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Cottle, Inés. "Sobre los Pasos Perdidos de Alejo Carpentier." Pontificia Universidad Católica del Perú, 2013. http://repositorio.pucp.edu.pe/index/handle/123456789/100893.
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Viala, Fabienne. "Marguerite Yourcenar, Alejo Carpentier : écritures de l'histoire." Paris 3, 2004. http://www.theses.fr/2004PA030155.
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L’académicienne Marguerite Yourcenar (1903/1987) et le romancier cubain Alejo Carpentier (1904/1980) ont choisi l’Histoire comme matériau privilégié de leur création romanesque. Pour eux, la connaissance du passé est la clé de la connaissance de l’homme et, en même temps, seul le roman peut en donner une approche authentique. La fiction, mieux que l’historiographie événementielle, exhume les invariants de la condition humaine et jette des passerelles entre le passé et le présent. Les pérégrinations du personnage ouvrent une fenêtre sur une réalité révolue, tandis que sa destinée archétypale atteint une dimension mythique ; les références artistiques, tissées dans le récit, réduisent les distances temporelles et révèlent le drame universel de toute existence. Ce roman, qui nous tend le passé comme un miroir, est un roman humaniste qui, malgré une histoire cyclique qui répète les mêmes erreurs, continue de croire aux vertus cognitives de la culture et à la nature perfectible de l’hommeMarguerite Yourcenar, the member of the French Academy (1903/1987) and the Cuban novelist Alejo Carpentier (1904/1980) chose History as the material for their fictions. They both believe that, on the one hand, knowing the past is the better way of knowing mankind; on the other hand, the novel is the path leading to a true version of remote events. The fiction, better than factual historiography, digs out the invariant characteristics of human nature and joins up past and present. With the character, we travel through a chaotic historical period and at the same time, his individual destiny reaches a mythical sense. The works of art reflect themselves on the narration, bring the remote time closer and reveal the universal drama of human condition. Urging the reader to look at himself through the mirror of the past, the novel is moved by the humanist belief that, even if history is constantly being remade, culture can enlighten and improve the humanity
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Wakefield, Steve School of Modern Languages UNSW. "Returning Medusa's gaze : Baroque intertext in Alejo Carpentier." Awarded by:University of New South Wales. School of Modern Languages, 2003. http://handle.unsw.edu.au/1959.4/19141.
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This thesis studies the concept of the baroque as applied to the works of the Cuban novelist Alejo Carpentier (1904-1980). It revisits the original inspiration that the writer found in baroque architecture and sculpture, as expressed in the articles he wrote from Spain in the early 1930s, and follows his use of baroque culture in each of his novels. It is found that, through his attempt to create a period ambience for his historical fictions by incorporating into his novels descriptions of the art and architecture of the Baroque era, and by imitating the literary style of Spanish Golden Age writers, he ultimately produced a parodic and ironic style that was put to a highly original use even in those works set in the contemporary period. Finally, the mature works produced in the last decade of Carpentier's life are studied, and the continuities and discontinuities between these works and those of previous periods are examined, in order to arrive at a critical assessment of the potential to renovate the Latin American novel created by this writer's use of the baroque. Throughout this thesis the primary focus is placed upon the role played by the visual arts, including architecture, in Carpentier's development of baroque themes and style, a secondary focus being placed upon literary influences. Thus the importance for Carpentier of various writers and artists is examined, such as Cervantes, Quevedo, Piranesi, Vico, Goya, Barr????s and d'Ors. It is found that Carpentier's use of baroque themes, motifs and style enabled him to make a unique contribution to literature in a number of ways: by creating an original means of representing the position of the individual with regard to society and the historical process, by reevaluating Latin American culture and environment vis-????-vis is Europe, and by adopting a postcolonial perspective of cultural self-assertiveness that was to pave the way for the 'boom' in the Latin American novel.
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Giovannini, Arno. "Entre culturas : Los pasos perdidos, de Alejo Carpentier /." Bern [etc.] : P: Lang, 1991. http://catalogue.bnf.fr/ark:/12148/cb355093060.
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Stanley, Linda Darnell. "Alejo Carpentier's "The kingdom of this world" and the spectral voice of communal consciousness." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013405.
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Wakefield, Steve. "Carpentier's baroque fiction : returning Meduza's gaze /." Woodbridge : Tamesis, 2004. http://catalogue.bnf.fr/ark:/12148/cb39927077v.
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Prud'homme, Annie-Claude. "Le réel merveilleux chez Yves Thériault et Alejo Carpentier /." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79972.
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This thesis is concerned with the "Americanity" of Quebec literature and the existence of a cultural formation specific to the New World, based on a context of renewal, distancing and rupture with respect to European influence. The "real maravilloso" is perceived as an inherent American mode of expression, and its presence is examined in the work of Yves Theriault and Alejo Carpentier. An analysis of the short stories, Contes pour un homme seul (1944) by Theriault and "Histoire de lunes" (1933) by Carpentier, and of the novels Agaguk (1958) and Le royaume de ce monde (1949), allows us to compare the evolution from primitivism to the "real maravilloso americano", revealed in the novel through the "figures of the Other" and the status of the character, characterized by duality (contrast between the primitive forces and civilized world), its quest, its integration with nature, and the importance of sacred ritual.
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Barbieri, Marcia Benedita [UNIFESP]. "A desterritorialização em Os passos perdidos de Alejo Carpentier." Universidade Federal de São Paulo (UNIFESP), 2015. http://repositorio.unifesp.br/handle/11600/39248.
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L'objet de cette étude sont des approximations, les résonances entre les œuvres Les pas perdus par Alejo Carpentier et le projet philosophique de Gilles Deleuze et Félix Guattari. Notre but n'est pas de trouver des points de levier, mais les mouvements qui traversent des lignes de fuite, déterritorialisations courir travaux de l’œuvre de Carpentier en question. Le changement sera essentielle si le narrateur de Les pas perdus réaliser une déterritorialisation, qui passera par la volonté de perturber le corps luimême et traversera par toute la structure narrative. Nous essayons de comprendre comment ces déterritorialisations traversent l'écriture de Les pas perdus sur trois fronts: le déplacement de l’écriture ou de la littérature mineure, la déterritorialisation de la vie et la déterritorialisation des organes ou la création d'un CsO.
O objeto desse estudo são as aproximações, as ressonâncias entre as obras Os passos perdidos de Alejo Carpentier e o projeto filosófico de Gilles Deleuze e Félix Guattari. Nosso objetivo não será encontrar pontos de influência, mas movimentos de deslocamento, linhas de fuga, desterritorializações que percorrem a obra carpentiana em questão. O deslocamento será essencial para que o narrador de Os passos perdidos comece uma desterritorialização, a qual passará pelo desejo de desorganizar o próprio corpo e atravessará toda a estrutura narrativa. Tentamos compreender como essas desterritorializações atravessam a escritura de Os passos perdidos em três frentes: a desterritorialização da escritura ou literatura menor, a desterritorialização da vida e a desterritorialização dos corpos ou a criação de um CsO
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Dutra, Paula Raquel da Silva. "O olhar viajante: el arpay la sombra, de Alejo Carpentier." reponame:Repositório Institucional da FURG, 2007. http://repositorio.furg.br/handle/1/3552.
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Dissertação(mestrado) - Universidade Federal do Rio Grande, Programa de Pós-Graduação em Letras, Instituto de Letras e Artes, 2007.Submitted by Cristiane Silva (cristiane_gomides@hotmail.com) on 2012-10-18T16:14:58Z No. of bitstreams: 1 pauladutra.pdf: 683095 bytes, checksum: 389586338864941d7c2f842ded173072 (MD5)
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Nesta pesquisa centralizo meu interesse no problema do olhar e seus múltiplos desdobramentos em uma poética da narrativa. Busco elaborar uma noção a respeito do olhar, articulando o discurso teórico dos textos narrativos e da crítica cultural, para definir traços que caracterizam uma figura de decisivo impacto no romance latino-americano do século XX: o viajante. Partindo desses pressupostos, estudo a obra El arpa y la sombra, do escritor cubano Alejo Carpentier, romance que tem como sujeitos relatores dois singulares viajantes: o Papa Pio IX e Cristóvão Colombo, com especial enfoque no estudo das estratégias discursivas que o escritor desenvolve para dar um olhar, e, conseqüentemente, uma percepção do mundo americano, a esses personagens relatores
En esta investigación centralizo mi interés en el problema de la mirada y sus desdoblamientos en una poética de la narrativa. Busco elaborar una noción en torno a la mirada, articulando el discurso teórico de los textos narrativos y de la crítica cultural, para definir rasgos que caracterizan una figura de decisivo impacto en la novela latinoamericana del siglo XX: el viajero. Partiendo de estas nociones, estudio la obra El arpa y la sombra, del escritor cubano Alejo Carpentier, novela que tiene como sujetos relatores dos singulares viajeros: el Papa Pio IX y Cristóbal Colón, con especial enfoque en el estudio de las estrategias discursivas que el escritor desarrolla para dar una mirada, y, consecuentemente, una percepción del mundo americano, a estos personajes relatores.
