Las poéticas explícitas de Antonio Colinas

Poets' thoughts about poetry have long been the subject of much attention. Since Classical Antiquity this has given rise to powerful reflections about literature, influencing texts which would then become part of academic discourse. However, these have also been used to help to explain or exemplify questions the academic discipline of Literary Theory have failed to address properly, since such questions related to the process of creation justifiably give attention to the writers' own experiences of such a process. Nevertheless, although the content of texts in which poets explain their own creation or specify key aspects of the literary process has been taken into account, there has not been any systematic study of the formal aspects of the discourse coming from the creator. The reason lies in the fact that the discourse of the creator takes different and variant directions that complicate its definition and distinction in relation to other kinds of similar texts. The first part, theoretical in nature, has emerged from the study of explicit poetics by numerous authors, as well as from critical bibliography. This seeks to identify common characteristics of these texts. Conversely, the second and third parts aims to find the individuality of Colinas' poetics, which manifests itself fundamentally in its content. Because of this, it is the study of the core parts of Colinas' poetic thinking expressed in the trends of his explicit poetics that will constitute a substantial part of this section of research...

De-authoring or Authoring?: A plunge into the question of authorship and language in J.M. Coetzee's Foe

J. M. Coetzee's Foe is not only a post-colonial novel, but it is also a re-writing of a classic, and its main themes are language, authorship, power and identity. Moreover, Foe is narrated by a woman, while written by a male, Nobel prize winning South African author. The aim of my tesina is to focus on the question of authorship and the role of language in Foe. Without any claim to be exhaustive, in the first section I will examine some selected extracts of Coetzee's book, in order to provide an analysis of the novel. These quotations will mainly be its metalinguistic parts and will be analysed in the “theory” sections of my work, relying on literary theory and on previous works on the novel. Among others, I will cover themes such as the relationship between speech and writing, the connection between writing, history, and memory, the role of silence and alternative ways of communicating and the relationship between literary authority and truth. These arguments will be the foundation for my second section, in which I will attempt to shed a light on the importance of the novel from a linguistic point of view, but always keeping an eye on the implication that this has on authorship. While it is true that it is less politically-permeated than Coetzee's previous works, Foe is above all a “journey of discovery” in the world of language and authorship. In fact, it becomes a warning for any person immersed in the ocean of language since, while everyone naturally tends to trust speech and writing as the only medium through which one can get closer to the truth, authority never is a synonym of reliability, and language is a system of communication behind which structures of power, misconceptions, lies, and treacherous tides easily hide.

The collected writings of Thomas De Quincey,

Title within ornamental borders.

No(i)stalgia: On the impossibility of recognising noise in the present

Starting from a comparison between the process of writing by hand and writing to screen, this paper contends that there is a continuity between the former, apparently archaic form of writing, and the latter, supposedly more modern form of writing. It will be suggested that, rather than being truly archaic, writing by hand perhaps constitutes a nostalgic act which attempts to bypass the perceived virtuality of the postmodern condition. As such, it will be claimed, via Baudrillard, that nostalgia of this kind is a type of hyper-simulacrum that relies on a misinterpretation of the noise created by the very act of expression. It will be claimed, however, that if interpreted without the sort of wilful misinterpretation to which noise often falls prey, many kinds of noise grafted onto contemporary cultural objects bear testimony to a certain continuity across historical eras as well as to the fact that we are ultimately incapable of recognising many cultural products' noise (and thus the products themselves in their entirety) in their own era. This paper therefore calls for a noisy theory which, analysing the world from an immanent position, would acknowledge the impossibility of full knowledge of the sign

Motivation and the gift relationship

This thesis proposes a theory of Motivation to Work, as a particular condition of general motivation, using the Maussian concept of the Gift to explain the operation of Lacanian Desire. Specifically, it argues that de-motivation stems from Gift rejection. However, as the arguments are not paradigmatically commensurable with managerialist theories, it has been necessary to establish the epistemological tradition of which this work is representative, namely, Critical Theory and Post-Structuralism/Post- Modernism. In distinction to the managerialist explanations of motivation, management and work, behaviourist theories of motivation are characterised as more properly a concern with psychological incentives, management in its current socio-historic institutionalised form as a process of social domination and work as a social experience of domination, but also as a forum for social life generally. However, as such a view receives little theoretical or empirical confirmation from managerialist literature, it is argued that it is necessary to broaden the catchment area of relevant writing, and that the literary arts have more insight than orthodox science. This is supported by reference to modern literary theory in terms of the Form/Content distinction. Central to this argument is the ontological concept of Difference and its `political' use in maintaining social domination by privileging certain forms over others. Having established the basis on which to articulate this theory of motivation, the Lacanian concept of Desire is explored, together with its relevance to motivation and management/organisation theory. The theory of the Gift Relationship is then explicated and developed, together with some of its popular sociological conceptualisations, and an argument made for an understanding in terms of its psychological signficance in explaining the operationalisation of Lacanian Desire. This is related to the work situation and to its relevance for organisational management. In conclusion, its utility is considered, as are some potential criticisms of the arguments put forward.

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

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

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.

Metahistoria nacional y metaficción biográfica en Historia de Mayta, de Mario Vargas Llosa

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

A Philosophy of Operatic Storytelling

This dissertation presents the first theoretical model for understanding narration and point of view in opera, examining repertoire from Richard Wagner to Benjamin Britten. Prior music scholarship on musical narratives and narrativity has drawn primarily on continental literary theory and philosophy of the 1960s to the middle of the 1980s. This study, by contrast, engages with current debates in the analytic branch of aesthetic philosophy. One reason why the concept of point of view has not been more extensively explored in opera studies is the widespread belief that operas are not narratives. This study questions key premises on which this assumption rests. In so doing, it presents a new definition of narrative. Arguably, a narrative is an utterance intended to communicate a story, where "story" is understood to involve the representation of a particular agent or agents exercising their agency. This study explores the role of narrators in opera, introducing the first taxonomy of explicit fictional operatic narrators. Through a close analysis of Britten and Myfanwy Piper's Owen Wingrave, it offers an explanation of music's power to orient spectators to the points of view of opera characters by providing audiences with access to characters' perceptual experiences and cognitive, affective, and psychological states. My analysis also helps account for how our subjective access to fictional characters may engender sympathy for them. The second half of the dissertation focuses on opera in performance. Current thinking in music scholarship predominantly holds that fidelity is an outmoded concern. I argue that performing a work-for-performance is a matter of intentionally modelling one's performance on the work-for-performance's features and achieving a moderate degree of fidelity or matching between the two. Finally, this study investigates how the creative decisions of the performers and director impact the point of view from which an opera is told.