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Folk and Popular Stories of Enchantment as Inspiration for Milton Hatoum's Órfãos do Eldorado and Responses to a Changing Amazon
No full text1 online resource (PDF, page 143-163)Slater, Candace. (2014). Folk and Popular Stories of Enchantment as Inspiration for Milton Hatoum's Órfãos do Eldorado and Responses to a Changing Amazon. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/184514
Slater Candace, Stories on a String, The Brazilian Literatura de Cordel
No full textGallut-Frizeau Anne. Slater Candace, Stories on a String, The Brazilian Literatura de Cordel. In: Cahiers du monde hispanique et luso-brésilien, n°47, 1986. pp. 159-162
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Divergent Metaphors: The Intertextuality between Guimarães Rosa and Mia Couto
Full text linkExamining intersections and divergences between the often-compared Brazilian modernist João Guimarães Rosa and the Mozambican postmodernist Mia Couto, I propose an intertextual reading to broaden the perspective on their linguistic and thematic likenesses and subjective and cosmovisional differences. This study traces the trajectories of their orality and representation of the marginalized, especially children, from the point of view of race and identity. My research covers approximately two decades of work by each author, including Couto's Jesusalém (2009), Estórias abensonhadas (1994), Cronicando (1991), and Vozes anoitecidas (1987) alongside Rosa's Grande Sertão: Veredas (1956), Primeiras estórias (1962), Corpo de baile (1956), and Sagarana (1984).I find that contradictions in Rosean portrayals of mestiço-white versus Afro-Brazilian children reveal hierarchically racialized attitudes in Brazil's social foundations that are at odds with the postcolonial values of Couto's Mozambique. The legacy of Portuguese colonialism evident in the polarizing orality expressed by Rosean backlanders--whose narrations categorically render blacks as caricatured, dehumanized, and tragic in juxtaposition to the mestiços' embodiment of the full range of human experience and transformative individual potential--functions as a discursive strategy to challenge Gilberto Freyre's dominant racial discourses on Lusotropicalism, mestiçagem, and racial democracy. Conversely, Couto's narrations on the black experience are free of the racial stereotype, unindividuated uniformity, and tragedized foreclosure of patriarchal characterization, despite also exploring the violence and poverty left in the wake of imperialism. Like Rosa's more privileged mestiço-white children, capable of positive transformation no matter how marginalized their circumstances, Couto's children--rich or poor, orphaned or parented, black or mestiço--capitalize on the imaginative and sometimes magical "exercises of childhood," often while reconnecting to the indigenous and sacred practices of their ancestors. Unlike Rosa's most heroic children, Couto's do not usually dramatically improve in socio- economic conditions. Instead of the more linear worldview of scrappy self-determination or meritorious individualism that earn Rosean protagonists upward mobility, the Coutian protagonist follows a more circular pattern of self-discovery grounded in collective interdependence and a plurality of native traditions
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Narrative and (Meta)Physical Paradox in "Grande Sertao: Veredas" and "Pedro Paramo"
Full text linkThe canonical Latin American novels Grande Sertão: Veredas (João Guimarães Rosa, 1956) and Pedro Páramo (Juan Rulfo, 1955) mirror each other across their linguistic and other divides due to their uses of literary and regional spaces. Previous studies of both works often focus – as do many studies of the works individually – on a perceived dichotomy between local regional material, and innovative, even "universal" aesthetic technique. However, the relationship between setting and form in the works in fact has little to do with conflict. Rather, concurrent analysis of the novels shows that, in both, their archetypal regional landscapes are the detailed foundations for the narrative construction of complex (meta)physical spaces that are central to the works: spaces at once spiritual and placed. The true paradox of the novels, their apparent dichotomy which is nonetheless unity, lies in the confluence of physical and metaphysical realms in both the sertão of Riobaldo's journeys and the Jalisco of Juan Preciado's terrible heritage: one a land and paths (sertão and veredas) in which God and the devil may reside, and one a town in which wrought evil and spiritual corruption have resulted in a land-bound and interactive purgatory.The complexity of these (meta)physical realms is executed through the innovative narrative techniques of the works, in both the protagonists' communicated concerns and experiences, and in the forging of paradox, uncertainty, and textual lacunae in the narratives themselves. In many ways, the spaces are their narratives: the sertão and Riobaldo's paths through it are as the redemoinho of his refrain, a whirlwind of narrative; and the Comala of Juan Preciado's experience, and in consequence the reader's own, is a woven quilt like that of the sown and abandoned fields, their harvest the voices of the unredeemed dead. The works' textures, their forged openness, plus their further narrative bridges to the reader, create spaces of participation, even integration: literary spaces of a reader/author co-construction of telluric spaces of (meta)physical landscape.Setting and form are not at odds: it is due to the works' complex and creative narrative techniques that the sertão and Comala are built, in collaboration with the reader, into powerfully internalized geographies of both material and immaterial origin – (meta)physical geographies to explore the works' concerns about identity, violence, redemption, and human relationship to land
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Self, Esteemed: Contemporary Auto/biographical Theatre in Latin America
