Tesis sobre el tema "Spanish literature outside of Spain"

This study traces the current status of Spanish ethics as seen through the optics of historical memory. Starting from the Spanish Civil War in 1936, the thesis relates contemporary themes to their proposed origin throughout three additional distinctive eras of the 20th and 21st century in Spain: 1982-1996 (Socialist Spain), 1997-2010 (Post-modern Spain), and 2011-present (current Spain). Spanish narratives ranging from Los Abel by Matute, La magnitud de la tragedia by Monzó, "Fidelidad" of Ha dejado de llover by Barba and Las fosas de Franco by Silva are contextualized through their ethical architecture, in accordance with their socio-political context, and relationship to past historical traumas. This work proposes that the themes of anticlericalism, the pursuit of social equality, anti bureaucracy, and political distrust are trends culminating from Kohlberg's third level of morality. The thesis aims to be an exposition and legitimization of different ethical schemas that might otherwise be polarized as wrong and inferior by others.

This dissertation analyzes the prose works of the “Nova Novorum,” a fiction series created and published by José Ortega y Gasset between 1926 and 1929. This collection included six works by four authors, five of which will be discussed in this dissertation. Pedro Salinas’ Víspera del gozo (1926) inaugurated the series. Benjamín Jarnés published two works: El profesor inútil (1926) and Paula y Paulita (1929). Antonio Espina is also responsible for two works: Pájaro pinto (1927) and Luna de copas (1929). The dissertation is divided into five sections. The first chapter introduces the topic of avant-garde prose during the 1920s in Spain, and the concept of ekphrasis as a methodological approach. Prose authors of the avant-garde were prolific during the first third of the twentieth century in Spain. They produced a new aesthetic sensibility with their experimental narrations. All of the works analyzed are examined through the lens of ekphrasis, which is the verbal representation of visual representation. Chapter Two discusses three relational aspects of ekphrasis: word and image, time and space, and the hermeneutics of ekphrasis. The first section examines the difference between narration and description. The second explores the relationship between time and space and the implications of the fact that a visual object is normally associated with space, while a verbal representation is associated with time. This section examines how authors incorporate spatial techniques into their narrations in ways that are commonly employed by painters. The third section of Chapter Two examines iconology and the hermeneutics of ekphrasis and how the authors use the trope of mimesis not to imitate nature but rather to distort reality. Chapters Three, Four and Five closely examine the images described by each author. This study draws on understanding of ekphrasis from literary studies and art history as well as theories of the literary avant-garde that stems both from Europe and from Spain in particular. Ortega y Gasset’s ideas about the novel and the avant-garde informed the basic assumptions of the authors of the “Nova Novorum,” who often used ekphrasis as a means of avoiding narrative progress. In many cases of ekphrasis found in the “Nova Novorum” collection, the representations of art are deployed in the same way in which the authors utilize metaphor, as a means of digressing from the narrative. These ekphrastic moments allow each author to withdraw from or slow down the narration, providing the author with the opportunity to focus on the use of language itself.

Spain underwent drastic social and political changes in the last decades of the twentieth century which also affected the nation’s patterns of emigration. Contemporary Spanish literature and film that portray these decades reflect the country’s fluctuating characteristics of migration. ¡Vente a Alemania, Pepe! (1971) by Pedro Lazaga, Coto vedado (1985) by Juan Goytisolo, El hijo del acordeonista (2003) by Bernardo Atxaga, and Yoyes (2000) by Helena Taberna demonstrate Spain’s migration trends during the last years of Franco’s dictatorship and the transition to democracy. The nation’s highly increased socioeconomic development in the 1970s and 1980s which eventually led to a first-world status also affected emigration, which can be seen in Carlota Fainberg (1999) by Antonio Muñoz Molina, Kasbah (2000) by Mariano Barroso, Restos de carmine (1999) by Juan Madrid, and Map of the Sounds of Tokyo (2009) by Isabel Coixet.

Analyzing cookbooks, gastronomic guides, literature and film, this dissertationoutlines the creation of a Spanish national cuisine. Studying the works of Carmen de Burgos, Emilia Pardo Bazán, Dionisio Pérez, Ana María Herrera, Juan Mari Arzak and Ferrán Adrià among others, the project examines the evolution of this nationalist discourse by identifying common and recurring themes in an effort to extrapolate and describe the historical and cultural evolution of food from 1900 to the present day. Within the framework of Food and Cultural Studies, this project treats cookbooks, culinary manifestos and guidebooks as texts. Influenced by a variety of culinary and gastronomic of critics such as Roland Barthes, Arjun Appadurai, Benedict Anderson, Stanley Mintz and others, this dissertation analyzes nationalism through the perspective of gastronomy as a cultural practice that contributes to individual and collective identity building. This dissertation concludes that Spanish national cuisine has been defined as a unique, pluralistic blend of regional cuisines since the early twentieth century. While early authors such as Pardo Bazán admit to heavy French influence and the centralized hegemony of Madrid due to its privileged status as economic and political capital of Spain, most subsequent authors acknowledge that Spanish national cuisine is a construction of various regional influences and by the 1960s, this regional view of national cuisine is universally accepted. Shaped during the twentieth century by civil war, Francoism and globalization, Spanish cuisine today continues to be a blend of regional cuisines that mutually influence each other while also exhibiting the effects of a globalized world by incorporating non-Spanish ingredients and techniques into nationally accepted dishes.

