Department of Languages, Linguistics and Comparative Literature

Florida Atlantic University Departmental Dashboard Indicators. Department program reviews for Dorothy F. Schmidt College of Arts and Letters, Florida Atlantic University.

Florida Atlantic University Departmental Dashboard Indicators. Department program reviews for Dorothy F. Schmidt College of Arts and Letters, Florida Atlantic University.

Florida Atlantic University Departmental Dashboard Indicators. Department program reviews for Dorothy F. Schmidt College of Arts and Letters, Florida Atlantic University.

In Latin America, wet nurses and nannies have played a relevant role in the transmission of legends, myths, medicinal knowledge, popular beliefs, and the religious practices of marginalized groups. This historical reality also ties them closely to the vitality of the marvelous real in Latin American culture and history as theorized by Alejo Carpentier. This dissertation focuses on examining the characters of wet nurses and nannies, especially in connection with the expression of the marvelous real in Latin American novels published in the second half of the twentieth century.
Employing primarily Alex Woloch’s theory of characterization, this dissertation explores the character space and position within the character system of la Vieja in El acoso (1956) by Alejo Carpentier, Peta Ponce in El obsceno pájaro de la noche (1970) by José Donoso, and Petra Avilés in La casa de la laguna (1996) by Rosario Ferré. They serve as marvelous agents introducing elements of the marvelous real in the narrative. These characters are at the center of an extensive network of cultural codes that signify different sources of the marvelous real in Latin American culture. The marvelous network they establish functions as a vindicating mechanism that leads to the penalization of the families that hire their services, who represent a decadent and oppressive social system, whereas the wet nurses or nannies embody the oppressed groups in society. This is a literary strategy to impart, at a symbolic level, the justice that traditionally has been denied, both textually and socially, to these women.

An exacting command of language in his employ, journalist Camille Desmoulins was
arguably one of the most dangerous and cunning players in the political arena of revolutionary
France. His work is a clear synthesis of linguistic and political theory but what, precisely, made it
so effective? When his work is regarded collectively, a theme emerges wherein Desmoulins uses
language designed to categorically perpetuate suspicion. Using the principles of lexical semantics,
rhetoric, and connotation, this project seeks to examine the semantic undercurrents of
Desmoulins’s works as they relate specifically to the public perception of suspicion, and to define
the linguistic parameters within which he operated. An analysis of selected examples will
demonstrate how the evocative language speaks to the author’s acute cognizance of his audience
and his talent for inflaming the collective unrest through the use of tropes; specifically
dehumanization, personification, and the neologism brissoter. Additionally, a feature analysis of nouns and verbs drawn from a sample of Desmoulins’s work further identifies tropes and atypical
semantic forms and argues that, through his linguistic manipulation, he was able to sow suspicion
among the mercurial Third Estate; both against the monarchy and the ultra-radical Republic.

During the Renaissance and the Baroque periods, both in the Old and the New World, the patriarchal social structure had created a set of fixed gender rules based on gender roles to control female sexuality, female voices, and their social freedom because it was considered a threat to male superiority. The Venetian Veronica Franco and the Mexican Sor Juana Inés de la Cruz are two extraordinary women from different places and a hundred years apart who, with their elaborated writing and body-related techniques, escape the gender patriarchal constrains and give voice to their new authorial persona in a female liminal environment. Veronica Franco and Sor Juana Inés de la Cruz represent the two facets of the same coin that symbolizes the phallocentric patriarchal structure in which these two women happened to live, struggle, and write. These women were pushed to the margins of society, confined in convents, brothels/patrician houses, or the streets, to silence their personae and reinforce their inferiority and, at times, inexistence. There are no works that focus on the comparison between the well-known Mexican nun and the forgotten Venetian courtesan. Therefore, this dissertation aims to analyze the writings of Veronica Franco and Sor Juana Inés de la Cruz through the lens of feminist theory (Cixous, Irigaray etc.) and the concept of the body as an instrument of subversion and female liberation. In their respective time and marginal places of confinement (the patrician house and the convent), both women were able to create a liminal space that allowed them to go beyond the rigidity of gender binaries and explore different venues of freedom. In this liminal space both Veronica Franco and Sor Juana stopped “performing” the fixed gender roles imposed by the patriarchal social order and created new female creatures at the margins of patriarchal society; a new type of woman who could, through her body and writing, destabilize the patriarchal gender identities and go from a passive silence object to an active writing subject.

The use of death iconography, especially in the mode of memento mori, was a prevalent and effective means of conveying the Roman Catholic Church’s message of eternal reward through faith to provide hope to those who would follow. This contributed to the success of the Church’s internal reformation in the 16th century. This dissertation will explore a heretofore unexamined shift in the specific artistic mode of memento mori and its rhetorical function in ameliorating the image of the Church during the Counter- Reformation. Specifically, it examines in the mode of sculpture, the works of Gian Lorenzo Bernini and the Ossuary of Santa Maria della Concezione dei Cappuccini; for the mode of painting, the works of Michelangelo Caravaggio and Pietro da Cortona; and for the mode of literature, the works of Giambattista Marino and Cesare Ripa. The artists and works selected for this study provide salient examples of memento mori of the Italian Baroque and its rhetorical function in the preservation of the Catholic faith. These works mark a distinct shift from the medieval modes of death representation which also indicates a shift in presentation of teleological theology in the eschatological message of the Church that is at the core of the faith. This change in rhetorical approach had a positive effect on the Church’s image and reputation that would comfort followers and encourage new converts. Close reading is performed on each of the sample works and their embedded rhetoric is examined. Since the fear of death and the hope for eternal life are the driving sentiments that these works evoke, their power to influence people is strong. Naturally, this increased the chances of the message of the Church being recognized, remembered, and spread. The use of transformed death iconography, especially in the mode of memento mori, was a prevalent and effective means of conveying the Church’s message of eternal reward through faith to provide hope to those who would follow. This contributed, in part, to the success of the Roman Catholic Church’s internal reformation at the time of the Protestant Schism in the 16th century.