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Leite, Pedro Henrique. "Concerto Barroco de Alejo Carpentier: tensões barrocas e fuga pela música." Universidade Federal de Juiz de Fora, 2013. https://repositorio.ufjf.br/jspui/handle/ufjf/2299.
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FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais
Este estudo tem por objetivo oferecer um novo olhar sobre um dos mais prolíficos intelectuais latino-americanos do século XX: o romancista cubano Alejo Carpentier (1904-1980). Parto da análise de um de seus últimos romances, Concerto Barroco (1974), considerado pelo autor como a Suma Teológica de sua carreira. Entendo-o como um espaço em que Carpentier representou alegoricamente muitas das ideias pensadas durante a vida, em especial, a defesa de um ―barroco americano e universal‖ como forma de definir as relações da América com o restante do mundo, numa inversão das relações entre centro e periferia. Ao lado desse discurso da singularidade barroca do continente, Carpentier foi reconhecidamente um fervoroso propagandista da Revolução Cubana (1959) e do Governo de Fidel Castro. Isso gerou muitas críticas a sua figura e algumas tensões em seu próprio discurso, que se refletiram em seus romances, particularmente em Concerto Barroco. É sobre essas tensões presentes no discurso de Carpentier, e que refletiram no referido romance, que centro minha análise como um todo. Trabalho com a hipótese de que a fuga pela música foi uma estratégia utilizada por Carpentier para aliviar as tensões provenientes de seu discurso e que acabaram expressas em Concerto Barroco
This study aims at to provide a new look at one of the most prolific Latin American intellectuals of the twentieth century: the Cuban novelist Alejo Carpentier (1904-1980). It starts with the analysis of one of his last novels, Concerto Barroco (1974), considered by the author as the Summa Theologica of his career. It takes it as a place in which Carpentier allegorically represented many of his ideas thought during his life. In particular, the defense of a baroque that is, at the same time, American and universal, that looked for redefine America‘s relations with the rest of the world, in an inversion of the relationship between center and periphery. Alongside this discourse of the uniqueness baroque continent, Carpentier was admittedly a fervent propagandist of the Cuban Revolution (1959) and the government of Fidel Castro, a fact that generated much criticism of his figure and some tensions in his own speech, which reflected in his novels, including Concerto Barroco. My analysis centers in these tensions within the discourse of Carpentier, and in the novel itself. My hypothesis is that music was an escape route used by Carpentier as a strategy to ease tensions from his speeches that had repercussions in Concerto Barroco.
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Cáceres, Valderrama Milena. "Sobre el título de la obra "Concierto Barroco" de Alejo Carpentier." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/113949.
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Alves, Luciane da Silva. "Identidades barrocas : visões da América em Alejo Carpentier e Severo Sarduy." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/106407.
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Durante o inicio do século XX, se intensifica na literatura latino-americana o interesse pela expressão e formação de identidades. Os escritores procuram os elementos mais adequados para descrever as particularidades e contradições dessa região, ainda bastante influenciada pela cultura europeia, na qual os resquícios de colonialismo se misturam com os elementos regionais. Nessa perspectiva, surge o que CHIAMPI (1994) chama de “síndrome do barroco”, o reaparecimento desta arte, reinventada e contextualizada no período contemporâneo, como forma de descrição da realidade americana e de suas contradições. Essa nova onda barroca revela o mal estar da cultura, suas crises e sua desordem, e a necessidade de representação deste contexto. O neobarroco procura enfatizar o desequilíbrio, a tensão e a fragmentação e diversidade da sociedade, criticando valores e concepções tradicionais como forma de “desmascarar” os ritos sociais e a cultura. Com base nestas ideias, a análise presente neste texto privilegia as concepções identitárias das propostas literárias de Alejo Carpentier e Severo Sarduy, mostrando as diferentes formas de pensamento a respeito da realidade americana nestes autores cubanos que expressam, através do barroco, suas visões de América.Durante el siglo XX, se intensifica en la literatura latinoamericana el interés por la expresión y la formación de identidades. Los escritores buscan los elementos más apropiados para describir las peculiaridades y contradicciones de esta región aún fuertemente influenciada por la cultura europea, en la que características del colonialismo se mezclan con elementos regionales. Desde esta perspectiva, aparece lo que Chiampi (1994) intitula "síndrome del barroco", el resurgimiento de esta forma artística, renovada y contextualizada en la época contemporánea, como recurso para la descripción de la realidad americana y sus contradicciones. Esta nueva etapa barroca revela el malestar de la cultura, sus crisis y su desorden, y la necesidad de una representación del contexto. El neobarroco enfatiza el desequilibrio, el desorden, la tensión y la fragmentación de la sociedad y su diversidad, criticando los valores y las concepciones tradicionales como forma de "desenmascarar" la sociedad y la cultura. Sobre la base de estas ideas, este análisis se centra en las concepciones de identidad presentes en las propuestas literarias de Alejo Carpentier y Severo Sarduy, que muestran a través del barroco diferentes visiones de América.
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Dondon, Annie-Claude. "Fictionnalisation de l'Histoire dans El arpa y la sombra de Alejo Carpentier." Lille : Atelier national de reproduction des thèses, 2004. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9782729561017.
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Fauchier, Joël. "Le "réel merveilleux" chez Alejo Carpentier, René Depestre et Gabriel Garcia Marquez." Phd thesis, Université de la Réunion, 2002. http://tel.archives-ouvertes.fr/tel-00464189.
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Notre travail naît d'une ambition : proposer une définition du réel merveilleux, et déterminer à cette fin s'il s'agit d'un genre littéraire, ou plutôt d'un ensemble de textes unis par un mode de rapport au monde. A cet effet, nous interrogeons les textes de trois auteurs majeurs du réel merveilleux caraïbe : du cubain Alejo Carpentier, de l'Haïtien René Depestre et du Colombien Gabriel Garcia Marquez. Notre démarche s'intéresse à la visée littéraire du réel merveilleux comme à sa visée anthropologique. Nous cherchons à déterminer chez ces trois auteurs la part du fantastique et la part du merveilleux, souvent en conflit dans leurs textes. Mais nous mettons aussi en lumière les enjeux historiques et culturels de leur écriture. De notre étude, il ressort que le réel merveilleux exprime, à travers des conflits narratifs, les contradictions qui parcourent le monde caraïbe, partagé entre les déchirures de l'Histoire, et l'utopie du Mythe. D'une part il ouvre sur un monde terrifiant : chaos tellurique où se désagrègent les repères spatio-temporels, hantise de la figure du métis, perception enfin d'une histoire pressentie comme un monstre. D'autre part, il ouvre sur ses propres mythes, qui sont souvent des mythes européens revisités : perception cosmique de l'univers, mythologie euphorique du métissage, réconciliation de l'homme avec le monde par une écriture qui conjugue poésie et carnavalesque. Qu'est-ce que donc que le réel merveilleux ? Non pas un genre littéraire ni une esthétique qui se confinerait dans "un réalisme magique" empreint d'artifice, mais plutôt une expression littéraire propre à l'Amérique latine et notamment aux Caraïbes, qui traduit les terreurs comme les aspirations d'une culture et développe sa quête identitaire aux confins de l'Histoire et du Mythe.
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Ceura, Vergara Carolina. "Alejo Carpentier y lo real maravillos americano: Propuesta de una categoría estética." Tesis, Universidad de Chile, 2003. http://www.repositorio.uchile.cl/handle/2250/108782.
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Houde, Caroline. "Un viaje en el tiempo de Los pasos perdidos de Alejo Carpentier." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/26659/26659.pdf.
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Dalembert, Louis-Philippe. "La representation de l'autre : le noir dans l'oeuvre romanesque de alejo carpentier." Paris 3, 1996. http://www.theses.fr/1996PA030177.