The question of decline in the historiography of seventeenth-century Spain originally included socio-economic analyses that determined the decline of Spain was an economic recession. Eventually, the historiographical debate shifted to include cultural elements of seventeenth-century Spanish society. Gender within the context of decline provides further insight into how the deterioration of the Spanish economy and the deterioration of Spanish political power in Europe affected Spanish self-perception. The prolific Spanish women writers, in addition, featured their points of view on manhood in their works and created a model of masculinity known as virtuous masculinity. They expected Spanish men to perform their masculine duties as protectors and providers both in public and in private. Seventeenth-century decline influenced how women viewed masculinity. Their new model of masculinity was based on ideas that male authors had developed, but went further by emphasizing men treating their wives well.

This dissertation analyzes the strategies that Spanish and Hispano-African authors employ when writing about Africa in the contemporary novel (1990-2010). Focusing on the former Spanish colonial territories of Morocco, Western Sahara, and Equatorial Guinea, I analyze the post-colonial literary discourse about these regions. This study examines the new ways of conceptualizing Africa that depart from an Orientalist framework as advanced by the novelists Lorenzo Silva, Concha López Sarasúa, Ramón Mayrata, María Dueñas, Fernando Gamboa, Montserrat Abumalham, Javier Reverte, Alberto Vázquez-Figueroa, and Donato Ndongo. Their works are representative of a recent trend in Spanish letters that signals a literary focus on Africa and the African Other. I examine these contemporary novels within their historical context, specifically engaging with the theoretical ideas of Edward Said’s Orientalism (1978), to determine to what extent his analysis of Orientalist discourse still holds value for a study of the Spanish novel of thirty years later. In addition, the work of theorists such as Gil Anidjar, Emmanuel Levinas, James C. Scott, Ryszard Kapuściński, Georges Van den Abbeele and Chandra Mohanty contribute to the analyses of specific works. These theorists provide a theoretical framework for my thesis that contemporary Spanish authors are writing Africa in ways that undermine and circumvent the legacy of Orientalist discourse. I seek to highlight the innovative approaches that these authors are taking towards their literary engagement with Africa. The imaginary that pertains to Africa has served an integral role in the history and creation of modern Spain, and it is illuminating to trace the influences that it continues to exert on Spanish writers. In the last thirty years, Spain’s relationship with Africa has dramatically changed through peace treaties, the independence of nations, migratory patterns, tourism, and in other substantial ways. Within this dissertation, I address these changes by focusing on literary representations of political engagement, gender issues, and travel to highlight how Africa is represented in light of these recent developments. As Spanish authors continue to engage with and to write about Africa, this study hopes to show that Orientalism is no longer a prevalent discourse in the contemporary Spanish novel.

The motif of 'exile-and-return' is found in works from a wide range of periods and linguistic traditions. The standard narrative pattern depicts the return of wrongfully exiled heroes or peoples to their former abode or their establishment of a superior home, which signals a restoration of order. The appeal of the pattern lies in its association with undue loss, rightful recovery and the universal vindication of the protagonist. Though by no means confined to any one period or region, the particular narrative pattern of the exile-and-return motif is prevalent in vernacular texts of England and Spain around 1170–1250. This is the subject of the thesis. The following research engages with scholarship on Anglo-Norman romances and their characteristic use of exile-and-return that sets them apart from continental French romances, by highlighting the widespread employment of this narrative pattern in Spanish poetic works during the same period. The prevalence of the pattern in both literatures is linked to analogous interaction with continental French works, the relationship between the texts and their political contexts, and a common responses to wider ecclesiastical reforms. A broader aim is to draw attention to further, unacknowledged similarities between contemporary texts from these different linguistic traditions, as failure to take into account the wider, multilingual literary contexts of this period leads to incomplete arguments. The methodology is grounded in close reading of four main texts selected for their exemplarity, with some consideration of the historical context and contemporary intertexts: the Romance of Horn, the Cantar de mio Cid, Gui de Warewic and the Poema de Fernán González. A range of intertexts are considered alongside in order to elucidate the particular concerns and distinctive use of exile-and-return in the main works.

This dissertation analyzes the ways in which the Spanish Generation X writers José Ángel Mañas (b. 1971), Lucía Etxebarria (b. 1966), Gabriela Bustelo (b. 1962), and Pedro Maestre (b. 1967) represent Madrid and other late twentieth-century cityscapes in their respective novels Ciudad rayada (1998), Beatriz y los cuerpos celestes (1998), Veo veo (1996), and Matando dinosaurios con tirachinas (1996). These novels sketch an alarming social portrait of youth dissent in Spain's nascent democracy, which had relatively recently joined social, political, and economic arms with the rest of Western Europe. I read the representations of Madrid, Edinburgh, Elda, and Alcoy in these narratives as antagonistic and anthropomorphic spaces that stalk, coerce, and then attack the first-person narrators who scurry about them, rat-like. But these characters demonstrate impressive instincts that protect them from death and emotional destruction and strengthen their identities in the face of a postauthoritarian society enmeshed in the forces of global capitalism. These Generation X authors introduce their characters to a discordant physical environment, one that works against the grain of the image Spain sought to show the world in 1992 as Barcelona hosted the Summer Olympics, Seville held the Universal Exposition, and Madrid was recognized as the European Union's Capital of Culture. Spain was trying to show the world that it had resurrected itself from the ashes of dictatorship to become a modern democracy worthy of a seat at Europe's table. But Mañas, Etxebarria, Bustelo, and Maestre do not accept that line of thinking. In their renderings, Spain does not emerge as successful in international political and economic arenas but as a highly conflictive nation.

