Problem: Madhva Acharya (mdhvaacaaryru)(Sanskrit pronunciation: [m@dhva:'tSa:rj@]; CE 1238-1317 ), also known as Purna Prajna and Ananda Teertha, was a Hindu philosopher and the chief proponent of the Dvaita (dualism) school of Vedanta. Madhva called his philosophy Tatva-vaada meaning "the tattva or realist viewpoint". Madhvacarya was born on the west coast of Karnataka state in 13th-century India. As a teenager, he became a Sanyasi (monk) joining Brahma-sampradaya guru Achyutapreksha, of the Ekadandi order.

The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period.  Madhvacarya was born in Pajaka near Udupi, a coastal Malabar region of south-west India in the state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvacarya's mother. Born in a Vaishnavite Brahmin household, he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Purnaprajna was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ananda Tirtha". All three of his later names are found in his works. Madhvacarya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature.  Madhva began his school after his Upanayana at age seven, became a monk or Sannyasi in his teenage. He joined an Advaita Vedanta monastery in Dwarka (Gujarat), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi - asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings.  According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th century India, with Anandatirtha - the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Vyasatirtha, Vadiraja Tirtha and Raghavendra Tirtha who followed in footsteps of Madhva.  A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Narayana Panditacarya - son of Trivikrama Pandita, who himself was a disciple of Madhva.

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Answer with quotes: he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (

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Alejo Carpentier y Valmont (December 26, 1904 - April 24, 1980) was a Cuban novelist, essayist, and musicologist who greatly influenced Latin American literature during its famous "boom" period. Born in Lausanne, Switzerland, Carpentier grew up in Havana, Cuba, and despite his European birthplace, he strongly self-identified as Cuban throughout his life. He traveled extensively, particularly in France, and to South America and Mexico, where he met prominent members of the Latin American cultural and artistic community. Carpentier took a keen interest in Latin American politics and often aligned himself with revolutionary movements, such as Fidel Castro's Communist Revolution in Cuba in the mid-20th century.
The Baroque style dates back to the cultural period of the 17th and early 18th centuries. It is most often defined as "the dominant style of art in Europe between the Mannerist and Rococo eras, a style characterized by dynamic movement, overt emotion and self-confident rhetoric". Carpentier first became fascinated with this style in architecture and sculpture; however, he later describes el barroco as un espiritu, and not un estilo historico ("a spirit, not an historical style"). Wakefield insists that this attitude towards the Baroque stemmed from Carpentier's background in both Europe and Latin America which allowed him to take on a superior front in the face of post-colonialism and ultimately have the literary upper-hand where he could use European style to tell the Latin American story. Carpentier developed his vision of the baroque in his early works before he described himself as a baroque writer. He experimented with the technique in several developmental stages: "first as a cultural style of aesthetic fascination, later as a literary device to create period ambiance, and finally as a weapon of postcolonial pride, defiance and one-upmanship".  This style strongly presents itself when comparing works such as the early Ecue-Yamba-O to the celebrated El reino de este mundo, regarding Carpentier's use of more historically eloquent vocabulary in the latter, instead of the authentic language of the ethnically-inspired characters. Here he escapes the stereotype of "nativism" by incorporating European standards, but continues to achieve a sense of normalcy without the expected use of the colloquialisms which the protagonist Ti Noel would undoubtedly use.  Kaup claims that Carpentier utilizes what is known as the "New World Baroque", since Latin America didn't come into contact with the Enlightenment or "European modernity". This contraconquista (counter conquest) allows the New World authors to experiment with new identities and the manners of expressing them. As such, Carpentier observed in his 1975 essay that "American Baroque develop[ed] along with criollo culture ...: the awareness of being Other, of being new, of being symbiotic, of being a criollo; and the criollo spirit is itself a Baroque spirit." This criollo of the New World Baroque is often seen as the dominant style of European literature emerging as a subordinate literary construction in Latin America.
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Kaup claims that Carpentier utilizes what is known as the "New World Baroque", since Latin America didn't come into contact with the Enlightenment or "European modernity".