o presente trabalho visa refletir sobre a importância do ideal americanista para a poesia brasileira do período, dando destaque à produção poética de Ferreira Gullar e Thiago de Mello. A escolha por estes dois autores justifica-se pela intensidade e dramaticidade com que suas obras encarnaram as esperanças e contradições da época, tanto no que se refere aos dilemas formais inerentes a uma concepção poética disposta a atuar politicamente na realidade social, transformando-a, como no espaço que oferecem à representação de uma união solidária entre os países da América Latina. A partir da leitura de seus poemas buscamos matizar a posição da fulguração americanista dentro de um projeto político e estético mais amplo, bem como os lugarescomuns que acompanham sua concretização formal. Damos especial atenção aos eventos e personagens que, a nosso ver, catalisam o viés comunitário daquele período, tornando-se protagonistas de vários poemas e confundindo-se simbolicamente com o próprio desejo de aproximação solidária: a Revolução Cubana, a celebridade de Pablo Neruda e Che Guevara e o exílio dos poetas brasileiros em países da América Latina, destacadamente no Chile de Allende, onde testemunharam a euforia construtiva e a frustração traumática do projeto socialista. Por fim, propomos um balanço crítico das limitações desta tendência, sem desconsiderar a importância de tais ensaios supranacionais em um país pouco sensível ao diálogo com culturas e sociedades afins, como tem confirmado a história brasileira. Encerramos a pesquisa vasculhando os escombros do discurso americanista nas obras mais recentes dos poetas De uma vez por todas (1996) e Campo de Milagres (1998), de Thiago de Mello, e Muitas Vozes (1999) e Em alguma parte alguma (2010) de Ferreira Gullar publicadas na última década do último século e na primeira do século corrente. Num contexto marcado pela consolidação da chamada globalização neoliberal e de crise dos discursos utópicos que sustentavam a aspiração comunitária procuramos identificar e examinar novos arranjos discursivos e, a partir deles, sugerir o lugar (ou não-lugar) da América Latina no rol de preocupações da poesia brasileira contemporânea.The propagation of a community perspective toward the approach/integration of Latin American countries received outstanding importance in the brazilian cultural productions of the 1960s and 1970s. Especially in the context of artistic manifestations, new articulations around a \"Latin American identity\" appeared on the agenda of political and cultural debates. This work aims to reflect on the importance of americanist ideal for brazilian poetry of the period, highlighting the poetic production of Ferreira Gullar and Thiago de Mello. The choice of these two authors is justified by the intensity and drama that his works embody the hopes and contradictions of the era, both in relation to the formal dilemmas inherent in a poetic conception willing to act politically on the national reality, transforming it, and in the space that offers the representation of a union and solidarity between the countries of Latin America. From his poems, then, we can gradate the position of the Americanist glare within a broader political and aesthetic project, as well as the platitudes that accompany its formal implementation. We give attention to the events and characters that, in our view, leverages the communitarian bias of those poets, becoming protagonists of several poems and symbolically mingling with their own desire for closer solidarity: the Cuban Revolution, the celebrity of Pablo Neruda and Che Guevara and the exile of the poets under study in Latin American countries, notably in Allende\'s Chile, where they witnessed the constructive euphoria and the traumatic frustration of the socialist project. Finally, we propose a critical review of the mistakes and limitations of this trend, without disregarding the importance of these supranational trials in a country not very sensitive to dialogue with cultures and societies alike, as it has confirmed the Brazilian history. We ended the research combing the rubble of the Americanist discourse in more recent works of the poets - De uma vez por todas (1996) and Campo de Milagres (1998), of Thiago de Mello, and Muitas Vozes (1999) and Em alguma parte alguma (2010) of Ferreira Gullar - published in the last decade of last century and in the first of the current century. In a context marked by the consolidation of the so-called neoliberal globalization and of crisis of the utopian discourse - that supported the communitarian aspiration - we tried to identify and examine the new discursive formulations and, from them, suggest the place (or non-place) of Latin America in the list of concerns of the contemporary Brazilian poetry.
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Salter, Tiffany M. "Decolonizing Forms:Linguistic Practice, Experimentation, and U.S. Empire in Asian American and Pacific Islander Literature." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494246148681761.
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Martinhão, Marcela Batista. "“La palabra que sana y salva”: pertencimento e movimento na obra poética de Marta Quiñónez." Universidade Federal de Juiz de Fora (UFJF), 2018. https://repositorio.ufjf.br/jspui/handle/ufjf/6768.
