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When analyzing the relationship of John Dos Passos and Spain, the name of José Robles, his friend and translator of Manhattan Transfer into Spanish, invariably appears; his misterious killing by the Russians during the Spanish Civil War is central to understand John Dos Passos' relationship with Spain and his political shift. In this narrative, Márgara Villegas, Robles's wife, has always played a secondary role, that of a victim. However, Márgara Villegas also translated John Dos Passos and other writers in the Spain of the Second Republic for Cenit, and later, in exile in Mexico, for the Fondo de Cultura Económica. In this article we will deal with her work as a translator, to provide a fuller picture of a brave, admirable woman, despite the circumnstances that made her husband, the Spanish translator of Manhattan Transfer, tragically visible in the Spanish polysystem. ; Cuando se estudia la relación de John Dos Passos con España, surge invariablemente el nombre del traductor de Manhattan Transfer al español, José Robles Pazos, por su misteriosa muerte en la Guerra Civil española. En esa trágica narrativa, su mujer, Márgara Villegas, ha permanecido hasta ahora en un segundo plano, como víctima colateral. Sin embargo, Márgara fue también traductora de John Dos Passos y de otros autores para Cenit en la España de la República y, posteriormente, continuó traduciendo en el exilio mexicano para el Fondo de Cultura Económica. En este artículo proponemos una semblanza de Márgara Villegas, traductora, una mujer fuerte a pesar de las trágicas circunstancias que convirtieron a su esposo, el traductor de Manhattan Transfer, en uno de los traductores más visibles del polisistema español.

Dos Passos wrote more than forty books during his lifetime, including poetry, plays, travel books, political tracts, histories, and biographies. He is better known, though, for his novels, and best of all for the documentary style fiction he wrote during the twenties and thirties. He is the best known for, and to those others which are representative of a period in his career or of a change in political or stylistic direction. Though it is certainly true that no American writer has been more subjected to political judgment than Dos Passos, has the history of the critical response shows that what made him the most promising American writer of the thirties and a much less respected writer. Later on, he had as much to do with his art as with his politics, if indeed the two can be separated. A critical reception never stops developing, and neither does historical consciousness ever fully reveal itself in openly stated principles or propositions.

A few American writers, who have seen man and society in proper proportion, and who have had the power to realize their vision in terms of the novel, seem to have chosen two principal methods of coping with the peculiar difficulties presented by the vastness, newness, shapelessness and instability of American society and by their own inescapable self-consciousness about it. Dos Passos novels might be said to have attempted a development of this second method by putting down a series of sample borings all over the surface of America. In the novels of Dos Passos, the fate of individuals becomes ensnared inthe complex transformations of American society and politics. Indeed, the fierce of change and its oppressive influence on people bring Dos Passos to the brink of determinism: His characters seem incapable of bucking these coercive trends. The most successful characters adapt to change, allowing their principles and temperaments to be guided by the fluctuations of fashion. The present study focuses on social and political consciousness in the novels of Dos Passos.

International audience ; John Dos Passos deserves our attention today, not only for his defence of Harlan County's miners in 1931, of Sacco and Vanzetti four years earlier, or for the texts that he published in New Masses. The biographies included in U.S.A. must also be examined. They have been puzzling critics since the publication of the masterpiece (The 42nd Parallel, 1930 ; 1919, 1932 ; The Big Money, 1936 ; gathered in one volume in 19381), but debates about theirnature have overlooked their relation with the tradition of the American essay.I would like to analyze the generic reference to essays in the U.S.A. trilogy which is crucial in Dos Passos's commitment: his writing aims at inviting the reader to rid himself of cliches, ready-made ideas and preconceptions, and to act. When Sartre asserts in his famous text that Dos Passos's novels are an incitation to "revolt"2, I should like to argue that this is largely due, to the biographies, rather than to diegetic chapters. Dos Passos uses someessayistic features of the biographies; as a "persuasive discourse" (Angenot), modern essay is characterized by its attention to its reader, so much so that the essayist is viewed as a "committed" writer, a "temptator trying to win others to his cause" (Bense).My hypothesis is that U.S.A. is different from other works by Dos Passos (Manhattan Transfer, for instance), not only on account of its scope, but because in this book, commitment is three-fold. U.S.A. expresses a political and social commitment, which echoed in the writing that is itself committed because it refers to a genre (the essay) which is specifically viewed as capable of committing readers to react. To prove this, I will show thatthe biographies in U.S.A. are close to contemporary essays. This resemblance sheds a light on the faculty that they possess to establish a relation with the reader – which is precisely an essayistic feature – and to commit him into action: to think, in this case. But where is the dividing-line between inciting to think and influence?

