Political fragments of Archytas, Charondas, Zaleucus, and other ancient Pythagoreans,

Mode of access: Internet.

Enarrationes in Psalmos.

Includes bibliographical references.

I documenti d'amore di Francesco da Barberino secondo i mss. originali,

Contents of x. IV.--Prefazione.--Lessici: Glossario italiano; Glossario latino.--Indice.--Correzioni ed aggiunte.

Die Kunst der deutschen Prosa : Aesthetisch, literargeschichtlich, gesellschaftlich /

Mode of access: Internet.

Jukugo ruijū Meiji bunshō taisei

Mode of access: Internet.

Les prosateurs français du XIXe siécle;

Mode of access: Internet.

Impure Memory, Imperfect Justice: A Comparison of Post-Repression Fiction Across the South Atlantic

Thesis (Ph.D.)--University of Washington, 2016-06

Metahistoria nacional y metaficcion biografica en "Historia de Mayta", de Mario Vargas Llosa

The thesis explores Mario Vargas Llosa's Historia de Mayta in light of recent studies of Latin America's new historical novel (Menton, Juan-Navarro) and in connection with contemporary literary theory (Waugh, Stonehill) and new trends in the philosophy of history (White, Foucault). In my study, I focus on three major levels of analysis: (1) significant events in Peruvian history to which the novel alludes; (2) biographical elements that strongly evoke the lives of Ernesto "Che" Guevara, Jacinto Renteria, and Vargas Llosa himself; and (3) the self-referential devices that aim at questioning the validity of empirical analysis in both fiction and history. The allegorical dimension of the novel's view of modern Peruvian politics, its biographical component, and the self-consciousness of its historiographic approach make of Historia de Mayta both a metahistory of Peru and a biographical metafiction. The thesis ultimately reveals the problematic borderline between fiction and reality, the novel and history.

Women defending themselves: Cuban Romantic feminine voices (poetry and short stories)

Throughout history, women have played an important role in literature. Nevertheless, since Sappho's poetry until now, feminine voices have had to struggle for recognition of their works. ^ Before the nineteenth century, women were almost ignored in Spanish literature. Society kept them as “ángeles de la familia,” taking care of their homes, husbands, and children. Some of them, such as María de Zayas y Sotomayor in Spain and Sor Juana Inés de la Cruz in Mexico, complained about their situation in their writings. However, they expressed their fight not as a generation but as individuals. ^ In the nineteenth century, the ideas and ideals of Romanticism, were brought to Latin America from Europe. Cuba was among those countries where the new movement took roots. Initiated by Gertrudis Gómez de Avellaneda, a group of women began to participate in literary reunions, and to found newspapers and magazines where works authored by women, dedicated to feminist ideas, were published. They indeed through literature started to live out womanhood in order to intellectually leave the ideological prisons where society had been keeping them. ^ This study scans the literary works of all Romantic women writers in Cuba. It specifically analyzes poetry and short stories, and investigates how these authors expressed themselves in their works against the patriarchal society, where they lived and wrote their books. An eclectic critical method has been used. ^ Findings were very revealing. Only three of the fourteen writers studied in my dissertation had been previously mentioned by major critics. Most of them had been ignored. However, the greatest discovery was that they prompted something new: For the first time they projected themselves as a group, as a collective consciousness, and this fact established a difference with former women writers in Cuban literature before Romanticism. In other words, they produced a “Renaissance” in Cuba's literature. In spite of how they lived between 1820 and 1900, their struggles for women's rights have linked them to our current times. ^

Relectura del discurso novomundista de Alejo Carpentier y Abel Posse en el contexto de la nueva novela historica

The purpose of this dissertation was to analyze the narrative works of Alejo Carpentier and Abel Posse within the context of the new Latin American historical novel that revises the Old World-New World Encounter. Focusing on El arpa y la sombra and Los perros del paraíso , the dissertation studied the particular manner in which Latin American novelists, and particularly Alejo Carpentier and Abel Posse, approach and question traditional historiography. The research also compared different novels to identify various trends within the new historical novel that rewrites the foundational period of Latin American literature. ^ This study considered the theories of the new historical novel as proposed by critics such as Seymour Menton, Fernando de Aínsa, Linda Hutcheon, and Brian MacHale. The new novel was examined within the frameworks of postmodern literary and historiographic theories. The study also contemplated the philosophical views that have influenced postmodern thought, and, especially, the ideas of Nietzsche, Heidegger, Lyotard, Harbermas, and Foucault. ^ Research showed two major trends within the new Latin American historical novel. In the case of the first trend, initiated by Alejo Carpentier in 1949 with El reino de este mundo, the novelist's approach is founded on historicism and factual rigor. The second trend, initiated by Reinaldo Arenas with El mundo alucinante in 1969, is marked by irreverence, parody, irony, and carnavalization. Characterized by intertextuality, dialogism, and anachronism, novels such as Carpentier's El arpa y la sombra and Posse's Los perros del paraíso, undermine the values and beliefs instituted by the traditional historiographic paradigm and the discourse of power. ^