Thesis (Ph. D.)--University of Oregon, 2008.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 194-206). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

This dissertation explores the representation of dueling and honor in five theatrical works in order to answer one central question: How does the Golden Age concept of honor transform in the age of Enlightenment? This question may be broken down into specific inquiries, such as: 1) How is honor filtered through sentiment? 2) How did eighteenth-century ilustrados use theater to attempt to resolve the conflict between using violence to defend one’s honor and the Enlightenment ideal of avoiding excess? and 3) How did honor affect the private citizen and his relationship to the state in plays? During the eighteenth century, the age of sensibility rewrote the duel, transforming it from a ritual connected with the aristocracy into an act tied to individual, often middle-class lives. This project begins with an early play by José de Cañizares, Por acrisolar su honor (1711) and then examines sentimental comedies published and performed toward the end of the century: Gaspar Melchor de Jovellanos’ El delincuente honrado (1773), Luciano Francisco Comella’s La Jacoba (1789), Antonio Valladares de Sotomayor’s El vinatero de Madrid (1784) and Gaspar Zavala y Zamora’s El amante generoso (1791). Sentimental comedies use sensibility to focus on individuals’ honor conflicts. An analysis of the representation of dueling offers a glimpse of the complex intermingling of multiple definitions of Spanish culture, where neither a lone enlightened model nor an identity based primarily on Spain’s Baroque past prevails. While sentimental comedies present conclusions that ostensibly exalt honor as virtue and rely on a belief in humanity’s goodness to resolve their conflicts, their representations of dueling point to a tense coexistence of multiple definitions of Spanish identity in the eighteenth century. Virtue is never enough to override the accusation that someone is a coward for not accepting a dueling challenge. The inclusion of extra elements that cater to social prejudices of the time also undermines the notion of honor-as-virtue. The contradictions revealed by sympathetic representations of dueling may point to the failure of sensibility as a cohesive model for resolving dramatic conflicts in a society with such diverse definitions of honor and citizenship.

Thesis (Ph. D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 20, 2007) Vita. Includes bibliographical references.

In this present work, I explore the rise of zarzuela and opera as cultural expressions in both Spain and Spanish America and their relationships to the societies in which they were produced. My research will show that zarzuela and opera became a new space from which to promote a Hispanic musical tradition and to imagine and express the essence of the Hispanic nation, conceived of transnationally, but fundamentally tied to Spain. I specifically study works of Hispanic literature that were rewritten as libretti for performance. The works chosen for this project are La Monja Alférez by Carlos Coello and Miguel Marqués, Pepita Jiménez by Francis Burdett Money-Coutts and Isaac Albéniz, Tabaré by Tomás Breton, Cecilia Valdés by Agustín Rodríguez, José Sánchez-Arcilla, and Gonzalo Roig, and, finally, Adiós a la bohemia by Pío Baroja and Pablo Sorozábal. Librettists and composers working in collaboration searched for a suitable literary medium to express national essence through musical drama. Therefore, the original literature used as the foundations for zarzuela or opera varies from works of Golden Age theater, prose narrative or the novel, epic poetry, the colonial novel, and the short story. Furthermore, in the works chosen, specific themes relevant to the nation are addressed, such as gender, national identity, history and colonialism, race, and modernity. In addition to examining how artistic works are transformed when modified from one genre (the literary) to another (the musical) within a new cultural context, I use a sociological approach to investigate the unique collaborations between writers, librettists, and composers in the creation of these musical-dramatic works. As spectacles produced for mass audiences, I also employ performance theory to understand how meaning is constructed through performance. Integral to my study is a discussion of how these artistic creations traversed national boundaries and moved across the Atlantic. The temporal bo
Le présent travail porte sur l'essor de la zarzuela et de l'opéra en tant qu'expressions culturelles en Espagne et en Amérique hispanique, de même que leur rapport aux sociétés qui les ont vu naître. Je m'intéresse particulièrement aux œuvres de la littérature hispanique adaptées en livret d'opéra. Je tenterai de démontrer que la zarzuela et l'opéra ont créé un nouvel espace pour promouvoir la tradition musicale hispanique, qui permet d'imaginer et d'exprimer l'essence de la nation hispanique, dispersée dans de nombreux pays, mais fondamentalement liée à l'Espagne. J'ai choisi, pour ce projet, La Monja Alférez de Carlos Coello et Miguel Marqués, Pepita Jiménez de Francis Burdett Money-Coutts et Isaac Albéniz, Tabaré de Tomás Bretón, Cecilia Valdés d'Agustín Rodríguez, José Sánchez Arcilla et Gonzalo Roig, et enfin, Adiós a la bohemia de Pío Baroja et Pablo Sorozábal. Des librettistes et des compositeurs se sont associés afin de trouver un médium littéraire approprié pour exprimer l'essence de la nation dans les œuvres musico-dramatiques. Ainsi, les diverses œuvres littéraires à la base de la zarzuela et de l'opéra ont été puisées dans le théâtre du Siècle d'or, la prose narrative et le roman, la poésie épique, le roman colonial et la nouvelle. J'examine en outre dans les œuvres mentionnées ci-dessus les thèmes touchant de près à la nation, notamment le genre, l'identité nationale, l'histoire et le colonialisme, la race et la modernité. En plus d'analyser les transformations que subissent les œuvres artistiques lorsqu'elles sont transposées d'un genre (littéraire) à un autre (musical) dans un nouveau contexte culturel, j'observe à l'aide d'une approche sociologique les collaborations uniques entre les écrivains, librettistes et compositeurs ayant créé ces œuvres musico-dramatiques. Je m'appuie également sur la théorie de la performance pour comprendre de quelle manière s'articule le sens lors d