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Esta dissertação versa sobre a obra poética da poeta colombiana Marta Quiñónez, que atualmente vive em Medelin, publicada até o momento, que consiste nos seguintes volumes: Noctívago (1998), Acantilado (1999), Abecedário de Eximición (2000), Eva (2001), Kartalá (2002), La Trinidad (2005), Arcanos (2007), No. Libro de haripalas (2010), Dame tu canto ciudad (2012), Conversaciones en Comala (2012), Paréntesis (2013), El rostro del pan (2014) e Continente Mohíno (2016), publicado originalmente em 1996. O trabalho se concentra em quatro eixos principais, a saber: diáspora, migração, território e o lar, em diálogo com os temas do amor, da afetividade, da territorialização/desterritorialização nos centros urbanos, e da casa, perpassando as discussões de gênero e raciais na divisão dos espaços geográficos e sociais. Discutimos como este corpo e subjetividade feminina negra homossexual se reconfigura para a construção subjetiva de seu lar, considerando-se a experiência da desterritorialização e da migração, e o poema como a força reterritorializadora que alça as noções de pertencimento e conexão à sua própria criação poética como principal catalizadora de suas vivências. Percorremos toda sua obra em certa cronologia temática, iniciada com Continente Mohíno (1996) até El rostro del pan (2014), cujo principal objetivo é compreender a relação estabelecida entre sua escrita poética e o imaginário da diáspora contemporânea e fluxos migratórios, no que diz respeito aos territórios e a construção subjetiva do lar. A versatilidade e criatividade de sua poesia é flagrante por seu próprio curso de vida de movimento e desarraigo, que confluem para uma literatura capaz de abrigar suas vivências para além dos reducionismos históricos e sociais do lugar da mulher negra homossexual na literatura e na sociedade.
This dissertation approaches the poetic work of Colombian poet Marta Quiñónez, who currently lives in Medelin, which has been published to date, consisting of the following volumes: Noctívago (1998), Acantilado (1999), Abecedário de Eximición (2000), Eva (2001), Kartalá (2002), La Trinidad (2005), Arcanos (2007), No. Libro de haripalas (2010), Dame tu canto ciudad (2012), Conversaciones en Comala (2012), Paréntesis (2013), El rostro del pan (2014) and Continente Mohíno (2016), originally published in 1996. The work focuses on four main axes: diaspora, migration, territory and home, in dialogue with the themes of love, affectivity, territorialization/deterritorialization in urban centers, and the house, bypassing gender and racial discussions in the division of geographic and social spaces. We discuss how this homosexual black female body and subjectivity reconfigures itself for the subjective construction of its home, considering the experience of deterritorialization and migration, taking the poem as the reterritorializing force that elevates the notions of belonging and connection to its own poetic creation as main catalyst of her experiences. We go through all her work in a certain thematic chronology, beginning with Continente Mohíno (1996) until El rostro del pan (2014), whose main objective is to understand the relation established between her poetic writing and the contemporary diaspora imaginary and migratory flows, concerning territories and the subjective construction of home. The versatility and creativity of her poetry is blatant for her own life course of movement and uprooting, which converge to a literature capable of sheltering her experiences beyond the historical and social reductions of the homosexual black woman's place in literature and society.
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Martínez, Ángel Luis. "Young, Gifted, and Brown: Ricanstructing Through Autoethnopoetic Stories for Critical Diasporic Puerto Rican Pedagogy." Antioch University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1445429195.
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Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.
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Bolte, Rike. "Gegen(-) Abwesenheiten." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2014. http://dx.doi.org/10.18452/16907.
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Während der letzten argentinischen Diktatur (1976-1983) wurden zehntausende Menschen in geheimen Lagern festgehalten, gefoltert und ermordet – dann ''verschwanden'' sie. Die meisten Fälle sind nur schwer rekonstruierbar, viele Täter kamen ungestraft davon. Für diese staatsterroristische Praxis wurde die Bezeichnung erzwungenes Verschwinden eingeführt (spanisch desaparición forzada). Die Untersuchung beschäftigt sich mit medialen und ästhetischen Verfahrensweisen, die in Argentinien in der Auseinandersetzung mit der desaparición forzada entwickelt wurden. Im Vordergrund steht die These, dass die gewaltsame Depräsentation der Opfer zu einem gesellschaftlichen ''Wahrnehmungsmord'' ("percepticidio") geführt hat. Die medialen Strategien und ästhetischen Produktionen, die die Untersuchung analysiert, markieren den gegenwärtigen Stand einer transgenerationellen kulturellen Bearbeitung dieser wahrnehmungsrelevanten sozialen und politischen Erfahrung. Es handelt sich um Produktionen im Bereich Narrativik, Lyrik, Fotografie, Film und Theater, die im Kontext der Memoria-Hochkonjunktur nach 1989 und der digitalen Globalisierung stehen. Félix Bruzzone, Mariana Enríquez und Martín Gambarotta, Virginia Giannoni und Lucila Quieto sowie Albertina Carri und Lola Arias haben Kontra(re)präsentationen zum gewaltsamen Verschwinden entworfen, die materiell, meta-medial und kontrainformativ verfahren. Nach diskursanalytischen, repräsentations- und medientheoretischen Einführungen sowie einer Reihe terminologischer Definitionen arbeitet die Untersuchung an diesen Produktionen einer postdiktatorischen