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Cette these s'est proposee d'etudier << la representation de l'autre : le noir dans l'oeuvre romanesque de alejo carpentier>>, ecrivain cubain du xxe siecle. Pour ce, l'etude s'est appuyee sur un corpus de base de trois romans (le royaume de ce monde, concert baroque, la danse sacrale) ou le noir joue un role qui permette d'en deduire une reflexion et une image d'ensemble. Chez carpentier, la representation de l'autre noir obeit a un veritable processus de primitivisation et de proletarisation. Dans le meme temps, l'image du noir repond a un schema evolutionniste qui le fait passer, par exemple, de l'animisme au marxisme. Cependant, cette image plurielle de l'autre noir sert de pretexte a un discours plus vaste. L'autre noir se retrouve ainsi au centre d'un enjeu culturel, esthetique et ideologique qui le depasse. Le noir proletaire fournit a carpentier le pretexte a un discours politique de justice sociale. Le noir primitif devient garant d'une americanite fondee sur le metissage grace auquel le nouveau monde n'est pas un decalque culturel de l'europe. Pour finir, l'autre noir sert de mediation a une reflexion sur l'humanite. Ce sont autant de perspectives que nous avons tente, dans une approche comparatiste, de degager de l'oeuvre de carpentierThe subject of this phd is : <>, a xixth century cuban writer. This study is, to this end, based on three novels (el reino de este mundo, concierto barroco, consagracion de la primavera) where the black plays a part from which we can infer an overall reflection and image. In carpentier's work, the image of the other black complies with a whole primitivization and proletarianizm process, while the image of the black obeys an evolutionnist pattern that leads him to pass, for example, from animism to marxism. However, this miscelleaneous picture of the other black conceals a more general thinking ; the other black is thus at the center of a cultural, aesthetical and ideological stake that overcomes him. Carpentier uses the proletarian black as a support for conveying a political thinking on social justice. The primitive black is thus the guarantor of an american identity based on interbreeding, which prevents america from being a cultural replica of europe. To end with, the other black is at the center of a reflection on humanity. Such are all the viewpoints we have attempted, through a comparative approach, to shed a light on
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Paute, Jean-Pierre. "Histoire et création littéraire chez Alejo Carpentier : recherches sur ecue-yamba-o." Toulouse 2, 1986. http://www.theses.fr/1986TOU20069.
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La thèse prend appui sur le premier roman d'Alejo Carpentier pour étudier les differents "contextes" historico-économique, culturel, litteraire auxquels se rattache le noir de Ecue-yamba-o. Malgré des coordonnées spatio-temporelles volontairement imprécises, le roman permet ainsi de reconstituer les circonstances qui firent de la cuba républicaine l'objet des visees imperialistes nord-americaines. Les travailleurs du sucre, les noirs en particulier, apparaissent comme les victimes d'un systéme inique et aliénant qui les exclut de l'histoire contemporaine. Cette étude fait une large place à deux des principales manifestations de l'héritage africain à cuba : la musique afro-cubaine et la santeria, dont la présence massive dans ecue suggère la vigueur des traditions po- pulaires et ancestrales. Dans les deux cas les perspectives diachronique et synchronique sont combinees afin de retracer l'évolution de la cultu- re africaine, de décrire et d'interpréter les formes originales syncrétiques qu'elle a prises dans un nouvel environnement. Ce travail montre aussi que la réhabilitation des valeurs de civilisation d'origine africaine va de pair avec une volonté de renouveler la pratique littéraire a cuba. La structure mythique de "ecue-yamba-o", atteste un refus du réalisme étroit qui caractérisera la production posterieure de Carpentier. Le roman est enfin replacé dans le climat d'effervescence sociale et culturelle des années 30 à Cuba qui voit des courants très divers se fondre dans un nationalisme littéraire au sein duquel ecue prend place comme première manifestation romanesque du négrisme. Dans chacun des contextes, le monde noir est montré comme faisant parti intégrante du patrimoine national. Le "roman afro-cubain" de Carpentier illustre ainsi le concept de "transculturation" cher à F. Ortiz et contribue, malgré des faiblesses, à l'expression de l'identité nationale et culturelle de la grande île.
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Paute, Jean-Pierre. "Histoire et création littéraire chez Alejo Carpentier recherches sur "Ecue-Yamba-O /." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37600302w.
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Montoya, Pablo. "La musique dans l'oeuvre d'Alejo Carpentier." Paris 3, 2001. http://www.theses.fr/2001PA030093.
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Dans l'oeuvre d'Alejo Carpentier, la musique est la source de la longue phase baroque, elle structure la forme narrative, elle permet la création de personnage littéraires, elle stimule sans cesse l'imaginaire de l'écrivain et du critique. La musique est la voix qui nomme le mythe, le temps, la modernité. Elle établit des liens significatifs avec la poésie et l'histoire et occupe une place essentielle dans la construction d'une identité latino-américaine proposée par l'écrivian cubain. Les différentes études sur les relations entre musique et littérature dans l'oeuvre de Carpentier sont en général fragmentaires. La première et deuxième partie de notre recherche sont consacrées à l'impact de la musique afro-cubaine, puis européenne, dans l'oeuvre poétique, journalistique et narrative de Carpentier. La dernière partie s'attache à l'étude minutieuse de la musique dans Los pasos perdidos. Notre recherche s'efforce de faire une synthèse de la critique musicale dispersée effectuée sur l'oeuvre de CarpentierIn Alejo Carpentier's work, music feeds the long baroque phrase, structures the narrative form, generates the literary creation of characters, endlessly stimulates the imaginary of writer and critic. Music is the voice to name myth, time, modernity. It establishes significative bounds with poetry and history, and holds a preponderant place in the proposal the Cuban writer makes of the conformation of a Latin American identity. Till now, studies about different relations between music and literature, especially present in Carpentier, are generally made in a fragmented way. Our research faces them through through three essential divisions : the first two are dedicated to study the impact of Afro Cuban and European music in the poetical, narrative and journalistic work ; the last one is dedicated to a careful analysis of musical sphere in Los pasos perdidos. We intend a synthetic and explanatory study of the scattered music criticism done on Alejo Carpentier's work
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Pérez, Pérez Patricia. "L'image controversée de l'Europe dans deux discours littéraires d'Alejo Carpentier." Nantes, 2012. http://www.theses.fr/2012NANT3014.
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Ce travail de thèse s'inscrit dans le cadre des recherches du Centre de Recherches sur les Identités Nationales et l'Interculturalité de Nantes (CRINI) et propose une analyse de deux extraits de romans de l'auteur cubain Alejo Carpentier à deux époques différentes de sa production littéraire (1953 et 1979). Il s'agit de déceler les différents mécanismes discursifs mis en œuvre dans la construction de l'image de l'Europe dans le cadre des théories actuelles de l'Analyse de Discours. Cette recherche est élargie par l'examen des mécanismes pragmatico- discursifs qui participent également à la construction de cette image en fonction des théories de l'Analyse Linguistique du Discours et des recherches menées au sein du Groupe d'Analyse Sémantique et pragmatique de Nantes (GRASP-CALD) depuis 1999. Pour cela nous proposons l'analyse de deux termes de notre corpus : la « creacion dans Los pasos perdidos et le mot « oro » dans El arpa y lasombra. Nous espérons pouvoir mettre nos conclusions au service d'une approche sociolinguistique de la littérature hispano-américaine.
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Tollendal, Eduardo Jose. "Arte revolucionaria, forma revolucionaria : a literatura politica de Jorge Amado e Alejo Carpentier." [s.n.], 1997. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269844.
