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You searched for subject:(Boom latinoamericano). Showing records 1 – 3 of 3 total matches.

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Arizona State University

1. Arellano Serratos, Jose Francisco. Teoría de la narración en los ensayos de Juan José Saer: La novela latinoamericana, 1960-2000.

Degree: Spanish, 2015, Arizona State University

This research aims to develop a narration theory based on Argentinian writer Juan José Saer’s (1937-2005) four collections of essays: El río sin orillas (The River Without Banks) (1991) —which is thought by critics to be the Facundo of the 20th century—, El concepto de ficción (The Concept of Fiction) (1995), La narración-objeto (The Narrative Object) (1999) and Trabajos (Works) (2005). His essays examine the Latin American novel from 1960 to 2000, in other words, from the founding of the modern novel during the Latin American boom to its establishment as the most commercial genre upon the arrival of neoliberalism in Latin America in the 1990’s. Saer not only questions the novel in literary terms, but also contextually: from its relationship to politics and the Cuban Revolution and the years of literary compromise à la Sarte and the historical novel’s insurgency as the favored genre that settled the region’s past and present in the 1980’s to the conception of the genre as a commodity as large transnational entertainment consortia purchased all publishers. Within this context, Saer simultaneously critiques and formulates a theory on narration to oppose the novel. He presents narration as a continuation of a wasted and formulaic genre such as the historical novel. He juxtaposes the “real” to realism, ponders the impossibility of the historical novel, defends and rehabilitates the French noveau roman, which was much vilified by authors of the boom, demystifies Borges’ reading of the Argentinian tradition and at the same time confronts it with Witold Gombrowicz. He removes literature from the bonds of nationalism and Latin Americanism and contrasts Sartre’s ideas with German philosopher Theodore W. Adorno’s proposals about the novel during the cultural industry era.

Subjects/Keywords: Latin American literature; Latin American studies; Comparative literature; Boom Latinoamericano; Historia de la novela latinoamericana; Juan José Saer; Literatura Argentina; Novela Latinoamericana

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APA (6th Edition):

Arellano Serratos, J. F. (2015). Teoría de la narración en los ensayos de Juan José Saer: La novela latinoamericana, 1960-2000. (Doctoral Dissertation). Arizona State University. Retrieved from http://repository.asu.edu/items/29833

Chicago Manual of Style (16th Edition):

Arellano Serratos, Jose Francisco. “Teoría de la narración en los ensayos de Juan José Saer: La novela latinoamericana, 1960-2000.” 2015. Doctoral Dissertation, Arizona State University. Accessed November 29, 2020. http://repository.asu.edu/items/29833.

MLA Handbook (7th Edition):

Arellano Serratos, Jose Francisco. “Teoría de la narración en los ensayos de Juan José Saer: La novela latinoamericana, 1960-2000.” 2015. Web. 29 Nov 2020.

Vancouver:

Arellano Serratos JF. Teoría de la narración en los ensayos de Juan José Saer: La novela latinoamericana, 1960-2000. [Internet] [Doctoral dissertation]. Arizona State University; 2015. [cited 2020 Nov 29]. Available from: http://repository.asu.edu/items/29833.

Council of Science Editors:

Arellano Serratos JF. Teoría de la narración en los ensayos de Juan José Saer: La novela latinoamericana, 1960-2000. [Doctoral Dissertation]. Arizona State University; 2015. Available from: http://repository.asu.edu/items/29833