Generation, die als "Camada Cadáver" bezeichnet wird, heraus, dass ein ''Phänomen'' wie das erzwungene Verschwinden – das in vielfache Referenzlosigkeit führt – ästhetische Strategien motiviert hat, die als beispielhaft emergent und experimentell einzustufen sind, weil sie neue Erkenntnisse für die noch unabgeschlossene Erforschung eines der vielen Terrorregimes des 20. Jahrhundert liefern.During the Argentinean dictatorship (1976-1983), tens of thousands of people were kept in secret camps, were tortured, murdered, and ''disappeared''. Most cases are difficult to reconstruct. Many of the offenders have remained unpunished. The term "forced disappearance" (Spanish desaparición forzada) was introduced for this act of state terrorism. This study addresses medial and esthetic processes that were developed in light of the debate on desaparición forzada in Argentina. At the heart of the study is the hypothesis that the violent ''depresentation'' of the victims has led to ''cognitive murder'' ("percepticidio"). The media strategy and esthetic productions analyzed in the study represent the current state of the art of the trans-generational cultural work on cognition relevant social and political experiences. The productions in the field of the study of narration, poetry, photography, film, and theater have emerged in context of the post 1989 memory-boom and digital globalization. Félix Bruzzone, Mariana Enríquez und Martín Gambarotta, Virginia Giannoni, and Lucila Quieto as well as Albertina Carri and Lola Arias have conceptualized counter(re)presentations to violent disappearance which proceed materially, meta-medially, and counter-informatively. Following introductions on discourse analysis, representation theory, and media theory as well as a number of terminology definitions, the study analyzes the above mentioned productions created by a post dictatorship generation, which are being referred to as the "Camada Cadáver", and shows that the ''phenomenon'' of forced disappearance, which leads to a repeated lack of reference, has motivated esthetic strategies that are to be classified as exemplarily emergent and experimental, because they have produced new insights for the unfinished research on one of the many terror regimes of the twentieth century.
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DeGrave, Analisa E. "Heterodox utopias defying impossibility in Latin American poetry." 2003. http://www.library.wisc.edu/databases/connect/dissertations.html.
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de, la Torre Mónica. "Nobody There: Acousmatics and An Alternative Economy of Meaning in Latin American Poetry of the 1970s." Thesis, 2013. https://doi.org/10.7916/D8M04J16.
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This study focuses on the works of three authors whose first poetry books appeared in the 1970s, in the context of the dictatorial and authoritarian regimes that began seizing power in Latin America in the 1960s and '70s. At a juncture in which both traditional leftist discourse and the programs of earlier avant-gardes had begun to seem inadequate, younger poets sought to articulate, in the realm of the symbolic, coherent responses to increasingly oppressive and polarized political environments. The works in question are the following: Brazilian Waly Salomão's "Me segura qu'eu vou dar um troço" (Rio de Janeiro, 1972); Juan Luis Martínez's "La nueva novela" (Santiago, Chile, 1977); and, by Mexican conceptual artist Ulises Carrión, the unpublished "Poesías," from 1973, as well as a selection of his poetry-based artists books. These are hyper-referential, process-oriented, polyphonic works. They are not only politically motivated, but, given their understanding of the entwinement of politics and genre, are also decidedly against the ideology bolstering the lettered tradition, lyrical poetry, and self-expressive tendencies. At the core of their critique is a rejection of an economy of meaning in which the author's function, as Foucault puts it, equals "the principle of thrift in the proliferation of meaning." First and foremost, in their goal to burst open the meaning-making process, Salomão, Martínez, and Carrión disembody the utterance and question notions of literary value that set apart literary language from common speech. Relying heavily on appropriation and framing devices, they each posit an alternate model of authorship in which writing and reading are inextricable and, consequently, the work is co-created by the reader.
Key among their strategies is that of acousmatics--here understood as the concealment of the source of the utterances in the text--in order to, primarily, create conditions of reception in which the reader can interact with the material on the page directly, without its being mediated by the poem's subject. Salomão, Martínez, and Carrión each achieve the uttering subject's removal from the text through different procedures that are contrasted in the dissertation. Emulating the cacophony of popular culture, Salomão performatively adopts multiple subjectivities in his works, saturating them to the point that no unitary subject can be said to be manifest in them. Martínez, on the other hand, mirrors the cacophony of printed matter. Besides failing to attribute the copious materials he samples in the wide-ranging word/image works comprising "La nueva novela," in presenting them he adopts the depersonalized institutional tone of textbooks, photographic captions, and paratextual materials such as footnotes, editor's notes, and bibliographical annotations. In Carrión's works the subject seems to have vacated the poem entirely, as author function is reduced to misreading canonical materials and performing interventions and erasures on them. Resulting from Carrión's operations are open structures that serve as models for post-literary ways to engage with texts.
