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. ^

Entre la provincia y el mundo. Modernidad e innovacion en la narrativa de Lino Novas Calvo

Lino Novás Calvo (1903–1983) is by many considered the best Cuban short story writer. Critics acknowledge his major contribution to the modernization of narrative prose in that country. With Cayo Canas and La Luna Nona, the short story achieved a language of its own, a precise technique, an acute outlook and an awareness of its own individual art form. Nevertheless, his novels and short stories have not received the recognition and the distribution they deserve, in part because his books have not been reprinted. ^ The purpose of this dissertation is to analyze the innovative character of Novás Calvo's work. From the starting point of traditional discourse, he gathered together the main tendencies that until then co-existed in Cuban literature (realism, social criticism, criollismo, Afro Cuban themes and cosmopolitism) and renewed them with modern contributions, mainly assimilated from American authors writing between the two World Wars. He based himself in a concept of realism that does not limit itself to recreating reality and that eludes language localisms and the portrayal of environments. He brought Cuban characters and themes to his stories which at the same gave them a universal dimension. Novás Calvo participated in debates which amounted to a rupture between tradition and localism and brought universality to the Cuban short story. This achieved the aesthetic syncretism imposed by modernity. ^

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. ^

Revaloracion de la comedia de Pedro Munoz Seca: Un teatro menospreciado

The comedies of Pedro Muñoz Seca (1879-1936) received extraordinary public acclaim for over thirty years, yet critics rejected them. Although several experts have recently begun to study his plays in an objective manner, this author has generally either been underrated or omitted from theater histories. This study identifies the merit, contributions and relevance of Muñoz Seca's works so that the unwarranted void that now exists in Spanish theater annals is justly filled. Historical and biographical backgrounds and a brief sketch of the development of comedy in Spain serve to introduce the literary, political and social contexts in which the author develops the subgenre known as "astracán" and introduces the "fresco" character type. ^ This analysis illustrates Muñoz Seca's verbal comic techniques---the use of regional dialects and individuals' speech peculiarities, double entendres, incongruence, periphrasis, and ingenious plays on words. It also explores the author's profound theatrical sense manifested in inter-textual references and self-reflexivity within the content of his plays. In addition, it identifies the scenic creativity he displays through the use of cinematography, the removal of color from stage decor (or the elimination of scenery altogether), and the original application of music to create comic effect. Furthermore, this study comments the satirical tone projected in Muñoz Seca's characters' idiolect and barbarisms as socio-political conditions worsen. Finally, it brings forth the author's use of parody to criticize his society and to deride other theatrical genres in vogue during his time. ^ While the polarization between Muñoz Seca's popular success and the critics' rejection can be explained by esthetic and ideological prejudices, this dissertation ascertains that the true nature of the author's plays has not been properly identified. The "astracán" is a double parody; however, since it caricaturizes a comic subgenre that is already burlesque, its defining parodic features have been consistently misinterpreted as mere exaggerations and defects. What is more, as its critical content is not recognized, its renewing function goes unnoticed. Muñoz Seca's "astracán" illustrates an era of the Spanish comic stage and paves the way for the theater of the absurd. Its merit and relevance must be recognized. ^

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. ^

“I had a different way of governing”: The evangelical presidential style of Jimmy Carter and his mission for Middle East peace

President Jimmy Carter once said, "I had a different way of governing." In attempting to explain what he meant by this, Carter has been variously described as a political amateur, a trustee, a non-political politician, an "active-positive" president, and a forerunner of the 1990s' New Democrats. It is argued here, however, that mere secular descriptions and categories such as these do not adequately capture the essence of Carter's brand of politics and his understanding of the presidency. Rejecting Richard Neustadt's prescriptions for effective presidential leadership, Carter thought political bargaining and compromise were "dirty" and "sinful." He deemed the ways of Washington as "evil," and considered many, if not most, career politicians immoral. While he fully supported the institutional separation of church and state, politics for Carter was about "doing right," telling the truth, and making the United States and the world "a better demonstration of what Christ is." Like two earlier Democrats, William Jennings Bryan and Woodrow Wilson, Carter understood politics as an alternative form of Christian ministry and service. In this regard, Carter was a presidential exception. Carter's evangelical faith gave his politics meaning, skill, vision, and a framework for communication. Using Fred Greenstein's categories of presidential leadership, Carter's faith provided him with "emotional intelligence", too. However, Carter's evangelical style provoked many of his contemporaries, including many of his fellow Democrats. To his critics at home and abroad, Carter was often accused of being arrogant, stubborn, naive, and ultimately a political failure. But as evinced by his indispensable role in negotiating peace between Israel and Egypt, his leadership style also provided him some remarkable achievements. The research here is based on a thorough examination of President Carter's many writings, his public papers, interviews, and opinion pieces. Written accounts from former Carter administration officials and from Israeli and Egyptian participants at Camp David are also used. This project is largely descriptive, qualitative in approach, but quantitative data are used when appropriate and as supplements.