This dissertation comparatively analyzes the works of Ralph Waldo Emerson, a nineteenth century American, and Jorge Luis Borges, a twentieth-century Argentinian, within the context of human rights. Through their writings, both Emerson and Borges provided a voice to the voiceless by addressing the most egregious violations of human rights during their respective days: For Emerson, the most virulent social ill was slavery; for Borges, it was fascism. While Emerson and Borges differ in several ways, they are remarkably similar in their emphasis of natural laws and natural rights, notably egalitarianism and liberty, which underpin humanity and comprise an integral aspect of civilization. By counteracting the antithesis of civilization, barbarism, the works of Emerson and Borges ultimately embody the tenets that would ultimately constitute The Universal Declaration of Human Rights. Thus, Emerson and Borges are indelibly linked through serving as harbingers of human rights.

I have chosen to begin with an analysis of Megillat/Book of Esther because of its chronological placement as well as its status in Jewish tradition as the prototype of diasporic auto/biography. Briefly, it relates the story of a covertly Jewish queen who makes the decision to risk her life in order to save her people from genocide. (Professor Patricia K. Tull takes credit for the expression, the “Esther moment” to describe Esther’s choice to commit to her life-changing Jewish self-identification, with all its inherent risks.) Determination and recognition of the danger she faces are reflected in Esther’s comment, “If I perish, I perish.”
Postcolonial theory is a prism through which to view the ancient story and ultimately relate its elements, particularly “the Esther moment,” to the diasporic auto/biographical narratives included in the dissertation. Robin Cohen’s explanation of the concept of victim diaspora will be contrasted with the Kabbalistic interpretation of diaspora as the divinely orchestrated means to mend the world. The teachings of the Ari, 16th century Kabbalist Rabbi Isaac Luria, as well as 20th and 21st century essays illuminate the discussion of the mystical myths and legends which offer a positive interpretation to several millennia of Jewish exile.
A general overview of the genre of autobiography/life narrative includes 20th and 21st century theorists, i.e., Philippe Lejeune, Sidonie Smith, Julia Watson and others, who address specific issues related to modern technology’s role in creating life narratives. The journey extends from parchment scrolls through printing press book production to filmic representations.
Though thousands of years separate Book of/Megillat Esther from the interviews, they are unified by significant commonalities. The dissertation will focus on some facsimile of an “Esther moment,” where a Jewish calling spoke to participants and altered the course of their lives.
Accessible for viewing online, each narrative is informed by a review of the family’s earlier diasporic journey. Diasporic synergies for each narrative will demonstrate a confirmation of the hypothesis. Connecting to one’s Jewish roots can be viewed as reparation of a rupture, a cultural diasporic journey to reach, if not the physical point of origin, a spiritual homecoming.

Oral history’s purposes have metamorphosed from a record of lifeways and
stories of the elite to a means of healing for minority communities oppressed by trauma.
This dissertation focuses on the power of oral history to catalyze the restorative justice
process of moral repair for victims—in this case the Mexican Americans of Texas—who
were traumatized by the Jim Crow laws and practices prior to 1965. I researched the
racial, socio-cultural history of Texas from its colonial days up to the Jim Crow historical
era of 1876-1965 and utilized archival, legal, and historical sources for my study.
Additionally, I explore theories and frameworks of trauma, structural violence, and
restorative justice, and analyze twenty-eight oral histories from the Voces Oral History
Collection (University of Texas, Austin). Lastly, I apply oral history methodology to
collect seventeen oral histories for my own project, Project Aztlan.
My findings reveal a community suffering from structural violence—a theory that
argues unjust laws harm individuals as much as physical violence. The oral histories unearth several issues: first, both groups of narrators were victims of structural violence
as a result of traumatic racism. I anticipated finding traumatic racism, but not on such a
broad scale. The results reveal it occurred in all four corners of Texas. Second, these Jim
Crow laws and practices targeted members individually and collectively through racially
restrictive housing covenants, segregation of schools/public facilities, job discrimination,
and disfranchisement or poll taxes. Thirdly, the oral histories demonstrate and legitimize
the fact that the Mexican American community deserves atonement, apology and
reparation from historically guilty institutions. The State of Texas battered them with
mass lynchings, disfranchisement, racially restrictive housing covenants, school
segregation, and discrimination, oppressing them for over 100 years.
My dissertation concludes that the oral history process helps victims attain moral
repair because, similar to moral repair, it also allows them the space to voice their stories
of injustice. In turn, the oral historian validates their claims and reconciliation occurs
when narrators received vindication through this reparatory process. This
acknowledgment fuses broken moral bonds by equalizing members of society.