The way these authors assembled and put their books in circulation is also examined, since "Me segura qu'eu vou dar um troço," "La nueva novela," and Carrión's artist books are the result of a thorough rethinking of the politics of the book, the lettered tradition's keystone institution.
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Chatzivasileiou, Evangelia. "Hetærography or inventions of radical alterity : subtitle reading two Latin American women’s poetry." Thesis, 2001. http://hdl.handle.net/2429/13680.
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This primarily theoretical study is situated within the field of Latin American Studies, since
it examines poetry written in Spanish by two contemporary Latin American women. The
approach develops concepts introduced by Derrida and Levinas to discuss their poems in
relation to feminist debates about identity and difference/alterity. Many feminists believe
that the struggle for the emancipation of women must orient itself toward a politics that
affirms their sexual identity as women or as lesbians. Others argue that such affirmations
are problematic, because they are posited within a masculinist, heteronormative context
and necessarily adopt the stereotypes and biases implicit in such a frame. This dissertation
supports the point of view of radical feminists, for whom maintaining a radical heterogeneity
and difference in relation to this normative binary framework is the only way to avoid (re-)
assimilation into phallocratic structures.
The first chapter provides a theoretical framework based on Derridean deconstruction and
notions of alterity and difference that enable the philosophical construction of a radical heterogeneity
called here hetdsrography. This invented concept gives rise to other inventions of
difference and multiple alterities, creating an alternative to essentialist concepts of identity
and otherness. The second chapter examines the Argentinian poet Diana Bellessi's Eroica
and proposes a reading based on the radical heterogeneity of "woman." Drawing on the
political reality of los desaparecidos in Argentina, the unidentified woman is construed as
"disappearance." The third chapter applies a similar approach to a reading of the Chilean
poet Soledad Farina's Albricia, developing the concept of impasse. The discussion focuses
on the deconstruction of Farina's homogeneous or essentialist category of lesbianism and
proposes an-other, more radical hyperlesbianism that is indeterminate and exceeds essentialist
definitions. Hyperfeminism/lesbianism link women's and lesbians' emancipation to
wider issues of democracy, justice and ethics, as discussed in the fourth and final chapter.
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"Between Tradition and Literary Insurrection: The Poetry of Carlos Martinez Rivas." Tulane University, 2011.
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This dissertation, entitled 'Between Tradition and Literary Insurrection: The Poetry of Carlos Martinez Rivas,' is an exploration into the poetry of Nicaraguan writer Carlos Martinez Rivas (1924-1998) and concentrates on three specific moments of his work: El paraiso recobrado (1943). 'Memoria para el Ano Viento Inconstante' (1953), and some poems written for the most part after 1960. As I study the literary influences of his first long poem (published when Martinez Rivas was still in high school), I argue that the beloved woman of the poem is not Yadira Jimenez, to whom the verses are addressed, but rather the text itself and the concepts of beauty and perfection that the young poet desires to achieve. In the second chapter, I analyze Martinez Rivas' use of satire, parody, and irony. For the writer of 'Memoria para el Ano Viento Inconstante,' excellence in art is the result of sacrifice and solitude, which have very little to do with the manipulation and institutionalization of culture. My last chapter studies the influence of Martinez Rivas on specific pieces of Nicaraguan poetry produced over the last 60 years. I argue that Martinez Rivas writes in opposition to the poetry promoted around the Sandinista Revolution (1979), and that he serves as a connection or liaison between the poetry of the 21st Century and that of the first half of the 20 th Century. These three moments demonstrate that Martinez Rivas both incorporates and transcends tradition to create poetry that is, in many ways, propheticacase@tulane.edu
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"Traduttori Traditori: The Tasks of the Creative “Traitor” and the Problematic of Translation (Sor Juana Inés de la Cruz, José Martí, and Octavio Paz)." Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.38553.
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abstract: Every act of communication, and therefore, reading, are in themselves acts of translation and interpretation, as the reader creates a mental representation or reconstruction of the text, extrapolating meaning from it. Interlinguistic translation adds another dimension to these hermeneutic processes, and in the movement through space and time, constant re-interpretation, new translations, and, often, modern theories and perspectives, can interfere with or bring clarity to the meaning of the original text, as well as add to the myth-creation of the writers themselves.
This study centers on some of the great literary figures in poetic and essayistic production in the world of Spanish-speaking letters: Sor Juana Inés de la Cruz, José Martí, and Octavio Paz. These figures represent not only important literary movements going from the baroque to modernismo, to the vanguardia and to the creation of the self-conscious “modern” poet, but also are among the most well known Spanish-language writers in the English-speaking world. They are all self-aware creators, who, in distinct ways, join poetry, critical essays and theory that are at once an extension of and revolve around their personal poetics, projected toward the currents of their respective epochs.
