Alberto Girri, or poetry as hermeneutic reason

One of the main factors that makes the poetry of the Argentine Alberto Girri (1919–1991) a whole world of its own is my argument that in a fragmentary world like the present, poets search for a formal integrity which in the act of reading creates not only their own inner world but also the readers'. It is important to insist on this turning point in which most of the Symbolist work is circumscribed. Later, this would be of capital importance for the avant-garde as well as for the post-avant-garde: Mallarmé's Un coup de dés jamais n'abolira le hasard would make poetry something absolutely modern. An original distribution of the white and black opened a new space for the text, shifting the then dominant phonocentrism. My close reading of this author as well as the given theoretical frame avoids the failure into an instrumental use either of the page or of the writing but ignoring physical reciprocity. What follows is, that this “shift” privileged heightened vision over audition of the “musical score”. Thus, an intense materialization of the language is achieved that increases the anonymity of the text. ^ Following this new arrangement of words, so to speak, Girri's poetic work now drives deeply inside words in order to lend them dignity from meaning. I conclude that the best way to “render” this poetry with religious aim (L. “re-ligare” to bind the fragmented) is by way of the philosophy of language. I also propose that Girri's task as a translator, mainly from English poetry, represented—with Jorge Luis Borges—a paradigmatic shift in the Spanish American horizon which had been under “logocentric” French rule since the time of Independence. This seismic change of perspective in late Modernism and post-Modernism is represented by a radical screening of Romance rhetoric, it was a shift not only over the inherited mother tongue but over his own work which was increasingly moving towards transcendent and/or metaphysical poetry. ^ Therefore, I did find that Girri's poem was constructed as a mirror closely related to that which was represented in the angelological tradition. ^

Crueldad, simulacion, absurdo y amenaza: Barbarie del drama moderno y tradicion hermetica en los esperpentos de Ramon del Valle-Inclan

The purpose of this dissertation is to demonstrate that the esperpentos by the Spanish playwright Ramón del Valle-Inclán (1866–1936), represent a culminating moment of theatrical precepts of modern European drama, while perpetuating the ancient esoteric traditions of the Iberian Peninsula. Focusing on four plays—Los cuernos de Don Friolera (1920), Luces de Bohemia (1921), Las galas del difunto (1926) y La hija del Capitán (1927)—the research elucidates how this interpretation furthers understanding of the process that embraces the anti-realistic clamours during the initial decades of the XX century, up to the subsequent climax of the aesthetics of Cruelty, Absurdity, Simulation, and Menace. ^ In search for an ideal scenic language capable of reflecting the grotesque character and mystical essence of the esperpentos, this project examines the most significant works of philosophers from the hermetic tradition such as Plato, Pithagoras, Aquinas, and Flamel. Other important authors are Éliphas Lévy and H. P. Blavatsky, two personalities of great preponderance in the spiritual effervescence and occultist apotheosis at the turn of the 20th century. Finally, the mystical ideas of Spanish philosopher Roso de Luna and the psychological works on alchemy and magic by Jung find their conceptual correspondence in Valle-Inclán's aesthetic manifesto, La lámpara maravillosa. ^ The ultimate objective of this dissertation is to provide a proposal for a mise en scène of the esperpentos, aesthetically based on the simultaneous scenarios of the New Stagecraft and conceptually inspired by the mystical principles of the hermetic tradition. The comparative approach of this study establishes a dialogue between modernity and the esoteric tradition that results in a new Koncept for their representation, providing a simultaneous scenario, far from realistic theatre, and more coherent to house the magical substance of the esperpentos. ^

Regional aspects of Miami crime fiction

This thesis argues that forces of literary regionalism and postmodern culture are behind the explosion of crime fiction being written in and about South Florida by a growing number of resident authors. ^ Research included four methods of investigation: (1) A critical reading of many of the novels that make up the sub-genre. (2) A study of the theories of regionalism, postmodernism and the genre of the crime fiction. (3) Interviews with a number of the authors and a prominent Miami book seller. (4) Sociological studies of Miami in terms of historical events and their cultural significance. ^ Today's South Florida crime fiction authors cast their narratives in the old genre of the detective novel where characters are delineated according to traditional definitions of good and evil. What makes South Florida crime fiction different from traditional detective fiction is its interest in the exotic, postmodern culture and setting of South Florida. There is a unique cultural diversity of the city due to the geographical location of Miami in relationship to Latin America and the Caribbean, and the political forces at work in the region. South Florida's sub-tropical climate, fragile ecosystem, and elements of frontier life in a cosmopolitan city work to support Miami crime fiction. ^