Full text linkAbstractSelf, Esteemed: Contemporary Auto/biographical Theatre in Latin AmericabyJulie Ann WardDoctor of Philosophy in Hispanic Languages and LiteraturesUniversity of California, BerkeleyProfessor Francine Masiello, Co-chairProfessor Candace Slater, Co-chairIn this dissertation, I argue that contemporary auto/biographical theatre questions, on the one hand, the concept of the self as an individual with clearly defined borders between “I” and other and, on the other, the very possibility of representing reality onstage. Contemporary Latin American theatre is saturated with auto/biographical plays in which onstage actors play their real-life selves and family members, representing events from history as well as their own personal stories. Looking at 21st-century plays from Argentina, Brazil, and Mexico, I also note that auto/biographical representation in the theatre allows for an understanding of the life story as a collective endeavor rather than the work of a lone individual. This type of dramatic representation positions the theatrical work as one among many sources of truth.By insisting on the reality of portrayed events, auto/biographical plays ask the theatregoer to accept the “true” nature of the content and, simultaneously, the fiction of the theatre. In the opening chapter, an overarching theoretical introduction, I draw on auto/biography studies, testimonio criticism, documentary film theory and the concept of postdramatic theatre to examine the relationship between director/author and actor/witness. The actor, by playing the role of him- or herself, creates an autobiography through the signs of the theatre: voice, gesture, language, etc. However, the director/author (often one and the same person) plays the part of biographer by arranging the actor's words and designing their activity onstage. Over the next four chapters I analyze the strategies employed in contemporary plays — including works by Argentine, Brazilian and Mexican playwrights (Lola Arias, Márcio Freitas, Christiane Jatahy, Lagartijas Tiradas al Sol, Gabino Rodríguez, and Vivi Tellas)—for creating new auto/biographical pacts between spectator and play.By placing the biographied actor onstage, the plays ask the spectator to believe that their version of the truth is, in some way, unmediated. The fact that the onstage body is the same one that experienced the presented events gives the production immediacy and a sense of being “true.” At the same time, however, the theatrical apparatus as a whole forces audiences to recognize the hand that the directors and authors have in relaying that “truth.” Directors and authors often interview their subjects and use their exact words, in an edited form, as the basis for their scripts. Similarly, spectators must recognize the collaboration that occurs in any theatrical production between various crew members, actors, director, and the audience itself. The very nature of the theatre precludes the possibility of the unmediated autobiography that tantalizes the audience.Chapter two deals with the treatment of the concept of truth in documentary theatre, by looking at various critics' use of the term “truth” and its role in Jatahy's play A Falta Que Nos Moves. Chapter three demonstrates the way that so-called verbatim theatre fetishizes testimonial language, separating the original event from the language used to speak about it, with Freitas' Sem Falsidades. Chapter four examines the representation of performers' family members in auto/biographical plays, focusing on Lagartijas' El rumor del incendio and Arias' Mi vida después. The final chapter considers the ethics of the representation of the real, analyzing Rodríguez' Montserrat. By putting the actor/witness onstage and forming a pact with the audience in which truth and fiction coexist, these plays sketch out new ways of understanding authorship, auto/biographical authority. The possibilities of theatre itself—what it can potentially represent and how it interacts with reality—are expanded in contemporary Latin American auto/biographical theatre
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Exploring literary negotiations of culture and identity from the journal, Cultura Tropical (열대 문화) and how Korean Brazilians construct a hybrid cultural identity
Full text linkThe dissertation explores the negotiation of culture and identity from the literary production of Korean immigrants in Brazil. The dissertation also explores how Korean immigrants begin a process of diasporic narrative as a way to construct an alternative space and a Korean Brazilian identity. By following the status of Self through the writings of Cultura Tropical, a Korean Brazilian identity evolves through three stages of negotiation. The Korean community of 50, 000 is a small minority group but rapidly growing in socioeconomic sectors of Brazil. Their narratives and cultural discourse convey experiences of tension and cultural affiliation. They create a literary space to debate and contemplate how Korea or Brazil is a sanctuary to mix languages, literary genres, voices and reflections related to the Brazilian immigrant life. The study of this dissertation presents the search and the trace of new Asian voices in Brazil for further understanding of how they view themselves within Brazilian culture and what it means for them to claim "Brazilian" as part of their identity. The focus of this piece will concentrate on Korean immigration in Brazil and thus far the only existent literary journal by the community known as Cultura Tropical. Finding themselves, quickly building a business and social space in São Paulo, their experiences are embodied as short stories, poems and essays in which they manifest a new and contemporary relationship between the Korean and Brazilian cultures. Can the notion of Asian ethnicity pose to be included or excluded in Brazilian society and literary culture? From this, we will be able to further identify if Korean immigrant discourses can be part of the current framework of Brazilian foundational literature and cultural studies
