The problematics of mestizaje in the Indigenist Peruvian novels of "Yawar Fiesta" (1941) by Jose Maria Arguedas, "El mundo es ancho y ajeno" (1941) by Ciro Algeria, and "Los rios profundos" (1958) by Jose Maria Arguedas

This study was a critical reassessment of the problematics of mestizaje in three representative texts pertaining to the Indigenist Peruvian narrative: Yawar Fiesta (1941) by José María Arguedas; El mundo es ancho y ajeno (1941) by Ciro Alegría; and Los ríos profundos (1958) by José María Arguedas. As this investigation demonstrated, Alegría's and Arguedas' writings went beyond the reach of Indianism and orthodox Indigenism, which were prevalent during the first decades of the twentieth century, to emphasize, the values of the Indian peasantry as well as those of the mestizo and mestiza: the products of Indian and white unions, who were also considered representatives of the Peruvian culture. ^ The first chapter traced the historical process of mestizaje and demonstrated how the discursive practice of this mestizaje was expressed in the Indigenist Peruvian narrative. The chronological organization of the chapters in this dissertation paralleled the evolution of this narrative.^ The relevance of my research lies on the important contribution it makes to the field of Indigenist literature, by seeing mestizaje as both a reconstruction and a reinterpretation of the idea of nation, identity and cultural interchange. In Alegría's and Arguedas' novels, the Indigenous reality was not only seen as an isolated phenomenon, but also as the dichotomy of European versus Indian values. As a result, Indigenist narrative presented a true and all encompassing world; therefore, Alegría's and Arguedas' narrative deepened our understanding of the aspects of a multicultural society.^ In order to accomplish this analysis, research was conducted in areas such as history, languages, ethnology, ethnography, anthropology, folklore, religion, and syncretism. My study was based on works such as Antonio Cornejo Polar's heterogeneous literatures, Mijail Bajtín's conception of dialogism and polyphony, Benedict Anderson's Imagined Communities, Angel Rama's notion of transculturation, Homi Bhabha's liminal space, Walter Ong's study of orality and literacy, and Julia Kristeva's theory of abjection, among others.^

Ser-tão de Buriti: o corpo de noturno rumor (a poética de Guimarães Rosa e o pensamento literário contemporâneo)

This thesis is to analyze the fictional texture of Buriti, novella by Guimarães Rosa, which makes part of Corpo do Baile. Gilles Deleuze‘s philosophical background as well as similar theorists such as Mircea Eliade, Derrida, Bataille, Foucault, Blanchot and Nie-tzsche constitute the main reference, as example of Guimarães Rosa‘s problematizing writing, since they present as basic element of thought the desterritorialization of con-cepts, standards and institutionalized knowledge by the dominant literary language. Along with the theoretical perspective of current alterity on these authors, Buriti is crossed by one aesthetics substantiated with a multiplicity of narrative points of view, opening gaps to other non-sacralized, nomadic voices, using polyphony as a way of breaking and destabilizing crystallized truths related to the canons of mother tongue. Interwoven by a poetic side of transgression, the narrative of Buriti finds especially marked by the signs of the backlands and of the night, which rhizomatically point to a sense of infinity, eternity, loneliness, vertigo before the abyssal, evoking the singularity of a ser-tão before the night, "the body of nocturnal rumor." The nights in the backlands in Buriti give rise to the emergence of a state of subjectivity, the ser-tão, whose nature is shown as a space of communion of the various beings that humans put on the same level of other living beings, setting up a sharing cosmic territory, enjoyment between pain and pleasure, between death and life. It is the night in the darkness, the shadows, the ser-tão is exposed, the being in his depth, facing himself with his internal rumors, which project themselves through the noise, the sound amplified by the vastness of the night at the desert backlands. "The backlands is the night." (ROSA, 1988, p.92).