Spanish women writers that establish their literary careers early in twentieth century find themselves at an interesting historical crossroads as the world changes from an agrarian to an industrial paradigm. On one hand, this change leads to a strong current of traditionalism, to which most male writers adhere, as it offers the attractive idea of return to a pre-modern simplicity; on the other, this change opens up possibilities for social improvement and participation for those groups traditionally excluded from power. Embracing this change poses the opportunity for female subjects to reshape fundamental structures of society and, in sum, eventually create a different world where women can become full citizens. Blanca de los Ríos, Concha Espina, Carmen de Burgos, María Lejárraga, and Caterina Albert are representative of Spanish women writers facing this situation. Their fictional works written between 1898 and 1914 offer a rich literary production that invites us to examine the emergence of new cultural and social practices. These authors renegotiate deeply rooted ideologies that structure not only gender relations but also the social class system, the spatial organization around country/city, and Spain’s national identity built around the discourse on race. Addressing conflicting perspectives between tradition and modernity through the prism of gender, the analysis of their works reveals their taking on a modern stand, hopeful of the promises brought by the new socioeconomic reality and the liberating aspect of modernity. As Rita Felski and Barbara Mashall´s studies have pointed out, many theorists of modernity, such as Marshall Berman and Jürgen Habermas, do not take gender into consideration. Grounded in a gendered analysis, this study reveals the importance of Spanish female authors as agents of modernity at the turn of the twentieth century.

This dissertation offers a novel approach to Hispanic Orientalism, developing a dynamic paradigm from its origins in medieval and Renaissance Iberia during the process of the Christian Reconquest, to its transatlantic migration and establishment in the early years of the Colony, from where it changed in late colonial and post-Independence Latin America, and onto modernity. The study argues that Hispanic Orientalism does not necessarily imply a negative depiction of the Other, a quality associated with the traditional critique of Saidian Orientalism. Neither, does it entirely comply with the positivist approach suggested in the theoretical research of Said’s opponents, like Julia Kushigian. This dissertation also argues that sociopolitical changes and the shift in the discourse of powers, from imperial to non-imperial, had a significant impact of the development of Hispanic Orientalism, shaping the relationship with the Other. The methodology involves close reading of representative texts depicting the interactions of the dominant and dominated societies from each of the four historic periods that coincided with significant sociopolitical transformations in Hispanic society. Through an intercultural approach to literary studies, social history, and religious studies, this project develops an original paradigm of Hispanic Orientalism, derived from the image of the reinvented Semitic Other portrayed in the literary works depicting the relationship between the hegemonic and the subaltern cultures during the Reconquest period in Spain. Then, it traces the turn of the original paradigm towards reinterpretation during its transatlantic migration to Latin America through the analysis of the chronicles and travelogs of the first colonizers and explorers. During the transitional late colonial and early Independence periods Latin America sees a significant change in the discourse of powers, and Hispanic Orientalism reflects this oscillation between the past and the present therough the works of the Latin American authors from the seventeenth to the nineteenth centuries. Finally, once the non-imperial discourse of power established itself in the former Colony, a new modern stage in the development of Hispanic Orientalist paradigm takes place. It is marked by the desire to differentiate itself from the O(o)thers, as manifested in the works of the representatives of Modernism and the Boom.

I contend in this study that commercial novels and theater from early twentiethcentury Spain often present male (homo)sexual characters as a point of constellation for anxieties regarding modernization in Madrid and Barcelona. In works by Jacinto Benavente, Josep Maria de Sagarra, El Caballero Audaz (José María Carretero), Antonio de Hoyos y Vinent, Carmen de Burgos, Álvaro Retana, Eduardo Zamacois, and Alfonso Hernández-Catá, concerns about technological and socioeconomic change converge upon hustlers and blackmailers, queer seducers, and chaste inverts. I examine these figures alongside an allegorical interpretation of Goethe’s Faust in Marshall Berman’s book All That is Solid Melts into Air: The Experience of Modernity (1982) in order to foreground their varying responses to modern innovation. They alternately sell themselves to prosper under consumer capitalism, seduce others into savoring the pleasures of city life, or fall tragically to the conflicting pressures of tradition and change. In the process, they reveal the fear and enthusiasm of their creators vis-à-vis rapid urbanization, fluctuating class hierarchies, the commercialization of art, and the medicalization of sex from the turn of the nineteenth century to the Spanish Civil War. From a methodological standpoint, I argue that close readings of commercial works are worthwhile for what they reveal about the discursive framing of modernity and male (homo)sexualities in Spain in the early 1900s. Hence, I use techniques of literary analysis previously reserved for canonical writers such as Federico García Lorca and Luis Cernuda to discuss texts produced by their bestselling contemporaries, none of whom has been equally scrutinized by subsequent criticism. Existing scholarship on modernity and sexuality in Spain and abroad helps contextualize my detailed interpretations. Although my project is not a sustained exercise in comparative literature, I do situate Spanish works within historical and literary trends beyond Spain so as to acknowledge the interplay of transnational and local concerns surrounding modern change and sexual customs. By considering the primary texts in relation to varying temporal and geographic contexts, the dissertation aims to be of interest to a readership in and outside Hispanism, and to supplement important studies of modernity, (homo)sexualities, and literature that overlook Spain.

La más constante mujer is a Spanish Golden Age play written by Juan Pérez de Montalbán in 1631 and published for the first time in 1632. Although he was once one of the most famous playwrights in Madrid, known for running in the same literary and social circles as Lope de Vega and Calderón de la Barca, the bulk of the dramatist's work has been greatly ignored by scholars, or is referred to as being of second rate, and the author himself has nearly tragically been forgotten throughout the centuries following his short life. Although research has been conducted to chronicle the literature produced by Montalbán, his plays have been generally overlooked by modern scholars and very little of the dramatist's theatrical production has been analyzed within the last one hundred years. As a result, there are no modern editions of his plays. The intention of this thesis is to provide a regularized critical edition of La más constante mujer, together with an in-depth analysis of the life and times of its author, and the play's main themes, topics, influences, and characteristics.