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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Poetics of Materiality: Medium, Embodiment, Sense, and Sensation in 20th- and 21-st-Century Latin America
Full text linkMy approach to poetics in this dissertation is motivated by Brazilian Concrete poetry and digital writing as models for alternative textualities that reconfigure, through their material dimension, what a poem is and how we read it. These writing models also invite us to think about the ways in which cognitive and physical processes generate meaning. With these insights in mind, this dissertation returns to a broad range of so-called experimental poetry, from Hispanic American vanguardista visual poetry and Brazilian Concrete poetics to present-day Latin American media writing. By emphasizing cross-national and cross-linguistic connections, I explore poetic intersections of verbal and non-verbal modes of signifying, from non-linear poetic texts to poetic images, objects, performances, events, and processes. These different poetic movements and styles are tied together through their foregrounding of materiality, which implies a meaningful engagement with the text's physical characteristics and with the particular medium in which texts are produced, stored, and circulated in both creative and receptive processes. I thus argue that the common ground of Latin American experimental poetry from the avant-gardes to the present is the emergence of a poetics of materiality that places multiplicity, productive tensions, and embodiment at the center of how we conceive of the text itself, the subject, time, and space, and posits meaning as actively generated through the convergence of matter, language, and sensation. The opening chapter examines the visual turn in the Latin American avant-gardes, particularly in the work of vanguardista poets Vicente Huidobro, Juan José Tablada, and Oliverio Girondo in Hispanic America and the Noigandres group of Concrete poets in Brazil. I examine these not as isolated and ultimately dismissible experimental movements, but as the starting point for a prolonged artistic engagement with the senses, the body, and materiality in Latin America. The following chapter explores how poetry migrates not only out of its traditional linear forms into different visual configurations, but off of the printed page altogether, creating the poem-objects of Augusto de Campos, Jorge Eielson, and Cecilia Vicuña, or the poem-processes and poem-events of Raúl Zurita, Octavio Paz, Wlademir Dias-Pino, Clemente Padín and Eduardo Antonio Vigo, thereby exposing and undermining some of the most deep-seated implications of print culture. Chapter three turns to processes of meaning that emphasize embodiment and multiplicity in time and space: the colorful, performance-based poems of Augusto de Campos' Poetamenos and the hand-drawn poems of Cecilia Vicuña and Ana Cristina César all return to the space of the book, but in non-traditional configurations. In the fourth chapter, which includes multi- and intermedia performances by Arnaldo Antunes and Augusto de Campos, as well as electronic and digital poetry by Eduardo Kac, Ladislao Pablo Györi, Ana María Uribe, Belén Gache, and Eugenio Tisselli, I discuss how new media represents, much like the visual in the avant-gardes, an almost utopian opening of poetic possibilities, where poems are conceived as processes and as instances of multiplicity, and where our interaction with the text is ultimately transformed through digital modes of production, media integration, and network-based textualities. By putting a broad variety of experimental texts into dialogue with one another and with current media studies, my research recontextualizes and affirms the continued relevance and impact of materially-based poetic texts that challenge the norms and the dominance of print culture
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Indelible Poverties - Ambiguous Visions of the Poor in Four Brazilian Authors
Full text linkThis dissertation focuses on modern representations of precariousness in Brazilian literature through the lens of its canonical fiction. Starting with the rise of industrial capitalism in Latin America, I draw attention to a continuum between colonial and postcolonial forms of marginality that have led to representations of socioeconomically vulnerable subjects under the same category of “the poor”. Drawing upon scholarly debates from affect studies, biopolitical criticism, and post-humanistic theory, I explore the extent to which this label of “the poor” has naturalized class prejudice, systemic oppression, and cultural stigmatization of the lower-class members of Brazilian society whose form of life are primarily perceived by what it lacks. In doing so, I look at how four major twentieth-century literary narratives expose and press against this stigma derived from the traditional idea of “the poor” with an ambiguous characterization of the precarious subject as simultaneously powerless and powerful. These narratives are: Euclides da Cunha’s Os Sertões (1902), Graciliano Ramos’s São Bernardo (1934), Clarice Lispector’s A Hora da Estrela (1977), and Rubens Figueiredo’s Passageiro do Fim do Dia (2010). My analysis of these novels allows me to theorize what I call the “negative sovereignty of poverty”: the emergence of invisibility, animality, and sublimity as alternative forms of power that allow individuals lacking in material resources to counter oppression with resilience, wonder, and wisdom, thereby defying typically demeaning representations of the poor. By placing the dissenting narratives of poverty in Brazil at the heart of the debate on how literature can open windows to the intricacies of sociocultural values in the Global South, this dissertation stresses that the ambiguous narration of the poor has subtly made poverty one of the most potent literary motifs at the intersection of politics and aesthetics
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