Spanish

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Abindarráez, el morisco perfecto
(2017) Durlacher, Peter; Michelotti, Graciela
In 711, the Muslim moors of North Africa invaded the Iberian Peninsula; the period between 711 and the expulsion of the Jews from Spain in 1492 is understood as a time of convivencia, or coexistence. This convivencia ended as the laws of the land shifted more overtly to policies of intolerance. In the early 16th century, the Moors of Spain faced forced conversions to Christianity, shifting identities to moriscos, or the Christian descendants of Muslim Moors. Being of direct Christian descent held social benefits in Christian Spanish society, as moriscos were marginalized by their Christian counterparts in many regions of Spain. However, it is argued that Spanish literary works, categorized as representing the “Noble Moor”, which represented Moors as being distinctly of high class and comportment, pushed back against the understanding of the morisco as lesser. One such representation, El Abencerraje, published by Antonio de Villegas in a manuscript in 1565, is notorious for representing the Moor Abindarráez and the Christian Rodrigo de Narváez as equally chivalrous and noble throughout the story, even as the moor was the christian’s prisoner. However, by comparing El Abencerraje with the representation of moriscos in the short story about Ozmín y Daraja within Mateo Alemán’s Guzmán de Alfarache, it is shown in this work that Abindarráez in fact represents, in the eyes of the Christians, the ideal morisco, by being submissive, identifiable, and innocuous.
Acérquense pibes, Washington Cu-culto va a contarles la verdad: Lo canónico, lo nuevo y lo radical en la obra de Santiago Vega
(2013) Irick, Kate Oliver; Castillo Sandoval, Roberto
Santiago Vega es un escritor argentino contemporáneo que transforma la representación de la identidad nacional argentina mediante la creación de una nueva literatura: el realismo atolondrado. Esta nueva literatura ofrece una salida de la política de representación que ha dominado el discurso cultural desde el principio de la nación. En el centro de esta búsqueda para complicar la identidad histórica, lingüística y social de la nación está Washington Cucurto–-el alter ego de Vega. Esta tesis examina cómo la obra de Vega responde al desplazamiento del imaginario cultural de Buenos Aires (como resultado de nuevas olas de inmigración latinoamericanas) y cómo sus estrategias intertextuales–por medio de parodia, plagio y lenguaje transnacional–se mantienen siempre dentro del discurso argentino literario. Busca explicar como su irreverencia hacia las formas convencionales de escribir y leer promueve una producción literaria nacional más inclusiva. Define lo radical de su proyecto en relación con la incorporación de nuevos medios, tecnologías y métodos literarios dentro de su obra que legitiman formas de expresión marginales, como la cultura oral y la música popular. Para analizar estos efectos dentro de su obra, enfoca 1810: la revolución de mayo vivida por los negros, una novela en la cual Vega demuestra todos estos aspectos de su obra con el proyecto de reescribir la novela romántica nacional.
Animalismo vs nacionalismo: Como el rechazo de narrativas de (domi)nacion en Espana muestra un re-pensamiento de la corrida de toros
(2016) Miller, Phoebe; Michelotti, Graciela
¡Arriba España! El Régimen Franquista y Su Impacto en Inglés en la España de Hoy
(2014) Baliga, Anjali L.; Lopez-Sanchez, Ana
This thesis focuses on how the policies of the Franco regime (1939-1975) have affected the competency levels of spoken English in Spain today. I use the theoretical framework of language and nationalism, and how language is essential to the building of a nation and national identity, to outline Franco's ideological values regarding the Spanish (Castilian) language. I also focus on the history of Spain dating back to the period of the Catholic Kings, as well as the ideas and writings of the Generation of 1898, a group of Spanish intellectuals who believed in the importance of Castilian Spanish in unifying the nation. I focus on the cultural, linguistic, and educational policies that the Franco regime implemented in an attempt to recreate the Spain of the Catholic Kings and restore Spain to political and economic power. The policies implemented during this time limited the use of languages other than Castilian Spanish in Spain, and also prohibited the entrance of foreign languages, including English, through forms of entertainment such as cinema and television. We observe the effects of his policies on the competency levels of English in Spain today through statistics given by the European Commission, as well as by personal accounts of the Spaniards I encountered on my semester abroad in Seville in the spring of 2013 and my own personal experiences while teaching English there.
