Arts and Humanities Commons^™

Imagining Costumbrismo: Connecting Image And Text In Nineteenth-Century Colombian Cuadros De Costumbres, María Sol Echarren

FIU Electronic Theses and Dissertations

Influenced by nineteenth-century scientific trends, Costumbrismo was a literary and artistic genre combining aspects of Romanticism and Realism and presenting traditional customs of autochthonous daily life. Nineteenth-century cuadros de costumbres, or “sketches of manners,” often used local color to depict national scenes, regional types, and cultural traditions. The cuadros, comprised of short but illustrative writings published as periodical pamphlets, contained visually charged descriptive language infused with a didactic objective in order to shape readers’ perspectives about the nation and present specific sociopolitical philosophies.

This dissertation analyzes the connections between literature and art through the written cuadros de costumbres …

What We’Ve Got Here Is A Failure To Communicate: A Postmodern Analysis Of Representations Of Higher Education In Cinema, Carlos E. Gonzalez

FIU Electronic Theses and Dissertations

The primary purpose of this study was to explore representations of higher education in film. In order to achieve that objective this study consisted of a narrative analysis of the themes that emerged in films regarding higher education. This study focused on films from the 1950s to the present. The narratives that emerged from the analysis of the films were compared and contrasted to the scholarly literature regarding higher education. The analysis of the films also included juxtaposing the film narratives to the work of postmodern theorists such as Michel Foucault in order to inform the claims made by the …

Simply Genre Films: Extracting “King Lear” From “House Of Strangers” And “Broken Lance", Sophia G. I. Funk

FIU Electronic Theses and Dissertations

The purpose of this thesis is to evaluate and refute Yvonne Griggs’ claims that the films “House of Strangers” (1949) and “Broken Lance” (1954) are as Griggs deems “genre-based adaptations” of William Shakespeare’s “King Lear.” I argue that the films, although they have some essential elements of “King Lear,” lack intentionality and reception, pivotal components in determining viability as a Shakespearean film adaptation. Using Griggs’ book as my critical background, I will show that these films are better classified under their respective genre categories, Western and film noir, not as “King Lear” genre adaptations. I will …