Dissertations / Theses: 'Testimonial literature'

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Mason, Sofia Sandina Maniscalco. "Testimonio as counter-propaganda : a comparative analysis of Latin-American women's testimonial literature." Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/14199/.

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This thesis creates a gendered typology of women’s testimonio that foregrounds the Cold War context of the genre. This new perspective reveals that contrary to the assertions of some critics, the texts struggle to convey a unitary propagandic message. Rather, their prime purpose is to counter hegemonic discourse. Yet, far from being unliterary or impersonal, they impart much personal information using a diversity of stylistic devices. The testimonios challenge the profoundly gendered national security discourse of their own governments and the US. The argument that brutal counter-insurgency tactics, widespread incarceration and torture, were necessary to combat “communist-inspired” insurgency is invalidated by these testimonios which replace dichotomising and reductionist Cold War propaganda with accounts of the local, subjective and personal reasons for political involvement. The texts disclose the potentially traumatising lived consequences of US foreign policy and national security strategies to reveal their disproportionate and excessive nature. However, the testimonialistas’ sense of a greater purpose, collective identity and belonging to a wider community enables them to remain resilient in spite of adverse experiences. Despite their loyalty to utopian and egalitarian ideals, sexism from within leftist movements and governments is exposed and denounced by the female protagonists as patriarchal institutions, traditions and gendered identities are consistently undermined. Latin American women, as guerrilleras, organisers and members of peasant and indigenous communities, present themselves as defiant protagonists who, aside from the male-dominated master narratives of the superpowers, demonstrate the strength of their political agency, psychological resilience and ideological convictions.

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Kelly, Judith Anne. "Recording and reconstruction in the testimonial literature of Primo Levi." Thesis, University of Hull, 1996. http://hydra.hull.ac.uk/resources/hull:12353.

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Ferrer, i. Puig Jaume. "Josep Maria Poblet i Guarro (1897-1980): periodisme, literatura testimonial i memorialisme." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/381068.

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Josep Maria Poblet i Guarro (Montblanc, 1897 – Barcelona, 1980) és autor d’un centenar d’obres literàries que abarquen des del periodisme fins a la comèdia, passant per la literatura testimonial, les memòries o l’assaig històric o la biografia. La present tesi doctoral se centra en l’estudi i l’anàlisi de tres grans gèneres de la seva prosa narrativa no imaginativa: el periodisme, la literatura testimonial (crònica de l’exili, llibres de viatges, reportatge novel·lat o prosa costumista) i memorialisme (autobiografia i memòries). En la primera part de la tesi s’explica la construcció de Poblet com a intel·lectual catalanista a través de l’anàlisi del seu discurs ideològic elaborat a partir d’un centenar d’articles seus publicats a la premsa montblanquina entre els anys 1914 i 1936. Paral·lelament també es contextualitza la seva activitat en l’associacionisme polític i cultural del Montblanc d’aquests anys, principalment a la Joventut Nacionalista i l’Orfeó Montblanquí, sense bandejar qüestions com la influència d’aspectes del Modernisme i del Noucentisme o de la cultura de masses, tant en el seu discurs com en la seva obra. La segona part correspon a l’anàlisi dels gèneres literaris que utilitza i de les obres que constitueixen la seva producció testimonial escrita durant l’exili a Cuba i Mèxic, i les reedicions d’aquestes obres a l’editorial Selecta, fins als llibres editats a Pòrtic, un cop retornat d’Amèrica, així com la consegüent recepció crítica. La tercera part de la tesi està dedicada a les seves memòries, a través de les quals s’explica la construcció del jo i les convencions del gènere, al mateix temps que serveixen per resseguir el seu itinerari vital; aquest text tanca el seu corpus narratiu testimonial i relliga tota la seva obra anterior. L’objectiu principal de la tesi és recuperar una figura literària i la seva obra, poc estudiades, i situar-les dins de la història de la literatura i de la intel·lectualitat catalanes. Josep Maria Poblet i Guarro (Montblanc, 1897 – Barcelona, 1980) is the author of hundreds of literary works in a number of styles-from journalism to comedy, even testimonial narratives, memoirs, history essays and biographical pieces. This doctoral thesis focuses on the study and analysis of three main genres of his non-fiction narrative prose: journalism, testimonial literature (such as chronicles of exile, travel books, fictionalised reports or works on local customs or manners) and memoirs (autobiography and memoirs). In the first part of the thesis, the construction of Poblet as a Catalan intellectual will be explained through the analysis of his ideological discourse using many of his articles published in the Montblanc press between 1914 and 1936. Simultaneously, his activity in the political and cultural associations of Montblanc in these years will be contextualised; mainly in Joventut Nacionalista and Orfeó Montblanquí, without ignoring the influence of Modernism and Noucentisme (a cultural and ideological movement from Catalonia at the beginning of the twentieth century) and the media as a whole, not only in his discourse but also in his work. In the second part, his literary genres will be analysed, as well as works written during his exile in Cuba and Mexico and the reeditions of these works in the Selecta publishing house or the books printed by Pòrtic after returning from America, together with the consequent critical reception. The third part of this study is devoted to his memoirs, through which the construction of the literary self and the genres conventions will be explained as well as his life plan; this text closes his testimonial narrative writing and ties together all his previous work. The main objective of this doctoral thesis is to recover a rarely-studied literary figure and his works, by placing them in the history of Catalan literature and intellectuality.

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Louckx, Audrey. "Empowering voices: testimonial literature and social justice in contemporary American culture." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209257.

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Within the last three decades, contemporary North America came to reinvent a socially focused genre of literary personal narratives. These new editorial and writing projects, published in the form of collections of personal narratives, emerged as a tool for the socially voiceless to secure some measure of agency in their contemporary social and cultural situation. Projects such as the Freedom Writers’ Diary or volumes of the Voice of Witness book series fit in the process that is currently labeled social empowerment. Witnesses express a deep urge to share their story in the hope to denounce their experience of an enduring social injustice. The written word, primary a means for self-disclosure, serves to exorcise the suffering associated to this specific predicament. The narrators engage in a powerful self-investigative gesture oriented towards resilience and renewed enfranchisement in regaining control over their life and environment. At the moment of publication, however, these testimonies come to be validated as authentic examples of the injustices they disclose. These examples serve an educational purpose: raising the audience’s awareness and opening deliberative fora for these issues to be discussed and for solutions to be hammered out and eventually implemented. The purpose of this dissertation is to propose a theoretical model for the subgenre of testimonials of social empowerment. With the concept of empowerment as groundwork, the model develops a textual approach framed in a psychosocial structure. I argue that testimonials may be described as examples of Jürgen Habermas’s communicative action. As speech acts aimed at reaching understanding, testimonials capitalize both on the binding and bonding aspects of illocutionary force in the hope to secure with their audience an ongoing dialogue over issues of social justice. The volumes, as unofficial public spheres, mobilize the normative and practical dynamics at work in social movements. These dynamics express as two narrative guiding threads: an aesthetic based on impact, and an ethics based on responsibility. The texts’ aesthetic develops a form of perlocutionary realism instantiating a sense of authenticity and sincerity embodied in the narrators’ voices. The resulting impact is coupled to moral concerns based on a polysemic understanding of social responsibility, on which narrators seek to build their narratives’ ethical potential. A series of case studies allowed to demonstrate that both narrative threads are realized as an appropriation of four paradigmatic forms of rhetorical ethos, each based on a specific realm of the social world: intimacy, justice, spirituality and activism. Doctorat en Langues et lettres info:eu-repo/semantics/nonPublished

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Gibbons, Sacha R. J. "Aboriginal testimonial life-writing and contemporary cultural theory /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18737.pdf.

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Gilbert, Catherine. "Writing trauma : the voice of the witness in Rwandan women's testimonial literature." Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/14260/.

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During the 1994 genocide in Rwanda, acts of extreme violence were committed against women. This thesis aims to explore how Rwandan women genocide survivors respond to and communicate such a traumatic experience. From a perspective of trauma theory, it engages with the published testimonies of Rwandan women survivors, seeking to understand how the genocide is remembered in both individual and collective memory and the challenges Rwandan women face in the ongoing process of surviving trauma. Exploring the ways in which Rwandan women position themselves as witnesses, the first chapter addresses the crucial questions of who is a witness and who has the right to speak about a traumatic historical event. It distinguishes between different categories of witness and looks at the levels of witnessing in Rwandan women’s testimonies, as well as considering the role of the reader-witness in the act of testimony. Responding to an imperative of memory, the women are speaking on behalf of other survivors and honouring the memory of the victims. At the same time, the experience of genocide is shown to be deeply individual, and the second chapter provides a detailed analysis of the narrative strategies Rwandan women adopt to communicate the particularity of their experiences. Through a range of ‘translation’ techniques, the women reconstruct their individual chronologies and challenge the notion of the unsayability of trauma. However, the extremity of what the women have lived through can be incomprehensible to the reader, who is often unwilling to hear the story. One of the ways in which cross-cultural communication can be achieved is through collaboration, a process which is examined in the third chapter. The collaborator plays a complex role in the production of the testimonies, functioning not only as empathic listener, but also as writer, editor, and mediator of the story. This chapter draws out the problems associated with collaboration and also highlights its potential value for the Rwandan women as it is ultimately through the collaborator that they are able to convey their story to a Western audience. Gaining access to the Western publishing industry is just one of the many obstacles the women must face in communicating their stories, and the majority of survivors continue to be silenced. The role of silence both within and surrounding Rwandan women’s testimonies is the focus of the fourth chapter, which looks at the physical manifestations of silence within the narratives as well as the silencing of survivors in Rwanda and across the diaspora. The silencing of survivors’ stories has strong implications for the recovery of the individual, often preventing her from moving from surviving to living, a notion that is examined in the final chapter. Testimony is shown to play a central role in this transition. Yet, in the face of the politically motivated processes of national reconciliation, justice and commemoration, Rwandan women struggle to regain control over their narratives. This final chapter emphasises the importance of the community in helping women to reclaim their voice and tell their stories on their own terms. Overall, women remain marginalised figures in the writing of history, and this thesis seeks to underline the necessity of developing new ways of listening to the diversity of Rwandan women’s voices, in order not only to gain greater insight into how traumatised individuals remember but also to hear the challenge they pose to conventional Western modes of responding to trauma.