¿Bilingüismo moderado o monoglosia? Las ideologías y efectos de la normalización lingüística en los ámbitos educativos de Cataluña y Galicia, España
(2013) Salem, Daniel A.; Lopez-Sanchez, Ana
In this thesis, I explored the effects of language education policies in the autonomous communities (administrative regions) of Cataluña and Galicia, Spain. I attempted to account for how language policies requiring education in regional minority languages have influenced both knowledge of those languages, and linguistic preferences both in the educational environment and in daily use. These language normalization policies, designed to increase usage of minority languages once repressed under the Francoist dictatorship, are part of a broader regional nationalist political project in each autonomous community. Though compared to the Galician policies the Catalan language policies are stronger, and though many more students speak Catalan compared to Spanish in the classroom than Galician compared to Spanish, the policies seem to have had little impact on overall language preferences in both autonomous communities.
Dentro de la Iglesia San Martín le dicen: ¡Ay, negrita, vente tú; danos consuelo! Las visiones y las oraciones de Catalina Muñoz
(2005) Jones, Nicholas Rashad; Castillo Sandoval, Roberto; Burshatin, Israel
En su obra de teatro, Los empeños de una casa, sor Juana Inés de la Cruz subraya un punto importante que revela la manera didática de la Inquisición sobre una masa de gente: Enseñar e inspirar a los demás cómo ser rebelde. Las palabras citadas del epígrafe vienen del personaje Castaño. En Los empeños de una casa, Castaño se viste de mujer porque el propósito de su rol en la comedia le permite hacerlo. La idea general captada en el monólogo de Castaño es que le favorece al pícaro célebre Garatuza. El famoso Garatuza fue condenado por el Santo Oficio de México “a salir en forma penitente, vela verde en las manos, soga a la garganta, coroza blanca en la cabeza, abjuración de levi, doscientos azotes y cinco años precisos de galeras de terrenote, al remo y sin sueldo.” Como devoto de Garatuza y también de las Indias (México), Castaño alaba el hecho de que aprende a actuar e imitar las mismas actividades y características que hizo famoso a Garatuza. Con su mentalidad abierta, Castaño logra aprovecharse de la crítica de sor Juana que la Inquisición enseña a los demás cómo ser rebelde. Paradójicamente, la ironía aquí es que la Inquisición también da un espacio liberador para una población de gente común ya que han visto los ejemplos de los procesados por la Inquisición. Es decir, las personas al margen de la sociedad — en particular el sujeto de este estudio Catalina Muñoz — hallan una conexión con lo espiritual y lo Divino.
Diálogos Necesarios: Los Mundos Artísticos De Latinoamérica y Europa
(2013) Hernández, Vanessa; Castillo Sandoval, Roberto
My thesis is dedicated to studying the Latin American vanguard movement of the 20th century, particularly the life of the Argentine artist known as Xul Solar and his relation to European artistic tendencies. It also includes an analysis of the curatorial process and how important each aspect of an exhibition is in relation to the message it projects. The objective of my thesis is to invert our perspective of the history of art and look at it from the South. Just like Joaquín Torres-García's inverted the map in his drawing "Inverted America", this thesis moves away from the eurocentric vision to a more balanced one.