Ficcion de racionalidad: La memoria como operador mitico en las esteticas polares de Jorge Luis Borges y Jose Lezama Lima

The aesthetic placement and period designation of Jorge Luis Borges (1899–1986) and José Lezama Lima (1910–1976) are complicated issues among critics. Borges is considered a predecessor of the Latin American literary “boom,” but despite that taxonomy his work transcends that definition and provides a foundation for new trends, such as the “neobarroco” cultivated by Severo Sarduy. Lezama is considered part of the second wave of the “boom,” but his work feeds, stylistically, from the Spanish baroque. At the same time, Lezama's daring treatment of homoeroticism and his system of images place him after the “boom” in a narrative style that is postmodern. This study undertakes a revision of external and internal issues, revealing the key fictive elements that characterize both writers. Through discourse analysis, a poetic system is formulated, which incorporates features of the “neobarroco,” and postmodern narrative styles. ^ This dissertation uses a polar structure to analyze both poetic visions and finds that they are symmetrical. From this perspective, Borges and Lezama belong to the “core” of literature that centers its emphasis in the creation of a system versus other modes of writing in which mimetic function prevails. By doing this and by recycling world culture, they create postmodern myth: the new building material for Hispanic American literature. ^ There are a few studies that explore the works of Borges and Lezama within the context of Baroque aesthetics. This dissertation offers a comprehensive analysis that considers their poetic visions at large. Besides the difference in perspective, defined as macro-spatial in Borges and micro-spatial in Lezama, there are many similarities. Both writers question the cause and effect relationship and the use of metaphor. They share a redefinition of genre as well as a hedonistic approach to literature. This kinship in poetic vision is revealed through the polar method used for this study, which proposes a new form of aesthetic placement and period designation. ^

Relectura del discurso narrativo de las primeras tres decadas de la Republica Cubana en el contexto de los rasgos de la picaresca

The purpose of this dissertation was to study the narrative discourse of three Cuban novelists who produced their works from 1902 to 1933, using a typology that reveals a picaresque view of Cuban society. Focusing on La conjura and La manigua sentimental by Jesús Castellanos (1879–1912), Las honradas and Las impuras by Miguel de Carrión (1875–1929), and Generales y doctores and Juan Criollo by Carlos Loveira (1882–1928), this dissertation identified and defined picaresque traits and elements in the characterization, contrasting main and secondary, male and female characters, at all social levels. ^ The study considered the theories of the Spanish picaresque novel proposed by Antonio Maravall, Américo Castro, Claudio Guillén, Marcel Bataillon, and other critics, in order to delineate a model of traditional picaresque behavior, which was then applied to the analysis of each character. Sociopolitical and cultural conditions, as well as the psychology of the Cuban collective as presented by the authors, were also analyzed to pinpoint similarities and differences between the traditional Golden Age rogue and the characters created by the authors. ^ Critics who have studied the influence of the Spanish picaresque genre on the Latin American novel make no reference to any of the authors or novels included in this study. Key analyses, however, identified the presence of characters that use picaresque modes of behavior as a means to manipulate the structures of power in order to survive and as a futile attempt to achieve their ends within a socioeconomic context that is undergoing a significant transition. Castellanos' characters use their picaresque behavior mainly to attain a higher social status. Carrion concentrates on picaresque behavior in women as a means to manipulate the dominant male society, while Loveira's picaresque characters are mainly interested in securing a position of political power. ^

Entre el terror y la irrealidad: La narrativa poetica postmoderna de Reinaldo Arenas