The Ohio State University

2. Pedrós-Gascón, Antonio Francisco. Diálogos transatlánticos: un “Boom” De Ida Y Vuelta.

Degree: PhD, Spanish and Portuguese, 2007, The Ohio State University

Alejo Carpentier’s theory of “lo real maravilloso americano” gave shape to the “interpretative community” of the Latin American “Boom” – which dovetailed authors such as Gabriel García Márquez, Mario Vargas Llosa, and Julio Cortázar among others. Like a boomerang sent into the future, this identity “propuesta de significado,” or proposition of meaning, was thought to be miraculously embodied by the Cuban Revolution. Although “magical realism” was only one among the many facets of literary production of the period, I propose the need to study it as the master concept or Imagery Nucleus. Its referent would be the entelechy “América”, land of marvels, that eventually expanded its network of meanings to “Revolutionary,” “Baroque,” or “Avant-Garde” writing. In Spain the empathy towards the Cuban Revolution shaped a Transatlantic community that amalgamated these Latin American authors – some of them living in Barcelona – with the exiles from the Spanish Civil War, and anti-Francoist writers such as Juan Goytisolo and Luis Martín-Santos. This Transatlantic community had an enormous impact on the Spanish literary world and its self-imagery. Their goal was the fight for and portrayal of a new “España” from the 1960s on, whose representation became the main trends until 1992, year of the celebration of the Quincentennial of America’s “Discovery” in Seville, the XXV Summer Olympic Games in Barcelona and Europe’s “Cultural Capital” in Madrid. The defense by some of these Latin American authors during the 1960s of the novels of chivalry – i.e. Amadís de Gaula or Tirant lo Blanc – as legitimate realistic writing (indeed a magical realistic one), was used as a weapon against Francoist Historiography and its concept of Hispanism. Defending these novels meant an adherence to a “heterogeneous” and ex-centric vision of Spain and Spanishness (Hispanidad), more inclusive of other Peninsular languages: an attempt to “Latinamericanize” Spain. The transnational cross-border encounters of the “Boom” shaped and contributed to a (post)modernization of the Spanish “imaginario patrio” and induced a feeling of anxiety that revolutionized the relations between Spanish authors and “their” inherited tradition and language. Advisors/Committee Members: Amell, Samuel (Advisor).

Subjects/Keywords: Transatlantic Studies; Latinamerican Boom; Boom Latinoamericano; Magical Realism; Realismo Magico; Baroque; Barroco; Latinoamericanizacion Del Imaginario; Comunidad Interpretativa; La Cava

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APA (6th Edition):

Pedrós-Gascón, A. F. (2007). Diálogos transatlánticos: un “Boom” De Ida Y Vuelta. (Doctoral Dissertation). The Ohio State University. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=osu1187031136

Chicago Manual of Style (16th Edition):

Pedrós-Gascón, Antonio Francisco. “Diálogos transatlánticos: un “Boom” De Ida Y Vuelta.” 2007. Doctoral Dissertation, The Ohio State University. Accessed November 29, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1187031136.

MLA Handbook (7th Edition):

Pedrós-Gascón, Antonio Francisco. “Diálogos transatlánticos: un “Boom” De Ida Y Vuelta.” 2007. Web. 29 Nov 2020.

Vancouver:

Pedrós-Gascón AF. Diálogos transatlánticos: un “Boom” De Ida Y Vuelta. [Internet] [Doctoral dissertation]. The Ohio State University; 2007. [cited 2020 Nov 29]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu1187031136.

Council of Science Editors:

Pedrós-Gascón AF. Diálogos transatlánticos: un “Boom” De Ida Y Vuelta. [Doctoral Dissertation]. The Ohio State University; 2007. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu1187031136

3. Sibley, Matthew. La trilogia del "Plan de Abajo" de Jorge Ibarguengoitia: Un cuestionamiento de la realidad y la ficcion a partir del espacio quimerico, las tecnicas narrativas y la heteroglosia.