This thesis examines Spanish representations of Muslim and Jewish cultures in Morocco during the colonial campaigns in the Rif (1909-1927) in relation to constructions of Spanish identity during this period. It focuses on visual and textual narratives in the press (colonial photojournalism) and on three literary texts: Carmen de Burgos' En la guerra (1909), Ernesto Giménez Caballero's Notas marruecas de un soldado (1923) and Arturo Barea's La ruta (1943). The analysis undertaken centres on the use of the motifs of the body and the city and references to the medieval Castilian ballad tradition, the Romancero, by writers and photographers to explore the cultural relationship between Spain and North Africa. The chapters explore the delineation of boundaries between Spanish and Moroccan cultures by contemporary commentators and the power structures that underpin those boundaries, considering the different hierarchies that are established in Spain's relationship with Moroccan Muslims and Jews. Chapter 1 concerns the socio-historical context of the colonial campaigns and highlights the significance of the question of Spain's identity in relation to Morocco during this period. Chapter 2 compares representations of cultural and ethnic affinity between Spain and Morocco, arguing that beyond merely serving as a tool of colonial domination, they are harnessed in some cases to support the colonial venture, in others to challenge it, and yet in others to explore the pre-modern origins of the Spanish nation. In many of the examples examined, a process of self-Orientalisation is observed, where the 'Orientalist' and colonialist gaze is turned back on Spain as well as on Morocco. Chapter 3 examines representations of Muslim and Jewish alterity, arguing that these assertions of difference reveal Spanish anxieties about non-difference from North Africa, cultural regression, national fragmentation, and Spain's ability to dominate the protectorate. I conclude that these anxieties provide the fundamental underpinning to Spanish constructions of Morocco during the Rif War, and that this self-awareness about non-difference and failures of domination unsettles the predominant paradigm of discourse analysis within colonial studies.

This thesis is a comparative literary study which is conducted by placing the reception of Russian literature in Spain during the period 1918-36 within the context of the interplay of literature and the social and political situations in which it is written. It first places the boom in the publication of Russian literature in the late 1920s and 1930s within the context of the history of the reception of Russian literature in Spain, providing a comprehensive survey of that history. Next, it describes the impact of the Russian Revolution and the formative years of the Soviet Socialist state on the political situation in pre-Civil War Spain, including the ideological links between the political situations of both countries. In pre-Civil War Spain, the revolutionary atmosphere changed the mood, subject matter and style of literature, and certain writers, recognizing their civic duty, began to produce literature that had a socially critical and didactic role. During that period, given the political context and the development of politically committed literature, Spanish intellectuals and artists of a Marxist persuasion derived incentive from their Russian counterparts. Russian literature has traditionally been the forum for social criticism, and has had a profoundly revolutionary dimension. Pre-revolutionary writers such as Dostoevsky and Andreev have been perceived by outsiders as revolutionary writers, and, in that capacity, have enjoyed great popularity abroad, including Spain. In the Soviet era, Mayakovsky was often considered to be the "Poet of the Revolution", and Gorky was the chief spokesman in the promotion of socialist ideals in literature in the twenty years following the Revolution. In Spanish pre-Civil War fiction, both the social novel and poetry were instrumental in conveying overtly Marxist messages. The thesis concludes with a comprehensive study about certain Spanish writers and their works, in the domains of poetry and the novel, specifically seeking evidence of the impact of the literature and ideology which was emanating from Russia in the first third of the twentieth century.

This dissertation focuses on the representation of Ecuadorians in Spain between 2000 and 2015 in literature, film and the press. After enduring a decade of economic, climatic, and political problems, more than 175,000 Ecuadorians emigrated to Spain in 2001 alone (Herrera 2005). This process marked the beginning of a major migratory movement which has caused Spain to become a premier destination. The response to such migration has been disparate, yet both Ecuadorian and Spanish artists as well as the Spanish press have shown the different perspectives related to a discriminatory ideology. This dissertation focuses on three cultural products and three press articles which are analyzed using the theories of Critical Discourse Analysis developed by scholars Teun Van Dijk (1998, 1999, 2007, 2009) and Antonio Bañón Hernández (2002, 2003, 2006, 2008). On one hand, the dissertation examines the novels La utopía de Madrid (2013) by Carlos Carrión and Nunca pasa nada (2007) by José Ovejero, as well as the movie Prometeo deportado (2010) by Fernando Mieles; on the other, it focuses on three articles published in 1999, 2011, and 2014 respectively by El País, La Vanguardia, and El Mundo which present the Ecuadorian population as a main character. Finally, the conclusion provides an understanding of how the creation of these products has shaped an ideology in Spaniards’ minds throughout the years and what needs to be addressed in order to obtain equal social status among native and minority groups.

This thesis examines the punk genre's evolution into commercial mainstream music in Spain and Mexico. It looks at how this evolution altered both the aesthetic and gesture of the genre. This evolution can be seen by examining four bands that followed similar musical and commercial trajectories. In Spain, Kaka de Luxe and Radio Futura; in Mexico, Size and Ritmo Peligroso. Since punk music's gesture is both visceral and political, various methods of suppressing or containing the punk gesture arise. For both Spain and Mexico, containing the punk gesture was a matter of government censorship in the early years of punk. By the late 1980s, neoliberalism, global tastes, and capitalist interests controlled the punk gesture more than governmental crackdown. The thesis concludes that while the punk gesture was contained for both political and economic reasons during the 1980s, the resurgence of the punk gesture in the 1990s is evidence of the genre's resilience in a capitalist and hegemonic environment.