Ser-tão de Buriti: o corpo de noturno rumor (a poética de Guimarães Rosa e o pensamento literário contemporâneo)

This thesis is to analyze the fictional texture of Buriti, novella by Guimarães Rosa, which makes part of Corpo do Baile. Gilles Deleuze‘s philosophical background as well as similar theorists such as Mircea Eliade, Derrida, Bataille, Foucault, Blanchot and Nie-tzsche constitute the main reference, as example of Guimarães Rosa‘s problematizing writing, since they present as basic element of thought the desterritorialization of con-cepts, standards and institutionalized knowledge by the dominant literary language. Along with the theoretical perspective of current alterity on these authors, Buriti is crossed by one aesthetics substantiated with a multiplicity of narrative points of view, opening gaps to other non-sacralized, nomadic voices, using polyphony as a way of breaking and destabilizing crystallized truths related to the canons of mother tongue. Interwoven by a poetic side of transgression, the narrative of Buriti finds especially marked by the signs of the backlands and of the night, which rhizomatically point to a sense of infinity, eternity, loneliness, vertigo before the abyssal, evoking the singularity of a ser-tão before the night, "the body of nocturnal rumor." The nights in the backlands in Buriti give rise to the emergence of a state of subjectivity, the ser-tão, whose nature is shown as a space of communion of the various beings that humans put on the same level of other living beings, setting up a sharing cosmic territory, enjoyment between pain and pleasure, between death and life. It is the night in the darkness, the shadows, the ser-tão is exposed, the being in his depth, facing himself with his internal rumors, which project themselves through the noise, the sound amplified by the vastness of the night at the desert backlands. "The backlands is the night." (ROSA, 1988, p.92).

La vérité polyphonique : la problématisation théorique et pratique de la dichotomie entre fiction et documentaire, précédé du film YT Remix

La création cinématographique de l’étudiante qui accompagne ce mémoire sous la forme d’un DVD est disponible à la Médiathèque de la Bibliothèque des lettres et sciences humaines sous le titre : YT Remix (documentaire) ; Sonorisation d'un extrait de L'homme à la caméra (D. Vertov).(https://umontreal.on.worldcat.org/oclc/957316713)

Transcultural satire in German fiction of Turkish migration: Self-deprecation, ethnic impersonation, intertexuality

My dissertation presents a study of satire in contemporary German Fiction of Turkish migration. Engaging with a body of works hitherto neglected in scholarship, I examine how satirical texts, films, and plays intervene critically in discourses on post-unification German national identity. Drawing on the seminal work of scholars such as Leslie Adelson, Tom Cheesman, B. Venkat Mani, Petra Fachinger, and Deniz Göktürk, my dissertation expands the scholarship of Turkish German Studies by linking a discussion of satire as a critical rhetoric to the question of how we talk about what it means to be German.

Chapter one offers a novel framework of the satirical vis-à-vis standard conceptions of satire and deconstructionist theories of reading. I understand satire as a form of rhetoric that creates moments of ambiguity by bringing together intersectional categories like gender, ethnicity, race, religion, in order to challenge the audience’s practices of interpreting cultural otherness. Chapter two examines the use of ethnic self-deprecation as one such strategy in Osman Engin’s short stories and his first novel, Kanaken-Ghandi through the lens of Bakhtinian polyphony and Judith Butler’s work on hate speech. Engin, I argue, employs ethnic selfdeprecation as a narrative strategy to straddle the line between deconstructing and re-affirming cultural stereotypes. Investigating the role of ethnic impersonation in Hussi Kutlucan’s film Ich Chef, Du Turnshuh, the third chapter turns to the question of ethnicity as a visual signifier for the negotiation of cultural inclusion and exclusion in post-1990 film. In dialogue with Katrin Sieg’s work on ethnic drag and Amy Robinson’s theory of passing, I show how the film challenges ethnically-coded narratives of Germanness. In the final chapter on Nurkan Erpulat and Jens Hillje’s play Verrücktes Blut, I discuss how intertextuality and adaptation (Hutcheon, Genette) of different story and character worlds are used to create moments of ambiguity and overdeterminacy in the play, in order to challenge the audience’s perception of what an inclusive German society might look like.

