This collection includes most of the ASU Theses and Dissertations from 2011 to present. ASU Theses and Dissertations are available in downloadable PDF format; however, a small percentage of items are under embargo. Information about the dissertations/theses includes degree information, committee members, an abstract, supporting data or media. In addition to the electronic theses found in the ASU Digital Repository, ASU Theses and Dissertations can be found in the. Dissertations and Theses granted by Arizona State University are archived and made available through a joint effort of the ASU Graduate College and the ASU Libraries. For more information or questions about this collection contact or visit the Digital Repository or contact the ASU Graduate College at [email protected].
ABSTRACT The analytical sensitivity of Nellie Campobello allows her to perceive and draw several contexts into her fiction. Her work offers the reader a glimpse of the subtle connections between the individual experience and the social milieu that make up history. In the two editions of Cartucho (1931 and 1940) the reader encounters the Mexican Revolution as a plausible setting.
By transferring this context into fiction, the author deals with core social matters that fostered the disfunctionality of Mexican society, at the time the novel was written. Furthermore, her intuition allows her to depict in her literary work many aspects.
El rio sin orillas de saer, juan jose - 9. La escritura de Juan Jos. Para Saer, narrar, antes que nada, es delimitar un espacio y una voz. Con este libro vuelve al lugar donde sit.
Contributors Estevez, Dulce Maria, Volek, Emil, Garcia-Fernandez, Carlos, et al. Created Date 2014. From Impossible Angles Towards Strategic Ones: Narratives of Death, Life, and Disability in La Muerte me Da and El Huesped The glamour of single-handedly overcoming adversity, sidestepping obstacles, or defying the odds makes for great mystery or adventure fiction, but fails to do justice (poetic or otherwise) to lives that are both physically and conceptually 'marked' by more complex challenges.
From a theoretical view, a similar desire to escape or maintain the perceived 'dividing line' between fact and fiction, nature and nurture, mind and body, is confronted by a diverse set of human experiences, all of which have come to. Contributors Newland, Rachel Renee, Tompkins, Cynthia, Urioste-Azcorra, Carmen, et al. Created Date 2014. This dissertation investigates the life and career of singer Celia Cruz and the cultural legacy she has left the Hispanic culture in the United States and the world.
It explores the musical journey of the Queen of Salsa and analyzes the different genres and themes that she developed in her performances during the years of her dedication to the public professional career. Among the various topics, this work discusses the African influence on the music of Celia Cruz because she made her first step to fame with the music and lyrics from African religious traditions. Additionally, this project investigates the. Contributors Rodriguez Torres, Caridad Milagros, Foster, David W, Tompkins, Cynthia M, et al. Created Date 2014.
One of my philosophy professors in college said this idea he threw out in class on day that in any philosophy book if you can understand one sentence in the book you will understand the whole book. This is an almost Hermetic idea, as is above is as it is below.
That the whole cosmos is contained in each person. This sounds deceptively simple. To really understand that one sentence and to really unpack it you might need to read the book it's in over and over again, read a thousand other books and One of my philosophy professors in college said this idea he threw out in class on day that in any philosophy book if you can understand one sentence in the book you will understand the whole book.
This is an almost Hermetic idea, as is above is as it is below. That the whole cosmos is contained in each person. This sounds deceptively simple.
To really understand that one sentence and to really unpack it you might need to read the book it's in over and over again, read a thousand other books and ponder that sentence for a few lifetimes he didn't say that but I'm just extrapolating a little bit. His style of 'teaching' a term I use loosely here was to open up the book we were supposed to be discussing and start talking about it and spend the next hour just rambling about whatever came to his mind. He was old and looked a lot like a decrepit Sartre. He'd talk about all kinds of things, a little bit about the book but mostly about how he hated having to teach anymore, how he would like to just be left to die, how he hoped he never had to come teach another class because of death. Uplifting stuff, especially at 9 in the morning. His classes were packed though, mostly because he just gave out A's if you showed up and wrote the two papers he asked for.