This dissertation analyzes symbolic and political discourse in the works of three controversial intellectuals who participate in the contemporary debate on nationalisms in Spain. Basque poet and essayist Jon Juaristi (b. 1951), after brief involvement in ETA during the late 1960s and early 1970s, evolved into one of Spain's most outspoken critics of Basque nationalism, a position that led to death threats from ETA and eventually his permanent abandonment of the region. After founding his theater company Els Joglars in 1962, Catalan playwright Albert Boadella (b. 1943) used it as a vehicle to fight the Francoist dictatorship and promote a Catalan nationalist agenda. However, he eventually reversed his position on the issue of Catalan and Spanish nationalisms and became a political enemy to many in his home region. Finally, Basque filmmaker Julio Medem (b. 1958) caused outrage throughout much of Spain in 2003 with a documentary film exploring the clash between Spanish and Basque identities. In my examination of Boadella's and Juaristi's autobiographies and Medem's documentary I explore the ways each author portrays himself as subverting, transgressing, or transcending the sub-state nationalisms that are virtually hegemonic in their regions, and I reveal how each author's treatment of gender, especially his representations of masculinity, either undermines or substantiates the purportedly "non-nationalist" position he stakes. I argue that Juaristi's and Boadella's restrictive, traditionalist gender constructions reveal conservative Spanish nationalist discourses which prevent them from surpassing the rigid power structures that nourish the opposition between Spain's center and periphery, while Medem's cinematic work does present the possibility of breaking free from the boundaries of the conflict of national identities through the transcendence of patriarchal nationalist symbolism - both Basque and Spanish.

This research consists of three separate studies, which examine these texts in the order they were written, exploring the myriad cultural, political, religious and legal forces situated in the time and place where the texts were created to determine what forces may have influenced their authors in depicting the Jews the way they did. In the first study of the epic Poema de mio Cid, I focus on the legal quandary about whether the Cid should have repaid the two Jewish moneylenders from Burgos who gave him a loan for his military campaign. I examine the anti-Jewish canon and secular laws from this era, particularly those dealing with usury, and explore how the Castilian kings’ flouting of these laws created hostility and, in one telling instance, violent attacks against Jews from Christians who were angry about royal favoritism of the Jews. I compare the twelfth century attacks against an unpopular king and his royal property – the Jews – to the Cid’s deception of Raquel and Vidas, arguing the Campeador’s trick was also a way of inflicting harm on an unpopular king and his royal property, the Jews. I also examine the interrelationships between the increasingly hostile anti-Jewish laws and the Christian’s anti-Jewish social stances and attitudes, exploring how both the legal context and social and cultural contexts could have informed the poet in his portrayal of the two Jews in the text. In the second study, I focused on the various Jewish messianic prophecies detailed in the writings of twelfth century Jewish philosopher Moses Maimonides that existed in Spain during the time the Toledan liturgical drama Auto de los reyes magos was written and performed to see if they may have influenced how the unknown author negatively depicted the Jewish rabbis and members of Herod’s court in the play’s final two highly original scenes. The portrayals of the Jews’ eschatological confusion, I show, may have been created to stop Jews, considered vital to Toledo’s growth and stability, from following contemporary messianic prophecies and migrating to the Holy Land. In the final study, I focus on Gonzalo de Berceo’s caustic representations of Jews in Milagros de Nuestra Señora to determine if his harshly negative portrayals of Jews were a way to deflect attention from the papal-sanctioned clerical reforms that targeted heresy, including clerical abuses in the Benedictine Order, and caused Berceo’s beloved “black monks” to lose substantial funding and power in the Church. By portraying Jews and their behavior as real heresy and as the biggest threats to Christianity, Berceo underscores that clerical abuses and sins of the flesh are less problematic and pardonable.

This thesis examines the Jesuit and Ignatian influence on the works of Juan Eusebio Nieremberg (1595-1658), who was a prolific and widely published author and a member of the Society of Jesus in Spain. He wrote several works across different literary genres both in Spanish and Latin, but was best known for his popular works in Spanish: two miscellanies of natural philosophy, Curiosa filosofía (1630) and Oculta filosofía (1633); a catechism, the Práctica del catecismo romano (1640); his ascetical treatises, especially De la diferencia entre lo temporal y eterno (1640); and his ‘advice-books’ to princes and nobles, most notably Causa y remedio de los males públicos (1642). As a member of the Jesuit Order, Nieremberg wrote these works with the intention to ‘save souls’, this being the main apostolic goal of the Society. While they provide people with knowledge (‘noticia’) – whether doctrinal, natural, spiritual, or political – these works teach readers to view human existence according to its true end: God’s will of salvation. All things of the temporal world are portrayed as a means to that end. In order to accomplish this goal, Nieremberg incorporates elements from Loyola’s Ejercicios espirituales (1548), the spiritual foundation of the Jesuit Order, and develops a rhetorical strategy which encourages readers to discern the will of God in the world they inhabit. He also develops this rhetoric according to some of the principal literary and artistic conventions of the seventeenth century, and provides an important example of how a prominent Jesuit writer came to express the apostolic and spiritual principles of his Order, but in the language and imagery of Spain’s Siglo de Oro.

Thesis (Ph. D.)--University of California, Riverside, 2009.
Includes abstract. Title from first page of PDF file (viewed March 31, 2010). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 267-283). Also issued in print.