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. ^

La caída del hombre nuevo: Narrativa cubana del “Período Especial”

The purpose of this dissertation is to demonstrate that the societal changes that took place in Cuba during the last decade of the twentieth century, period know as The Special Period in Times of Peace, created the necessary conditions for the development of a new type of narrative. The first chapter constitutes an historical overview of the role of the State in the literary and artistic creation in revolutionary Cuba. The second, third, and fourth chapters analyze the major characteristics in the narrative of this period, creating a contrast with previous decades of the revolutionary era. With such purpose the study is divided into three categories: language, themes, and ideology. The usage of language as a means of transgression, the recurrence of the topic of need, and the rebirth of critical thinking, represent the principal characteristics of this literary period, and confirm the main idea of this dissertation: the fall of the ideal of the New Man. The final chapter summarizes the findings of the study and poses a question: If the ideal of the New Man has ceased to exist, what has replaced it? The question of whether or not a new ideal has replaced that of the New Man, and what that ideal might be, constitutes a stepping-stone for further studies in the area of Cuban narrative of the Special Period and beyond.

Representation of people of color in the nineteenth century slavery novel in Cuba and Brazil

This dissertation explores the similarities and differences which characterize the depiction of people of color in certain representative nineteenth century Cuban and Brazilian slavery novels as a function of the authorial approach of each territory's literary tradition toward the issues of slavery, racial prejudice, and people of color. The selected texts, derived from the peak periods in slavery literature of each territory, include Francisco , by Anselmo Snárez y Romero; Sab, by Gertrudis Gómez de Avellaneda; Cecilia Valdés , by Cirilo Villaverde; A escrava Isaura, by Bernardo Guimarães; O mulato, by Aluísio Azevedo; and Bom-Crioulo, by Adolfo Caminha. While the present study explores the enslavement, abuse, and discrimination of people of color as a consequence of a deep-seated discourse of power, privilege and racial superiority, it focuses more extensively on the representation of people of color, particularly in their capacity to constructively appropriate the cultural values of the white dominant group and recognize their identity as ambiguous. ^ Said's theories of Orientalist discourse and geography and formation as well as Dube's perspective on subaltern-oriented studies provide a theoretical framework for exploring the response of slavery writers whose common exposure to slavery but dissimilar socio-political contexts generate some startling findings. Crafted within a period of political repression, fear of black revolt, factional in-fighting as well as strong socioeconomic ties to the slaveholding class, the Cuban texts generally fashioned an approach to slavery as one marked by moderation, reform, and cultural counter discourse and consequently depict people of color with a more passive but culturally authentic outlook. On the other hand, the Brazilian response to the issue of slavery, steeped in an ideological amalgam of liberalism, positivism, republicanism, and abolitionism, is characterized by overt opposition to slavery and a representation of people of color that is less concerned with cross-cultural input but reclaims their humanity as highly educable and socially mobile persons in search of greater freedoms. Ultimately, there is a shared message of higher significance couched in the worthwhile mission of raising slaves to the level of men. ^

Dulce Maria Loynaz' Jardin: Subversive tropological discourse

The purpose of this dissertation is to analyze how the tropes or figurative discourse in Loynaz’s novel, Jardín, becomes a means by which she involves the reader within a text that subverts socio-cultural conventions. Through textual analysis, it explains how the poet communicates her views of the world as a conflictive space where existence is the will to live, life being a human construction like a garden, and a woman’s decision –often frustrated by men– to seek self-realization.^ By tracing some critical studies focused on polarities allegedly present in Jardín, such as: poetry/prose, lyric poetry/novel, word/silence, life/death, character novel/space novel, civilization/barbarism, posmodernismo/vanguardismo, and femininity/feminism, this essay explores Loynaz’s esthetic and ideological codes to demonstrate how opposition can be seen in her novel as part of her arrangement of an artistic philosophy.^ This research refers to three main sources: the semiotician Umberto Eco’s notion of the text’s indeterminacy as an opera aperta, reception theory, and Mikhail Bakhtin’s concept of dialogism. By applying these theories to the analysis of this novel, I seek to show Loynaz’s literary modus (tropological language) and ideological dictum , which correlate oppositions and transform them as a point of departure to reconsider civilized life. The poet is presented as an esthetic force that compels the reader to question some false values, by creating an implicit but intelligent dialogue between him/her and a lyrical text. To describe such literary procedure, I coin in this study the term dialirismo (dialyricism). ^ My essay is centered on the tropes through which Loynaz creates her dialyrical text. By focusing on metaphor, symbol, synecdoche, and metonymy, I examine Jardín as a convergence of the following conceptual aspects: intertextuality, primitivism, and feminist discourse. I argue that Loynaz’s novel is a creative response to the literary tradition, as well as a proposal to understand writing –and reading– as an open, interactive process in search not only of artistic values but also of critical knowledge.^ This exploration shows how the novelist faces a so-called civilized world through the eyes of her fictional character, Bárbara, who confronts patriarchal discourse. It celebrates Loynaz’s poetic representation of this inquisitive woman, in her fenced garden, as a human being who can see, above and beyond an iron curtain, the possibility to overcome an aggressive male-centered civilization.^