La vérité polyphonique : la problématisation théorique et pratique de la dichotomie entre fiction et documentaire, précédé du film YT Remix

La création cinématographique de l’étudiante qui accompagne ce mémoire sous la forme d’un DVD est disponible à la Médiathèque de la Bibliothèque des lettres et sciences humaines sous le titre : YT Remix (documentaire) ; Sonorisation d'un extrait de L'homme à la caméra (D. Vertov).(http://atrium.umontreal.ca/notice/UM-ALEPH002370775)

Eclipses, razón y superstición en las vidas de Nicias y Dión de Plutarco

A partir de un abordaje retórico-literario, nuestro objetivo es indagar las representaciones discursivas de los elementos supersticiosos en la biografía de Nicias y en la de Dión. Tomaremos como ejemplo el eclipse de luna narrado en Nicias 23 y reiterado en Dión 24, para demostrar que mediante la repetición del ejemplo en dos contextos distintos Plutarco nos invita a reflexionar sobre la superstición de un modo más atractivo que la mera exposición teórica de doctrinas filosóficas.

Os exus em casa de catiço : etnografia, representações, magia

This dissertation is the result of an ethnographic journey undertaken in three spiritual centers of Umbanda , located in different districts of Natal/RN. The aim of the study was to understand how the representations of exus (spirit category) are established in the studied religious environment. In order to study this, mythical narratives of songs and of people were analyzed. In addition, the incorporated spirit entities, loaded with codes and values, were possible to be read and understood. The present work was developed according to a theoretical and methodological approach that interprets culture as a constant construction process, with representations and significations. The empirical research focuses on the ethnographic observations and the narratives; providing the experimentation of the models of discursive dialogues and polyphony. It was observed that the studied empirical field is marked by the cult of the Jurema which influences the mythical construction of exus . Therefore, this study enabled a reflection on the meeting of notions of two distinct worlds ( Umbanda and Jurema ). This reflection is crucial to the understanding of the position that exus occupy in the local umbandista system

Os exus em casa de catiço : etnografia, representações, magia

This dissertation is the result of an ethnographic journey undertaken in three spiritual centers of Umbanda , located in different districts of Natal/RN. The aim of the study was to understand how the representations of exus (spirit category) are established in the studied religious environment. In order to study this, mythical narratives of songs and of people were analyzed. In addition, the incorporated spirit entities, loaded with codes and values, were possible to be read and understood. The present work was developed according to a theoretical and methodological approach that interprets culture as a constant construction process, with representations and significations. The empirical research focuses on the ethnographic observations and the narratives; providing the experimentation of the models of discursive dialogues and polyphony. It was observed that the studied empirical field is marked by the cult of the Jurema which influences the mythical construction of exus . Therefore, this study enabled a reflection on the meeting of notions of two distinct worlds ( Umbanda and Jurema ). This reflection is crucial to the understanding of the position that exus occupy in the local umbandista system

A primeira tradução de o leão e a joia, de Wole Soyinka, para o português do Brasil : análise descritiva da oralidade

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2016.

De Pas pire à Pour sûr : faits et effets des langues chez France Daigle

La littérature de l’Acadie du Sud-Est émerge dans un contexte lui-même déjà hétérolingue (Grutman). Le chiac porte d’ailleurs les traces de cette cohabitation linguistique puisque son caractère hybride traduit la forte interaction entre les communautés de la région. Or, son usage suscite-t-il une réflexion inquiète sur la situation diglossique du français acadien ou est-il strictement créatif ? Le présent mémoire porte sur le rapport à la langue dans les romans récents de France Daigle, soit Pas pire (1998), Un fin passage (2001), Petites difficultés d’existence (2002) et Pour sûr (2011), en mettant au jour les particularités sociolinguistiques et la façon dont le texte « parle la langue » (Gauvin). Bien qu’il mette à distance les présupposés idéologiques, l’œuvre de Daigle demeure extrêmement sensible au contexte socioculturel d’où il émerge. Ainsi, si l’œuvre s’affranchit d’un réalisme sociolinguistique, c’est afin de créer une « fiction linguistique » (Baetens Beardsmore) qui reconfigure l’imaginaire social de Moncton tout en intégrant certaines inquiétudes bien « réelles ». Qui plus est, la prise en compte de la polyphonie structurelle de l’œuvre permet de s’affranchir de la lecture ethnographique. 

