The hagiographic comedy written by Tirso de Molina Los lagos de San Vicente (1607) presents the journey of Santa Casilda in search of the cure of an illness in her blood that affects her. Casilda rejects the medical assistance offered to her by Muslim doctors and miraculously she finds the cure in the Christian world. In this quest, the intellectual and theological evolution of the future saint in defense of the Christian faith is presented. This dissertation will study the resources that Tirso de Molina employs to show the rejection and displacement against the Islamic world represented by a series of erotic behaviors that, in the effort of dramatizing these impertinences they are characterized within a second discourse. Tirso de Molina takes advantage of the hagiographic comedy's discourse nature and the baroque's obscure literary characteristics to express his messages. This dissertation will study in detail how the combination of hagiographic theatrical elements with linguistic expressions are used to convey a subversive discourse that therefore suggests the application of queer theory as a frame of reference. As a result of this investigation it is concluded that Tirso de Molina promotes the hagiographic model and in order to contrast the triumph of the moral Catholic world over the immoral Muslim world the play writer makes references to the nefarious sin.

In Angel Rama's La Novela Latinoamericana 1920-1980 (1982), the influential critic discloses a map of 20th century Latin American narrative. Rama stresses three literary styles merging into the phenomenon called Boom: fantastic, regional and realistic. On the other hand, another influential critic such as Nestor Garcia Canclini, in his article "Aesthetic Moments of Latin Americanism" suggests the 60's and 70's as a period in which art worked as a herald of utopia, trying to include in the present a future that seemed feasible. Rama's narrative map does not even mention writers as Manuel Puig and Rubem Fonseca. Both, the Argentine and the Brazilian, were censored by authoritarian governments. At the same time, their works deliver plastic representations of crime; therefore, I argue that these literary works, along with those created by Armonia Somers (Uruguay), Dalton Trevisan (Brazil) and Rodolfo Fogwill (Argentina) provides a representation of reality that confronts two mainstream discourses: one concerned with nationalism (authoritarian discourse) and another concerned with utopia (Boom discourse). The narratives I study disclose body and crime representations that do not address a symbolic conflict with modernity like the authoritarian and the Boom discourse do; yet modern elements are integrated into these narratives. This study focuses on Un Retrato para Dickens (1967) by Armonia Somers; O Vampiro de Curitiba by Dalton Trevisan; Feliz Ano Novo (1976) by Rubem Fonseca; The Buenos Aires Affair (1973) by Manuel Puig; and Los Pichy-cyegos (1983) by Rodolfo Fogwill. This study assumes that the technological/digital development has modified the perception of last sixty years in Latin American Literature. This work is engaged in developing a new perspective over 20th Century Southern Cone Narrative and it interprets the Boom as a symptom of a wider picture: the development of a global cultural market. Accordingly, this perspective might explain partially the rise of new identities and the present status of Southern Cone Narratives.