Throughout her two collections of novelas, Novelas amorosas y ejemplares and Desengaños amorosos, María de Zayas, as a noble woman writing in Golden Age Spain, strategically holds onto aspects of the patriarchal society under which she lives, and from which she benefits, while simultaneously deviating slightly from some of these aspects. This adherence to and deviation from the norms characterizes her style and allows her to support some of the expected codes of conduct in her society while, at the same time, pointing out flaws and questioning these codes to show how they should be altered to make life better for both the men and women of that society. Through various narrative voices and characters, Zayas creates a type of guidebook, or manual, for both the men and women of her society. Through cross dressing she establishes an essential equality between the abilities of the sexes and establishes that the actions of men and women are chosen activities, and are not related to innate ability or disability to perform a certain way. How individuals position themselves in regard to accepted or expected behavioral codes of conduct is a choice and, as individuals, men and women can choose to perform either negative or positive practices associated with their sex. This dissertation looks closely at the guide that is created and the practices which are highlighted as good and bad, thus identifying which manners of being should be emulated and which should be avoided, and therefore altered as societal expectations or norms, by men and women. Through negative and positive portrayals, Zayas shows men and women how they should and should not act in order to create a more ideal and, consequently, more equal society that differs in some ways from their present society while still retaining the overall structure and values of the patriarchy under which they already exist. It is not the creation of an entirely new society that the resulting guidebook suggests, rather it suggests an alteration to the perspectives and behavior, toward the positive, of both men and women as they exist in their current society.

Spanish Republican philosophers in exile defended the Second Republic, legally proclaimed on April 14, 1931. They embraced the anti-fascist cause rising in the 1920s and the 1930s in Europe. During the Civil War, which lasted three years, they stood among the people. 1939 saw the victory of General Francisco Franco, supported by Nazi Germany and the Italy of Mussolini. Threatened with death, they had no choice but to escape from Spain. Some intellectuals experienced French concentration camps but, for the most part, they found refuge in Latin America, especially in Mexico and Venezuela. In exile, they swore to remain loyal to the Second Republic and to the spirit of the Spanish people. Moved by liberal views and humane ideals, these philosophers belonged to the vanquished, as those everywhere in Europe who rose against Fascist barbarity. As a result, their respective works are still widely unknown today – despite relentless efforts made to promote their thought to a larger audience for over half a century. In addition to the historical context of crisis during the interwar period, the situation of Spanish philosophy itself is suggestive. Indeed, Spanish philosophy was institutionalised at the beginning of the twentieth century only: the Schools of Madrid and Barcelona were created. These politics of cultural and intellectual renovation are first bestowed upon the generation of philosophers I study, born in the 1900s. When the Spanish War erupts, they had become professionals of international recognition. This shows the actual limits of academic philosophy, incapable of acknowledging unorthodox ways of philosophising. The experience of exile itself serves in my opinion as a catalyst: Spanish Republican philosophers in exile seek emancipation from academic conventions to philosophise freely; that is, in Spanish and according to the spirit of the people. No doubt “poetic reason” – the true invention of Spanish Republican exile – stems from this ideal of autonomous thinking.