De Pas pire à Pour sûr : faits et effets des langues chez France Daigle

La littérature de l’Acadie du Sud-Est émerge dans un contexte lui-même déjà hétérolingue (Grutman). Le chiac porte d’ailleurs les traces de cette cohabitation linguistique puisque son caractère hybride traduit la forte interaction entre les communautés de la région. Or, son usage suscite-t-il une réflexion inquiète sur la situation diglossique du français acadien ou est-il strictement créatif ? Le présent mémoire porte sur le rapport à la langue dans les romans récents de France Daigle, soit Pas pire (1998), Un fin passage (2001), Petites difficultés d’existence (2002) et Pour sûr (2011), en mettant au jour les particularités sociolinguistiques et la façon dont le texte « parle la langue » (Gauvin). Bien qu’il mette à distance les présupposés idéologiques, l’œuvre de Daigle demeure extrêmement sensible au contexte socioculturel d’où il émerge. Ainsi, si l’œuvre s’affranchit d’un réalisme sociolinguistique, c’est afin de créer une « fiction linguistique » (Baetens Beardsmore) qui reconfigure l’imaginaire social de Moncton tout en intégrant certaines inquiétudes bien « réelles ». Qui plus est, la prise en compte de la polyphonie structurelle de l’œuvre permet de s’affranchir de la lecture ethnographique. 

Incidente em Antares e O cão e Os caluandas : Literatura brasileira e angolana na perspectiva da sátira menipeia

Esta pesquisa estuda Incidente em Antares, de Erico Veríssimo, e O cão e os caluandas, de Pepetela, na perspectiva da sátira menipeia. Para além da biografia dos autores, busca-se discutir as origens do gênero da menipeia, recuperando o seu mais importante representante - Luciano de Samósata. É, porém, sob a teoria de Mikhail Bakhtin que se analisam as obras dos escritores brasileiro e angolano. Quer-se verificar a presença de específicas características da sátira menipeia, as quais são o carnaval e o riso ritual, a paródia, a liberdade imaginativa, o fantástico e seus desdobramentos, as cenas excêntricas, os contrastes, a polifonia, a utilização de gêneros intercalados e a chamada publiscística atualizada. No último capítulo há uma observação sociológica das obras, o que permite pensá-las como um retrato das sociedades a que os autores se referem. ABSTRACT: This research studies Incidente em Antares, by Erico Veríssimo, and O cão e os caluandas, by Pepetela, in the perspective of the menippean sati.re. Besides de authors' biography, it tries to discuss the origin of the genre, recovering its most important representative - Luciano de Samosata. However, the search analyses the works of the Brazilian and Angolan writers upon the theory of Mikhail Bakhtin. lt intends to verify the presence of the specific characteristics of the menippean satire, which are: carnival and the ritual Iaughting, parody, imaginative freedom, the fantastic and its unfolding, eccentric scenes, contrasts, polyphony, intercalary genres and the up-to-date publiscistic. ln the last chapter there is a sociologic observation concerning the works, which allow thinking about them as a portrait of the societies that the authors want to discuss.

Iberian and Latin American Music Scholarship on the Ascent: Reflections from the United States

In the early twentieth century, musicology was established as an academic discipline in the United States. Nonetheless, with the exception of Iberian medieval and Renaissance repertories, U.S. scholars largely overlooked the music of the Spanish- and Portuguese- speaking world. Why should this have been the case, especially in light of Spain’s strong historical presence in the United States? This autobiographical essay examines this question by tracing the career of an individual musicologist, the Hispanist musicologist Carol A. Hess. Evaluated here are disciplinary shifts in U.S. musicology —methodological, philosophical, and ideological— over the past thirty years. These transformations have combined to make this repertory a viable field of study today. Musicologists in the United States can now make their careers by specializing in Iberian and Latin American music, as well as the music of the Hispanic diaspora. They research topics ranging from the avant-garde composer Llorenç Barber to the rapper Nach Scratch or the popular bandleader Xavier Cugat and his U.S. audiences of the 1940s, while others also pursue the time-tested areas of medieval and Renaissance music. Iberian and Latin American music is regularly offered in postsecondary institutions while instructors now have a variety of textbooks and other pedagogical resources from which to choose. All add up to a disciplinary freedom that would have been unthinkable only a few decades ago.