Para subsistir dignamente: Alberto Yarini and the search for Cubanidad, 1882-1910

This study looks at the broader transformations in Cuban history through the case study of a single, yet symbolic, man, and proposes a new paradigm for understanding the dynamics of Cuban society and culture. It also examines the implications for Cuba’s aspiring national identity at the turn of the twentieth century, by detailing the interplay between fact and fiction in the story of Alberto Yarini: elite born; well-educated; politically and socially well-connected; powerful; and celebrated Cuban racketeer and chulo (pimp). Yarini was described as vibrant and triumphant at a time when other nation-building forces in Cuba were weak and ambivalent. A century after his dramatic death, Yarini became the quintessential public man in Cuban lore who symbolized a cubanidad (Cuban national identity) not defined in terms of the ideological hegemony of class, race, or gender, and who through his actions dispelled the ambivalence that plagued Cuban nationalism. Using archival documents, contemporary newspaper accounts, court records, memoirs, and published works, this study analyzes the confluence of national events and individual action in the formation of Cuban national identity. It contends that for Cuba, the failure of nation-building experiments resulted in an ambivalent national identity based on failed philosophical and political ideals of equality and prosperity. These ideals played out within the context of the realities of racial discrimination, political dissonance, and class and gender barriers. Instead of a cohesive sense of national character, for Cubans the result was a competing set of identities including a populist version that was defined through identification with antitypes and pseudo-heroes such as Alberto Yarini y Ponce de León (1882-1910), a rising politician and celebrated chulo of the early republic. The telling and retelling of his story has given rise to what has been termed the island nation’s first national myth – one that continues to evolve and grow in the twenty-first century. For many Cubans, the Yarini antitype provided an idealized national identity which in many ways was—and many argue continues to be— the expression of an elusive and ambivalent cubanidad.

The Enchanter's Spell: J.R.R. Tolkien's Mythopoetic Response to Modernism

J.R.R. Tolkien was not only an author of fantasy but also a philologist who theorized about myth. Theorists have employed various methods of analyzing myth, and this thesis integrates several analyses, including Tolkien’s. I address the roles of doctrine, ritual, cross-cultural patterns, mythic expressions in literature, the literary effect of myth, evolution of language and consciousness, and individual invention over inheritance and diffusion. Beyond Tolkien’s English and Catholic background, I argue for eclectic influence on Tolkien, including resonance with Buddhism. Tolkien views mythopoeia, literary mythmaking, in terms of sub-creation, human invention in the image of God as creator. Key mythopoetic tools include eucatastrophe, the happy ending’s sudden turn to poignant joy, and enchantment, the realization of imagined wonder, which is epitomized by the character of Tom Bombadil and contrasted with modernist techno-magic seeking to alter and dominate the world. I conclude by interpreting Tolkien’s mythmaking as a form of mysticism.

Ficción de Racionalidad: La memoria como operador mítico en las estéticas polares de Jorge Luis Borges y José 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 obviously 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 and styles, 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 revolutionary system of images place him after the “boom” in a narrative style that is postmodern. This study undertakes a thorough revision of external and internal issues, revealing the key linguistic and fictive elements that characterize both writers. Through discourse analysis and close reading, a poetic system is formulated, which incorporate features of the “neobarroco,” “boom” and postmodern narrative styles. This dissertation uses a polar structure to analyze both poetic visions and concludes that they are compatible and 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 only a few studies that explore the works of Borges and Lezama within the context of Baroque aesthetics. For the first time, 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 in content and form. Both writers question the cause and effect relationship and the modern use of metaphor. They also share a redefinition of genre as well as a hedonistic approach to literature and culture. 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.

The Saints of Banias

THE SAINTS OF BANIAS is a novel set in a fictional slavetown during the Reconstruction Era. The work seeks to blend myth, magic, and history to create a world that is both believable and otherworldly. The novel follows Beah, an ex-slave girl travelling to the town of Banias in hopes of finding her mother; Prophet Moon, an itinerant vision-seer who offers to help Beah with her goal; and the founder of the town, Claude Banias, who struggles to protect Banias from bloodthirsty radicals. As the characters’ lives intertwine, they face more challenges and secrets. THE SAINTS OF BANIAS is loosely based on the biblical story of David and Bathsheba, with Claude acting as David, Beah as Bathsheba, and Prophet Moon as a hybrid of Nathan and Uriah. The novel primarily explores destructive love, the value of hope, and the price of preserving a culture.