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Orientador: Suzi Frankl SperberTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: No campo dos estudos comparados, este é um trabalho de análise e interpretação dos romances Jubiabá, Mar morto, Terras do sem fim, de Jorge Amado, e Écue- Yamba-Ó e La consagración de la primavera, de Alejo Carpentier. São romances que se aproximam por conciliarem o enfoque da situação do negro no espaço do subdesenvolvimento - tema herdado do regionalismo naturalista com a denúncia do capitalismo e da sociedade de classes. Representariam, portanto, uma linhagem "engajada" da tradição regionalista, que se desenvolve na literatura da América latina, em sintonia com o fenômeno de politização da vida e da cultura desta sociedade a partir dos anos 30, sob a influência da teoria marxista. Às motivações da consciência diante das questões sociais, que justificam o desenvolvimento deste tipo de romance, acrescente-se o impulso legitimador promovido pelo "prestígio" do realismo socialista. A descrição destes romances - numa perspectiva sócio-antropológica, em que tem destaque o delineamento das relações afetivas como sintoma da dominação de classe -- permitiu a identificação de procedimentos que caracterizam as variações desta tendência na obra de cada autor. Neste sentido, procuramos verificar o problema, presente em toda literatura política, da adequação entre a autonomia da forma e as determinações da ideologia. As soluções encontradas por Amado e Carpentier irão dizer da excelência de suas narrativas, enquanto arte revolucionária, segundo os princípios da estética marxista
Abstract: In the field of comparative studies this inquiry aims at analyzing and interpreting the novels Jubiabá, Mar Morto, Terras do sem fim, written by Jorge Amado and Écue-Yamba-Ó and La consagración de la primavera by Alejo Carpentier. The relationship among these novels exists in that there is an attempt to reconcile and focus on the status of blacks in underdeveloped contexts - a theme inherited from regional naturalist movements - which denounces capitalism and the class society. The novels, therefore, are within the naturalist regional literary tradition of commitment to a cause, which developed in Latin American Literature. In addition, they are a reflection of the political consciousness developed during the thirties influenced by the Marxist perspective. A conscious reaction to social problems, and a desire to legitimate the existing social conditions, added to the prestige of socialist realism, justifies the development of this type of novel. Through a description of these novels and from a socio-anthropological perspective in which an outline of affective relationships symptomatic of class domination are highlighted, it was possible to identify the procedures that characterize the various manifestations of this tendency in the work of each author. In this manner, the problems of political literature and the ways in which autonomy of form were adapted to the requirements of ideology are identified. The solutions to these problems found by Amado and Carpentier point out the distictive quality of their narrative as revolutionary art based on Marxist aesthetic theory
Doutorado
Teoria Literaria
Doutor em Letras
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Cox, Timothy J. "Postmodern tales of slavery in the Americas : from Alejo Carpentier to Charles Johnson /." New York : Garland, 2001. http://catalogue.bnf.fr/ark:/12148/cb409495054.
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Perilli, Carmen. "Imágenes de la mujer en Carpentier y García Márquez : mitificación y demitificación /." San Miguel de Tucumán : Universidad Nacional de Tucumán, 1990. http://catalogue.bnf.fr/ark:/12148/cb35629352r.
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Garí, Barceló Bernat. "La ensayística musicológica de Alejo Carpentier: Eufónica vía a una poética de la novela." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/297564.
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La proliferación de escritos teóricos e investigaciones en torno la figura de Alejo Carpentier y su novelística se hizo hecho notorio a lo largo de los años 80 e inicios de los años 90. No obstante, y tras un aplacamiento de la fiebre carpenteriana en los últimos años del siglo pasado, cabe apuntar que resulta pobre y exiguo el número de acercamientos de tipo interdisciplinario que se han practicado para con la ensayística de índole musicológica del autor. Con el presente proyecto procedemos, por un lado, a diseccionar, analizar y presentar el ensayo musicológico de Alejo Carpentier, cuya importancia, como una significativa parte de la ensayística general del autor cubano, ha sido devaluada por los integrantes del aparato crítico; y a examinar, por otro lado, cómo el ensayo musicológico sirve al autor como teoría programática para la consolidación de su novelística ulterior. Procederemos, asimismo, a un ejercicio de intertextualidad relacionando La Música en Cuba, Tristán e Isolda en Tierra Firme, Del folklorismo musical, América Latina en su música y Los orígenes de la música y la música primitiva con variadas novelas de Carpentier donde también se desarrollan y se hermanan los conceptos de música, transculturación, aculturación y nacionalismo, entre otros.The popularization of essays and theories that deal with Carpentier took place throughout the 80's and early 90's. However, after a smooth fever about Carpentier in the recent years of the last century, the number of such interdisciplinary approaches, which have already been made to the musical essays of the author, is, by far, poor and meagre. With this project we proceed, on the one hand, to dissect, analyze and present Carpentier’s musical essays, the importance of which, as a significant part of the general essays by the Cuban author, has so far devalued by the members of the critical apparatus; and to examine, on the other hand, how the musical essay is used by the author as a programmatical theory for the consolidation of his subsequent narrative. We will also proceed to an exercise in intertextuality linking La música en Cuba, Tristán e Isolda en Tierra Firme, Del folklorismo musical, América Latina en su música and Los orígenes de la música y la música primitiva with various other novels by Carpentier, which also develop and connect concepts such as music, transculturation, acculturation and nationalism, among others.
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Zuili, Marc. "Alejo Venegas de Busto : édition critique de la Agonia del transito de la muerte." Paris 10, 1997. http://www.theses.fr/1997PA100134.
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Ce travail est une édition critique de la agonia del transito de la muerte d'alejo venegas de busto (1498 ou 1499 -1562) : jusqu'à présent, on ne disposait que d'éditions anciennes, difficilement accessibles, dont la plus récente, celle de la nueva biblioteca de autores espanoles (madrid, 1911), accumule erreurs et transcriptions fautives et n'est dotée d'aucun apparat critique. Le texte retenu est celui de 1543, considéré comme l’édition "optimale" de la agonia. . . Il est modernise et complété par diverses notes : les unes glosent les noms propres, les aspects théologiques, les faits de langue propres au siècle d'or et le vocabulaire employé ; d'autres précisent les sources de l'œuvre et les emprunts qui lui ont été faits ; d'autres enfin donnent un recensement des variantes. En complément de ces notes figurent aussi une liste des thèmes de l'œuvre ainsi que deux index : l'un des termes et expressions, l'autre des noms propres. Ce travail contient diverses pièces annexes parmi lesquelles se trouvent la brève déclaration de las sentencias y vocablos oscuros que en el libro del transito de la muerte se hallan - texte d'alejo venegas publie pour la premiere fois en 1543, qui reprend le contenu de la agonia. . . Et le precise sur certains points - et plusieurs fac-similes (pages de titre des differentes éditions de l'ouvrage. Licencias accordees pour leur publication, passages significatifs de l'œuvre)This thesis is a critical edition of the agonia del transito de la muerte by alejo venegas de busto (1498 or 99 -1562). Up to now, we only had recourse to old, difficult-to-find editions, of which the most recent, found in the nueva biblioteca de autores espanoles (madrid, 1911) contains transcriptional errors and does not have any critical apparatus. The edition which has been used dates from 1543 and is considered as the best text of the agonia. It has been modernized and complemented by diverse notes: some explain the proper names, theological aspects, syntactical forms particular to the golden age and contemporary vocabulary; some specify the original sources of inspiration for the agonia and the texts which derived from it; others provide a list of the different variations. As an addition to these notes, there is a list of the themes of the oeuvre as well as two indexes: one for terms and expressions, the other for proper names. This work contains diverse annexes among which can be found the breve declaracion de las sentencias y vocablos oscuros que en el libro del transito de la muerte se hallan. . . (a text which venegas published for the first time in 1543, which recapitulates the contents of the agonia and clarifies certain points) and several facsimiles (frontispieces of different editions, licencias accorded for their publication and significant passages of the work)
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Lundvall, Christian. "La razón y su mitología en, El siglo de las Luces, de Alejo Carpentier." Thesis, Umeå universitet, Institutionen för språkstudier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-136482.
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This essay analyses the imagined and possible connections that reason has in the novel “El siglo de las Luces” by Alejo Carpentier. This is investigated both as our capacity to make conclusions, and by the way myth is pictured in the novel. The analysis is made in the framework of the ideas of reason during the Age of Enlightenment, and from thirteen engravings by Francisco de Goya that are included in a larger series named “Los desastres de la Guerra Independencia española”. These thirteen engravings are represented in Carpentier’s novel through the same number of epigraphs that introduce chapters or sections. The purpose of this essay is to explore the images and words in the novel, and their connection to reason. This study also examines how the myth of reason functions in the novel. The results show that images and words are related, and that there is a link to reason. Further findings demonstrate that the myth of reason connects the reality and illusory (rationality and irrationality), which Carpentier uses in his novel to create contrasts.
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Ortiz, Maria Salvadora. "Conception de l'identité latino américaine chez Alejo Carpentier : une lecture "Le Recours de la méthode"." Paris 3, 1985. http://www.theses.fr/1985PA03A024.
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Pooley, Simon Preston. "Alejo Carpentier, Gabriel García Márquez, Salman Rushdie : three moments in the problematics of magic realism." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/18876.