International audience ; John Dos Passos deserves our attention today, not only for his defence of Harlan County's miners in 1931, of Sacco and Vanzetti four years earlier, or for the texts that he published in New Masses. The biographies included in U.S.A. must also be examined. They have been puzzling critics since the publication of the masterpiece (The 42nd Parallel, 1930 ; 1919, 1932 ; The Big Money, 1936 ; gathered in one volume in 19381), but debates about theirnature have overlooked their relation with the tradition of the American essay.I would like to analyze the generic reference to essays in the U.S.A. trilogy which is crucial in Dos Passos's commitment: his writing aims at inviting the reader to rid himself of cliches, ready-made ideas and preconceptions, and to act. When Sartre asserts in his famous text that Dos Passos's novels are an incitation to "revolt"2, I should like to argue that this is largely due, to the biographies, rather than to diegetic chapters. Dos Passos uses someessayistic features of the biographies; as a "persuasive discourse" (Angenot), modern essay is characterized by its attention to its reader, so much so that the essayist is viewed as a "committed" writer, a "temptator trying to win others to his cause" (Bense).My hypothesis is that U.S.A. is different from other works by Dos Passos (Manhattan Transfer, for instance), not only on account of its scope, but because in this book, commitment is three-fold. U.S.A. expresses a political and social commitment, which echoed in the writing that is itself committed because it refers to a genre (the essay) which is specifically viewed as capable of committing readers to react. To prove this, I will show thatthe biographies in U.S.A. are close to contemporary essays. This resemblance sheds a light on the faculty that they possess to establish a relation with the reader – which is precisely an essayistic feature – and to commit him into action: to think, in this case. But where is the dividing-line between inciting to think and ...

This is the published version, written by Dr. Melvin Landsberg in 1964.

Esse artigo trata de uma pesquisa qualitativa, na qual se utilizou, como recursos metodológicos, a observação direta, a pesquisa de campo e a realização de duas entrevistas com o principal representante da Casa de Caridade Pai Jacob do Oriente. Esse terreiro de umbanda foi escolhido propositalmente por fazer parte da realidade cotidiana de uma vila localizada na região Lagoinha, um dos bairros mais antigos da cidade de Belo Horizonte. O olhar da pesquisa projetou-se, principalmente para esse templo de umbanda, levando em consideração suas relações no espaço (e com o espaço) em que ele se situa, a partir de um olhar de perto e de dentro.

The novels of John Dos Passos [1896-1970] are often analyzed with reference to his politics. This dissertation aims to recast the link between politics and fiction in his work, starting from the texts themselves rather than from the author's political pronouncements, to see how fiction itself can become political. Dos Passos's political criticism built up progressively throughout his career, from his early fiction to the crowning success of U.S.A., and rested on a criticism of linear narrative. He went against America's "manifest destiny" to portray a divided country, made up of "two nations", and rooted his political criticism within the genre of the novel itself. By undermining the concepts of plot, protagonist and temporality, he created a form of political fiction where politics are an integral part of writing, rather than an imposition upon it. Dos Passos thus invites us to cast a new glance at the interwar period, and at the links – severed by Cold War criticism – between modernism and radicalism. His works bear witness to the difficulty of writing protest in a land of consensus; however, rather than resorting to a tempting return to the myth of origins, they enact a dialogue with the founding texts, through which fiction progressively reveals how the nation's political – and textual – foundation rests on gaps and omissions ; Les œuvres de John Dos Passos [1896-1970] sont souvent étudiées à l'aune – ou à l'ombre – de son parcours politique. L'enjeu de cette thèse est de revenir sur ce lien entre fiction et politique, en partant non plus des positions politiques de l'auteur mais des œuvres elles-mêmes, pour analyser si et en quoi la fiction peut se faire politique. Des romans de jeunesse aux œuvres de la maturité [notamment Manhattan Transfer et la trilogie U.S.A.], Dos Passos construit sa critique politique, fondée sur la remise en cause du récit linéaire. Il remplace la « destinée manifeste » de l'Amérique par le portrait des « deux nations » qui la composent, et travaille le genre du roman pour le ...