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Kaliski, Aurélia. "Pour une histoire culturelle du testimonial. De la notion de "témoignage" à celle de "création testimoniale"." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030179.

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Le statut du témoignage au sein du savoir est devenu un objet de questionnements, occasionnant des affrontements entre différentes disciplines à travers l’usage de paradigmes distincts. À partir du constat de l’«émergence» récente de la catégorie de «témoignage» dans le champ littéraire, cette thèse essaie de décrire son expansion et son extension au sein de plusieurs disciplines (droit, histoire, philosophie, critique et théorie littéraires) et d’examiner l’hypothèse selon laquelle son développement dans le champ des sciences humaines et sociales correspondrait en réalité à sa profonde mise en crise. Pour définir la notion de «témoignage» en littérature au XXe siècle, elle entreprend de poser les jalons d’une «histoire culturelle» des gestes testimoniaux et des notions de «témoignage», en vue de définir un objet théorique pertinent pour la théorie et la critique littéraires. Son but est de comprendre la manière dont le «témoignage» est devenu une catégorie à la fois nébuleuse et centrale de la vie culturelle en Occident, et de mettre en évidence la spécificité des formes testimoniales au XXe siècle. En introduisant les notions de «littérature testimoniale», d’«œuvre testimoniale» et de «création testimoniale» elle veut préciser la notion de «témoignage» et lui rendre sa complexité. Il s’agit donc de retrouver l’intelligence historique de la notion, afin d’en faire une catégorie pleinement opératoire pour le discours critique et de construire les fondements d’une «histoire culturelle du testimonial» qui retrace la rencontre entre l’art et le témoignage et explique l’émergence, au sein de la littérature, de cette forme nouvelle appelée «création testimoniale» The status of testimony in knowledge has become a subject of questions, causing clashes between different disciplines through the use of distinct paradigms. From the observation of the recent "emergence" of the category of "testimony" in the literary field, this thesis attempts to describe its expansion and extension in several disciplines (law, history, philosophy, and critical literary theory), and examines the hypothesis that the progressive flooding of this concept in humanities and social sciences corresponds to a deep "crisis of witnessing". In an attempt to define the concept of "testimony" in literature as it appears during the twentieth century, this work aims at laying the foundations for a "cultural history" of testimonial gestures and notions of "testimony" in order to define an appropriate category for literary theory and criticism. Its goal is to understand how "testimony" became both a nebulous and central category in cultural life in the West, and highlights the specificity of testimonial forms in the twentieth century in the aftermath of the Holocaust, which must ultimately help clarify the concept of "testimony" and re-establish its complexity by introducing the notions of "testimonial literature", "testimonial work of art" and "testimonial creation". This thesis aims therefore primarily to recover the historical understanding of the concept, in order to make a fully operational category out of it for critical discourse, and to build the foundations of a "cultural history of testimonial gestures" which traces the encounter between art and testimony and explains the emergence, in literature, of a new form called "testimonial creation"

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Bodger, Gwyneth. "Critical comparative approaches to testimonial literature emergent from the Holocaust and the atomic bombings." Thesis, University of Sheffield, 2008. http://etheses.whiterose.ac.uk/3629/.

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The thesis offers a critical comparative reading of testimonial literature emergent from the Holocaust and the atomic bombings of Hiroshima and Nagasaki. Through identifying aspects of thematic and stylistic commonality between these literatures, this thesis aims towards establishing a series of narrative traits that characterise the testimonial genre. This comparative stance informs the structure of the thesis, in that each chapter deals with examples of testimonies emergent from the Holocaust and the atomic bombings. Chapter one engages with the history of autobiography criticism and genre theory, and through close readings of both testimonial and autobiographical works by Primo Levi and Elie Wiesel, posits areas of potential difference between the two forms of life-writing. The traditional understanding of the autobiographical contract, as defined by Philippe Lejeune, is challenged through a comparative analysis of the way in which the self is constructed in Holocaust and A-bomb testimonies. Chapter two focuses on the narrative challenges posed by the encounter with trauma. Informed by structuralist theories of language and critical readings of testimonial writing, this chapter examines the way in which the experience of trauma intensifies the arbitrary nature of the relationship between language and experience, to the extent that language appears to fail. Drawing on Blanchot's theory of the communicative possibilities of silence, the thematic and stylistic representation of silence, in its many forms, is considered in the context of Holocaust and A-bomb testimonies. Chapter three explores the representation of the female experience in testimonial texts. Beginning with Cixous' and Irigaray's theories of écriture féminine and fémininité as an interpretative lens with which to approach women's narratives, this chapter considers the way in which women's testimonies are influenced by both a poetics of gender and a poetics of trauma.

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Lai, Oi-leung Helen, and 賴凱亮. "Testimonial narrative: the personal, collective and the political experience in I, Rigoberta Menchu, anIndian woman in Guatemala." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31950607.

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Herbert, Laura M. "The history of Argentine Jewish youth under the 1976-1983 dictatorship as seen through testimonial literature." Connect to resource, 2007. http://hdl.handle.net/1811/28374.

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Thesis (Honors)--Ohio State University, 2007. Title from first page of PDF file. Document formatted into pages: contains 64 p.; also includes graphics. Includes bibliographical references (p. 61-64). Available online via Ohio State University's Knowledge Bank.

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Paynter, Eleanor. "Witnessing Emergency: Testimonial Narratives of Precarious Migration to Italy." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1582996945730084.

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Lai, Oi-leung Helen. "Testimonial narrative : the personal, collective and the political experience in I, Rigoberta Menchu, an Indian woman in Guatemala /." [Hong Kong : University of Hong Kong], 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13787603.

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Hilgert, Bradley Robert. "Beyond Martyrdom: The Testimonial Voice of Ignacio Ellacuría and the Convergence of His Critical Thinking From Central America in Salvadoran Literature." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429658235.

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Ferreira, Rafael Nunes. "Literatura em tempos sombrios : os porões da ditadura civil-militar no romance K. Relato de uma busca, de Bernardo Kucinski." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/186058.

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O presente estudo apresenta uma leitura da obra K. Relato de uma busca (2011), de Bernardo Kucinski, narrativa testemunhal em que o escritor aborda, ficcionalmente, o episódio histórico envolvendo o desaparecimento de sua irmã e de seu cunhado durante a ditadura civil-militar (1964-1985). Parte-se da premissa de que o testemunho é uma modalidade crucial para a compreensão da história do século XX e, por conseguinte, da produção estética desse período. Desta maneira, apoiando-se nas pesquisas que, nas últimas décadas, buscam articular as relações entre literatura e catástrofe, literatura e testemunho, literatura e trauma, pretende-se analisar as estratégias e os recursos estético-literários empregados por Kucinski na construção de sua obra testemunhal, bem como discutir a sua relevância no conjunto de textos produzidos acerca do período ditatorial. Com efeito, ao se enfatizar o componente testemunhal assente na narrativa kucinskiana, este trabalho também propõe uma reflexão sobre algumas das características do testemunho, de modo a destacar suas especificidades no contexto brasileiro. A fim de embasar as reflexões aqui propostas, recorre-se a textos de estudiosos de diversas áreas das ciências humanas, dentre eles, Walter Benjamin, Márcio Seligmann-Silva, Jeanne Marie Gagnebin, Jaime Ginzburg, Hugo Achugar, Caroline Silveira Bauer, Janaína de Almeida Teles, Eurídice Figueiredo, João Camillo Penna, Valéria de Marco. This study presents a reading of the work K. Relato de uma busca (2011), written by Bernardo Kucinski, a testimonial narrative in which the writer, in a fictional way, approaches the historical event involving the disappearance of his sister and brother-in-law during the civil-military dictatorship (1964-1985). In this sense, it is based on the premise that the testimony is a crucial modality for understanding the XX century history and, consequently, the aesthetics production of this period. Thus, leaning on researches from the last decades that aim at articulating the relations between literature and catastrophe, literature and testimony, literature and trauma, it is aimed at analyzing the strategies and the aesthetics-literary resources used by Kucinski in the construction of his testimonial work, as well as discuss its relevance in the group of texts elaborated about the dictatorship period. Indeed, by emphasizing the witness component present in Kucinski’s work, this study also proposes a reflection about some of the characteristics of the testimony, by highlighting its specificities in relation to the Brazilian context. In order to support the reflections here suggested, it is reached for texts of several studious of the human sciences field, among them, Walter Benjamin, Márcio Seligmann-Silva, Jeanne Marie Gagnebin, Jaime Ginzburg, Hugo Achugar, Caroline Silveira Bauer, Janaína de Almeida Teles, Eurídice Figueiredo, João Camillo Penna, Valéria de Marco.

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Maciera, Aislan Camargo. "Primo Levi: ciência, técnica e literatura." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-15042015-152720/.