Finding problematic moments in translation theory and practice, and studying them in the context of the analysis of these great literary figures, at the same time contributes to a new understanding of translation theory itself. These ‘case studies’ expose certain key moments of existing translations, moments that later contribute to critical and interpretive dialogue in a type of hermeneutic spiral of influence. They also show the importance of translation as a contribution to cultural changes and literary movements. This ultimately aids in the understanding of the important points of contact between the many worlds occupied by these great writers and the ways in which they, and in turn, their translators, recreate the contexts in which they were produced.Dissertation/Thesis
Doctoral Dissertation Spanish 2016
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Azank, Natasha. "The Guerilla Tongue": The Politics of Resistance in Puerto Rican Poetry." 2012. https://scholarworks.umass.edu/dissertations/AAI3498327.
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This dissertation examines how the work of four Puerto Rican poets – Julia de Burgos, Clemente Soto Vélez, Martín Espada, and Naomi Ayala – demonstrates a poetics of resistance. While resistance takes a variety of forms in their poetic discourse, this project asserts that these poets have and continue to play an integral role in the cultural decolonization of Puerto Rico, which has been generally unacknowledged in both the critical scholarship on their work and the narrative of Puerto Rico’s anti-colonial struggle. Chapter One discuses the theoretical concepts used in defining a poetics of resistance, including Barbara Harlow’s definition of resistance literature, Edward Said’s concepts of cultural decolonization, and Jahan Ramazani’s theory of transnational poetics. Chapter Two provides an overview of Puerto Rico’s unique political status and highlights several pivotal events in the nation’s history, such as El Grito de Lares, the Ponce Massacre, and the Vieques Protest to demonstrate the continuity of the Puerto Rican people’s resistance to oppression and attempted subversion of their colonial status. Chapter Three examines Julia de Burgos’ understudied poems of resistance and argues that she employs a rhetoric of resistance through the use of repetition, personification, and war imagery in order to raise the consciousness of her fellow Puerto Ricans and to provoke her audience into action. By analyzing Clemente Soto Vélez’s use of personification, anaphora, and most importantly, juxtaposition, Chapter Four demonstrates that his poetry functions as a dialectical process and contends that the innovative form he develops throughout his poetic career reinforces his radical perspective for an egalitarian society. Chapter Five illustrates how Martín Espada utilizes rich metaphor, sensory details, and musical imagery to foreground issues of social class, racism, and economic exploitation across geographic, national, and cultural borders. Chapter six traces Naomi Ayala’s feminist discourse of resistance that denounces social injustice while simultaneously expressing a female identity that seeks liberation through her understanding of history, her reverence for memory, and her relationship with the earth. Ultimately, this dissertation argues that Burgos, Soto Vélez, Espada, and Ayala not only advocate for but also enact resistance and social justice through their art.
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"Hacia Una Lectura Visual Del Poema Visual Figurativo En La Vanguardia Hispanoamericana." Doctoral diss., 2011. http://hdl.handle.net/2286/R.I.14436.
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abstract: In the first thirty years of the XX century, an old literary visual tradition was reborn in a series of new striking visual texts better known as calligrams. They were produced by some avant-garde poets such as Vicente Huidobro, José Juan Tablada, Alberto Hidalgo and Carlos Oquendo de Amat in Latin America, and Juan Larrea, Guillermo de Torre, Francisco Vighi, Luis Mosquera, and others in Spain. However, with few exceptions, the interpretation of those written drawings has caught little attention from literary critics. This research, contrasted to that of Willard Bohn's, is a contribution to the deciphering of such literary art form, designated here as the figurative visual poem. It is a proposal for its visual reading which draws from the fact that this type of text is concretely a drawing formed by written verses. As such, it can be regarded as a plastic writing, combining pictorial and verbal signs in one perceptible configuration on the page. The result of this semiotic operation is a hybrid product in which the iconic forms become symbolic and vice versa. It is in fact, an art object which should be approached as a text that can be seen as well as read. The study leads to the conclusion that Willard Bohn misreads the order in which language and image are articulated in the visual poem identified with the second order semiological system proposed by Roland Barthes, placing preeminence on language over image. This results in reading the avant-garde visual figurative poem in an ekphrastic fashion. Consequently, the role of the image in the system is left in an ambiguous realm at the time of deciphering this hybrid text. Our contribution to re-conducting this undertaking has been equally drawn from a semiotic stance taken from Louis Hjemslev that balances language and image as correlates of a semiotic function. Due to the signaling nature of both, language and figure, a visual poem becomes an iconic metaphor as well as a metaphoric icon, and moreover a self-referential sign, thus justifying its status of an autonomous art.Dissertation/Thesis
Ph.D. Spanish 2011
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Calahorrano, Sandy Paola. "The corporeal activism of Nahui Olin and Nidia Díaz: a feminist performance of social defiance." Thesis, 2017. https://hdl.handle.net/2144/27359.