Race Relations & Politics in Venezuela during Punto Fijo (1958 – 1998)

In 1998, Hugo Chávez Frías’ presidential candidacy brought race to national discussion in Venezuela for first time since 1945. For long, the country’s politics had abided by the myth of racial harmony and racial democracy. This approach pointed to institutional separation in the United States and Africa as examples of true racism. Latin America was largely void of such atrocities. Nonetheless, Chávez claimed the present political parties (Acción Democrática, Copei and Unión Republicana Democrática) disenfranchised the common, colored Venezuelan. He continued to assert the opposition’s racism during his presidency. And his political fanbase agrees. A variety of scholars have studied the break from Punto Fijo politics to the Bolivarian Revolution. Yet, few have linked the obvious class struggle to race. Here, I seek to explain how racial identity has shaped class identity in Venezuela by closely examining the Punto Fijo era (1958-1998). The essay begins with an overview of historical race relations, moving to the period in focus. Then, I examine systematic and institutional exclusion under Punto Fijo politics. The object is to understand the merit of Chávez’s racial claims since 1998. Hence, the study also sees democracy in action and the consequences of racial exclusion. The study will be accomplished through secondary research, considering the limitations brought by working abroad. In the end, this study serves as first step in analyzing the fall of what was once considered Latin America’s most durable democracy.

Race Relations & Politics in Venezuela during Punto Fijo (1958 – 1998)

In 1998, Hugo Chávez Frías’ presidential candidacy brought race to national discussion in Venezuela for first time since 1945. For long, the country’s politics had abided by the myth of racial harmony and racial democracy. This approach pointed to institutional separation in the United States and Africa as examples of true racism. Latin America was largely void of such atrocities. Nonetheless, Chávez claimed the present political parties (Acción Democrática, Copei and Unión Republicana Democrática) disenfranchised the common, colored Venezuelan. He continued to assert the opposition’s racism during his presidency. And his political fanbase agrees. A variety of scholars have studied the break from Punto Fijo politics to the Bolivarian Revolution. Yet, few have linked the obvious class struggle to race. Here, I seek to explain how racial identity has shaped class identity in Venezuela by closely examining the Punto Fijo era (1958-1998). The essay begins with an overview of historical race relations, moving to the period in focus. Then, I examine systematic and institutional exclusion under Punto Fijo politics. The object is to understand the merit of Chávez’s racial claims since 1998. Hence, the study also sees democracy in action and the consequences of racial exclusion. The study will be accomplished through secondary research, considering the limitations brought by working abroad. In the end, this study serves as first step in analyzing the fall of what was once considered Latin America’s most durable democracy.

Análise experimental do consumo de um veículo flex operando com diferentes misturas de gasolina/etanol em tráfego urbano

This study is an analysis, on a trial basis, the fuel consumption of a Flex vehicle, operating with different mixtures of gasoline and ethanol in urban traffic, allowing more consistent results with the reality of the driver. Considering that most owners unaware of the possibility of mixing the fuel at the time of supply, thus enabling the choice of the most economically viable mixing gasoline / ethanol, resulting in lower costs and possibly a decrease in pollutant emission rates. Currently, there is a myth created by the people that supply ethanol only becomes viable if the value of not more than 70% of regular gasoline. However vehicles with this technology make it possible to operate with any percentage of mixture in the fuel tank, but today many of the owners of these vehicles do not use this feature effectively, because they ignore the possibility of mixing or the reason there is a deeper study regarding the optimal percentage of the mixture to provide a higher yield with a lower cost than proposed by the manufacturers.

Análise experimental do consumo de um veículo flex operando com diferentes misturas de gasolina/etanol em tráfego urbano

This study is an analysis, on a trial basis, the fuel consumption of a Flex vehicle, operating with different mixtures of gasoline and ethanol in urban traffic, allowing more consistent results with the reality of the driver. Considering that most owners unaware of the possibility of mixing the fuel at the time of supply, thus enabling the choice of the most economically viable mixing gasoline / ethanol, resulting in lower costs and possibly a decrease in pollutant emission rates. Currently, there is a myth created by the people that supply ethanol only becomes viable if the value of not more than 70% of regular gasoline. However vehicles with this technology make it possible to operate with any percentage of mixture in the fuel tank, but today many of the owners of these vehicles do not use this feature effectively, because they ignore the possibility of mixing or the reason there is a deeper study regarding the optimal percentage of the mixture to provide a higher yield with a lower cost than proposed by the manufacturers.