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Primo Levi (1919-1987), de origem judaica, antifascista e químico de formação, passa quase um ano de sua vida como prisioneiro em um dos campos de concentração de Auschwitz. Preso como partigiano, deportado como judeu, e sobrevivente por acaso, Levi faz daquela experiência, através da necessidade de narrar, o ponto de partida de sua literatura. Seu percurso parte da literatura de testemunho, matéria de suas duas primeiras obras, Se questo è un uomo e La tregua. Porém, sua grande vocação narrativa faz com que cultive os mais diversos gêneros ao longo de sua carreira, indo desde a autobiografia, até a poesia, o romance e os contos fantásticos e de ficção científica. A análise da obra literária de Levi, obrigatoriamente, deve considerar dois aspectos, que estão na gênese e na construção de seus escritos: o primeiro é a origem de sua literatura, nascida da experiência como prisioneiro e da observação daquele universo e que dele nunca se desprendeu; o segundo é a sua formação, pois, como químico, o olhar que dirigia ao mundo era determinado pelos preceitos da ciência que escolheu, e pela qual era apaixonado. Assim sendo, pretendemos analisar a literatura de Levi a partir da relação que ela estabelece com a ciência, com a técnica e com a tecnologia, partindo de seu livro de estreia, no qual o olhar do cientista permitiu definir o Lager como um grande experimento biológico e social. As referências para a análise serão os dois primeiros volumes de contos, que se ligam à tradição do fantástico e da ficção científica Storie naturali e Vizio di forma e os dois livros da década de 70, que apresentam a técnica e o trabalho como símbolos de liberdade: Il sistema periodico, obra na qual a química, os químicos e o seu trabalho são protagonistas; e La chiave a stella, que apresenta a exaltação do trabalho liberatório, portador de satisfação e felicidade. Dessa forma, demonstraremos que nenhuma página da literatura de Primo Levi está dissociada de sua experiência como deportado ou de sua formação científica, e isso influencia diretamente o seu estilo, transformando-o em um dos principais representantes, na literatura universal, da relação entre as duas culturas, como também em um dos principais prosadores da segunda metade do século XX. Primo Levi (1919-1987), of Jewish origin, anti-fascist and chemist of formation, passes nearly a year of his life as a prisoner at the Auschwitz concentration camp. Captured as partigiano, deported as Jew, and survivor by chance, Levi makes that experience, through the need of narrating, the starting point of his literature. His pathway starts from the testimonial literature, subject of his first two works, Se questo è un uomo and La tregua. However, his narrative vocation makes him cultivate the most diverse genres throughout his career, from autobiography to poetry, romance, fantastic tales and science fiction. The analysis of the literary work of Levi, mandatorily, must consider two aspects that are on the genesis and construction of his writings: the first one is the origin of his literature, born from his experience as prisoner and from the observation of that universe - and from which he never came off; the second one is his formation, since, as a chemist, the way he looked at the world was determined by the precepts of the science he chose, and to which he was passionate. Therefore, we intend to analyze Levis literature from the relationship it establishes with science, technique and technology, starting from his debut book, in which the look of the scientist allows to define the Lager as a great biological and social experiment. The references for this analysis will be the first two volumes of short stories, that bind to the tradition of fantastic and science fiction Storie naturali and Vizio di forma and the two books of the 70s, that present technique and work as symbols of freedom: Il sistema periodico, work in which chemistry, chemists and their work are protagonists; and La chiave a stella, that presents the exaltation of liberatory work, promoter of satisfaction and happiness. Thus, we will demonstrate that any page of Primo Levis literature is dissociated from his experience as deported or his scientific training, and it directly influences his style, transforming it into one of the leading representatives in world literature, from the relationship between \"the two cultures \", as well as one of the major prose writers of the second half of the 20th century.

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Silva, Andréa Zeppini Menezes da. "O Plutão que veio do inferno: sobre a prosa de Varlam Chalámov." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-16072018-145148/.

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Varlam Chalámov, escritor russo, nasceu em 1907 e passou dezessete anos como prisioneiro em campos de trabalho stalinistas. Em Kolimá, um dos piores campos do que ficou conhecido como Gulag, conheceu o trabalho fatal nas minas de ouro e carvão, onde quase perdeu a vida por diversas vezes. Em Contos de Kolimá, sua principal obra, transformou sua experiênciaem seis ciclos de contos de prosa concisa e poética. Para marcar sua posição literária, Chalámov cria o que chama de nova prosa, a prosa possível para os tempos depois de Auschwitz, Hiroshima, Kolimá. Em Sobre a prosa, ensaio-manifesto de 1965, e Sobre a minha prosa, de 1971, Chalámov pensa sua obra no contexto da tradição literária e da literatura de sua época. Descreve também seus objetivos e métodos artísticos. Reflete sobre o papel da literatura na cultura, sobre a relação entre verdade e ficção, sobre o significado da memória em sua prosa. O presente trabalho visa realizar uma leitura de sua obra à luz dos pressupostos do autor, no diálogo e na fricção com outros teóricos e escritores, com destaque para o papel da memória em sua produção. Traz ainda a tradução dos dois ensaios. Russian writer, Varlam Chalámov (born 1907), spent seventeen years as a prisoner in Stalinist labor camps. Much of this time was spent in Kolimá working within the precarious gold and coal mines within Gulag, where he endured several near death experiences. He transformed these years of personal tragedy and acute observation of others into a six series of poetic short stories, which were later published as Tales of Kolimá. Within these iconic works, Chalámov creates what he referred to as new prose; the possible prose after events such as Auschwitz, Hiroshima and Kolimá. In his essays On Prose, 1965 and On my Prose, 1971, Chalámov reflects on his body of work in the context of the literary traditions of his time. He considers the role of literature in culture, the relationship of truth to fiction, and the role of memory in his prose. This paper applies the ideas in Chalámovs essays to a reading of his prose and in doing so discusses the authors opinions, with particular emphasis on his understanding of memory.

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Clark, Tiffanie R. "Central Americans in Movement: A Diasporic Revival of Poesia Comprometida." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1593273591518189.

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Cifo, González Manuel. "Rodrigo Rubio: vida y obra literaria." Doctoral thesis, Universidad de Murcia, 2007. http://hdl.handle.net/10803/10759.

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Rodrigo Rubio es un escritor al que la mayoría de los críticos lo sitúan dentro del denominado realismo social y, más concretamente, dentro de un realismo existencial de fuertes raíces cristianas. Además, su literatura posee un alto contenido autobiográfico -desde el principio hasta el final de la misma-,con una fuerte reflexión individual y unas motivaciones psicológicas bastante profundas.El propio rubio siempre se manifestó como un firme defensor de la literatura comprometida, marcada por una fuerte vocación realista y por un irrenunciable carácter testimonial. De ahí su permanente defensa de la literatura como testimonio de la vida del ser humano y de su lucha diaria, muchas veces infructuosa, por encontrar la felicidad. Porque, para Rodrigo Rubio, literatura y vida son inseparables, tal y como siempre mostró a lo largo de su obra y como se ha pretendido poner de manifiesto incluso con el mismo título de esta Tesis Doctoral. Rodrigo Rubio is a writer whom most critics have placed within the so-called social realism, and more precisely within an existential realism, with strong christian roots.Furthermore, his literature, has, from beginning to end, a high autobiographical content, together with a strong individual reflection and deep psychological motivations.Rubio himself always stood for committed literature with a strong realistic vocation and testimonial character. Hence, his permanent defence of literature as a testimony of the life of human beings and their daily, and so often fruitless, struggle for happiness. Because, for Rodrigo Rubio, literature an life cannot be separated, as he has showed all throughout his works, and the title of this Tesis Doctoral has intended to state.

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Pacheco, Juliana Sousa. "Aproximações entre História e Psicanálise: testemunho, trauma e sublimação em É isto um homem e Os afogados e sobreviventes, de Primo Levi." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8715.

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Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-07-18T11:33:24Z No. of bitstreams: 2 Dissertação - Juliana Sousa Pacheco - 2018.pdf: 1238427 bytes, checksum: cfb93d005a76252ceb4719d55e8fedf6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-07-18T11:41:37Z (GMT) No. of bitstreams: 2 Dissertação - Juliana Sousa Pacheco - 2018.pdf: 1238427 bytes, checksum: cfb93d005a76252ceb4719d55e8fedf6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Made available in DSpace on 2018-07-18T11:41:37Z (GMT). No. of bitstreams: 2 Dissertação - Juliana Sousa Pacheco - 2018.pdf: 1238427 bytes, checksum: cfb93d005a76252ceb4719d55e8fedf6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-06-29 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES A presente dissertação analisa a literatura de testemunho de Primo Levi, poeta e químico italiano, que foi preso pelos nazistas em 1944. O que nos interessou em seu testemunho foi a experiência narrada após a libertação de Auschwitz, na condição de judeu. Levi escreve imbuído pela dualidade psíquica que o advento da Grande Guerra lhe impõe: trauma e sublimação. Ambos são conceitos centrais para a psicanálise, o que nos levou a problematizar a relação dessa para com a História. A dissertação se realizou considerando o trabalho metodológico com os conceitos enunciados. O objetivo foi ler o testemunho de Primo Levi, a partir do arsenal freudiano. O contexto da Segunda Guerra Mundial, o antissemitismo europeu, e os elementos da psique, que se alternam após a experiência da guerra, são temas que perpassam pela narrativa de Levi. Trauma, memória e sublimação são decorrências de tal experiência e dão forma ao conteúdo narrado em nossas duas fontes: É isto um homem? e Os afogados e os sobreviventes: os delitos, os castigos, as penas, as impunidades. A presente dissertação analisa a literatura de testemunho de Primo Levi, poeta e químico italiano, que foi preso pelos nazistas em 1944. O que nos interessou em seu testemunho foi a experiência narrada após a libertação de Auschwitz, na condição de judeu. Levi escreve imbuído pela dualidade psíquica que o advento da Grande Guerra lhe impõe: trauma e sublimação. Ambos são conceitos centrais para a psicanálise, o que nos levou a problematizar a relação dessa para com a História. A dissertação se realizou considerando o trabalho metodológico com os conceitos enunciados. O objetivo foi ler o testemunho de Primo Levi, a partir do arsenal freudiano. O contexto da Segunda Guerra Mundial, o antissemitismo europeu, e os elementos da psique, que se alternam após a experiência da guerra, são temas que perpassam pela narrativa de Levi. Trauma, memória e sublimação são decorrências de tal experiência e dão forma ao conteúdo narrado em nossas duas fontes: É isto um homem? e Os afogados e os sobreviventes: os delitos, os castigos, as penas, as impunidades.