Diego Rivera, arte y revolución: La transformación del arte a una de herramienta poderosa reforma social
(2018) Villines, John-Francis; Gómez Unamuno, Aurelia
Los murales de Diego Rivera explícitamente pedían acción política por parte del espectador, y su visión aceleró la formulación de un proletariado consciente de clase en México que deseaba abogar por sus propios intereses más allá de los de la burguesía. La comprensión de Rivera sobre el muralismo comenzó en Italia con su apreciación de los frescos, pero creció cuando José Vasconcelos le encargó la creación de un nuevo arte revolucionario. Él y otros artistas se inspiraron en la Revolución Mexicana, y quisieron capturar el espíritu de una nueva mexicanidad, un espíritu del pueblo de México. Porfirio Díaz, que era un positivista confeso y presidente de México en el siglo XIX, había remodelado a México al transformar la economía de un sistema cuasi-feudal a una economía de mercado más centralizada. Así como el proyecto de modernización había comenzado antes de la Revolución, también lo hicieron los esfuerzos de los artistas para capturar la modernidad en el lienzo. Sin embargo, después de la Revolución, las concepciones de la modernidad de Rivera y de otros artistas se infundieron, a medida que avanzaba la década, con un carácter abiertamente político. En particular, Rivera construyó su propia estética "épica modernista" que, al igual que el teatro épico de Bertolt Brecht, desafió a los espectadores a cuestionar cómo podrían desempeñar un papel en el cambio político que se desarrolla a su alrededor. El mensaje de Rivera de conciencia de clase y acción se arraigó en México de una manera que no lo hizo en los Estados Unidos. En la década de 1930, León Trotsky se encontró en México, tambaleándose por el Terror, y las formas en que los Estados Unidos habían comprometido los valores de octubre, comprometido el arte, y creado un culto líder; en contraste, la libertad artística de México hizo manifiesta en realidad la acción política dinámica y democrática que Rivera exigió en sus murales y, en combinación con la defensa política de Lázaro Cárdenas, permitió la promulgación de reformas amplias y radicales.
El archivo y las memorias del “allá”: La creación de la identidad en las relaciones argentinochilenas
(2016) Hecht-Toltl, Estefania; Michelotti, Graciela
El contraproyecto en Contraproyecto: La obra de Carla Grandi dentro del contexto político y poético de la dictadura en Chile
(2016) Chakraverti-Wuerthwein, Pia; Castillo Sandoval, Roberto
This paper is an analysis of Contraproyecto (1984/1987) by the Chilean poet Carla Grandi as a counterproject against the masculine literary canon and the dictatorship of Augusto Pinochet. It considers the four distinct sections of Grandi's work as different instances of counterproject that allow the reader to resist the regime. Additionally, it places Grandi within the historical moment in which women were advocating for democracy both in private and public spheres, considering how female poets and artists in particular expressed their positions as women within the city under the dictatorship.
El cuerpo rechaza: la violencia en María de Zayas y Artemisia Gentileschi
(2017) Zhou, Youkun; Michelotti, Graciela
Uno de los objetivos de esta tesis es examinar cómo María de Zayas y Artemisia Gentileschi expresan el dolor femenino a través de la representación de la violencia ejecutada contra y por las mujeres. Al retratar esta violencia desde una perspectiva femenina, reconsideran el significado del cuerpo femenino y terminan rechazando, en sus representaciones literarias y pictóricas, el dominio masculino sobre él.
El cuerpo social enfermo: medicina y autoridad en dos películas creadas después de la dictadura en Argentina.
(2024) Ruiz, Matthew; Huberman, Ariana
In my thesis, I explore the use of medicine in Argentinian cinema for retelling events from the Argentinian dictatorship and forming political criticisms. I seek to explore the metaphor of the "cuerpo enfermo social", or the sick social body, and see how the directors of these movies I am studying(Darse cuenta 1984, Hombre mirando al sudeste 1987) invert the original meaning behind this metaphor. To do so, I use the theoretical doctrines of the medical humanities, panopticism, and deconstruction to study how the movies portray the value of life and question authority. In the end, I conclude that the movies show the military dictatorship as the virus of the sick social body, causing the societal devaluation of life and abusing their authority to oppress and remove the autonomy of the Argentinian people.