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This dissertation analyzes the performance praxis of the Mexican poet Nahui Olin (1893-1978) and the Salvadoran guerrilla leader and author Nidia Díaz (1952-). Through their self-representation in images and texts, these two women subverted the discourse of power characteristic of their respective cultural and historical contexts. Whereas Olin carried out her “corporeal activism” through defiant eroticism; Díaz did so through her stoic stance in the face of incarceration and torture. The dissertation carries out visual analyses enriched by attention to literature, and literary analyses informed by visual culture. In their respective approaches to performance these two figures engage with their sociopolitical contexts as they relate to women’s condition and the quest for spiritual liberation.
The first chapter presents the dissertation’s theoretical framework. Michel Foucault, Judith Butler and Elaine Scarry’s theories are crucial to understanding the concepts of body, discourse of power, performance, and pain; Gillian Rose’s approach is essential to analyzing images; Lucia Guerra-Cunningham and Rita Felski are fundamental for addressing women’s writing.
The second chapter focuses on Olin’s activism, evident in her role as a “flapper,” her transgressive nude photographs and her poems written during the Mexican post-revolutionary period and which were influenced by avant-garde movements. My analysis links the key photograph I call “Nahui Olin Andrógina” with her poetry, centering on the trope of androgyny as a mystic state.
The third chapter examines the naïf self-portraits and testimonio found in Díaz’s Nunca estuve sola (in 1988), which she narrates her imprisonment during El Salvador’s civil war of the 1980’s. My analysis centers on the trope of stoicism manifested in her drawing I call “Una ‘mesías’ que deviene en la madre del pueblo” as well as in the prose of her testimonio.
Olin’s erotic activism and Díaz’s armed rebellion both represent attempts to achieve human liberation, including their own as oppressed women, and suggested emancipatory paths that may serve as models for others.
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Clark, Meredith Gardner. "Warping the word and weaving the visual : textile aesthetics in the poetry and the artwork of Jorge Eduardo Eielson and Cecilia Vicuña." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5093.
Full textAbstract:
The present work explores the presence of Andean textile imagery in the poetry and the visual art of Jorge Eduardo Eielson and Cecilia Vicuña with the goal of illustrating how these woven aesthetics enrich the content of the written word and other artistic media by supplementing them with non-verbal, visual and tactile planes of meaning. Through the discourse of the thread, Eielson and Vicuña generate an alternative means of expression that dialogues with the conventionality of human language, the creation of cultural memory and the connection between intercultural groups. To prove this thesis, I approach the authors’ poetry and visual art based on theoretical and cultural studies regarding the materiality and the visuality of the text and other media in combination with a comparative analysis of the structural and the design properties of Andean and indigenous cloth products, namely the tejido and the khipu. In addition to close readings of poems that illustrate how the presence of the textile augments the meaning of the written text, I also illustrate how Andean weaving aesthetics provide the metaphorical springboard of comparison upon which a critical analysis of their visual art is based.text
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"Cuerpo y universo: acercamientos poshumanistas a la materialidad en la poesía de Cristina Peri Rossi y Cecilia Vicuña." Master's thesis, 2013. http://hdl.handle.net/2286/R.I.17983.
Full textAbstract:
abstract: Since the Enlightenment, humanist philosophy has understood materiality as an inert and determinate world categorically separate from the sphere of consciousness and language. However, after evolving significantly during the 20th century, the natural sciences now recognize the complexity, indeterminacy and agency of matter. A parallel transformation can be observed in contemporary Spanish and Latin American literature and is exemplified in the works of Cristina Peri Rossi and Cecilia Vicuña. Drawing on knowledge which emerges from the natural sciences, the humanities and personal experience, these poets explore multiple dimensions of materiality from the microscopic world of subatomic particles and DNA molecules to the macroscopic world of the body and the structure of the universe. The theoretical orientation of this study emerges from posthumanism, which critiques the epistemological foundations of humanist thought and reconfigures reductionist concepts of matter, discourse, the subject, and agency which are grounded in dualistic ontology. Material feminist theorists explore materiality through interdisciplinary approaches which establish a dialogue between posthumanism, feminist theory and the natural sciences. The material feminist Karen Barad proposes an agential realist ontology which constitutes the principal theoretical framework of this thesis. According to Barad, phenomena are not exclusively social or material but rather material-discursive practices, and the concept of agency is reconfigured as the product of the dynamics of intra-action rather than an as an attribute restricted to the human sphere. Furthermore, this thesis utilizes diverse materials from the areas of literary criticism and scientific research in order to achieve an authentically interdisciplinary interpretation of materiality in the poetry. Peri Rossi and Vicuña express a profound questioning of the fundamental assumptions of humanism and offer perspectives which take into account matter's agency and dynamism. Their poetry presents materiality as a constant process of creation and as an active participant in the unfolding of reality, thereby opening up new horizons of investigation. By interpreting the works of Peri Rossi and Vicuña through the lens of posthumanist theory, this study contributes to a growing body of interdisciplinary approaches to contemporary Spanish and Latin American literature.Dissertation/Thesis
M.A. Spanish 2013
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Winslow, Aaron. "The Labor of the Avant-Garde: Experimental Form and the Politics of Work in Post-War American Poetry and Fiction." Thesis, 2015. https://doi.org/10.7916/D8NZ86FX.