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CAPPELLINI, SERENA. "VOCES QUE RESISTEN:EL TESTIMONIO CHILENO DE LA DICTADURA ESCRITO POR EX PRESAS POLÍTICAS." Doctoral thesis, Università degli Studi di Milano, 2020. http://hdl.handle.net/2434/698578.

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My doctoral thesis analyses testimonial literature written by former political prisoners between 1973 and 2017 and its title is "Voces que resisten: el testimonio chileno de la dictadura escrito por ex presas politicas". It offers a thematical analysis of a corpus of thirteen texts and is developed in three chapters. The first chapter traces the history of testimonial literature and the Latin American theorical debate about it, with specific attention to Chilean context. I divided Chilean testimonial literature chronologically in three stages, in order to tie it to its historical background, as similarly done by Peris Blanes (Cfr. 2002, 2005, 2008), Moulian (Crf. 1997) and Richard (Crf. 2001, 2010, 2017). Thus it is read first as a form of resistance to the dictatorship, then within reconciliation policies and at last as realized in the contemporary world. In addition to this theoretical and historical introduction, the first chapter presents also the examined works, placing each one into the threefold historical context previously observed. Narrative differences between works are then taken in account: the narrative construction of the heroic woman and / or widow immolated to the cause (typical of the first stage and for this reason we speak of 'classical' texts); the one close to confession (which falls within the historical period of reconciliation); and, finally, contemporary texts (published between 2000 and 2017 and presenting diversified narrative modes). In the second chapter, the methodology is explained, and the analysis is carried out. It performs a gender study which takes on the feminine nature of the writers, by enlightening typically female themes such as the difficulty of reconciling political militancy with womanhood, motherhood and sexual violence - often a weapon of state violence during political imprisonment. The chapter also focuses on the thematic novelties of contemporary texts, the modification and evolution of which can bring to reopening the debate on the dictatorial past and bringing back 'forgotten' themes (such as militancy, the concept and importance of friendship networks). Finally, in the third chapter, the analysis is carried out with the usual diachronic approach and through three proposed thematic axes: resistance, resilience and solidarity. Testimonial literature is considered as an act of resistance itself since "el testimonio es una forma de organizar la resistencia a las violaciones de los derechos humanos [...] escribir sobre la revolución es hacer la revolución" (Nofal 2002: 34 -35). Writing is a way of denouncing the horror of dictatorial violence and telling how resistance has developed in different forms, such as the clandestine struggle, the reconfiguration of a dissident organization in exile and the return to continue the fight. For this reason, within the texts is looked for all those acts that can be linked to the resistance, that is understood also as mobilization of forces - even hidden and "lateral" - which undermine central power (Calveiro 2003: 92). Resilience means to outline gestures born/blossomed in a profoundly violent context, such as detention and torture centres, and that count for the human capacity to adapt to extreme situations without however losing their dignity and remaining "human". In this part, all those artistic and cultural productions born as a form of elevation and rebirth are also examined. The third theme, called "solidarity", highlights all the forms of solidarity, of sisterhood and brotherhood, which allowed the survival of friendship bonds between militants, even in extremely difficult situations. Clearly, these three themes dialogue and intertwine one another, recreating the social and political community these authors were part of. Therefore, the conclusions clarify how the community constraint has remained strong, despite the passage of time and the dictatorial attempt to annihilate all the dissidents in the regime. Through the reading of these texts, the announced cartography is created, since, as Santos-Herceg claims, it is only thanks to the testimonies that the unique attempt to enter the prison universe is realized: “único medio de acceso a la prisión y tortura". Testimonies therefore represent “una fuente inestimable" of information (in Scarabelli-Cappellini 2017: 63) on this world of community and solidarity, for too long forgotten. I therefore hope that this work will be considered as a timely contribution and, concluding, I suggest that there are many other voices just like these authors waiting to be heard.

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Kershisnik, Berkeley A. "Voicing the Violence of Favelas." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3612.

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This project analyzes three examples of testimonial literature written by favela residents in Brazil to demonstrate the extent to which these accounts contest or confirm the popular news media's violent representation of favelas and their inhabitants. The literary works Quatrocentos contra um: Uma história do Comando Vermelho (1991) by William da Silva Lima and Capão pecado (2000) by Ferréz and the documentary Notícias de uma guerra particular (1999) present an insider's perspective of the violence that takes place in the favela and thus can reveal the factors that contribute to it. Through these explanations, readers and viewers become aware of the generally unheard side of the story of the repressed and ignored poor class. Lima's voice in Quatrocentos contra um serves to explain the way that crime was organized as a means of survival to combat the repression and abuse of the government, and in Capão pecado Ferréz demonstrates the difficulty that favela residents who are not involved in drug trafficking have in avoiding the violence that surrounds them because they do not have equal opportunity for education and employment. He suggests a non-violent rebellion through artistic means to build a positive image of favela inhabitants, both inside and outside of the poor community. The documentary Notícias de uma guerra particular directed by João Moreira Salles and Kátia Lund presents information that places much of the blame for violence on the lack of social structure that would integrate the poor, and more importantly allows for honest, hardworking favela residents to share their experience of trying to make a living and avoid illegal activity while suffering from the stereotype that all who live in poor communities are involved in violent activity. Together these works constitute an attempt for the violence of the favelas to be explained through the voice of favela residents themselves.

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Maués, Eloisa Aragão. "\'Em câmara lenta\', de Renato Tapajós: a história do livro, experiência histórica da repressão e narrativa literária." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-05022009-114612/.

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Em 1977, a Alfa-Omega, uma editora de oposição ao regime militar, publicou Em Câmara Lenta, de Renato Tapajós. Foi a primeira obra nacional, produzida por um escritor que atuou em um grupo da esquerda armada, a trazer uma reflexão crítica sobre as estratégias da guerrilha e a denunciar o emprego brutal da tortura pela repressão. O autor participara da Ala Vermelha, um agrupamento urbano de influência maoísta que empreendeu ações armadas, e por isso cumpriu pena de 1969 a 1974. Divulgado por todo o Brasil, o livro despertou a fúria de setores conservadores e levou a um episódio inusitado: em julho de 1977 Tapajós foi preso em São Paulo e ficou dez dias incomunicável, sob a acusação de que Em Câmara lenta era \"instrumento de guerra revolucionária\". Isso apesar de o livro não ter sido proibido e não ter, do ponto de vista legal, nenhum empecilho à sua circulação. Somente 15 dias depos da prisão de Tapajós, a obra foi censurada e sua venda, proibida. A partir das intricadas repercussões desse fato, o propósito principal deste trabalho é procurar demonstrar como a experiência da luta armada se transformou em narrativa literária. Para tanto, apresentamos um estudo sobre a história do livro, sobre os procedimentos empregados tanto na formação da culpa dirigida contra Renato Tapajós (com base em documentos do Departamento Estadual de Ordem Política e Social, DOPS, de São Paulo, produzidos durante a investigação policial) quanto os utilizados pela defesa do caso, bem como a respeito da recepção crítica e do teor testemunhal presente no romance In 1977, Alfa-Omega, a publish house which opposes the Military Regime, published Em Câmara Lenta, by Renato Tapajós. It was the first book to analyze the leftist guerilla groups strategies and to denounce the brutality of the torture enforced by the military and the police against the activists of those groups. Tapajós had been a militant of Ala Vermelha, an urban Maoist guerilla group, and had been jailed from 1969 to 1974. Publicized all over the country, the book was furiously received by the conservative sectors of Brazilian society. In a surprising move, Tapajós was jailed in São Paulo in July of 1977 and stayed 10 days without any communication, under the accusation that Em Câmara Lenta was a \"tool of the revolutionary guerrilla\". Formally, the book was not forbidden and legally, there was no problem to publish and publicize it. Just after 15 days of Tapajós got the jail, the book was formally censured and it was made illegal to sell it. Taking in consideration the complex repercussions of this event, the initial aim of this dissertation is to demonstrate how the leftist guerrilla experience was transformed in a literary narrative. In order to do that, I present a study of this book history, the criminal procedures enforced against Renato Tapajós (using the documentation of the State Department of Political and Social Order, DOPS, the political police of São Paulo, produced during the police investigation) and in favor of him, as well as the testimonial narrative of the romance and its critical reception by the public and the specialists.

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Bernaschina, Schürmann Vicente. "Tejas Verdes de Hernán Valdés: Testimonio, tortura y aniquilación: (La insinuación de la indeci(di)bilidad en lo testimonial)." Tesis, Universidad de Chile, 2004. http://repositorio.uchile.cl/handle/2250/110110.