He didn't expect much from anyone, and I don't think anyone expected anything from him. Most people stopped showing up after a few weeks. I think they still got a B for just registering for the class. He wasn't a good teacher, but that one thing he said stuck with me, which is more than what stuck with me from other teachers. What he said came back to me while reading this book. In literature there is the famous example of Joyce's Ulysses where one ordinary day of an ordinary man is extrapolated to be epic and much greater than the day itself. There are lots of other examples too I'm sure.
I'm not thinking of any right now, but that is my deficiency. Well, I lied. This book is another example of this. Here two men meet on the street. They know each other casually. One has just gotten back from a trip to Europe, the other is skipping a day at work to walk around the downtown area of a city in Argentina.
They meet and walk 20 blocks or so together and discuss the 65th birthday of Noriega Washington, a man both of them know but neither of them attended the party. The one man because he was in Frankfurt at the time, the other because he wasn't invited. In discussing what happened at the party the entire life of both of these two men is exposed through what they say, what they don't say, what they think and who they know or don't know. The history of Argentina in the 20th century is also laid out with it's political upheavals and the tragedies of history that the country suffered. The short walk becomes a microcosm that contains the whole world these two characters exist in.
Their entire totality manifests itself to the reader in their leisurely stroll and at the end of their walk nothing has changed for either character. The walk itself could be something neither character will remember in the future but the reader gets to see how by looking the right way at this chance encounter the lives of each character are illuminated and if the characters could see this they would be able to possibly change their future and see what is really important and what isn't. This is the kind of book that if I was more knowledgeable about the country being written about I'd be much more interested in. There is a universality to what happens in the book but too much of the details are so specific to the recent history of Argentina, something I know little about, that I didn't get nearly as involved in the story as I could have. Now if this had been two men in 1930 walking through one of the Platz's of Berlin, talking about the 65th birthday of Hans Von Something-or-other I would have probably thought this was the cat's meow.
I chalk up my relative lack of enjoyment of this book to myself. No, this Washington is neither the Father of Our Country nor its capital. It is a character named Washington Noriega, who has his 65th birthday in Santa Fe, Argentina. The whole book consists of the conversation between a tall elegant character dressed in white and known only as The Mathematician and Angel Leto, a young accountant, over the space of some 21 city blocks.
The odd thing is that neither attended the birthday. The Mathematician was in Frankfurt, Germany, at the time; and Leto did not No, this Washington is neither the Father of Our Country nor its capital. It is a character named Washington Noriega, who has his 65th birthday in Santa Fe, Argentina. The whole book consists of the conversation between a tall elegant character dressed in white and known only as The Mathematician and Angel Leto, a young accountant, over the space of some 21 city blocks. The odd thing is that neither attended the birthday. The Mathematician was in Frankfurt, Germany, at the time; and Leto did not go because he was not invited.
The conversation is interspersed with memories, thoughts, and even flash-forwards to the future. Nonetheless, despite the subject of their conversation being so remote, Leto will remember the conversation for the rest of his life. As to The Mathematician? He is like an intellectual archangel, and it is difficult to know what he really thinks.
Here is the conversation as it crystallizes in Leto's mind: Washington's birthday, the mosquitos, Noca's horse, the table set under the imaginary pavilion, at once persistent and inconstant, clicking along in a unique, complex order, now make up a carousel of memories more intense, significant, but nevertheless more enigmatic, you could say, than many others which, originating in his own experience, ought to be stronger and more immediately present in his memory.Juan Jose Saer. Born in Spain to Syrian immigrants, died in 2005 - but not before leaving behind him a small body of fiction that becomes ever more important with each passing year. What I love most about literature is the rare experience of encountering a worthy mind. It's not just about the story or the plot or the arc or the characters or the formula or the climax or the talent or the craft, it's about how this other sees the world and expresses what they see.
I want to know how their mind works, the connections it makes, the impressions it conveys. I don't want to merely read to find out what's going to happen, or how it's all going to end, or what it's going to make me What I love most about literature is the rare experience of encountering a worthy mind. It's not just about the story or the plot or the arc or the characters or the formula or the climax or the talent or the craft, it's about how this other sees the world and expresses what they see.