Incursión en el espacio ontológico de las novelas “La ninfa inconstante” de Guillermo Cabrera Infante y “Todos se van” de Wendy Guerra

This thesis examines the phenomenological projection of space in two Cuban novels: La ninfa inconstante (2008) by Guillermo Cabrera Infante (1929–2005), and Todos se van (2006) by Wendy Guerra (1970–). Both novels are paradigmatic of two generations of Cuban writers who portray the city of Havana as a backdrop against which to project socio-political and biographical narratives. To problematize ethical and political omissions in the novels, this work incorporates disciplines such as philosophy, urbanism, architecture, sociology and literary theory. Through the concepts of prominent phenomenologists, such as Gaston Bachelard, Martin Heidegger and Maurice Merleau-Ponty, amongst others, this study evaluates how space becomes a construction to ambivalent dynamics of truth telling within contrasting, suffocating sociopolitical contexts. In addition, it explores how these phenomenological spaces are defined in relation to power. For instance, the Cuban Revolution, and its aftermath of more than 52 years, brings forth a sense of displacement and placelessness. The novels present and develop both authors’ spatial consciousness (that we call “ontological space”), which is not necessarily a container of three-dimensional objects, but instead, fictional emergent constructions. This thesis concludes that literature can become a meaningful space to cope with unbearable realities.

La kabala dentro del discurso contemporaneo y urbano: El ejemplo de Marcos Ricardo Barnatan

This dissertation analyzes the relationship between several mystic Sephardic texts called the Kabalah which include the three basic mystic books of Judaism: Sefer Yetsira, Sefer Bahir, and Sefer Zohar, and Argentine writer of Jewish descent, Marcos Ricardo Barnatan’s experimental work. The premise is that several mystic Sephardic texts have certain literary characteristics that make them fertile sources for the inspiration of writers like Barnatan. This thesis proves that Barnatan’s poetry and his first novel El Laberinto De Sion both use the most general concepts of the Kabalah in developing his literary and artistic creations. ^ This study is focuses on the concept that there exists a possibility of reading kabalistic texts not only in an exegetical way, but also in a poetic way. Barnatan’s literature is prone to this kind of reading of the texts. He creates a surprisingly expressive structure without ties to established models. This expressive structure is built on a vast amount of symbols, which results from this freedom. Barnatan adopts multiple symbols from cosmogenic theories and makes use of them, thus incorporating both the spirit and style of kabalistic texts into his own work. ^ Instead of addressing some of the main concerns of Kabbalistic study and its commentary, Barnatan avoids the concern for Law, the study of the Torah and its commentaries, while avoiding the use of the Hebrew language. For this reason Barnatan is too deviant to be considered an extension from the mainstream Kabbalistic commentary. Barnatan’s work is destined for a reader who cannot only understand his experimental methods, but who can also assemble a disjointed text while accepting a fundamental instability of space and time.^

The Spanish Civil War in the twenty -first century peninsular narrative: Narrative endeavors towards a national reconciliation?