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Tie, Tra Bi Irie Fabrice Raoul. "Famille et Violence dans la littérature francophone : le génocide des Tutsis du Rwanda." Thesis, Université Clermont Auvergne‎ (2017-2020), 2018. http://www.theses.fr/2018CLFAL014/document.

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La présente thèse questionne la famille en lien avec des tueries de masse : le génocide des Tutsi du Rwanda. Le sujet a été développé sur deux grands axes. Un point d’histoire a présenté les déterminants socio-historiques qui ont favorisé l’extermination des Tutsi rwandais. Puis une analyse littéraire a établi une corrélation entre l’idée de famille et cette violence extrême, à travers un corpus d’écrivains francophones et de rescapés de cet événement. Ce qui a décloisonné l’étude du génocide contre les Tutsi au Rwanda du seul point de vue historique pour en faire un sujet littéraire. Dans ce travail de recherche, notre propos a insisté sur la situation des familles qui ont résisté et sur celles qui ont été décimées face au génocide ambiant. Et a informé sur une tragédie qui a fragilisé les liens de filiation au sein des membres d’un même ménage et rompue les alliances, la fraternité entre familles voisines. Cette étude a également souligné les configurations possibles de l’institution familiale après le génocide. Elle a montré qu’avec les massacres qui ont déstructuré les ménages, rompu les liens de filiations, les survivants pour amorcer une résilience, recomposent de nouvelles fratries, de nouvelles familles This thesis question the notion of family in connection with mass Killing : the genocide of the Tutsi of Rwanda. It was developed on two main axes. A point of history presented the socio-historical determinants which favorised the extermination of the Rwandan Tutsi. Then a literary analysis established a correlation between the idea of family and this extreme violence, through a corpus of French-speaking writers and survivors of this event. What opened up the study of the Tutsi génocide from the only historic point of view to make a literary subject. In this research work, our subject insisted on the situation of the families which resisted and on those who were decimated in front of ambient genocide. And informed about a tragedy which weakened the links of filiation within the members of the same household and broke the relationship, the brotherhood between nearby families. This study also presented the possible configurations of the family institution after the genocide. It showed that with the massacres which deconstructed the household the survivors to begin an impact strength, recompose of new sibships, new families

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Guerra, Morales Alejandra. ""Mi madre la maga”: La defensa escénica ante el testimonio doméstico en “Criadero”, obra de teatro testimonial de Mariana de Althaus." Master's thesis, Pontificia Universidad Católica del Perú, 2021. http://hdl.handle.net/20.500.12404/19793.

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En esta tesis realizaré un análisis sobre la obra de teatro testimonial “Criadero” escrita y dirigida por Mariana de Althaus. En esta pieza, la directora y dramaturga quiso explorar el mundo privado doméstico femenino a través de los testimonios de dos actrices y una música que revelan sus recuerdos de crianza y de qué formas estos incidieron en sus propias experiencias de maternidad. Quiero explorar cuáles fueron los elementos que lograron trascender la literalidad de los testimonios basados en experiencias íntimas sobre la maternidad y la crianza, y por qué motivo se generó dicha complicidad con un espectro bastante amplio de espectadores tanto en la ciudad de Lima, como en las provincias del Perú y otros países latinoamericanos. Para abordar este análisis, me enfocaré en los distintos lenguajes escénicos que fueron empleados para la construcción de los testimonios y de qué forma estos lograron profundizar la mirada sobre las historias personales e íntimas del universo femenino de la crianza desarrolladas en la obra “Criadero”. Quiero sostener que en esta pieza teatral el testimonio no se reduce al discurso, sino que el discurso está constituido y potenciado por el lenguaje escénico. Voy a sostener, además, que la danza y la performance física, las canciones, el uso de los objetos personales y el humor, son elementos decisivos que terminan por politizar el testimonio doméstico y fueron fundamentales para lograr la fuerza estética de la obra. In this thesis I will analyze the testimonial play "Criadero" written and directed by Mariana de Althaus. In this play, the director and playwright wanted to explore the private female domestic world through the testimonies of two actresses and a musician who reveal their memories of their own parenting and how these influenced their own experiences of motherhood. I want to explore what were the elements that managed to transcend the literalness of testimonies based on intimate experiences of motherhood and parenting, and why such complicity was generated with a fairly broad spectrum of viewers both in the city of Lima, and in the provinces and other Latin American countries. To approach this analysis, I will focus on the different scenic languages that were used for the construction of the testimonies and how they managed to deepen the gaze on personal and intimate stories of the female universe of parenting. I want to sustain that in this work the testimony is not reduced to discourse, but that the discourse is constituted and enhanced by the scenic language. I will also sustain that the dance and physical performance, the songs, the use of personal objects and humor, are decisive elements that end up politicizing the domestic testimony and were fundamental to achieve the aesthetic strength of the play.

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García, Claudia. "Literatura testimonial indígena en Guatemala (1987-2001) Víctor Montejo y Humberto Ak'abal /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0009420.

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Maldonado, Opazo Kira. "El discurso testimonial en las autobiografías de chilenos exiliados en Suecia." Tesis, Universidad de Chile, 2005. http://www.repositorio.uchile.cl/handle/2250/108852.

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Mateos, Gómez Sofia. "L'exemplarité du témoignage : analyse des œuvres autobiographiques de Nellie Campobello et de Benita Galeana." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL164.

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Ce travail a pour objet de repenser la problématique du singulier et du général à partir de l’analyse de la force performative des textes testimoniaux. Du point de vue de la rhétorique antique et contemporaine ainsi que de la déconstruction (notamment de la pensée de Jacques Derrida), il vise à offrir une conception enrichie de la littérature testimoniale ainsi qu’une proposition d’interprétation de ces textes. Le corpus de cette étude est constitué de deux œuvres de Nellie Campobello : Cartucho (1931) et Las manos de mamá (1937), ainsi que de deux œuvres de Benita Galeana : Benita (1940) et El peso mocho (1979). À partir de l’étude de la réception des livres de Nellie Campobello, l’analyse approfondit les conditions de la construction d’un pacte testimonial et son lien avec le caractère du témoin. Il observe la lecture exemplarisante dont l’œuvre de Galeana a été l’objet, caractérisée par la construction d’un personnage héroïque. Finalement, ce travail propose un cadre théorique pour repenser l’exemplarité des témoignages : la considération de deux logiques exemplaires différentes, l’exemple paradigmatique et l’exemple comme cas This work aims to rethink the question of the relationship between the singular and the general, based on an analysis of the performative force of testimonial texts. From the point of view of the rhetorical tradition and of deconstruction (in particular the work of Jacques Derrida), we seek to offer an enriched idea of testimonial literature and to propose an interpretation of these texts. The corpus chosen for this study is formed by four works: Cartucho (1931) and Las manos de mamá (1937) by Nellie Campobello, and Benita (1940) and El peso mocho (1979) by Benita Galeana.A first part of this research consists of a close analysis of the reception of Nellie Campobello’s books, in order to question the necessary conditions of a testimonial pact, as well as the importance of the construction of the character of the witness. A second part observes the exemplary interpretations of Benita Galeana’s autobiography and the construction of her public figure as a model or paradigm. The result of these analyses is the proposal of a theoretical framework to help us rethink the exemplarity of testimonies: the possibility of two different exemplary thoughts, the paradigmatic example and the example as a case

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Carazas, Salcedo María Milagros. "El testimonio afroperuano." Doctoral thesis, Universidad Nacional Mayor de San Marcos, 2018. https://hdl.handle.net/20.500.12672/10094.

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¿Por qué el testimonio del afroperuano ha sido descuidado durante tanto tiempo? La respuesta puede ser obvia, se trata de la voz y la historia del otro, el llamado subalterno, que no es escuchado ni visible para los sectores hegemónicos que detentan el poder político y económico en la sociedadperuana. Cierto es que se ignora este corpus por completo hasta el día de hoy. El objetivo de esta tesis es visibilizar el corpus del testimonio afroperuano, para incluirlo como un tema a ser debatido y estudiado con mayor ahínco en nuestro contexto posteriormente. La presente tesis doctoral se centra en el análisis de aquellos textos que recogen la voz del sujeto afroperuano y permiten conocer su cultura. Se trata de un corpus producido entre 1974 y 2018. La investigación sobre este campo de estudio ha sido emprendida por especialistas de las ciencias sociales y de las ciencias humanas, pero aún sigue siendo una exigencia de los actuales estudios literarios afrontar el reto de un corpus que genera tanta polémica en la sociedad. En el análisis de los testimonios se comprueba la riqueza discursiva de la oralidad. En buena parte la gran expresividad del discurso popular se logra debido a que este es original, carnavalesco y hasta desbordante. Existen varios planteamientos respecto a la definición y problemática que ha suscitado el testimonio en América Latina. Tesis

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Picón, Bruno Daniela. "Tres testimonios sobre las Ruinas." Tesis, Universidad de Chile, 2005. http://repositorio.uchile.cl/handle/2250/110283.