"Unfair'' Restaurant Reviews:To Sue Or Not To Sue

In their discussion entitled - “Unfair” Restaurant Reviews: To Sue Or Not To Sue - by John Schroeder and Bruce Lazarus, Assistant Professors, Department of Restaurant, Hotel and Institutional Management at Purdue University, the authors initially state: “Both advantages and disadvantages exist on bringing lawsuits against restaurant critics who write “unfair” reviews. The authors, both of whom have experience with restaurant criticism, offer practical advice on what realistically can be done by the restaurateur outside of the courtroom to combat unfair criticism.” Well, this is going to be a sticky wicket no matter how you try to defend it, reviews being what they are; very subjective pieces of opinionated journalism, especially in the food industry. And, of course, unless you can prove malicious intent there really is no a basis for a libel suit. So, a restaurateur is at the mercy of written opinion and the press. “Libel is the written or published form of slander which is the statement of false remarks that may damage the reputation of others. It also includes any false and malicious publication which may damage a person's business, trade, or employment,” is the defined form of the law provided by the authors. Anecdotally, Schroeder and Lazarus offer a few of the more scathing pieces reviewers have written about particular eating establishments. And, yes, they can be a bit comical, unless you are the owner of an establishment that appears in the crosshairs of such a reviewer. A bad review can kneecap even a popular eatery. “Because of the large readership of restaurant reviews in the publication (consumer dining out habits indicate that nearly 50 percent of consumers read a review before visiting a new restaurant) your business begins a very dangerous downward tailspin,” the authors reveal, with attribution. “Many restaurant operators contend that a bad review can cost them an immediate trade loss of upward of 50 percent,” Schroeder and Lazarus warn. “The United States Supreme Court has ruled that a restaurant owner can collect damages only if he proves that the statement or statements were made with “actual malice,” even if the statements were untrue,” the authors say by way of citation. And that last portion of the statement cannot be over-emphasized. The first amendment to the U.S. Constitution does wield a heavy hammer, indeed, and it should. So, what recourse does a restaurateur have? The authors cautiously give a guarded thumbs-up to a lawsuit, but you better be prepared to prove a misstatement of fact, as opposed to the distinguishable press protected right of opinion. For the restaurateur the pitfalls are many, the rewards few and far between, Schroeder and Lazarus will have you know. “…after weighing the advantages and disadvantages of a lawsuit against a critic...the disadvantages are overwhelming,” the authors say. “Chicago restaurant critic James Ward said that someone dumped a load of manure on his yard accompanied by a note that read - Stop writing that s--t! - after he wrote a review of a local restaurant.” Such is a novel if not legally measurable tack against an un-mutual review.

Is There Hospitality for Disabled Travelers?

There is a plethora of options about what constitutes “accessibility.” Countries like England and Canada are making significant progress in improving accommodations. The Americans with Disability Act is being revised, but critics say hotels are not complying with either the letter or the spirit of the law. The author, a retired FIU professors who writes about disabled travel from his wheelchair, explores these issues from a very personal point of view.

The Impact of the Restaurant Critic

Restaurant critiques have an effect on the sales volume of restaurants following the publication of the critique in the target markets’ media. The author discusses data from restaurant operations in the greater Cleveland, Ohio, metropolitan area which have had their operations publicly critiqued, and also addresses the credibility of critics.

Space-for-Time Substitution Works in Everglades Ecological Forecasting Models

Space-for-time substitution is often used in predictive models because long-term time-series data are not available. Critics of this method suggest factors other than the target driver may affect ecosystem response and could vary spatially, producing misleading results. Monitoring data from the Florida Everglades were used to test whether spatial data can be substituted for temporal data in forecasting models. Spatial models that predicted bluefin killifish (Lucania goodei) population response to a drying event performed comparably and sometimes better than temporal models. Models worked best when results were not extrapolated beyond the range of variation encompassed by the original dataset. These results were compared to other studies to determine whether ecosystem features influence whether space-for-time substitution is feasible. Taken in the context of other studies, these results suggest space-for-time substitution may work best in ecosystems with low beta-diversity, high connectivity between sites, and small lag in organismal response to the driver variable.

Space-for-Time Substitution Works in Everglades Ecological Forecasting Models

Space-for-time substitution is often used in predictive models because long-term time-series data are not available. Critics of this method suggest factors other than the target driver may affect ecosystem response and could vary spatially, producing misleading results. Monitoring data from the Florida Everglades were used to test whether spatial data can be substituted for temporal data in forecasting models. Spatial models that predicted bluefin killifish (Lucania goodei) population response to a drying event performed comparably and sometimes better than temporal models. Models worked best when results were not extrapolated beyond the range of variation encompassed by the original dataset. These results were compared to other studies to determine whether ecosystem features influence whether space-for-time substitution is feasible. Taken in the context of other studies, these results suggest space-fortime substitution may work best in ecosystems with low beta-diversity, high connectivity between sites, and small lag in organismal response to the driver variable.

Miami Art Show, June 1, 1974

Dahlia Morgan with Charles Perry. In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.