{"id":{"repo_id":"calgary","oai_identifier":"oai:ucalgary.scholaris.ca:11023/509"},"canonical_url":"https://search.dev.ndltd.org/etd/calgary/oai:ucalgary.scholaris.ca:11023/509","repository":{"repo_id":"calgary","name":"University of Calgary","base_url":"https://ucalgary.scholaris.ca/server/oai/request"},"display":{"title":"Memoria, lenguaje poético y horizonte ético en "Mundar" de Juan Gelman","abstract":"This study analyzes the poetic language of Juan Gelman´s Mundar (2008). It identifies a fragmentation between the literal and the metaphoric planes, which we refer to as the Aesthetic of interruption. This phenomenon provides coherence across the poems in the book, in which we can distinguish various traces of symbolism, originating in the mysticism of St. Hildegard, whose verses appear in the opening epigraph, to French Simbolisme. Via a dialogue with the diverse traditions in which the symbolic background and critical commentary are situated, the central part of this thesis revolves around memory and oblivion. We question the possibility of a critical memory, defined by Ricoeur as the reconciliation of an image with its imprint. Due to an analogous tension arising out of the metaphorical devices, an opening of language takes places, and the releasing of poetic meaning occurs. It is possible, thus, to reach a horizon of understanding that represents the ethical moment when those comrades killed by the military are acknowledged. Together with this recognition, a sociological context also takes shape out of the poems and is manifested as a critical stance against the discourses of “post-memory.”","abstract_html":"This study analyzes the poetic language of Juan Gelman´s Mundar (2008). It identifies a fragmentation between the literal and the metaphoric planes, which we refer to as the Aesthetic of interruption. This phenomenon provides coherence across the poems in the book, in which we can distinguish various traces of symbolism, originating in the mysticism of St. Hildegard, whose verses appear in the opening epigraph, to French Simbolisme. Via a dialogue with the diverse traditions in which the symbolic background and critical commentary are situated, the central part of this thesis revolves around memory and oblivion. We question the possibility of a critical memory, defined by Ricoeur as the reconciliation of an image with its imprint. Due to an analogous tension arising out of the metaphorical devices, an opening of language takes places, and the releasing of poetic meaning occurs. It is possible, thus, to reach a horizon of understanding that represents the ethical moment when those comrades killed by the military are acknowledged. Together with this recognition, a sociological context also takes shape out of the poems and is manifested as a critical stance against the discourses of “post-memory.”","abstract_has_math":false,"creators":["Garcia-San Roman, Gemma"],"institution":"Graduate Studies","degree_name":"Doctor of Philosophy (PhD)","degree_level":null,"degree_discipline":"French, Italian and Spanish","degree_department":null,"school":null,"contributors":[],"advisors":["Torres, Luis A."],"committee_chairs":[],"committee_members":[],"year":2013,"date_issued":"2013-01-25","date_published":"2013-01-25","updated_at":"2026-07-24T01:30:29Z","subjects":["Literature--Modern","Literature--Latin American","Literature--Romance"],"languages":["spa"],"rights":["University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission."],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier.doi","label":"DOI","values":["http://dx.doi.org/10.11575/PRISM/26877"],"render_values":[{"text":"http://dx.doi.org/10.11575/PRISM/26877","href":"http://dx.doi.org/10.11575/PRISM/26877","code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/11023/509","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Torres, Luis A."]},{"key":"dc:creator","label":"Author","values":["Garcia-San Roman, Gemma"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2013-01-25T23:04:56Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2013-06-15T07:01:47Z"]},{"key":"dc:date.issued","label":"Date","values":["2013-01-25"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of Calgary"]},{"key":"dc:type","label":"Dc Type","values":["doctoral thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["French, Italian and Spanish"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Doctor of Philosophy (PhD)"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Calgary"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Literature--Modern","Literature--Latin American","Literature--Romance"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["spa"]},{"key":"dc:rights","label":"Dc Rights","values":["University of Calgary graduate students retain copyright ownership and moral rights for their thesis. 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This phenomenon provides coherence across the poems in the book, in which we can distinguish various traces of symbolism, originating in the mysticism of St. Hildegard, whose verses appear in the opening epigraph, to French Simbolisme. Via a dialogue with the diverse traditions in which the symbolic background and critical commentary are situated, the central part of this thesis revolves around memory and oblivion. We question the possibility of a critical memory, defined by Ricoeur as the reconciliation of an image with its imprint. Due to an analogous tension arising out of the metaphorical devices, an opening of language takes places, and the releasing of poetic meaning occurs. It is possible, thus, to reach a horizon of understanding that represents the ethical moment when those comrades killed by the military are acknowledged. Together with this recognition, a sociological context also takes shape out of the poems and is manifested as a critical stance against the discourses of “post-memory.”"]},{"key":"dc:title","label":"Title","values":["Memoria, lenguaje poético y horizonte ético en "Mundar" de Juan Gelman"]}]}],"canonical_facts":{"dc:contributor.advisor":["Torres, Luis A."],"dc:creator":["Garcia-San Roman, Gemma"],"dc:date.accessioned":["2013-01-25T23:04:56Z"],"dc:date.available":["2013-06-15T07:01:47Z"],"dc:date.issued":["2013-01-25"],"dc:description.abstract":["This study analyzes the poetic language of Juan Gelman´s Mundar (2008). It identifies a fragmentation between the literal and the metaphoric planes, which we refer to as the Aesthetic of interruption. This phenomenon provides coherence across the poems in the book, in which we can distinguish various traces of symbolism, originating in the mysticism of St. Hildegard, whose verses appear in the opening epigraph, to French Simbolisme. Via a dialogue with the diverse traditions in which the symbolic background and critical commentary are situated, the central part of this thesis revolves around memory and oblivion. We question the possibility of a critical memory, defined by Ricoeur as the reconciliation of an image with its imprint. Due to an analogous tension arising out of the metaphorical devices, an opening of language takes places, and the releasing of poetic meaning occurs. It is possible, thus, to reach a horizon of understanding that represents the ethical moment when those comrades killed by the military are acknowledged. 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