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Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura. Seminario de grado: Desde la escritura: imágenes y representaciones del Islam y los musulmanes En Tres testimonios sobre las ruinas se trata de ver cómo se plantea este Otro, a modo de añoranza de lo que inevitablemente está por desaparecer. Son discursos que se inspiran, a modo de elegías, en las ruinas del Islam (y sus distintas manifestaciones culturales y espirituales) en las penínsulas Ibérica y Arábiga. Dos de ellos fueron elaborados por viajeros de diferentes épocas y territorios: el romántico alemán Friederich von Schack (1815-1894), que visita España ,y un osado inglés del siglo XX, Wilfred Thesiger, que cruza los 20.000 km. del ‘desierto de los desiertos’ de Arabia, a lomo de camello. El tercer testimonio lo constituye la ‘poesía hispanoárabe de las ruinas’ (siglos XI al XIII). Esta poesía -primera manifestación literaria de la ruina del Islam en occidente- será el prisma desde el cual se proyectarán los otros dos, ya que, como veremos, en su conjunto, estos testimonios evidencian los mismos hechos, impresiones, alegatos y frustraciones. Así, podremos reconocer cómo se aúnan los tres discursos en el mismo delirio: la desesperación de la pérdida de la cultura del Islam, y cómo se vive tan análogamente a lo largo de los siglos, a partir de la contemplación de la ruina.

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Johansson, María Teresa. "Palabra en pena: literatura y testimonio en el Cono Sur." Tesis, Universidad de Chile, 2010. http://www.repositorio.uchile.cl/handle/2250/108697.

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La primera parte de este estudio retrata la posición de los intelectuales en el campo político y cultural durante las décadas de los sesenta, setenta y ochenta. Una reconstrucción de los procesos culturales y políticos de la época que ha tenido el afán de no despojar la lectura literaria de su complejidad histórica. El primer capítulo, titulado “Movimientos populares, revolución y dictaduras”, está centrado fundamentalmente en la historia política reciente de Chile, Argentina y Uruguay. (…) La segunda parte de esta tesis, “Teoría política, campos de concentración y testimonio”, revisa una discusión generada tanto desde la filosofía política como desde la teoría literaria sobre el impacto de los campos de concentración como matrices extremas del totalitarismo contemporáneo y su relación con los conceptos de testigo y testimonio, en vínculo con la testificación y escritura de la experiencia límite. Se instala un diálogo con la filosofía y la literatura europeas que sufrieron el impacto del nazismo. (…) La tercera parte de este estudio, “Retóricas testimoniales y figuras del letrado en el Cono Sur”, analiza distintos textos literarios articulando literatura, testimonio y campo cultural en Argentina, Chile y Uruguay.

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Meza, Fernández Sandra. "El discurso testimonial: subalternidad, representación y enunciación bivocal en Sueño con menguante. Biografía de una machi y Hasta no verte Jesús mío." Tesis, Universidad de Chile, 2007. http://www.repositorio.uchile.cl/handle/2250/109012.

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El interés de esta investigación reside en analizar algunas de las contribuciones que en el campo de la cultura – especialmente en el ámbito de las ciencias sociales y humanas - adquiere el tópico de la subalternidad. Articulamos el presente estudio desde un aquí y un ahora, en una Latinoamérica donde la recepción de los discursos marginales no aporta a la transformación de la miseria y el abuso en el que viven otros seres humanos. No obstante, asistimos a un momento en el cual desde los estudios culturales emana una copiosa producción, a partir de la cual se viene cuestionando hace ya algún tiempo la forma en que la historia ha sido contada. Es cuando la gran historia es descubierta de su velo y apreciadas las resquebrajaduras en las afirmaciones de verdad única asumida por quienes han escrito. Desde esta situación, el examen del papel que le cabe al intelectual que habla por el otro inaugura la interrogante: ¿es legítimo que la voz del subalterno sea representada por un discurso ajeno?, a lo cual sigue una segunda pregunta, ¿cuál es la responsabilidad del intelectual en la construcción del sujeto subalterno de la posmodernidad?

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Zamorano, Daniel. "Literatura argentina y autoritarismo, los relatos testimoniales : Walsh, Bonasso y Martínez." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq43042.pdf.

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Zahavi, Hadas. "Le statut de témoignage dans l'œuvre de Jean Rouaud." Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030042.

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De nombreuses études ont tenté de définir les formes d’écritures relatives à l’expérience du soi face aux atrocités de la guerre. En revanche, la recherche testimoniale et littéraire ignore l’idée inverse : comment témoigner d’une guerre que l’on n’a pas vécue ? Cette question non investie jusqu’à présent soulève aujourd’hui des enjeux éthiques et politiques importants. L’occultation de la guerre menée par le monde occidental est essentielle pour la compréhension de la situation politique dont témoignent de nombreux auteurs contemporains. Au cœur de leurs récits de guerre, des écrivains contemporains tels que Jean Rouaud, Jean-Yves Jouannais, Laurent Mauvignier et François Bon livrent des témoignages sur des guerres auxquelles ils n’ont pas pris part. Ils le font à la première personne et au présent, tout en entrant dans les moindres détails des faits racontés. Ces écrivains attestent d’événements relatifs aux guerres passées comme aux conflits actuels. Ces témoignages ne s’appuient exclusivement ni sur la littérature scientifique ou professionnelle ni sur les récits partagés par des témoins directs de la guerre. Ainsi, le fait que ces auteurs n’aient pas assisté à la guerre leur permet de livrer des témoignages pionniers sur les situations actuelles de conflit comme sur les guerres historiques. Pour répondre à cette question de recherche, cette thèse analyse le statut du témoignage dans l’œuvre de Jean Rouaud, écrivain pionnier de cette tendance littéraire, et en retrace l’évolution The present thesis defines a new model of testimony written by contemporary authorswho were not physically present in the conflicts their writings describe in first-person narrative and the present tense. This literary corpus constitutes a watershed in the history of modern testimonial literature, which ascribes absolute authority as war witnesses to ‘the men who were there’ in the conflict zone during the war. Using first-person narratives, intimate language, and detailed writing, contemporary writers such as Jean Rouaud, Pierre Bergounioux, François Bon, Jean-Yves Jouannais, Pierre Michon, and Annie Ernaux witness events from the two world wars and from current conflict zones. They do not provide testimonies from a perspective external to war; they do not base their writings on scientific or professional literature nor rely on survivors’ ‘first-hand testimonies’. Further, in their writings, traveling to distant conflict zones is not a prerequisite to become an eyewitness to the injustices that occur there. Instead, for these writers, the intergenerational consequences of theworld wars and the involvement of France in conflicts around the world make them witnesses of those conflicts. The fact that these authors never participated directly in a war constitutes a new approach to the ‘eyewitness’ that is valuable for understanding contemporary reality. In an attempt to trace the nature of this tendency in its literary, ethical, and political aspects, the present study is devoted to a lateral reading of the corpus of Jean Rouaud, the pioneering and leading writer of this tendency

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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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Ferrarese, Laura <1996&gt. "La literatura de los hijos en Chile entre memoria y testimonio." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19224.

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Desde los años 2000 se ha inaugurado en Chile un nuevo tipo de literatura con temáticas relacionadas con el régimen dictatorial de Augusto Pinochet (1973-1990) llamada “Literatura de los hijos de la dictadura”, protagonizado por autores que fueron niños durante el gobierno de Pinochet y que crecieron en los años de la transición democrática de los años 90 del siglo XX. El objetivo de esta tesis es de explicar las razones que empujaron los niños de la dictadura a escribir sobre su infancia presentando el contexto histórico y económico que favorecieron la creación de este nuevo tipo de literatura y la relación que ellos tienen con conceptos como la memoria y el testimonio. A continuación se presentarán algunos de los autores de esta generación que fueron los pioneros de este género literario y que contribuyeron a su evolución y desarrollo, con un sucesivo análisis de las obras más importantes que ayudaron a la consolidación de este tipo de literatura.

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Zavaleta, Carlos Eduardo. "Imagen juvenil de Alberto Escobar Testimonio Personal." Pontificia Universidad Católica del Perú, 2013. http://repositorio.pucp.edu.pe/index/handle/123456789/100453.

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Carvalho, Paulo Roberto Alves de. "Somos Hermanos : literatura de cárcere como testemunho o caso de Diário de um detento: o livro, de Jocenir." Universidade Federal do Espírito Santo, 2011. http://repositorio.ufes.br/handle/10/6450.

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Made available in DSpace on 2016-12-23T14:34:14Z (GMT). No. of bitstreams: 1 Dissertacao de Paulo Roberto Alves de Carvalho.pdf: 552661 bytes, checksum: e0085faae9213a8f7183464c074002b7 (MD5) Previous issue date: 2011-07-29 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior Este trabalho tem como objetivo discutir o reconhecimento da Literatura de Cárcere como gênero pertencente à Literatura de Testemunho. Para tal intento, faz um breve excurso em torno das relações entre memorialismo e prisão, para, então, lançar mão de noções de Nancy Fraser, Charles Taylor e Axel Honneth, bem como de críticos literários e historiadores que reconhecem na narrativa testemunhal um registro historiográfico de caráter imprescindível. Adota-se para análise o relato Diário de um detento: o livro, do ex-presidiário Jocenir, uma referência capital da Literatura de Cárcere, que será analisada e cotejada com duas outras narrativas fundamentais (O que é isso, companheiro, de Fernando Gabeira, e É isto um homem?, de Primo Levi), apontando-se semelhanças e diferenças entre os três registros This paper aims to discuss the recognition of Prison Literature as a part of the Testimonial Literature genre. To explore the issue, this work takes a brief look into the connection between memorial and prison, taking the notions of Nancy Fraser, Axel Honneth and CharlesTaylor into account; as well as literary critics and historians, who recognize the testimonial narrative as an essential historiographical record. The text under investigation is the story of Diário de um detento: o livro (2001) by the ex-convict Jocenir, a crucial reference to Prison Literature in Brazil, which has been analyzed and collated with two other fundamental narratives: O que é isso, companheiro, by Fernando Gabeira and É isto um homem?, by Primo Levi, pointing out similarities and differences between the three records

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Lopez, Melissa. "Genre Criticism: Is Testimonio A/Part of Creative Nonfiction?" Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/771.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf Bachelors English Arts and Sciences Creative Writing

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Neves, Lais Mendes Botelho das. "Ferréz e a literatura marginal: literariedade em discussão em capão pecado e manual prático do ódio." reponame:Repositório Institucional da FURG, 2013. http://repositorio.furg.br/handle/1/4860.