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Chapter One begins by outlining the space magic occupies in Western culture, clarifying what I mean by the term "magic". I examine aspects of indigenous American sacred traditions which have influenced and which prefigure magic realism. I review the development of the aesthetic in its Latin American context, touching on the Chronicles, the role of nationalism and erotic rhetoric, the influence of European modernism and the role of the intellectual in Latin American society. Chapter Two examines the development of a realist aesthetic in Europe since the Enlightenment. This review of its manifestations and counter-traditions in European culture is founded upon a discussion of aspects of the philosophy of Kant. I focus on the influence of Surrealism which is particularly illuminating of Latin American magic realism. The impacts of anthropology and psychoanalysis on Latin American writers are also reviewed. Chapter Two includes a review of formulations of magic realism influential in the field of English studies and concludes with a working definition which is used as a basis for the discussions of the three novels analysed in this study. Chapter Three is a study of the development of Alejo Carpentier's version of magic realism culminating in the writing of The Kingdom of this World in 1949. Through using both European and indigenous American techniques and perspectives he hoped to create a literature which could represent the complex realities of Latin American life and establish a mythology for the founding of a unified Latin American identity.
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Garbin, Gaia <1987>. "La música de origen africano en "¡Écue-Yamba-Ó!" y "Concierto Barroco" de Alejo Carpentier." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6365.
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Analisi delle due opere di Alejo Carpentier "¡Écue-Yamba-Ó!" e "Concierto Barroco" con particolare attenzione alla realtà musicale di origine africana, allo sviluppo che questa ha avuto nella cultura ispano-americana e alle differenze con la musica nordamericana ed europea.
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Bounou, Abdelmouneim. "La recherche de l'identite dans l'univers romanesque d'alejo carpentier. Etude sur el reino de este mundo et el siglo de las luces." Toulouse 2, 1987. http://www.theses.fr/1987TOU20047.
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Si on voulait faire un bref apercu sur les idees principales de notre these, nous devrions proceder par le partage de ce travail en quatre parties. Dans la premiere partie, la formation culturelle de carpentier, son milieu familial lui ont permi d'acquerir une double culture a la fois americaine et europeenne. Ses voyages plus tard en amerique et en europe ont contribue a l'enrichissement de sa personnalite. La terminologie de "lo real maravillosso" et "el realismo magico" a ete pour carpentier la premiere etape dans l'affirmation de l'identite americaine. Dans la premiere oeuvre el reino de este mundo (1949), toutes les coordonnees structurantes possedent un caractere cyclique : le temps, l'espace, les personnages, l'histoire. Les esclaves se rebellent pour se liberer de l'ideologie dominante. Cependant a chaque fois qu'ils se soulevent, ils se retrouvent dans une trajectoire spatio-temporelle fermee. La liberation reste un desir illusoire l'identite devient un reve lointain. Carpentier fait recours a la multiplicite du point de vue le baroque, l'ironie, pour traduire ce qu'il appelle l'originalite de l'amerique latine. Dans la deuxieme oeuvre el siglo de las luces (1962), la meme structure que la precedente est developpee par carpentier : temps, espace, personnages, carpentier fait appel a quelques modalites de la narration pour traduire l'originalite de la realite americaine. Dans la quatrieme partie, carpentier reflete tout au long de sa vie cette recherche de l'identite. L'auteur montre une certaine influence de la part de la culture francaise. Plusieurs contradictions sont presente dans sa position politique, sa production culturelle : essais, romans. Carpentier est a la recherche du mythe de l'amerique, l'amerique de bolivar et de marti. "l'angoisse de savoir ce que nous somme" parait etre l'obssession qui hantait carpentier dans le royaume de son mondeIn view of resuming the principal ideas of our thesis, we should proceed to divise our work in four distincts parts, the first of which illustrates alejo carpentier cultural backgroud. The conditions of his family have enabled him to acquire a double culture based simultaneously on americain and european elements. Later on, carpentier travel in america and europe have played a major part in the enrichment of his personality. The terminology of "lo real maravillosso" and of "realism-magic" has been the first step in carpentiers march the affirmation of the identity of america. In the first work, the kingdom of this world (1949) all the structuring elements-time, space, personalies-are of a cyclic character. The slaves revolt against the dominant ideology. However, every time there is rebellion, the finally find themselves-once more-in a trajectory that is somewath closed both spatially and temporally. The liberation remains and illusion and identity becomes a distant dream. Carpentier makes use of a multiplicity of-points of view, contrasts, irony, baroque elements in narration-in order to reproduce wath he calls "originality of latin america". In his second work, in a universal story named explosion in a cathedral (1962), carpentier has developed time space-personality and structure. Carpentier makes use of some modalities of narration in order to illustrate the originality of american reality. In the fourth part, we see carpentier reflect this quest for identity during his whole life revealed a certain influence of french culture. Many contradictions can bee seen both in his political position and in his work (essays, novels, &). Carpentier strives to find the mythe of america, of the america made famous by men like bolivar and marti. The anuish of knowning what we are that seems to lee the very obsession that haints carpentier in the kingdom of his world
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Felippe, Eduardo Ferraz. "A resignação de Sísifo: tradição, cultura política e história na obra do moderno vetusto Alejo Carpentier (1928-1980)." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-30072013-121934/.
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Essa tese ilumina as relações entre tradição, ensaio e história na obra de Alejo Carpentier, entre 1928 e 1980, com o intuito de compreender seu caminho para o antigo. O estudo recoloca a discussão sobre a proposta estética de escritores e movimentos de vanguarda europeus e latino-americanos. Minha principal consideração é de que a visão negativa de Carpentier acerca das vanguardas foi produto de uma estratégia de sagração de seu nome como intelectual e da separação de sua obra dos bens culturais da modernidade, como o rádio. Duas faces de uma mesma moeda colocou no esquecimento uma obra fundamentalmente vinculada à legitimidade moderna, especialmente por uma experiência do tempo vinculada ao presente e a constituição de uma rede intelectual latino-americana da qual Carpentier era partícipe. Por meio da análise de sua obra e do contexto europeu e latino-americano, este estudo realça que o conceito de formação é apropriado pelo autor para valorizar uma trajetória intelectual coesa que rejeitou os padrões de percepção e representação legados pelo surrealismo. Ao mesmo tempo, as múltiplas formas de leitura da tradição clássica inclusive utilizando os mitos de Sísifo e Adão valorizam o lugar autêntico de sua escrita, porém não deixam de ressaltar a presença da artificialidade do surrealismo.The issue of this thesis is the relation amid tradition, political culture and history in the work of Alejo Carpentier (1928-1980) to understand his way to ancient. This proposal reassesses the dialogue between the aesthetic avant-garde European writers and Latin American manifestations. My main assertation is that Carpentiers negative appraisals by the avant-garde were the product of Rite of his name as intellectual and the distance of his work on the belongings of modernity, like a radio. Two faces on the same coin have been left behind a work linked to the modernity mainly connected to the present and the constitution of an intellectual latin-american web. By the annalisys of the work and the European and latin-american context, this work underlines that the concept of formation emphatizes an intellectual path that was opposed to the patterns of perception and representation legacy by the surrealism. Meanwhile, the different forms of lecture of classical tradition with the myths of Sisifo and Adam who praised the authentic writing on its own, although it maintains the artificiality of surrealism.
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Parisot, Fabrice. "Les épigraphes dans l'oeuvre romanesque d'Alejo Carpentier : théorie et analyse." Aix-Marseille 1, 1994. http://www.theses.fr/1995AIX10032.
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Dans la premiere partie de ce travail, je propose une theorie sur les epigraphes (definition, evolution, formes, situations, fonctions. . . ) qui va servir de base a l'analyse des soixante-six "micro-textes" intertextuels qui jalonnent paratextuellement les recits d'alejo carpentier. Dans la seconde partie, j'analyse depuis el reino de este mundo (1949) jusqu'a el arpa y la sombra (1979) chacune des epigraphes par rapport a leur (inter)dependance au texte narratif auquel elles s'appliquent et je demontre qu'elles permettent, retrospectivement, d'effectuer une lecture condensee au sens global de chacune des oeuvres. Cette analyse permet d'aboutir a la conclusion que les epigraphes dans l'oeuvre romanesque d'alejo carpentier fonctionnent a deux niveaux, l'un interne, l'autre externe. Le premier niveau est davantage d'ordre didactique puisqu'il offre la possibilite de mieux apprehender le message esthetique ou ideologique de l'auteur vehicule par le recit. Le second niveau trahit pour sa part, a travers la constante presence de ces "micro-textes" extratextuels, la volonte et le desir du romancier cubain d'inscrire son oeuvre ainsi que le continent latinoamericain dans l'universalite.