This dissertation analyzes six twenty-first century novels that reflect Spain's current intellectual trends on the Spanish Civil War, Francoism and the transition to a democratic system. These novels deal with the complex correlation between memory and amnesia caused by the traumatic events of the Civil War. Despite the abundance of literature on this topic, these writers insist on the need for the recovery of historical and collective memory in order to halt the negative historical revisionism of recent years. Beginning with the death of Francisco Franco, this work focuses on the historical-theoretical framework that leads to the development of this mnemonic narrative and outlines the politics of memory effectuated during the transitional period, a lieu de mémoire frequently revisited and examined by new generations of writers. The novels analyzed also call for the retelling of history from the perspective of everyday people and address the need to pay overdue homage to victims of the post-war era.^ This work concludes that, while the texts may be considered settings for posthumous tributes, they could likewise advocate for a national reconciliation. Thus, as this narrative reveals, by focusing more on the need for a work on memory than on political and ideological polarizations, the memory of restitution does not interfere with the memory of reconciliation. The writers in question are nonetheless aware that reconciliation cannot be based on a spurious amnesia. The first step, therefore, towards reconciliation is to achieve a legitimate dialogue with regard to the traumatic past, and literary works may offer a tenable path. ^

On Record: Soundscapes as Metaphor and Physical Manifestation of Memory in Early Holocaust Novels and Contemporary Criticism

This thesis compares two perspectives on the production of Holocaust memory: a novel that leads up to The Holocaust in Britain and one that reflects the hindsight perspective of a liberator in the Soviet Union. The novels are Virginia Woolf’s BETWEEN THE ACTS and Vasily Grossman’s LIFE AND FATE. The analysis offers a locus of analysis for the diasporic literary energy created by the catastrophe in the 20th and 21st centuries. The project offers a theorized standpoint on the role of literature on official historical archives. Proposing a method through which contemporary readers can engage the diasporic event of The Holocaust, the project adopts both the extended metaphor and literal expression of soundscapes. Soundscapes encompass the immaterial processes of memorialization and the literal sonic textures developed in Holocaust novels. The critical perspective incorporates contemporary notions of narratology, archival practices, and cultural manifestations of language into the notion of literary ethnomusicology.

On the Mediterranean conveyor belt system

The Mediterranean Sea is a semi-enclosed sea, connected to the Atlantic Ocean through the Gibraltar Strait and subdivided in two different regions by the Sicily Strait. The geographical extension of the basin, the surface heat flux, and the water inflow from the Gibraltar Strait are some of the basic factors determining its horizontal and vertical circulation. In the Mediterranean strong salinity and temperature zonal gradients contribute to maintain the zonal-vertical circulation, while meridional-vertical cells are equally forced by winds and deep water mass formation in three regions, the Gulf of Lyon, the southern Adriatic and the Cretan Sea areas. The objective of this thesis is to study how these cells combine together to form the Mediterranean conveyor belt system. This has never been attempted before so the conclusions are necessarily preliminary. In the first part we discuss the vertical zonal and meridional circulation by reconstructing the Wust Mediterranean vertical salinity and temperature structures in an attempt to evaluate the water mass structure consistent with modern data. Our results confirm that Wust depicted vertical circulation from scarce data is reproduced by the past 27 years observations. The structure of both meridional and zonal circulations was discussed using velocity vertical streamfunctions with two different methods. The first one, eulerian, allowed us to observe vertical structures that were already reported in the literature. Recent studies in the Atlantic Ocean have shown that gyres and eddies have an important influence in the isopycnal vertical circulation. This is called the residual circulation which was computed in this study for the first time. A possible interpretation of horizontal connection between the meridional and zonal cells was discussed using horizontal streamfunction. In the last part of the thesis we have been developing an idealized numerical model to study the vertical circulation in the Mediterranean.

Understandings of transnational families in debates on Migration and development

International migration sets in motion a range of significant transnational processes that connect countries and people. How migration interacts with development and how policies might promote and enhance such interactions have, since the turn of the millennium, gained attention on the international agenda. The recognition that transnational practices connect migrants and their families across sending and receiving societies forms part of this debate. The ways in which policy debate employs and understands transnational family ties nevertheless remain underexplored. This article sets out to discern the understandings of the family in two (often intermingled) debates concerned with transnational interactions: The largely state and policydriven discourse on the potential benefits of migration on economic development, and the largely academic transnational family literature focusing on issues of care and the micro-politics of gender and generation. Emphasizing the relation between diverse migration-development dynamics and specific family positions, we ask whether an analytical point of departure in respective transnational motherhood, fatherhood or childhood is linked to emphasizing certain outcomes. We conclude by sketching important strands of inclusions and exclusions of family matters in policy discourse and suggest ways to better integrate a transnational family perspective in global migration-development policy.