Degree: MA, Spanish, 2015, Bowling Green State University

En el presente trabajo emprendo un analisis de uno de los rasgos mas esenciales de la novelistica del autor mexicano Jorge Ibarguengoitia (1928-1983): un aparato critico subyacente en su obra que plantea un debate sobre los modos de la representacion a la vez que cuestiona los discursos que adoptan los mismos. Ibarguengoitia presenta dicho aparato critico por medio de la relacion polifacetica y equivoca entre la realidad extraliteraria y la ficcion que forja en su obra. A partir de las obras Estas ruinas que ves (1975), Las muertas (1977) y Dos crimenes (1979)—la llamada trilogia del “Plan de Abajo”—subrayo una cohesion aproximativa y estilistica que cultiva Ibarguengoitia, producto de una base de recursos que emplea para lograr la presentacion heterogenea de la relacion entre la no ficcion y la ficcion. Esta base consta de los siguientes aspectos: primero, la concepcion de lo que yo denomino el espacio quimerico, el cual consiste en la invencion y el retrato detenido de la region ficticia del Estado de Plan de Abajo; segundo, los recursos narrativos que maneja el autor, los cuales comprenden elementos autorreferenciales y autorreflexivos, para alterar la percepcion de los discursos emitidos en su novelistica y desplegar este cuestionamiento discursivo a niveles metaliterarios, intertextuales e intratextuales; tercero, la enunciacion multiple o la heteroglosia, la cual permite una polifonia de voces que plasma una omnisciencia artificiosa y plantea una disparidad discursiva que impulsa que el lector cuestione todo discurso. Con la finalidad de señalar la mirada critica de Ibarguengoitia, analizo el espacio socialmente construido en su novelistica como puesta en escena de la que se vale el autor para comentar el poder del que disponen los discursos para tergiversar, fabricar y mitificar la verdad, lo cual influye en la percepcion y la presentacion de su realidad social. En sintesis, expongo que la trilogia del Plan de Abajo cimienta una fusion entre la documentacion y la imaginacion que engendra una reflexion sobre la verosimilitud y el acto de la representacion en el contexto de las problematicas sociales y artisticas de Mexico. Advisors/Committee Members: Robinson, Amy (Advisor).

Subjects/Keywords: Hispanic American Studies; Hispanic Americans; Latin American Literature; Language; Literature; Modern Literature; Modern Language; Jorge Ibarguengoitia; Estas ruinas que ves; Las muertas; Dos crimenes; literatura mexicana; Mexican literature; heteroglosia; heteroglossia; espacio; space; generacion del medio siglo; Boom latinoamericano; Latin American Boom; trilogia; trilogy

Record DetailsSimilar RecordsGoogle PlusoneFacebookTwitterCiteULikeMendeleyreddit

APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Sibley, M. (2015). La trilogia del "Plan de Abajo" de Jorge Ibarguengoitia: Un cuestionamiento de la realidad y la ficcion a partir del espacio quimerico, las tecnicas narrativas y la heteroglosia. (Masters Thesis). Bowling Green State University. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1435519441

Chicago Manual of Style (16th Edition):

Sibley, Matthew. “La trilogia del "Plan de Abajo" de Jorge Ibarguengoitia: Un cuestionamiento de la realidad y la ficcion a partir del espacio quimerico, las tecnicas narrativas y la heteroglosia.” 2015. Masters Thesis, Bowling Green State University. Accessed November 29, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1435519441.

MLA Handbook (7th Edition):

Sibley, Matthew. “La trilogia del "Plan de Abajo" de Jorge Ibarguengoitia: Un cuestionamiento de la realidad y la ficcion a partir del espacio quimerico, las tecnicas narrativas y la heteroglosia.” 2015. Web. 29 Nov 2020.

Vancouver:

Sibley M. La trilogia del "Plan de Abajo" de Jorge Ibarguengoitia: Un cuestionamiento de la realidad y la ficcion a partir del espacio quimerico, las tecnicas narrativas y la heteroglosia. [Internet] [Masters thesis]. Bowling Green State University; 2015. [cited 2020 Nov 29]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1435519441.

Council of Science Editors:

Sibley M. La trilogia del "Plan de Abajo" de Jorge Ibarguengoitia: Un cuestionamiento de la realidad y la ficcion a partir del espacio quimerico, las tecnicas narrativas y la heteroglosia. [Masters Thesis]. Bowling Green State University; 2015. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1435519441

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