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Porrata, Francisco Eduardo. "Relectura del discurso novomundista de Alejo Carpentier y Abel Posse en el contexto de la nueva novela histórica." FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/40.
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The purpose of this dissertation was to analyze the narrative works of Alejo Carpentier and Abel Posse within the context of the new Latin American historical novel that revises the Old World-New World Encounter. Focusing on El arpa y la sombra and Los perros del paraíso, the dissertation studied the particular manner in which Latin American novelists, and particularly Alejo Carpentier and Abel Posse, approach and question traditional historiography. The research also compared different novels to identify various trends within the new historical novel that rewrites the foundational period of Latin American literature. This study considered the theories of the new historical novel as proposed by critics such as Seymour Menton, Fernando de Aínsa, Linda Hutcheon, and Brian MacHale. The new novel was examined within the frameworks of postmodern literary and historiographic theories. The study also contemplated the philosophical views that have influenced postmodern thought, and, especially, the ideas of Nietzsche, Heidegger, Lyotard, Harbermas, and Foucault. Research showed two major trends within the new Latin American historical novel. In the case of the first trend, initiated by Alejo Carpentier in 1949 with El reino de este mundo, the novelist’s approach is founded on historicism and factual rigor. The second trend, initiated by Reinaldo Arenas with El mundo alucinante in 1969, is marked by irreverence, parody, irony, and carnavalization. Characterized by intertextuality, dialogism, and anachronism, novels such as Carpentier´s El arpa y la sombra and Posse´s Los perros del paraíso, undermine the values and beliefs instituted by the traditional historiographic paradigm and the discourse of power.
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Velásquez-Alford, Sandra Liliana. "Literary historicism : conquest and revolution in the works of Carlos Fuentes (1928-2012) and Alejo Carpentier (1904-1980)." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277922.
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This doctoral thesis analyses the depiction of the historical topics of Conquest and Revolution across the literary writings of Alejo Carpentier (1904-1980) and Carlos Fuentes (1928-2012). These historical tropes constitute core topics of reflection throughout their literary and critical works, stressing the interplay between literature and history. I propose the concept of literary historicism to analyse their portrayal of historical topics and characterise the role of history in their poetics. This concept denotes the historical awareness that underpins the authors’ literary reinterpretations of historical events; their use of a historicist writing methodology; and the critical relationship established to historiographical sources and narratives. I argue that the authors’ deliberate historicism characterises their narratives, challenges disciplinary boundaries and posits literature as an alternative medium for the production of historical interpretation. This comparative study focuses on a corpus of fifteen fictional works from both authors that depict Conquest and Revolution. The first section analyses the authors’ literary portrayal of the Conquest of Mexico (1521) and stresses the relationship established to the historical sources consulted and their literary reinterpretation of this historical event. An assessment of the reflections and symbolisms embodied by their literary-historical figures elucidates the authors’ understanding of the Conquest. Thus, this section demonstrates the defining character of these authors’ literary historicism in their writing methodology and semantic interpretation when addressing historical tropes. The second section explores Fuentes’s and Carpentier’s depiction of historical Revolutions including the French, Mexican, Haitian and Cuban Revolutions. This section comprises a transversal and diachronic analysis of their Revolution cycles to demonstrate recurrent narrative, thematic and stylistic patterns in Fuentes’s and Carpentier’s literary portrayals of this historical phenomenon. I highlight the further meaning that these patterns acquire in their works, articulating a critical assessment of these historical revolutions. This thesis adds to the scholarship on these authors from an interdisciplinary perspective that re-centres attention on History. Through the concept of Literary Historicism, I demonstrate the existence of a central concern in their oeuvres to critically reassess the Latin American past and its historical interpretations from literary discourse. This study contributes to the understanding of history and literature in Latin America, for it analyses the interactions between these branches of written culture.
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Pereira, Tatiana Antonia Selva. "Transculturação, identidade e diferença cultural em O recurso do método e O reino deste mundo de Alejo Carpentier." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/6674.
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Este trabalho tem como objeto de estudo dois romances – O Reino deste Mundo e O Recurso do Método, do escritor cubano Alejo Carpentier, precursor do real maravilhoso, sob uma perspectiva comparatista a partir das teorias e noções que são de interesse da literatura comparada, como o processo de transculturação na América Latina, a intertextualidade, a descolonização cultural, a carnavalização do seu discurso, a desterritorialização, o hibridismo cultural e literário, a busca da identidade cultural e da consciência latino-americana no contexto sócio-político, histórico e cultural no qual essas obras se inserem. Fundamenta-se esse estudo nas contribuições de dois teóricos latino-americanos, o etnólogo cubano Fernando Ortíz, pioneiro do conceito de transculturação, e o crítico literário uruguaio Ángel Rama, teórico da transculturação narrativa na América Latina. Destaca-se, ainda, a relevância que o ato tradutório, em geral, e a tradução literária, em particular, têm como mediadores interculturais, apontando-se algumas questões de tradução cultural nas traduções das obras para o português e o importante papel do tradutor em obras dessa natureza.
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Chapon, Cécile. "Le Figuier d'or : intertextualités classiques et représentations de l'oralité dans l'espace caribéen (Alejo Carpentier, Édouard Glissant, Derek Walcott)." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL107.
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À l'horizon de ce travail se trouve la volonté d'affirmer la cohésion et les nuances d'un imaginaire caribéen, construit en dialogue avec tous les substrats culturels et les expériences de l'histoire et du paysage dont il est issu. L'étude se concentre sur les œuvres de trois auteurs qui ont fourni une réflexion critique sur la création littéraire et sur le rôle de l'artiste caribéen ou latino-américain : Alejo Carpentier, Édouard Glissant, Derek Walcott. Ils arpentent le réel caribéen, dans une tension toujours renouvelée entre un canon littéraire inculqué depuis l'autre rive européenne, et la volonté de représenter dans et par le texte littéraire les pratiques vives de l'oralité. Comment concilier les tensions entre médiation (inter)textuelle et immédiateté ou coïncidence rêvée du chant, pour écrire avec justesse l’histoire oblitérée d’un archipel ou d’un continent ? Je développe à partir de leurs usages une conception dynamique de l'intertextualité comme dialogue, confrontation et revitalisation de la mémoire écrite, qui entend dépasser l'axe binaire de la soumission ou la subversion à un canon écrit surtout européen. J'envisage en particulier l'axe Méditerranée-Caraïbe pour penser les phénomènes de transferts et de différenciation et montrer comment l'Antiquité gréco-latine peut servir à articuler le désir de fondation et la rencontre entre performance orale et trace écrite. J'examine enfin comment le désir d'oralité, allié à la notion de communauté, travaille les textes du corpus, à travers un certain nombre de scènes de passage, de scènes rituelles, ou de scènes limites de la représentationThis work intends to stand for the cohesion and the nuances of a Caribbean imaginary, which is based on a constant dialogue with all the cultural substrates and the experiences of history and landscape. The study focuses on the works of three writers who produced a critical appraisal of literary creation and the role of the Caribbean or Latin-American artist: Alejo Carpentier, Édouard Glissant, Derek Walcott. They keep measuring the Caribbean reality, in a continuous tension between a literary canon often brought and taught from the European shore and view, and the will to represent in and by the literary text the vivid practices of orality. How can we conciliate the tensions between (inter)textual mediation and immediacy or coincidence of the song, in order to write the obliterared history of an archipelago or a continent? Reading their intertextual uses, I develop a dynamic conception of intertextuality as dialogue, confrontation and revitalization of literary memory, which intends to go beyond the binary axis of submission or subversion to European written canon. I study in particular the Mediterranean-Caribbean axis to think about the cultural transfers and differentiation, in order to show how the Greek and Roman tradition can be used to articulate the desire for foundation and the encounters between oral performance and written traces. Finally, I examine how the desire for orality, which seems to traduce a desire of community, influences the textual composition, through the study of scenes of passing, ritual scenes and boundary scenes of representation
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chornik, Katia. "The role of music in selected novels and associated writings of Alejo Carpentier : Primeval expression, structural analogies and performance." Thesis, Open University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.528254.
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Apanomeritaki, Eirini. "Transforming narratives : subjectivity and metamorphosis in Franz Kafka, Vladimir Nabokov, Alejo Carpentier, Vassilis Vassilikos, Virginia Woolf, and Marie Darrieussecq." Thesis, University of Essex, 2018. http://repository.essex.ac.uk/23243/.