Full textAbstract:
While literary critics have explored the politics of labor in pre-war modernist
literature, the post-45 avant-garde has continued to be framed as a depoliticized repetition of previous avant-garde styles. Examining American avant-garde literature in its relation to the political and economic shifts from the 1960s through the late 1980s, my
dissertation corrects this narrative to show that labor and labor politics were central
categories in post-war experimental poetry and fiction. I argue that writers as disparate as Charles Olson, William S. Burroughs, Samuel R. Delany, and Susan Howe reworked
disjunctive modernist forms to cognitively map emergent economic tendencies in the US.
Parataxis, collage, surrealist imagery, aleatory compositional methods, non-linear
plotting, and metafictional narrative conceits all constitute the stylistic techniques of an
avant-garde engaged in an extended dialogue about work and the politics of work. The
canon of experimental literature functioned as a counter-discourse that contested and
reshaped discourses of labor by considering it alongside categories of race, gender, and
sexuality.
By using labor as an entry point into the avant-garde, my dissertation reconsiders
the post-war literary canon, revealing an avant-garde that includes writers working across modes and genres. The adaptation of experimental techniques in genre writing turned the avant-garde into a popular literary mode. My dissertation particularly focuses on science fiction (SF), where the adaptation of experimental style played a crucial role in the development of the genre. Beginning with the 1960s British and American New Wave movement, SF writers turned to the experimental novel--often by way of modernist
poetics--as a way to challenge the reified form of mainstream science fiction novels. I
argue that this critique of the novel also functioned as a covert critique of the labor
practices of the literary market place that guided the production of genre fiction. In this
way, I contest traditional accounts that see post-war and contemporary experimental
literature as increasingly marginal and self-reflective by tracking the avant-garde's
concern with depicting quotidian work, and representing themselves as workers, to
critique institutions of intellectual and artistic production.
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Higa, Mario Auriemma. "No meio do caminho : figurações da pedra na moderna poesia latino-americana." Thesis, 2009. http://hdl.handle.net/2152/29601.
Full textAbstract:
This dissertation investigates the representation of the image of the stone in poems by four modern Latin-American poets. To do this, I selected one key poem by Carlos Drummond de Andrade, João Cabral de Melo Neto, Pablo Neruda, and Octavio Paz. Based on pertinent principles of literary criticism and analysis, I perform close readings of each of these texts. Despite the use of the same image, the semantic results in each poem present significant variation. That is my starting point for discussions of related historical and theoretical issues such as critical reception, value, ("No meio do caminho" by Drummond), the representation of the lyrical speaker, imagery, metapoetry, ("A educação pela pedra" by João Cabral), the role of the history in poetry, the manipulation of literary sources, (Poema XVII by Pablo Neruda), the concept of "logos" and the relationship between poetry and myth ("Como las piedras del Principio" by Octavio Paz). The basic goal of this dissertation is to put into practice critical and theoretical approaches that optimize the reading of poetry.text
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Cornejo, Kency. "Visual Disobedience: The Geopolitics of Experimental Art in Central America, 1990-Present." Diss., 2014. http://hdl.handle.net/10161/9088.
Full textAbstract:
This dissertation centers on the relationship between art and politics in postwar Central America as materialized in the specific issues of racial and gendered violence that derive from the region's geopolitical location and history. It argues that the decade of the 1990s marks a moment of change in the region's cultural infrastructure, both institutionally and conceptually, in which artists seek a new visual language of experimental art practices to articulate and conceptualize a critical understanding of place, experience and knowledge. It posits that visual and conceptual manifestations of violence in Central American performance, conceptual art and installation extend beyond a critique of the state, and beyond the scope of political parties in perpetuating violent circumstances in these countries. It argues that instead artists use experimental practices in art to locate manifestations of racial violence in an historical system of domination and as a legacy of colonialism still witnessed, lived, and learned by multiple subjectivities in the region. In this postwar period artists move beyond the cold-war rhetoric of the previous decades and instead root the current social and political injustices in what Aníbal Quijano calls the `coloniality of power.' Through an engagement of decolonial methodologies, this dissertation challenges the label "political art" in Central America and offers what I call "visual disobedience" as a response to the coloniality of seeing. I posit that visual colonization is yet another aspect of the coloniality of power and indispensable to projects of decolonization. It offers an analysis of various works to show how visual disobedience responds specifically to racial and gender violence and the equally violent colonization of visuality in Mesoamerica. Such geopolitical critiques through art unmask themes specific to life and identity in contemporary Central America, from indigenous genocide, femicide, transnational gangs, to mass imprisonments and a new wave of social cleansing. I propose that Central American artists--beyond an anti-colonial stance--are engaging in visual disobedience so as to construct decolonial epistemologies in art, through art, and as art as decolonial gestures for healing.
