Boy exile turned saint: Elián Gonzalez as a contested religio-ideological symbol among cuban-american catholics

This Master's thesis explores the hypothesis that Elian Gonzalez functions as a religious and ideological symbol for Cuban-Americans similarly to La Virgen de la Caridad del Cobre. Both La Caridad and Eliin are contested symbols among most Cuban and Cuban-American individuals, meaning both groups appropriate them toward their religious and ideological ends. The Virgin aids in the formulation of a collective identity for members of the Cuban exile community. Her shrine in Miami bridges the spatial and temporal gap between the exile community and the homeland of Cuba and represents the exile's hope for a return to a free Cuba. Elian functions as a metaphor of the Cuban exile experience, and thus a multi-leveled, transnational, religious and ideological symbol. In order to assess this, theoretical and journalistic materials are used, along with personal interviews and participant observation. This methodology is used to determine the function Elian serves for this community.

Inmanencia mistica en la obra de Federico Garcia Lorca

The purpose of this dissertation was to analyze the works of Federico García Lorca within the mystic context that dominates their very genesis. The problematic definition of mysticism was explored lest it be confused with traditional mysticism, which implies union with the divine. The historiography of literature speaks of the Mystic Genre, yet it does not address the mystic mode of artistic creation due to its inability to adhere to rational measure. This mode of conception was explored through Lorca's poetic discourse: ‘Lorquian mysticism’ is the result of the poet's cultivation of an innate spiritual potential enhanced by external influences and technical mastery. ^ There is visible influence of Fray Luis of León in Lorca's early Libro de poemas and El maleficio de la mariposa, as well as of Saint John of the Cross in the later Diván del Tamarit, Sonetos de amor and Yerma. However, definitive echoes of poets from the Sufi and other Eastern mystic traditions were also illustrated in these late works. A persistent longing to elide the physical condition, the greatest obstacle of the transcendental quest, is the essence of Lorca's poetic voice. ^ The object of this analysis was Lorca's language, which reaches levels removed from conventional thought. His dazzling metaphors and his particular use of symbols and of paradox compare equitably with those of great mystic poets. Like them, Lorca was faced with the same limitations of language to describe an ineffable experience; he embraced what Octavio Paz describes as ‘sacred language’: there is a linguistic frugality as well as an ambiguity in Lorca's poetic art that result from his realization of supercognitive states. Yet such an interpretation is rejected by the rationalist approach, invoking the age-old debate between faith and reason and signaling the application of psychoanalytical theory. This limited approach was disputed on the basis of reader-response theory. Lorca was truly an eclectic and a modification of the conventional reader's preestablished horizon of expectations is essential in order to seal the gaps in his late works. This innovative perspective placed Lorca within the framework of a new mysticism in the modern world. ^