Dançando a carne: uma poética do corpo no mito adâmico

In this dissertation we reflect about sensitive the dimension of the body, which enables us to participate in mythical space and set him as a potential space for artistic creation in dance, experience provider in senses for world, for life and for existence. It´s a written, thrashing some reflections on the human condition from a gaze cast upon the myth of Adam, leading us to think about the possible relationships between art and myth in contemporary times, as fields of knowledge open to creation, and semantic spaces able to assign new meanings to living through the pulsations of a body that is myth and what is dance. One of the goals of this study is set up a new point of view to analyze the Adam's myth, enabling to new interpretations, meanings and understandings from the experience in the process of creation in contemporary dance. Therefore, methodologically reference is made in the Phenomenology, or rather the phenomenological attitude proposed by Merleau-Ponty (1994), which considers the experience of the body as the primary source of knowledge. Dipping on this process of creation in contemporary dance, one artistic and choreographic work was originated, titled "The Body I am”, in contemplation of this dance that echoes the mystery, that emerges from the depths of the body, and it brings to the human surface and your world, your relationships. Realize that dance is as a sensitive guide and counselor reflections ontological and epistemological, able to validate and perpetuate the myth whereas ancestral wisdom inheritance.

Other Than a Citizen: Vernacular Poetics in Postwar America

Few symbols of 1950s-1960s America remain as central to our contemporary conception of Cold War culture as the iconic ranch-style suburban home. While the house took center stage in the Nixon/Khrushchev kitchen debates as a symbol of modern efficiency and capitalist values, its popularity depended largely upon its obvious appropriation of vernacular architecture from the 19th century, those California haciendas and Texas dogtrots that dotted the American west. Contractors like William Levitt modernized the historical common houses, hermetically sealing their porous construction, all while using the ranch-style roots of the dwelling to galvanize a myth of an indigenous American culture. At a moment of intense occupational bureaucracy, political uncertainty and atomized social life, the rancher gave a self-identifying white consumer base reason to believe they could master their own plot in the expansive frontier. Only one example of America’s mid-century love affair with commodified vernacular forms, the ranch-style home represents a broad effort on the part of corporate and governmental interest groups to transform the vernacular into a style that expresses a distinctly homogenous vision of American culture. “Other than a Citizen” begins with an anatomy of that transformation, and then turns to the work of four poets who sought to reclaim the vernacular from that process of standardization and use it to countermand the containment-era strategies of Cold War America.

In four chapters, I trace references to common speech and verbal expressivity in the poetry and poetic theory of Charles Olson, Robert Duncan, LeRoi Jones/Amiri Baraka and Gwendolyn Brooks, against the historical backdrop of the Free-Speech Movement and the rise of mass-culture. When poets frame nonliterary speech within the literary page, they encounter the inability of writing to capture the vital ephemerality of verbal expression. Rather than treat this limitation as an impediment, the writers in my study use the poem to dramatize the fugitivity of speech, emphasizing it as a disruptive counterpoint to the technologies of capture. Where critics such as Houston Baker interpret the vernacular strictly in terms of resistance, I take a cue from the poets and argue that the vernacular, rooted etymologically at the intersection of domestic security and enslaved margin, represents a gestalt form, capable at once of establishing centralized power and sparking minor protest. My argument also expands upon Michael North’s exploration of the influence of minstrelsy and regionalism on the development of modernist literary technique in The Dialect of Modernism. As he focuses on writers from the early 20th century, I account for the next generation, whose America was not a culturally inferior collection of immigrants but an imperial power, replete with economic, political and artistic dominance. Instead of settling for an essentially American idiom, the poets in my study saw in the vernacular not phonetic misspellings, slang terminology and fragmented syntax, but the potential to provoke and thereby frame a more ethical mode of social life, straining against the regimentation of citizenship.

My attention to the vernacular argues for an alignment among writers who have been segregated by the assumption that race and aesthetics are mutually exclusive categories. In reading these writers alongside one another, “Other than a Citizen” shows how the avant-garde concepts of projective poetics and composition by field develop out of an interest in black expressivity. Conversely, I trace black radicalism and its emphasis on sociality back to the communalism practiced at the experimental arts college in Black Mountain, North Carolina, where Olson and Duncan taught. In pressing for this connection, my work reveals the racial politics embedded within the speech-based aesthetics of the postwar era, while foregrounding the aesthetic dimension of militant protest.

Not unlike today, the popular rhetoric of the Cold War insists that to be a citizen involves defending one’s status as a rightful member of an exclusionary nation. To be other than a citizen, as the poets in my study make clear, begins with eschewing the false certainty that accompanies categorical nominalization. In promoting a model of mutually dependent participation, these poets lay the groundwork for an alternative model of civic belonging, where volition and reciprocity replace compliance and self-sufficiency. In reading their lines, we become all the more aware of the cracks that run the length of our load-bearing walls.