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This doctoral project explores the narrative representations of transforming subjectivity in modernist and post-modernist texts that deploy the trope of metamorphosis. Subjectivity is explored within a psychoanalytic framework and from a comparative lens, through the juxtaposition of selected short stories and novels of metamorphosis from different literatures, produced in different languages and under different geocultural and historico-political conditions from 1915 to 1996. Chapter One explores subjectivity as sacrificial and in conflict with a symbolic father-authority, through a close reading of insect metamorphosis in Franz Kafka’s “The Metamorphosis” (1915) and Vladimir Nabokov’s “The Aurelian” (1931). Chapter Two addresses the postcolonial dimension of subjectivity and its collective construction in terms of the loss of home in Alejo Carpentier’s The Kingdom of This World (1949) and Vassilis Vassilikos’s ... and dreams are dreams (1988). Chapter Three pairs two feminist writers and their stories of metamorphoses, Virginia Woolf’s Orlando: A Biography (1928) and Darrieussecq’s Pig Tales: A Novel of Lust and Transformation (1996), to explore subjectivity as hybrid: androgynous and human-animal like. Metamorphosis, as this project suggests, allows us to explore an array of subjectivities, both individual and collective: it points to the issues of death, rebirth, sacrifice, the subject’s position within a nation and the processes of nation-formation, and creative writing as negotiating loss, while it also challenges the established boundaries of gender and animal representation. This thesis argues that the twentieth-century stories of metamorphosis which are being examined here articulate a certain metamorphosis in our very conception of subjectivity, namely, the reconceptualization of subjectivity as hybrid, metamorphic, and bound to individual and collective transformations.
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Navarro, Márcia Hoppe. "Aspects of power and history in the dictator novels by Alejo Carpentier, Augusto Roa Bastos and Gabriel García Márquez." Thesis, University College London (University of London), 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.668126.
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Henighan, Stephen. "Assuming the light : the constitution of cultural identity in the Parisian literary apprenticeships of Miguel Angel Asturias and Alejo Carpentier." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.318891.
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Díaz, de Cerio Xabier, and Carlos Salinas. "El diseño salva-vidas: El lado B de la campaña "Me alejo porque te quiero" para derrotar al COVID-19." Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653483.
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Sträter, Thomas. "Feste und Proteste Literatur und Musik in der lateinamerikanischen Moderne bei Jorge Luis Borges, Mário de Andrade, Alejo Carpentier und José María Arguedas." Berlin Ed. Tranvia, Verl. Frey, 1998. http://d-nb.info/1002846188/04.
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Hatjakes, Alison. "Re: magical realism : the remythification, reconception, and regendering of narrative in Alejo Carpentier's El reino de este mundo, Gabriel García Marquez's cien años de soledad, and Isabel Allende's La casa de los espíritus /." abstract and full text PDF (UNR users only), 2008. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:.
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Thesis (M.A.)--University of Nevada, Reno, 2008."August, 2008." Includes bibliographical references (leaves 86-88). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2009]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.
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Ashvo-Muñoz, y. Díaz Alira. "Cielo de tambores : tradiciones Afrocubanas en Sóngoro cosongo, Motivos de son y West Indies Ltd. de N. Guillén y Viaje a la semilla de A. Carpentier /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Andreu, Thiago Miguel [UNESP]. "(Des)concerto: o realismo maravilhoso em Concierto Barroco." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/99173.
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O discurso realista maravilhoso, por não apresentar disjunção entre natural e sobrenatural, tornase um espaço de convergência e debate dos fatos de que se tem conhecimento sobre a América, dando margem para a transgressão do real, sem ruptura. O único enfrentamento seria com a própria história tida, até o momento, como hegemônica, característica que encontra na diegese, condições para proliferar a ideologia americanista, relacionada à formação da identidade no discurso literário hispano-americano, que está no cerne das discussões a respeito do subgênero. A partir da constatação de tais mecanismos narrativos típicos do realismo maravilhoso, propomos avançar para o campo analítico pragmático e fenomenológico, tendo como referencial teórico, em especial, os postulados de Irlemar Chiampi (1980), Alejo Carpentier (1949), William Spindler (1993) e David Roas (2001), aplicados na estrutura da narrativa do romance carpentieriano Concierto barroco, de 1974. Para nossa pesquisa, temos como objetivo analisar quais seriam os mecanismos textuais que instauram o subgênero realismo maravilhoso na narrativa do romance supracitado os quais, possivelmente, se articulam, em um segundo momento, com conceitos como a história e a ideologia. Estruturamos o primeiro capítulo da dissertação, como uma averiguação teórica do subgênero, perpassando questões como o realismo maravilhoso e a mimese literária, suas correlações com o surrealismo, e com o mágico sui generis, como também suas feições linguística, pragmática e ideológica. Isto feito, avançamos para a análise do romance, detendo-nos em cinco aspectos básicos de estruturação – fabricação de efeito de encantamento na narrativa (CHIAMPI), ausência de hesitação, cronologia e espaço diegéticos não-lineares, expressão linguística do subgênero e história como articulador textual
El discurso realista maravilloso, por no presentar la disyunción entre lo natural y lo sobrenatural, se convierte en un espacio de convergencia y discusión de los hechos que conocemos sobre América, dando lugar a la transgresión de lo real, sin irrupción. La confrontación sólo se hace con la historia hegemónica: una característica que encuentra en la diégesis, condiciones para proliferar la ideología americana, relacionada con la formación de la identidad en el discurso literario hispanoamericano, que está en el centro de los debates sobre el subgénero. Basados en la observación de estos mecanismos, típicos del realismo maravilloso, nos proponemos a avanzar al campo analítico, pragmático y fenomenológico, en particular, con los estudios de Irlemar Chiampi (1980), Alejo Carpentier (1949), William Spindler (1993) y David Roas (2001), aplicándolos en la narrativa de la novela carpentieriana Concierto barroco, de 1974. Para nuestra investigación, proponemos como objetivo analizar cuáles son los mecanismos textuales que establecen el subgénero realismo maravilloso en la narrativa de dicha novela que, posiblemente se relacionan a los conceptos de historia e ideología americana. Estructuramos el primer capítulo de la disertación, como una investigación teórica sobre el subgénero, los temas que abarca, como el realismo y la mimesis literaria, su correlación con el surrealismo y lo mágico sui generis, así como sus características lingüísticas e ideológicas. Pasamos, en seguida, al análisis de Concierto barroco, centralizado en cinco aspectos básicos de la estructura: el efecto de encantamiento narrativo (CHIAMPI), la ausencia de hesitación por parte del narrador y de los personajes, la cronología y el espacio diegéticos no lineales, la expresión lingüística del subgénero y la historia como articulador textual
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Palomares, de Mendoza Liddy. "Analyse sémiotique de la narrativité dans "Le Royaume de ce monde", d'Alejo Carpentier." Paris, EHESS, 1988. http://www.theses.fr/1988EHES0327.
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Cette analyse s'est restreinte a l'examen des formes manifestant l'articulation et le fonctionnement de la vision du monde d'alejo carpentier, a travers la double isotopie du pouvoir et du croire. La reconnaissance de la reiteration des unites appartenant au schema narratif canonique, justifie l'election du niveau narratif comme l'un des elements pertinents. La reproduction, tout au long de la narration, de la trame d'un schema narratif polemique constitue, en effet, l'une des specificites de ce recit dont le but est de mettre en evidence l'affrontement de deux cultures, la discrimination des rationalites fondant la structure de confrontation entre deux systemes regissant chacun une vision particuliere du monde.
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Luciano, Kelli Mesquita [UNESP]. "Referências históricas e o realismo mágico: as confluências em "Il barone rampante", de Italo Calvino e "El Siglo de las Luces", de Alejo Carpentier." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151095.