El cuerpo, el traje y el líquido vital : el juego de la construcción de género en la narrativa femenina
(2002) Zukin, Valerie; Michelotti, Graciela; Castillo Sandoval, Roberto
Con un análisis de las obras: Desengaños amorosos, por María de Zayas, Cola de lagartija, por Luisa Valenzuela, y Duerme, por Carmen Boullosa muestro un juego narrativo de género. Las tres autoras usan el cuerpo, el travestismo y la sangre para construir una interpretación de género como construcción social que desafía ambos la interpretación posmodernista y la femenista radical. Las autoras encuentran un equilibrio entre la desconstrucción total de género y la importancia de su construcción para la sociedad.
El Fútbol: Espacio de Expresión Política
(2003) Poolman, Andrew; Castillo Sandoval, Roberto
This thesis written in Spanish is about how soccer creates a space for political expression in Chile. It primarily focuses on the years between 1970 and 2003. During these years, the military dictatorship of Augusto Pinochet played a large role in instigating grassroots political expression, principally in the space of soccer.
El héroe imperfecto: los defectos y la redención en la narrativa deportiva latinoamericana
(2008) Adelberg, Marc; Castillo Sandoval, Roberto
El laberinto contaminado: El cambio climático y el futuro distópico de Homero Aridjis
(2019) Drew, Sophie; Michelotti, Graciela
Homero Aridjis, a Mexican author and environmental activist, explores themes of nature and its destruction in his poems and prose. I focused on a pair of his novels, "La leyenda de los soles" (1993) and "¿En quién piensas cuando haces el amor?" (1996), both of which imagine Mexico City in the year 2027. The city is overpopulated, horribly polluted, and run by a corrupt and ineffective government. The narrators of the two novels, Juan de Góngora and Yo Sánchez, provide a window into the experience of life at the end of the world. They each witness the enormous earthquake predicted in Aztec mythology to destroy the the current human age, called the Fifth Sun. Despite the plots' similarities, the novels differ in scale and tone. "La leyenda de los soles" tracks the modern age's problems to a slow degradation from the moment of colonization, and figures from mythology emerge from the past to shape the future. In "¿En quién piensas cuando haces el amor?", the characters live in a mostly pastless present, and place blame for the destruction around them on the errors of recent generations. I examine the historical and literary context that shaped these novels, specifically the influence of NAFTA on the Mexican environmental situation and the influence of Octavio Paz's essay "El laberinto de la soledad" on Mexican identity. It is clear that Homero Aridjis wrote his novels with a strong sense of the past and a clear-eyed view of the challenges ahead.
El Narcocorrido: Cantando el Contrabando
(2013) Guindon, Allison; Lopez-Sanchez, Ana
In this project, I explore the narcocorrido musical sub‐genre, which has evolved out of a much older tradition of Mexican music (the corrido). The corrido grew from the Spanish romance ballads of the 14th century, where it was transported to Mexico by Spanish conquistadores, and flourished. The narcocorrido sub‐genre, deals with subject matter relating to drug trafficking (although ‘el narcotráfico’ is not necessarily the primary focus), with the trafficker generally occupying the protagonist or hero position. I was interested in exploring why the people of a country that has suffered enormous violence and terror in relation to drug trafficking (approximately 60,000 people have been killed in relation to narco‐violence since the election of ex‐president Felipe Calderón in 2006) would support a style of music, which takes those very traffickers as the subject matter and hero figure. What I aim to prove in my thesis is that the narcocorrido appeal to its audience not because it promotes violence or celebrates criminals as a type of people’s hero (although this latter part has a long history within the corrido tradition, with bandits and outlaws historically occupying the hero position). The narcocorrido is appealing because the heros –narcotraffickers – are men and women who often come from poor backgrounds, but have found a means to escape poverty and become wealthy, powerful people. This potential for wealth and power is what makes the narcocorrido attractive (the audience is typically of lower or working class origins). Additionally, an important theme within the narcocorrido is the opposition of authority figures, who represent often‐corrupt Mexican governmental figures and oppressive or intrusive U.S. figures. Once again, this theme is attractive to a group who feels that they have very little power of their own. The narcocorrido represents a way for the audience to indulge in the dream of being wealthy and powerful.