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Submitted by Eliezer Mendes Lopes (mendesfurg@gmail.com) on 2015-04-29T18:00:53Z No. of bitstreams: 1 Lais Mendes Botelho das Neves.pdf: 787401 bytes, checksum: e726cbd5837e5164650b6adc10636250 (MD5) Approved for entry into archive by Vitor de Carvalho (vitor_carvalho_im@hotmail.com) on 2015-05-15T19:06:42Z (GMT) No. of bitstreams: 1 Lais Mendes Botelho das Neves.pdf: 787401 bytes, checksum: e726cbd5837e5164650b6adc10636250 (MD5) Made available in DSpace on 2015-05-15T19:06:42Z (GMT). No. of bitstreams: 1 Lais Mendes Botelho das Neves.pdf: 787401 bytes, checksum: e726cbd5837e5164650b6adc10636250 (MD5) Previous issue date: 2013 Na presente dissertação abordamos os romances Capão pecado e Manual prático do ódio, ambos do autor Ferréz, os quais fazem parte do movimento auto-intitulado Literatura marginal, que remete às obras escritas por moradores da periferia. Com o intuito de refletirmos sobre a literariedade dessas, já que há um embate entre dois grupos da crítica, os que as tomam apenas como documento e os que as tem como literatura. Recorremos a um histórico acerca do marginal na História e desse termo em nossa história literária, também percorremos a biografia e bibliografia de Ferréz. Para que tivéssemos uma visão geral desses dois lados de recepção das obras, colocamos opiniões dissonantes de estudiosos. Na tentativa de dar conta da fusão entre realidade e ficção presentes nesses textos, recorremos aos estudos sobre Literatura de testemunho e de testimonio, os quais propiciaram a aproximação dessas dimensões que a crítica literária vem dissociando. Também nos pareceu pertinente a questão da tomada de voz por parte dos setores excluídos da sociedade, os quais passaram de matéria literária para autores. As personagens tanto de um quanto de outro livro são interessantes como objeto de análise por representarem o cotidiano da periferia brasileira. Por isso, fizemos uma análise de suas trajetórias e as oportunidades a que estão expostas morando em uma comunidade. Dessa forma, buscamos iluminar um âmbito de produção controverso dentro terreno da Literatura brasileira contemporânea. En esta disertación abordamos las novelas Capão pecado y Manual prático do ódio, las dos del autor Ferréz, que hacen parte del movimiento que se nombro Literatura marginal. Que se refiere a las obras escritas por residentes de la periferia. Con el fin de reflexionar sobre la literariedad de estos, ya que hay un enfrentamiento entre dos grupos de críticos, los que las toman sólo como un documento y los que dicen esa ser literatura. Buscamos un historico acerca del marginal en la historia y este término en nuestra historia literaria, también pasamos por la biografía y bibliografía de Ferréz. Para que nosotros tenesemos una visión general de estos dos lados de recepción de las obras, traemos opiniones distintas de los estudiosos. En un intento de dar cuenta de la fusión entre la realidad y la ficción presente en estos textos, nos volvemos a los estudios sobre la Literatura testemunho y la de testimonio, lo que permitió la aproximación de tales dimensiones que la crítica literaria viene disociando. También nos pareció pertinente la cuestión de la restitución de la voz de los sectores marginados de la sociedad, que se convirtieron en la materia para sus propios escritos. Los personajes tanto en un libro como en el otro son interesantes objetos de análisis para la representación de la vida cotidiana de la periferia brasileña. Por consiguiente, analizamos sus caminos y oportunidades a los que están expuestos los que viven en una comunidad. Por lo tanto, tratamos de encender un ámbito de producción controversial dentro de la Literatura brasileña contemporánea.

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Welter, Juliane Vargas. "Em busca do passado esquecido : uma análise dos romances Onde andará Dulce Veigas?, de Caio Fernando Abreu, e Benjamim, de Chico Buarque." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/117544.

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Entendendo a literatura como palco de exposição de impasses e de (re)elaboração da memória coletiva e individual, esta tese busca analisar a literatura brasileira aliando forma literária e processo histórico-social. Para isso, investigaremos dois romances, Onde andará Dulce Veiga? (1990), de Caio Fernando Abreu, e Benjamim (1995), de Chico Buarque, publicados já na redememocratização mas que dialogam com o nosso passado recente: a ditadura civil-militar. A partir do contraste entre esses romances, procura-se refletir sobre uma sequência na história da literatura brasileira que compreende a emulação de um processo histórico específico: a redemocratização, problematizada a partir de narradores ou protagonistas que rememoram um passado esquecido colocando-se, no presente, como testemunhas culpadas. O movimento argumentativo se orientará a partir das discussões de Roberto Schwarz em “Cultura e Política: 1964-1969” aliando conceitos que nos permitem fazer um traçado panorâmico das relações entre a literatura e o processo histórico, entre eles o nacional-desenvolvimentismo, o romantismo revolucionário, a modernização conservadora, a indústria cultural e o movimento contracultural. Vinculam-se a esses termos categorias como experiência, memória, esquecimento, trauma e testemunho, bem como o ponto de vista da morte e a ciclicidade como forma, dispositivos que contribuem para uma análise estrutural das presentes obras. Intenta-se assim refletir sobre a mediação feita pela literatura contemporânea que olha em retrospecto para o regime autoritário e problematiza a redemocratização, assim como investigar essa literatura entendendo-a como parte de um processo literário específico. Understanding literature as a stage for exposition of impasses and of (re)laboration of collective and individual memory, this thesis intends to analyze Brazilian literature allying literary form and socio-historical process. For this, we shall investigate two novels, Caio Fernando Abreu's Onde andará Dulce Veiga (1990) and Chico Buarque's Benjamim (1995), both published in the redemocratic period, but that establish a dialogue with our recent past: the civil-military dictatorship. From the contrast in between these two novels, we intend to reflect about a sequel in the history of Brazilian literature that comprehends the emulation of a specific historical process: the redemocratization, problematized from narrators or protagonists that recollect a forgotten past putting themselves, in the present, as guilty witnesses. The argumentative movement orients itself from the discussions of Roberto Schwarz's "Cultura e Política: 1964-1969", allying concepts which allow us to panoramically trace relations between literature and historical process, as to say, the national-developmentalism, the revolutionary romanticism, the conservative modernization, the cultural industry and the countercultural movement. These terms are tied to categories as experience, memory, obliviousness, trauma and testimonial, as well as the death point of view and the cyclicality as form, both being devices that contribute to an structural analysis of the present novels. We intend to reflect about the mediation made by contemporary literature that looks backwards to the authoritarian regime and problematize the redemocratization, as well to investigate this literature understanding it as part of a specific literary. Se comprende la literatura como escenario de exposición de contiendas y de (re)elaboración de la memoria colectiva e individual; por lo tanto, esta tesis analiza la literatura brasileña aliando forma literaria y proceso histórico-social. Para ello, examinaremos dos novelas: Onde andará Dulce Veiga? [¿Dónde andará Dulce Veiga?] (1990), de Caio Fernando Abreu, y Benjamim [Benjamín] (1995), de Chico Buarque, publicadas ya en la redememocratización pero en diálogo con el pasado reciente de Brasil: la dictadura civil-militar. A partir del contraste entre esas novelas, se busca reflexionar sobre una secuencia en la historia de la literatura brasileña que comprende la emulación de un proceso histórico específico: la redemocratización, problematizada a partir de narradores o protagonistas que rememoran un pasado olvidado ubicándose, en el presente, como testigos culpables. El movimiento argumentativo se orientará a partir de las ideas de Roberto Schwarz en “Cultura e Política: 1964-1969” [“Cultura y política: 1964-1969”] aliando conceptos que nos permiten hacer un trazado panorámico de las relaciones entre la literatura y el proceso histórico, es decir, el nacional-desarrollismo, el romanticismo revolucionario, la modernización conservadora, la industria cultural y el movimiento contracultural. Se vinculan a esos términos categorías como experiencia, memoria, olvido, trauma y testimonio, así como el punto de vista de la muerte y la ciclicidad como forma, mecanismos que contribuyen para un análisis estructural de las obras. Se intenta así reflexionar sobre la mediación que hace la literatura contemporánea al mirar en retrospección el régimen autoritario y problematizar la redemocratización, así como investigar esa literatura comprendiéndola como parte de un proceso literario específico.

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Galichon, Isabelle. "Le récit de soi comme écriture de résistance face au nazisme : du sentiment à l'acte : définition d'une poétique du récit de soi en résistance." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2013. http://tel.archives-ouvertes.fr/tel-00994610.