This study focuses on the works of Cuban writer Reinaldo Arenas, one of the most prolific and controversial Latin American authors in the second half of the twentieth century. First, I propose Arenas as the creator of the Cuban revolutionary novel (a term coined by critics when referring to the narrative written after the revolution), within the scope of postmodern historiographic metafiction and against the trend of the official revolutionary novel promoted by the political establishment. Through the analysis of the five novels of the pentagony and other texts, my study follows the tragic journey of the antihero protagonist, from adolescence into adulthood, registering the correlation between his existential crisis and the narrative historical discourse. Contemporary Cuba from 1959 onwards—the historical-political circumstances that afflicted and overwhelmed him the most—becomes the point of reference to deconstruct reality and reaffirm the existence of a “self” threatened by the violence of a totalitarian discourse. Out of the fragments of this reality, Arenas undertook a radical reconstruction in which he inverted and questioned every inherited cultural value, as well as the power structures. Within this context, Arenas projects what I call “the Cuban hideous unreal”, an ontological and literary vision antagonistic to the carpentirean concept of the American “marvelous real”. ^ Despite the ostracism Reinaldo Arenas suffered for ten years, this study shows how he established through his work a meditative dialogue with himself and the common man. This perspective formulates a permanent literary and philosophic reflection with thinkers and writers of his country and the West, as the basis for a rejection of the Cuban reality. The resultant interdisciplinary and postmodern dialogue constitutes one of the most significant and distinctive contributions of his work. ^

Representación de la mujer transgresora en la novelística de la Cuba republicana

This dissertation explored the subversive feminine discourse in the most representative novels of the first quarter of the twentieth century in the newly born republic of Cuba. Drawing on the feminist theories of Simone de Beauvoir, Toril Moi and Pierre Bourdieu, these women were analyzed in the context of their time, their class level and their race. Because it is oppressive and theoretically unsatisfactory to reduce women to their general "humanity" or to their "femininity", my purpose was to analyze them as human beings in a "specific situation" and show how they curtailed the laws that patriarchy has prepared for them. The novels studied were: Doña Guiomar, by Emilio Bacardí; A fuego lento, by Emilio Bobadilla; La manigua sentimental, by Jesús Castellanos; Las honradas, by Miguel de Carrión; Las impuras, by Miguel de Carrión, and Ecué-Yamba-O, by Alejo Carpentier. Women will obtain freedom and independence from patriarchal control, symbolic power, symbolic violence, and hypnotic power when they are educated and have obtained a working position in society similar to men or by joining the political struggle in their community, in their country, or in the global organizations.

Propuestas para una reconceptualización surrealista y postmoderna de la sexualidad femenina en los textos de Cristina Escofet e Isabel Allende

Female sexuality has commonly been viewed as the passive counterpart of male sexuality. Building upon Adrienne Rich's theory of compulsive heterosexuality, I would suggest that the fundamental location of this problem lies within the subconscious. Cristina Escofet's stance on this issue is to argue in favor of a deconstruction of Jungian archetypes, revealing their constructed rather than intrinsic character. In this dissertation, I study representative texts by Escofet and Isabel Allende and show not only how they depict patriarchal compulsive heterosexuality, but also try to reconceptualize female sexuality through surrealist and postmodern techniques such as self-reflection, dialogue with our double or Other, and sensorial perception. These techniques are designed to create a new epistemology of jouissance and excess, as defined by contemporary French theory. The significance of my study resides in the interdisciplinary analysis of female sexuality in Hispanic feminist writers. The first chapter proposes that surrealism, postmodernism, and feminism are theoretical frameworks which create new paradigms for social change. In their feminist philosophies, Escofet and Allende emphasize the use of subconscious knowledge as a means of helping them understand the world and create alternative realities. The second chapter shows how Escofet and Allende deconstruct the mysoginist archetype of Eve, which has been largely responsible for identifying women's sexual identity with the disreputable qualities of the femme fatale and whose mirror-image has long plagued women. In accordance with this stereotype, Lillith (Adam's sexually active ex-partner), has typically been portrayed as the negative Other, and for generations the she-devil myth which surrounds her has resurfaced in the media, where she assumes the role of innumerable evil female characters. In the third chapter, I examine how class and race differences have been used to intensify the demonization of different types of sexuality. In the same manner as Lillith and Eve, black and indigenous characters express dissent by retelling their stories in words and performance, and by seeking to form a dialog with their readers. The last chapter deals with the importance of the senses for female characters as they try to create their own sexuality from the fragmented bodies we find in surrealist and postmodern art. In this section we shall see how Luce Irigaray and Hélène Cixous's theories about multiple sexualities are in evidence when Escofet and Allende reconceptualize female sexuality. As no previous scholarship has analyzed the use of the subconscious, the senses, and performance when understanding female sexuality in Latin American literature, this dissertation seeks to provide a tentative exploration of the issues that may help to open up a new field of research in Hispanic feminist cultural studies.