El niño poeta; La domesticación en la literatura infantil sobre Pablo Neruda
(2012) Swomley, Olivia; Castillo Sandoval, Roberto
In the past ten years, there has been an explosion of children’s literature surrounding Neruda’s life and poetry. My thesis explores how these interpretations of Pablo Neruda edit, omit, or add to the image of Neruda presented in his poetry and memories. Neruda’s politics and sexuality were unsavory to American audiences, especially during his own life, and consequently many of these more adult elements of his poetry were taken out of the first translations of his work. How do children’s authors deal with these more difficult aspects of Neruda’s life and poetry? Beginning with an extensive analysis of the dominant themes in Neruda’s own childhood that he presents in his memoirs and his poetry, I argue that for Neruda childhood is a fresh and curious perspective that he carries with him for the duration of his life. The concept of childhood is deeply tied to Neruda’s political life, his sexuality, the theme of death, and his love of nature. Although each interpretation appropriates and domesticates these source texts in a different way, none of them is entirely faithful to the image of Neruda present within the source texts. Many interpretations, such as El niño de la lluvia and To Go Singing Through the World, domesticate the presence of Neruda’s abusive father. Others, such as The Dreamer, domesticate sexuality. The concept of death, tied so firmly to life and childhood in Neruda’s poetry, is almost entirely absent. While each interpretation does an excellent job of depicting the inspiration of the natural world and the power of poetry, many of the darker and more introspective aspects of Neruda’s own poetry and life are diminished.
El poder de la lengua: cómo la lengua desafía las jerarquías establecidas dentro de las obras de Junot Díaz
(2013) McPherson, Shannon; Lopez-Sanchez, Ana; Castillo Sandoval, Roberto
Siguiendo la transición de la familia de Yunior en los cuentos por Junot Díaz, podemos ver la significancia de la lengua hablada y también no hablada – el silencio. No hay nada fuera de lo normal en su historia, pero sobre lo que voy a enfocar es el cambio de poder en relación a la lengua. Tras los cuentos de Drown y de This is How You Lose Her por Junot Díaz, la historia de inmigración y sus luchas son aparentes. Vemos cómo la lengua cambia, mejor dicho, permite cambios en las relaciones familiares, y como las ideas de las normas y las reglas se desafían. Siempre hay una lucha entre las expectativas y lo real. La lengua cambia la estructura de poder en dos grupos: género, y en tradiciones – la vieja (La República Dominicana) versus la nueva (Los EEUU). Y lo que podemos ver son los conflictos acerca de estos grupos.
El poder de la poesía política: La poesía de Vidaluz Meneses, Michele Najlis y Daisy Zamora en la Revolución Sandinista
(2014) Mann, Siena; Gómez Unamuno, Aurelia
Poetry in the Sandinista movement was a crucial place for negotiations over political and social representation, and became a site where popular culture was created and where movement ideology was consolidated. Literature in Nicaragua, and poetry in particular, was central not only as an expressive and liberative process for the individual, but also as a symbolic arena for the formation of a collective revolutionary ideology. In my thesis I focus on the work of three female poets from the educated vanguard in Nicaragua: Vidaluz Meneses, Michele Najlis and Daisy Zamora, who published both leading up to the successful Sandinista insurrection in 1979, and also after the establishment of the revolutionary government which lasted from 1979 to 1990. I follow these women and their poetry through the revolution, recognizing that the promise of the revolution created space for women to imagine the possibilities for change in society. In my thesis I analyze their poetry as a search for a collective and individual female identity, noting how their writing changes with shifts in political power and how they incorporate multiple perspectives and identities in their poetry.

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