Expérience précaire du monde et représentation de la poésie dans La fissure de la fiction et Désâmé de Patrice Desbiens

Diverses œuvres de poésie moderne et contemporaine mettent en scène le rapport à l’écriture d’un sujet lyrique. Une telle problématique trouve une incarnation particulièrement intéressante dans l’œuvre de Patrice Desbiens, notamment dans certains de ses textes des années 1990 et 2000, où elle apparaît avec plus d’acuité. Pourtant, sa pratique auto-réflexive a fait l’objet de très peu de recherches. Afin d’éclairer le rapport qu’entretient Patrice Desbiens avec l’écriture et avec la poésie, ce mémoire s’intéresse à deux de ses textes, soit La fissure de la fiction (1997) et Désâmé, (2005) en accordant davantage d’espace au premier, que je considère comme un texte-charnière dans la production poétique de Desbiens. Dans un premier temps, mon travail présente ainsi la précarité qui caractérise le protagoniste de La fissure de la fiction et, sous un autre angle, le sujet lyrique de Désâmé. Dans cette optique, la figure du poète est étudiée dans La fissure de la fiction à la lumière de la reprise ironique du mythe de la malédiction littéraire et du sens que la réactualisation de ce mythe confère au personnage dans ce récit poétique. Dans un second temps, ce mémoire s’attache à montrer que la cohérence et la vraisemblance des univers mis en scène dans La fissure de la fiction et Désâmé sont minées. C’est à l’aune de ces analyses que peut ensuite être envisagé le rôle d’une poésie qui, en dernière instance, comporte malgré tout un caractère consolateur, en dépit ou en raison de l’esthétique du grotesque, tantôt comique, tantôt tragique, dans laquelle elle s’inscrit et que nous tâcherons de mettre en lumière.

Hermes, a Concerto for Violoncello and Orchestra

This thesis consists of a large composition for violoncello and orchestra, together with an analytical paper in which I discuss my compositional techniques and some of their historical antecedents. The composition draws on the genres of imaginary musical theater, the symphonic poem, and the concerto. It was also inspired by the story of Hermes, the messenger god from Greek mythology. While the myth partially informs the compositional structure, the work is ultimately meant to showcase the versatility of the cello, the coloristic range of the orchestra (in some cases emulating the orchestral styles of previous composers), the balance of cello and orchestra together, and the eclectic invocation of many compositional techniques separately and simultaneously. These techniques encompass set theory (the use of unordered pitch collections), polytonality, and serialism. It is composed in a post-romantic style.

"O sumidoiro da memoria, que o mesmo serve para lembrar que para esquecer" : Reflexiones sobre la memoria en los cuentos de Manuel Rivas

Mucho antes de la publicación de sus novelas, Manuel Rivas ya había tratado el tema de la memoria en sus cuentos. Recopilados en O máis estrano en 2011, en ellos se observa una predilección por este tema y muchos de ellos constituyen el germen de las grandes novelas posteriores. En este trabajo se analizará, por un lado, la memoria como creadora de experiencia artística. Por otro, se tendrá en cuenta el tratamiento de la memoria personal o íntima, así como la llamada memoria histórica. En un lugar destacado se situará la memoria cultural, cuyos diversos aspectos permiten a Rivas llevar a cabo una reflexión sobre la visión identitaria de Galicia en la que está presente la realidad y el mito, para la cual el cuento, por su morfología heterogénea y libertaria, se revela como el género más apropiado.

Entre la historia y el mito : La figura de Ramsés II ante los enemigos en relieves y textos de la Batalla de Kadesh

De acuerdo a lo que se ha dado en llamar "historia del sentido" (Assmann, 2005), cada sociedad posee una forma cultural que le es inherente y es precisamente en ella donde adquieren sentido los acontecimientos y procesos históricos, comprensibles sólo a través de los discursos producidos. Los relieves y las inscripciones de la Batalla de Kadesh, durante el reinado de Ramsés II (1279-1213 a.C.) constituyen un claro ejemplo de rememoración y manifestación de esos discursos. En este trabajo, nos proponemos analizarlos como ejemplos de procesos constructivos de la "memoria cultural" (Assmann, 2008), tomando como categorías de análisis los postulados de la semiótica de Umberto Eco (1994 (1973); 2013 (1968)) y del análisis de la imagen de Martine Joly (2012 (1993)). Como premisa básica, consideraremos a los relieves y las inscripciones que los acompañaban como una unidad total narrativa, como discursos que se completan y complementan, para ser eficaces.

Mad Men, The Sopranos and The American Way of Life. The history of the capital in two times

Don Draper (Mad Men, Matthew Weiner, AMC: 2007-2015) actively colaborates in the birth and consolidationof a model of consumer society without realizing the enormous lie he is telling himself. Tony Soprano(The Sopranos, David Chase, HBO: 1999-2007) desperately grasps the wreckage of that ideal imageof effort and self-improvement which is not only disappearing but was actually never coherent or real.This article does a comparative textual, sociological, and discursive analysis these two characters as arepresentation of the evolution of the discourse of capitalism in the second half of the 20th century, that is,the artificiality of the hegemonic discourse of “pursuit of happiness” as the main myth in post-war NorthAmerican neoliberalism.