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Nous proposons, dans le cadre de cette thèse, de définir une poétique du récit de soi en résistance face à l'expérience de répression nazie, dans un contexte historique élargi. Notre étude couvre une période qui s'étend des premières manifestations antifascistes en France, dès les années trente, avec, en particulier, la création en 1934 du Comité de Vigilance des Intellectuels Antifascistes jusqu'à la fin des années cinquante, marquées par la sortie du film Nuit et Brouillard d'Alain Resnais, en 1956. Afin d'appréhender la notion de récit de soi, nous partons des conclusions que Michel Foucault propose dans son cours au Collège de France en 1982, sur " L'Herméneutique du sujet ", et nous considérons donc le récit de soi dans la perspective d'un renouvellement des pratiques du souci de soi. C'est à partir d'une sélection de douze textes, choisis dans un corpus de récits de soi français ou francophones, que nous analysons l'écriture personnelle de la résistance. Notre sélection rassemble des récits de soi choisis pour leur diversité générique - journal, témoignage, poésie, correspondance, livre de raison, essai - ainsi que pour les différentes situations de résistance qu'ils présentent. Il s'agit donc de revisiter l'idée de résistance personnelle perçue comme une attitude de " refusance " telle que Philippe Breton l'a décrite, et de définir, dans le cadre de l'écriture du récit de soi, comment le sujet entre en résistance et dans quelle mesure cette résistance personnelle peut être assimilée à un acte : d'une position foucaldienne de résistance en puissance, émanant de la pratique du souci de soi, le récit de soi devient un acte de résistance face à l'expérience nazie.

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García, Contreras Pilar. "Mauricio Wacquez y la novela latinoamericana: alegorías de la historia : ficción histórica y testimonial." Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/140653.

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Tesis para optar al grado de Doctor en Estudios Latinoamericanos La tesis muestra el modo en que la narrativa del autor Mauricio Wacquez representa un cambio en el rumo de las narrativas de la década del sesenta. Él junto a otros novelistas como Adolfo Couve, Cristian Huneeus, Antonio Skármeta, Juan Agustín Palazuelos y Enrique Valdés, entre otros, constituyen la llamada generación de la década del sesenta, o generación del exilio –generación diezmada o generación de 1972 según la crítica–. Su obra constituye un paradigma tanto en el ensayo como en la narrativa de este periodo de transformación que se propone en tres momentos, representados por el decurso de la obra del autor, sus fechas de publicación y la recepción crítica de esta. La investigación en torno a sus manuscritos ha puesto en evidencia la relevancia del autor en el contexto internacional y mundializado de la práctica literaria y de la figura del intelectual durante los años inmediatamente anteriores al Golpe Militar, la década del setenta y del ochenta, y el proceso de redemocratización. De este modo, la obra de Wacquez reposiciona los horizontes históricos en crisis, generados durante la represión dictatorial en novelas que muestran el funcionamiento de los mecanismos de poder, llevando la representación a sus límites. Es propuesta una ordenación de la obra del autor y un modelo de periodización para narrativas de la década del sesenta, la dictadura y la primera década de redemocratización. El periodo va de 1971 hasta 2000. La investigación, por su parte, revela tres modos en que aparecen formas de historicidad representadas por corpus de novelas que sostienen afinidad con la obra de Wacquez y particularmente con la novela Frente a un hombre armado, eje de la discusión y el análisis. Novela que muestra el modo en que la historia fue presentada y descrita bajo el modelo de una alegoría clásica versus una alegoría experimental (política y estetizante). El primero está representado 1) por un corpus significativo de novelas de la vanguardia que muestran la activación de la referencialidad histórica y de la historia como elemento de desautomatización. De manera comparativa son abordadas las obras de los autores 2) José Donoso y Adolfo Couve, como obras contemporáneas al autor; 3) finalmente, las de Roberto Bolaño y Antonio Gil –la de Ricardo Piglia–, con el objetivo de revisar modos de historicidad que presentan semejanzas con la obra de Wacquez en procedimientos narrativos y proposiciones sobre el referente histórico –el modo en que este es representado– que muestran una renovación de los modos en que la ficción representó dimensiones de lo histórico, en un más allá de la nueva novela histórica. CONICYT 2009–2013. Beca para estudios de Doctorado.

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Espinosa, Martínez Daniella. "El Infarto del Alma: Testigo y Testimonio." Tesis, Universidad de Chile, 2005. http://repositorio.uchile.cl/handle/2250/110246.

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Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura El informe intenta dar cuenta de la posibilidad de testimoniar a partir de las bases propuestas por GiorgioAgamben en su libro Lo que queda de Auschwitz. El archivo y el testigo., aplicándolo a la escritura de Diamela Eltit en su libro conjunto con Paz Errázuriz, El infarto del alma. Para ello, se examinan los distintos tipos de textos que recorren esta producción, todos ellos insertos en lo que son los géneros referenciales. De este modo, se analiza la figura del musulmán, como figura emblemática del excluido, de aquel sujeto reducido al estado de pura presencia, testimonio mudo en espera de un testigo. Así, se investigan las analogías con la figura del recluido psiquiátrico y también sus sutiles pero notables diferencias. Se concluye así, que a partir de una desubjetivación –proveniente del exiliado social- que se subjetiviza en el testigo, es posible encarar el testimonio y hacerlo parte de una realidad.

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Butnaru, Mirela. "Confluencias de los Generos Literarios en la Literatura Centroamericana: Testimonio, Novela y Narrativas del Yo." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439455048.

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Young, Stephenie Ann. "The limits of testimonio, language, and history a reading of Diamela Eltit and contemporary Chilean discourse /." Diss., Online access via UMI:, 2005.

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Dominguez, Luis. "Cultural resistance and native testimonio in the Americas : a study of the life stories by Juan Pérez Jolote, Nuligak Kriogak and An Antane Kapesh." Mémoire, Université de Sherbrooke, 2012. http://hdl.handle.net/11143/6506.

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This thesis explores native testimonies in Canada, Mexico, and Quebec written between 1950 and 1980. The goal of this research is to study the strategic use of life writing and the testimonial genre by Native subjects in particular in their struggle for self-governance, cultural recognition and survival in order to talk back to the dominant neo/colonial culture. Testimonio allows Native voices to emerge in scriptocentric culture while questioning the authority of neo/colonial cultures and addressing important issues regarding Native survival. The focus of this study is how the use of testimonial writing allows Native cultures to renegotiate history, fight cultural misrepresentation and resist cultural assimilation. By finding new ways to transmit oral knowledge and traditional heritage, while undergoing the process of mediation, such as translation and/or editing, Native writers are able to judiciously use testimonio as an empowering tool for cultural survival. The truth claims found in these narratives are discussed individually in order to render a clearer picture about Natives' oppression in the Americas. This enables the socio-historical specificities of each Native discourse to emerge from various geopolitical contexts and to stand tall against neo/colonial oppression. In order to better understand how testimonio can put forward Native voices and demands, this study draws on testimonial theory from researchers such as John Beverley, George Yudice and Georg Gugelberger as well as on postcolonial and life-writing theory. According to these theorists, testimonio writing speaks urgently about oppression, marginalization and survival, often for political not just aesthetic This thesis studies life stories by Juan Perez Jolote, Nuligak Kriogak, and An Antane Kapesh as example of testimonio, by analysing the collaboration between the author/teller and the editor/translator; the cultural mis/representation within these narratives, and the resistance (if any) these works engage in. The use of native languages (especially: Tzotzil, Inuvialuktun, and Innu-aimun) at the early stages of the collaboration testifies to the ongoing cultural survival of the Chamula, the Inuvialuit, and of the Innu in the 20 th century. The political urgency of these testimonios can be observed at the different stages of the process of their liberation in each respective narrative.

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Kalawski, Isla Andrés. "Cronotopos del testimonio en cinco obras dramáticas chilenas postdictadura." Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/108980.

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Carvajal, Álvaro. "Aprendizaje y desaprendizaje en Tejas Verdes. Testimonio de una memoria." Tesis, Universidad de Chile, 2004. http://www.repositorio.uchile.cl/handle/2250/110153.

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André, Rhina Landos Martinez. "El testimonio, Roque Dalton y la representación de la catástrofe." Universidade de São Paulo, 2003. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-26052003-182534/.

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RESUMEN Con base en dos concepciones teóricas sobre la literatura de testimonio una relativa a la producción de América Latina, entre 1960 y 1980, y otra referente al campo de reflexión sobre la Shoah este trabajo considera a Roque Dalton como autor de literatura de testimonio no únicamente por su obra Miguel Mármol. Los sucesos de 1932 El Salvador, sino también por su poesía. Esta representa la vivencia de la catástrofe con los mismos valores éticos y los mismos procedimientos estéticos que otros autores de otras tradiciones literarias utilizaron para representar la violencia del S. XX. Para demostrar esta tesis, que coloca al autor salvadoreño en diálogo con escritores tanto de América Latina como de Europa, analizamos un corpus de poemas de su obra Taberna y otros lugares, Premio Casa de las Américas, La Habana, Cuba, 1969. RESUMO Com base em duas concepções teóricas sobre a literatura de testemunho uma relativa à produção da América Latina, entre 1960 e 1980 e outra referente ao campo de reflexão sobre a Shoah este trabalho considera Roque Dalton como autor de literatura de testemunho não apenas por sua obra Miguel Mármol. Los sucesos de 1932 en El Salvador mas também por sua poesia. Esta representa a vivência da catástrofe com os mesmos valores éticos e os mesmos procedimentos estéticos que outros autores de outras tradições literárias utilizaram para representar a violência do século XX. Para demonstrar esta tese, que coloca o autor salvadorenho em diálogo com escritores tanto de América Latina como de Europa, analisamos um corpus de poemas de sua obra Taberna y otros lugares, Prêmio Casa de las Américas, la Habana, Cuba, 1969.

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Dissertations / Theses on the topic 'Testimonial literature'

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