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Esta tese objetiva a comparação dos romances Il barone rampante (1957), de Italo Calvino e El Siglo de las Luces (1962), de Alejo Carpentier, pois ambos apresentam confluências no que diz respeito a existência de referencias históricas, uma vez que os enredos transcorrem no século XVIII, em meio a Revolução Francesa e aos ideais iluministas. Além disso, as duas narrativas apresentam indicações de figuras da história oficial assim como a indicação de Instituições históricas. É fundamental destacar que nos dois romances, há acontecimentos insólitos que se referem ao realismo mágico, em Il barone rampante, o protagonista Cosimo vive um estilo de vida incomum sobre as árvores, onde estuda, tem atitudes altruístas e acredita nos ideias revolucionários, enquanto em El Siglo de las Luces, o protagonista é Víctor Hugues que foi inspirado em uma figura da história oficial, um francês que foi comerciante e responsável por disseminar a ideologia revolucionária na região das Antilhas. Sua chegada a Havana, movimenta ativamente a vida dos primos Esteban, Carlos e Sofía, que passam a nutrir interesses pela Revolução, fazem diversos estudos e leituras de autores filosóficos e são moldados pelo pensamento racionalista. No romance carpentiano, Esteban é curado da asma graças a rituais curandeiros fator que pode ser associado ao realismo maravilhoso. Em outros momentos, buscamos evidenciar alguns aspectos fabulistas em Il barone rampante e do barroquismo latino americano em El Siglo de las Luces. No final da tese, apontamos certas características que aproximam ainda mais Il barone rampante de El Siglo de las Luces, visto que são abordadas temáticas em comum nos dois romances, como, por exemplo, a busca pelo conhecimento, a solidão, a frustração, os avanços tecnológicos e a esperança em um mundo melhor por meio do incentivo à educação, ao conhecimento e através de movimentos revolucionários. Em outras palavras, há o tratamento de temas importantíssimos como esses, por meio de uma revisitação ao passado, no caso, à Revolução Francesa serve para levar o leitor à reflexão sobre os contextos que os autores viveram no século XX, a exemplo do fascismo e dos movimentos de resistência na Itália; da ditadura em Cuba bem como o triunfo da Revolução Cubana, ou seja, movimentos de resistência que necessitaram da união coletiva para que houvesse de fato mudanças benéficas para população, condição fundamental que permeia o modo de agir dos personagens das obras analisadas. Esses movimentos até os dias atuais são imprescindíveis para que haja transformações concretas na sociedade em torno da igualdade, do respeito e da aplicação dos direitos humanos para todos.
This thesis aims at the comparison of the novels Il barone rampante (1957), by Italo Calvino and El Siglo de las Luces (1962), by Alejo Carpentier, since both have confluences regarding the existence of historical references, since the entanglements both of which take place in the eighteenth century, amidst the French Revolution and the Enlightenment ideals. In addition, the two narratives present indications of figures of the official history as well as the indication of Historical Institutions. It is important to note that in the two novels, there are unusual events that refer to magical realism, in Il barone rampante, the protagonist Cosimo lives an unusual lifestyle on the trees, where he studies, has altruistic attitudes and believes in revolutionary ideas, while in El Siglo de las Luces, the protagonist is Víctor Hugues who was inspired by an official history figure, a french who was a merchant and responsible for spreading the revolutionary ideology in the Antilles region. His arrival in Havana actively moves the lives of the cousins Esteban, Carlos and Sofía, who begin to nurture interests for the Revolution, do various studies and readings of philosophical authors and are shaped by rationalist thinking. In the Carpentian novel, Esteban is cured of asthma thanks to ritual healers, factor that can be associated with magical realism. At other times, we tried to evidence some fabulous aspects in Il barone rampante and the Latin American baroque in El Siglo de las Luces. At the end of the thesis, we point out certain characteristics that approach even more the Il barone rampante to El Siglo de las Luces, since themes are discussed in common in both novels, such as the search for knowledge, loneliness, frustration, technological advances and hope for a better world by encouraging education, knowledge and revolutionary movements. In other words, there is the treatment of such important subjects as a revision of the past, in this case the French Revolution, serves to lead the reader to reflect on the contexts that the authors lived in the twentieth century, such as fascism and Resistance movements in Italy; of the dictatorship in Cuba, as well as the triumph of the Cuban Revolution, that is, resistance movements that necessitated a collective union so that there was indeed beneficial changes for the population, a fundamental condition that permeates the behavior of the characters in the analyzed literary works. These movements until nowadays are essentials for concrete transformations in society around equality, respect and the application of human rights for all.
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Luciano, Kelli Mesquita. "Referências históricas e o realismo mágico : as confluências em "Il barone rampante", de Italo Calvino e "El Siglo de las Luces", de Alejo Carpentier /." Araraquara, 2017. http://hdl.handle.net/11449/151095.
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Orientador: Claudia Fernanda de Campos MauroBanca: Fernanda Aquino Sylvestre
Banca: Ivair Carlos Castelan
Banca: Maria Dolores Aybar Ramírez
Banca: Érika Bergamasco Guesse Borges
Resumo: Esta tese objetiva a comparação dos romances Il barone rampante (1957), de Italo Calvino e El Siglo de las Luces (1962), de Alejo Carpentier, pois ambos apresentam confluências no que diz respeito a existência de referencias históricas, uma vez que os enredos transcorrem no século XVIII, em meio a Revolução Francesa e aos ideais iluministas. Além disso, as duas narrativas apresentam indicações de figuras da história oficial assim como a indicação de Instituições históricas. É fundamental destacar que nos dois romances, há acontecimentos insólitos que se referem ao realismo mágico, em Il barone rampante, o protagonista Cosimo vive um estilo de vida incomum sobre as árvores, onde estuda, tem atitudes altruístas e acredita nos ideias revolucionários, enquanto em El Siglo de las Luces, o protagonista é Víctor Hugues que foi inspirado em uma figura da história oficial, um francês que foi comerciante e responsável por disseminar a ideologia revolucionária na região das Antilhas. Sua chegada a Havana, movimenta ativamente a vida dos primos Esteban, Carlos e Sofía, que passam a nutrir interesses pela Revolução, fazem diversos estudos e leituras de autores filosóficos e são moldados pelo pensamento racionalista. No romance carpentiano, Esteban é curado da asma graças a rituais curandeiros fator que pode ser associado ao realismo maravilhoso. Em outros momentos, buscamos evidenciar alguns aspectos fabulistas em Il barone rampante e do barroquismo latino americano em El Siglo de las Luc... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This thesis aims at the comparison of the novels Il barone rampante (1957), by Italo Calvino and El Siglo de las Luces (1962), by Alejo Carpentier, since both have confluences regarding the existence of historical references, since the entanglements both of which take place in the eighteenth century, amidst the French Revolution and the Enlightenment ideals. In addition, the two narratives present indications of figures of the official history as well as the indication of Historical Institutions. It is important to note that in the two novels, there are unusual events that refer to magical realism, in Il barone rampante, the protagonist Cosimo lives an unusual lifestyle on the trees, where he studies, has altruistic attitudes and believes in revolutionary ideas, while in El Siglo de las Luces, the protagonist is Víctor Hugues who was inspired by an official history figure, a french who was a merchant and responsible for spreading the revolutionary ideology in the Antilles region. His arrival in Havana actively moves the lives of the cousins Esteban, Carlos and Sofía, who begin to nurture interests for the Revolution, do various studies and readings of philosophical authors and are shaped by rationalist thinking. In the Carpentian novel, Esteban is cured of asthma thanks to ritual healers, factor that can be associated with magical realism. At other times, we tried to evidence some fabulous aspects in Il barone rampante and the Latin American baroque in El Siglo de las Luces. ... (Complete abstract click electronic access below)
Doutor
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Hare, Cecilia. "Syntaxe et style : description syntaxique de l'espagnol littéraire selon la syntaxe fonctionnelle, étude comparative de la syntaxe utilisée par Borges dans El informe de Brodie et Carpentier dans Los pasos perdidos comme un moyen d'aborder l'étude du style." Paris 5, 1993. http://www.theses.fr/1993PA05H088.
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Vingt et une classes syntaxiques organisées en dix groupes sont définies selon leurs compatibilités. Les fonctions sont décrites syntaxiquement. Les fréquences des classes et des fonctions sont calculées. Les phrases sont analysées en utilisant un diagramme avec des cases préétablies sur une poutre horizontale pour toutes les fonctions possibles. Les déterminations des unités qui s'y trouvent sont attachées en dessous. Le but est de comparer les différentes configurations créées. Comme résultat de cette comparaison plusieurs paramètres du style sont proposés. Des valeurs spécifiques peuvent être calculées pour chaque paramètre en prenant en compte les fréquences. L'analyse factorielle de ces valeurs devrait permettre de tracer des profils de styleTwenty-one syntactic classes organized in ten groups are defined according to their compatibilities. Functions are described syntactically. Frequencies for classes and functions are calculated. Sentences are analyzed using a diagram with predetermined slots on a horizontal moin beam for all possible functions. Determinations of the units on the main beam are attached underneath. The main purpose being to compare the shapes of the different networks thus created. Based on them style parameters are proposed. It is suggested that specific values based on frequency be assigned to each parameter. The plotting of these values should allow to draw up style profiles through factor analysis