Dissertation
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Vélez, Pelaez Sergio Esteban. "Olga Elena Mattei frente al canon de la poesía colombiana de su tiempo (1962-2005)." Thesis, 2015. http://hdl.handle.net/1866/14024.
Full textAbstract:
Ce mémoire vise à placer le travail de la poète colombienne Olga Elena Mattei au sein de la poésie colombienne de son temps (1962-2005).
Dans le premier chapitre, certains concepts théoriques sont définis et le terme «canon», axé sur la poésie, est synthétisé.
Dans le deuxième chapitre, le paysage de la poésie colombienne de la seconde moitié du XXe siècle est défini. La stylistique des poètes les plus importants et jugés comme étant canoniques, est présentée.
Dans le dernier chapitre, les particularités de la poésie de Mattei sont analysées.
Il est conclu qu'Olga Elena Mattei fait partie du canon de la poésie colombienne, mais que son travail a contesté le canon dominant de celle-ci, au fil des décennies, et qu'il a été en avance sur les tendances qui émergeraient plus tard. À titre d'exemple, il est montré comment, dans les années soixante du XXe siècle, quand, en Colombie, la rime et le mètre étaient toujours hégémoniques dans la poésie, Olga Elena Mattei a osé écrire et publier en vers libres. Puis, dans les années soixante-dix, lorsque le vers libre a été accepté et il régnait à la poésie colombienne, Mattei fut la première femme à écrire anti-poésie en espagnol. Dans les années quatre-vingt, alors que l'anti-poésie était la principale tendance en Colombie, Mattei s'est consacrée à écrire de la poésie au sujet de la science, jamais réalisée auparavant en Colombie. Et, dans les années quatre-vingt-dix, lorsque le vers libre est dominant en Colombie, Mattei retourne à la rime.This thesis aims to place the work of the Colombian poet Olga Elena Mattei within the Colombian poetry of her time (1962-2005). In the first chapter, some theoretical concepts are defined and the term "canon", focused on poetry, is explained. In the second chapter, the landscape of the Colombian poetry of the second half of the twentieth century is set. The style of the most important poets, who are considered as canonical, is presented. In the last chapter, the peculiarities of Mattei's poetry are analyzed. It is concluded that Olga Elena Mattei is part of the canon of the Colombian poetry, but her work has challenged the dominant trends over the decades. For example, it is shown how, in the sixties of the twentieth century, when, in Colombia, rhyme and metrics were still preponderant in poetry, Olga Elena Mattei dared to write and publish in free verse. In the seventies, when free verse was accepted and it reigned in the Colombian poetry, Mattei was the first woman to write anti-poetry in Spanish. In the eighties, while anti-poetry was the main trend in Colombian poetry, Mattei devoted herself to write poetry about science, never wrote in Colombia before. And in the nineties, when free verse is dominant in Colombia, Mattei returns to rhyme.
Esta tesina pretende ubicar la obra de la poeta colombiana Olga Elena Mattei en el marco de la poesía dominante de su tiempo (1962-2005), en Colombia. En un primer capítulo, se definen algunos conceptos teóricos y se sintetiza el término “canon”, enfocado en la poesía. En el segundo capítulo, se define el campo poético colombiano de la segunda mitad del siglo XX. Se discute sobre la estilística de los poetas más relevantes, aquellos que han sido determinados como canónicos. En el capítulo final, se analiza la poesía de esta autora, sus particularidades, confrontándola con el canon antes explicado. Se concluye que Olga Elena Mattei hace parte del canon de la poesía colombiana, pero que su obra, a lo largo de los decenios, ha rebatido el canon preponderante en Colombia y se ha adelantado a las tendencias que habrían de surgir posteriormente. Como ejemplo, se muestra cómo, en los años sesenta del siglo XX, cuando, en Colombia, todavía la rima y la métrica eran hegemónicas en la poesía, Olga Elena Mattei se atrevió a escribir y publicar en verso libre. Luego, en los setenta, cuando ya el verso libre era aceptado e imperaba en la poesía colombiana, Mattei fue la primera mujer en escribir antipoesía en español. En los ochenta, cuando la antipoesía ya era tendencia distinguida en Colombia, Mattei se encaminó hacia la poesía de temática científica, nunca antes realizada en Colombia, y en los noventa, cuando, predomina el verso libre, Mattei regresa a la poesía con rima y ritmo.