UMD Theses and Dissertations
Permanent URI for this collectionhttp://hdl.handle.net/1903/3
New submissions to the thesis/dissertation collections are added automatically as they are received from the Graduate School. Currently, the Graduate School deposits all theses and dissertations from a given semester after the official graduation date. This means that there may be up to a 4 month delay in the appearance of a given thesis/dissertation in DRUM.
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Item Cantemos a coro: An anthology of choral music from Latin America(2011) Saez, Diana V.; Maclary, Edward; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This project presents an anthology of choral music, with examples from periods from the colonial time to the present. It includes notes about each composer's life and the historical context in which the works were created, and explains some of the most striking features of the music. The anthology is organized in three main sections. The first one covers music --- mostly sacred music---composed during the colonial era, from the 17th to 19th centuries. The second group includes choral music composed after most countries gained their independence from Spain; most of this music is secular. The third group features contemporary compositions written after the 1980s, as well as works inspired by Latin American folklore. The anthology includes scores for music that is in the public domain and songs for which permission to reproduce has been granted, as well as a list of contacts and publishing houses that carry the music. Concert program samples are provided.Item PLIEGUES SUBLIMES: LO EXTRAÑO, LO RARO Y LO PERTURBADOR EN SIMÓN BOLÍVAR, JUANA MANUELA GORRITI Y RICARDO PALMA(2010) Munoz, Maria Veronica; Aguilar Mora, Jorge; Spanish Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This dissertation is about nineteenth-century Latin American fantastic narratives interestingly packed with dream sequences and ghostly apparitions. It works how Simón Bolívar, Juana Manuela Gorriti and Ricardo Palma delve into the uncanny dimensions of reality to subvert the national, hegemonic discourses by challenging and transgressing the boundaries of the epistemological status quo. In chapter 1, the conflicts inherent in the conception of Modernity are read vis-à-vis the critical lenses of the Kantian sublime, the allegory, and the fold. Gilles Deleuze ’ s fold serves to explore how intellectuals have constructed what they call reality, as their texts fold into their own narratives, or the writings of their generation, in order to unfold the cracking surface of their discursive agendas. Thus, the role of letrados is reconsidered as voices coming from the elites who envision themselves as that Other they themselves reject. Finally, Walter Benjamin ’ s allegory links ghosts and spirits directly to their historical background, establishing a consistent relationship between culture and politics, the impact of literary texts on social thought, and the dynamics of cultural transfer. In chapter 2, Bolívar ’ s poetic delirium acknowledges the risk of his dream for a unified Latin America turning into a delirious nightmare if it is solely founded on his strong leadership. On chapter 3, even though Gorriti ’ s short stories count with the support of her peers from the Generation of 37, I focus on how she exposes the abjection and ugliness that lies beneath the main debates of her times: civilization and barbarism, and the role of women in the new republics. Her poetics from behind the fog enables her to participate in these debates while being widely accepted in literary circles. Similarly on chapter 4, the narratives of Ricardo Palma and his miraculous poetic defy the core structure of a modern Peruvian state through an acknowledgement of popular voices, which he seems to perceive as the real builders of the nation. All these writers recognize the need to find alternative models for the challenges inherent in a postcolonial Latin America.Item MODERNIZATION AND VISUAL ECONOMY: FILM, PHOTOJOURNALISM, AND THE PUBLIC SPHERE IN BRAZIL AND ARGENTINA, 1955-1980(2010) Halperin, Paula; Weinstein, Barbara; History; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This dissertation explores the relationship among visual culture, nationalism, and modernization in Argentina and Brazil in a period of extreme political instability, marked by an alternation of weak civilian governments and dictatorships. I argue that motion pictures and photojournalism were constitutive elements of a modern public sphere that did not conform to the classic formulation advanced by Jürgen Habermas. Rather than treating the public sphere as progressively degraded by the mass media and cultural industries, I trace how, in postwar Argentina and Brazil, the increased production and circulation of mass media images contributed to active public debate and civic participation. With the progressive internationalization of entertainment markets that began in the 1950s in the modern cities of São Paulo, Rio de Janeiro, and Buenos Aires there was a dramatic growth in the number of film spectators and production, movie theaters and critics, popular magazines and academic journals that focused on film. Through close analysis of images distributed widely in international media circuits I reconstruct and analyze Brazilian and Argentine postwar visual economies from a transnational perspective to understand the constitution of the public sphere and how modernization, Latin American identity, nationhood, and socio-cultural change and conflict were represented and debated in those media. Cinema and the visual after World War II became a worldwide locus of production and circulation of discourses about history, national identity, and social mores, and a space of contention and discussion of modernization. Developments such as the Bandung Conference in 1955, the decolonization of Africa, the Cuban Revolution, together with the uneven impact of modernization, created a "Third Worldism" and "Latin Americanism" that transformed public debate and the cultural field. By researching "peripheral" nations, I add to our understanding of the process of the transnationalization of the cultural field and the emergence of a global mass culture in the 1960s and 1970s.