The novels of John Dos Passos [1896-1970] are often analyzed with reference to his politics. This dissertation aims to recast the link between politics and fiction in his work, starting from the texts themselves rather than from the author's political pronouncements, to see how fiction itself can become political. Dos Passos's political criticism built up progressively throughout his career, from his early fiction to the crowning success of U.S.A., and rested on a criticism of linear narrative. He went against America's "manifest destiny" to portray a divided country, made up of "two nations", and rooted his political criticism within the genre of the novel itself. By undermining the concepts of plot, protagonist and temporality, he created a form of political fiction where politics are an integral part of writing, rather than an imposition upon it. Dos Passos thus invites us to cast a new glance at the interwar period, and at the links – severed by Cold War criticism – between modernism and radicalism. His works bear witness to the difficulty of writing protest in a land of consensus; however, rather than resorting to a tempting return to the myth of origins, they enact a dialogue with the founding texts, through which fiction progressively reveals how the nation's political – and textual – foundation rests on gaps and omissions ; Les œuvres de John Dos Passos [1896-1970] sont souvent étudiées à l'aune – ou à l'ombre – de son parcours politique. L'enjeu de cette thèse est de revenir sur ce lien entre fiction et politique, en partant non plus des positions politiques de l'auteur mais des œuvres elles-mêmes, pour analyser si et en quoi la fiction peut se faire politique. Des romans de jeunesse aux œuvres de la maturité [notamment Manhattan Transfer et la trilogie U.S.A.], Dos Passos construit sa critique politique, fondée sur la remise en cause du récit linéaire. Il remplace la « destinée manifeste » de l'Amérique par le portrait des « deux nations » qui la composent, et travaille le genre du roman pour le défaire de sa dimension providentielle. En mettant à l'épreuve l'intrigue, le protagoniste et la temporalité, il inscrit cette critique politique au cœur même de l'écriture, et invite à porter un nouveau regard sur les œuvres politiques de l'entre-deux-guerres, et sur les liens entre modernisme et radicalisme, dénoués par la critique de la Guerre Froide. Ses œuvres mettent en scène la difficulté de construire une littérature protestataire dans un pays fondé sur des idéaux démocratiques. Plutôt qu'un perpétuel retour au mythe des origines, cependant, elles mettent en place un véritable dialogue avec les textes fondateurs, dialogue au sein duquel la fiction fait peu à peu émerger, entre les lignes, le non-dit du politique

A procissão dos Passos na cidade de São Cristóvão é considerada a principal solenidade religiosa de Sergipe, estado do Nordeste brasileiro. Desde o século XIX, na segunda semana da Quaresma, a cidade passava por um período de júbilo, regozijava com romeiros se deslocando dos mais diversos recônditos no intuito de cumprir sua desobriga e renovar seus pedidos. Era uma romaria que reunia os segmentos populares e os principais nomes da elite açucareira da região. Era uma romaria oficial do Império do Brasil. Nessa pesquisa, o objeto é a reinvenção dessa romaria ao longo do século XX, provocando conflitos e inquietações entre diferentes segmentos sociais que tentaram se apropriar do evento. O principal conflito ocorreu entre os membros da antiga Ordem Terceira do Carmo, organizadora da romaria, e os frades franciscanos oriundos da Alemanha, que a partir de 1903 assumiram a Paróquia Nossa Senhora da Vitória e tentaram promover o processo de reforma devocional, combatendo as práticas devocionais tidas como inadequadas e o poder dos leigos na celebração. Essa querela envolveu religiosos, leigos, políticos republicanos, romeiros das camadas populares, membros das irmandades e intelectuais preocupados com os efeitos da modernização do estado e com a destruição das tradições.