I want to know how their mind works, the connections it makes, the impressions it conveys. I don't want to merely read to find out what's going to happen, or how it's all going to end, or what it's going to make me feel. I don't want to be nothing more than a passive subject operated upon as if mechanically by some technician who knows precisely how to manipulate my emotions. I can always watch a movie for that! When I read I want to come in contact with a mind through which I can discover new perspectives. This book gave me such an experience. I felt like I could live in this book, and it's not something easily done.
The structure of the story is simply two men walking together down a city street for less than an hour one morning, and the plot, if you can call it that, centers around their conversation about a birthday party that neither one attended. But I felt I was on that street with them, walking along beside them, listening not only to their words but to their internal digressions, their meandering thoughts, and feeling my way along with them through the pedestrian and vehicle traffic. The two men are not friends, just mutual acquaintances, who meet by accident and happen to be going the same way, but their worlds intersect and criss-cross on many levels. What matters in the book is, to put it in a word (or as the author says, 'in two words, to be more precise'), 'every things'. There's a lot I liked in the author's style, the translation, the language, his 'bag of tricks' so to speak, but ultimately I kept reading with excitement to see what he was going to say next, what he was going to make me see next, what new world I was going to be able to glimpse. Two young men meet on a sunny morning in the center of town and decide to walk together.
Over the course of 200 pages, Saer describes the conversation they have about a birthday party that neither of them has attended and the inner thoughts that each party experiences during the conversation, here and there interrupting this narrative with flashbacks and flash-forwards in each man's life. All told, the men walk 21 blocks (if the titles of the three parts that partition the novel are to be taken Two young men meet on a sunny morning in the center of town and decide to walk together. Over the course of 200 pages, Saer describes the conversation they have about a birthday party that neither of them has attended and the inner thoughts that each party experiences during the conversation, here and there interrupting this narrative with flashbacks and flash-forwards in each man's life. All told, the men walk 21 blocks (if the titles of the three parts that partition the novel are to be taken literally), run into an acquaintance, and discuss the birthday party they missed. At times, this was a difficult read.
Saer repeatedly makes his presence known through second person asides that distract rather than invite intimacy. He over-explains everyday phenomena like walking and talking, and draws sweeping conclusions from his own abstractions. Is he serious about these statements? I do not know. In the dedication, he refers to the book as a 'comedy,' and, at times, he does achieve some witty humor (an analysis as to why an artist occasionally flashes her chest at friends and acquaintances made me grin). Overall, the writing required more effort than it gave back.
This is one of those books that I am glad that I read for the experience, even though it didn't work for me. The possibilities of this book outweigh the realities. Unfortunately, the approach by Saer to obfuscate the text almost killed the book for me.
Several times I reached a point where I asked myself why I was continuing on. To be honest, there were whole pages I skipped just because the sentence structure was too convoluted to understand. For a book like this I cannot help but wonder why style has been allowed to take precedence over comprehension. Believe me, I tried. As unnecessary as the The possibilities of this book outweigh the realities. Unfortunately, the approach by Saer to obfuscate the text almost killed the book for me. Several times I reached a point where I asked myself why I was continuing on.
To be honest, there were whole pages I skipped just because the sentence structure was too convoluted to understand. For a book like this I cannot help but wonder why style has been allowed to take precedence over comprehension. Believe me, I tried. As unnecessary as the structure of the book was, hiding comprehension with a Byzantine approach to creating sentences, there were pristine moments of clarity of writing where the book sang to me. The ending where the fate of Leto is told was poignant. That one section made all that went before, all that sought to tease and confuse, worthwhile. What a shame Saer did not adopt this approach more completely throughout the book.
Owing to the obscurity of writing in The Sixty-five Years of Washington, I cannot recommend this book across the board. This is not a book that will appeal to most people. I did find it worthwhile but I also found it maddening. Maybe one day I will reread it and I will receive greater clarity of understanding.