This doctoral thesis focuses on active Spanish scholarly journals which follow internationally‐recognized quality standards, in order to analyze their main features, study the adoption of Open Access, observe the relationship between their price and bibliometric impact, and examine its internationality characteristics. Web of Science (WoS) and Scopus have been selected as the sources for identifying the journals. After depurating mistakes, a final list of 445 journals has resulted. A set of indicators has been defined and all data has been collected from the journals’ primary source (website or hard copy). Correlations and association tests have been carried out to explore relationships among variables. The population of Spanish journals indexed in WoS and Scopus grew steadily over the last years: there were 300 titles by 2012, 406 by 2013 and 445 by 2015. A 69.7% of these were launched after 1980 and their average age is 30 years. This selection of This selection of 445 journals stands for a 25% of journals published in Spain, but the subject areas are not equally distributed - Science, Technology and Medicine fields (STM) are overrepresented, while Social Sciences and Humanities (SSH) appear less frequently. Indeed, 84% of all journals concentrate in only three of the seven subject areas considered for this study – 35% on Social S., 32% on Health S. and 18% on Arts & Humanities. Universities and research centers (mostly the Spanish National Research Council, CSIC) publish 43% of the journals. To run their publishing services, most of them use OJS platforms (34% of the total population). They publish mostly on Arts & Humanities (in Spanish language) and Social Sciences. Online‐only format and free access are their favorite output. Commercial publishers are the second in importance, accounting for the 32% of the journals. They focus on Health Sciences and run most of the few free‐access journals with APCs. They also account for most of the few hybrid journals, which are usually published in English. Elsevier is the largest commercial publisher, publishing about 17% of all the journals in this study. Scientific societies, professional associations and other not‐for‐profit private institutions publish 21% of the journals. They own or participate in another 24% of the journals, which are published by companies like Elsevier. Indeed, their scientific participation is crucial, reaching almost half of the population studied (45%). Government agencies publish only a 4% of all the journals. As to languages, almost half of the journals (47%) are published only in Spanish. Nonetheless, 26% are published both in Spanish and English, and 18% only in English. Remaining languages are residual. Free access is the most common type of publication (64.5%), followed by restricted (16.6%), embargo (14.4%) and hybrid (4.5%). Free‐access is associated with academic publishers and Social Sciences, while restricted‐access and hybrid journals are more common among companies and usually refer to STM fields. Open Access, as measured by free access with self‐archiving permissions, results in 56.9% of the total of journals. This indicates a sustained increase according to previous studies. Article Processing Charges (APCs) are beginning to be introduced in Spain, but only in 7% of these journals. Both free‐access and hybrid journals charging APCs are associated with commercial publishers, English language and high bibliometric impact rates. Annual subscription prices are much higher for STM, commercial companies and English language content, but the difference is lower when using price per article, because expensive journals usually provide more scientific content. APC prices are on average ten times higher in hybrid titles than in free‐access ones. Impact Factor (IF, which is only available for 27% of the studied journals), Scimago Journal Rank (SJR) and Source‐Normalized Impact per Paper (SNIP) have in general higher impact values for STM fields, journals with APCs and journals published in English. While the highest IFs usually appear in journals issued by commercial publishers, highest SNIPs are related to journals published by associations and societies. Subscription prices, both at volume and article level, have no relationship with any impact indicator. On the contrary, APC prices correlate moderately with impact indicators, but only with SJR and SNIP, not with IF. English language, foreign‐authored articles, international collaborations and foreign members at scientific teams have been identified and measured as elements that indicate internationality. Except for international collaborations, with very few appearances (especially in Arts & Humanities), all elements have global averages of around 33%, although they vary depending on subject areas and access types. The English language is most common in STM fields, journals published by companies and journals charging APCs. Foreign authors are more present in Health Sciences and Mathematics & Physics, and journals with APCs. The proportion of foreign experts is similar to that of foreign authors’, but with smoother differences among categories – also, they are lower in Health Sciences and higher in Engineering. Academic publishers usually include more members from foreign institutions than the rest. Internationality elements present a similar pattern, especially as far as the participation of foreign authors and foreign experts is concerned. Limitations of the study, future research lines and final considerations are provided.
Aquesta tesi doctoral estudia les revistes científiques espanyoles actives i amb un nivell de qualitat reconegut internacionalment, per tal d’analitzar les seves característiques principals, el grau d’adopció d’Accés Obert, la relació entre el preu i l’impacte bibliomètric, i els seus elements d’internacionalitat. Web of Science (WoS) y Scopus van ser seleccionades com a les fonts adequades per identificar la població objecte d’estudi. Després de depurar els errors detectats a les llistes de revistes extretes, es va obtenir una llista definitiva de 445 revistes. Es va definir un conjunt d’indicadors i es van recollir totes les dades de la font d’informació principal (el lloc web o la versió impresa de cada revista). Finalment, es van realitzar proves de correlació i associació per explorar relacions entre variables. S’ha posat de manifest que la població de revistes espanyoles indexades a WoS y Scopus ha crescut de manera sostinguda durant els darrers anys: hi havia 300 títols al 2012, 406 al 2013, i 445 al 2015. El 69,7% dels darrers van ser creats després de 1980 i la seva edat mitjana és de 30 anys. Aquesta selecció de 445 revistes suposa el 25% dels títols publicats a Espanya, tot i que les àrees temàtiques no hi estan reflectides de manera proporcional: la ciència, tecnologia i medicina i estan sobre-representades, mentre es recull un baix percentatge sobre ciències socials i humanes. Tot i així, el 84% de les revistes es concentren en només tres dels set camps considerats en aquest estudi: 35% en ciències socials, 32% en ciències de la salut, i 18% en arts i humanitats. Les universitats i els centres d’investigació publiquen el 43% de les revistes estudiades, amb especial menció del CSIC (Centre Superior d’Investigacions Científiques). La majoria d’aquestes revistes usen Open Journal Systems (OJS), plataforma on es recolza el 34% del total. Les institucions acadèmiques també publiquen principalment revistes sobre arts i humanitats (en castellà) i sobre ciències socials. Aquests títols solen estar disponibles en línia, sense versió impresa, i en Accés Obert. Les editorials comercials són les segones en importància, ocupant-se del 32% de les revistes, la majoria de les quals tracten sobre ciències de la salut. Aquestes entitats són responsables de moltes de les escasses revistes que inclouen càrrecs per publicació (“Article Processing Charges”, APC), tant en Accés Obert com híbrides (aquestes últimes, principalment en anglès). Elsevier és l’editorial amb més títols, publicant el 17% de les revistes d’aquest estudi. Les societats científiques, associacions professionals i altres institucions privades sense ànim de lucre publiquen el 21% de les revistes, i a més a més col·laboren en un altre 24%, del qual s’ocupa principalment Elsevier. La participació d’aquest tipus d’institucions és crucial, ja que en total arriba al 45% de totes les revistes de la població analitzada. Finalment, els ens governamentals responen només del 4% dels títols Quant als idiomes, quasi la meitat de les revistes (47%) estan publicades només en castellà. No obstant, el 26% està publicat en castellà i anglès, i el 18% exclusivament en anglès. La presència de la resta d’idiomes és residual. L’accés lliure és el tipus d’accés més comú (64,5%), seguit pel restringit (16,6%), embargat (14,4%) i híbrid (4,5%). És freqüent a les editorials acadèmiques i a les ciències socials, mentre que l’accés restringit i híbrid és més comú entre les comercials i normalment es troba als àmbits de la ciència, tecnologia i medicina. Les revistes en Accés Obert, considerades com aquelles disponibles en accés lliure i amb permisos d’auto-arxiu, suposen el 56,9% d’aquesta població. Segons estudis anteriors, aquesta dada indica un augment sostenible del grau d’adopció de l’Accés Obert. Els càrrecs per publicació s’estan començant a introduir a Espanya, però de moment només estan presents al 7% d’aquests títols. Tant les revistes en accés lliure amb APC com les híbrides es publiquen per editorials comercials, en anglès i amb alts indicadors d’impacte bibliomètric. Els preus de subscripció anual són molt més alts a revistes sobre ciència, tecnologia i medicina. També ho són als títols publicats per editorials comercials i a revistes en anglès. No obstant, la diferència de preu disminueix si es considera el preu per article, perquè les revistes més cares solen aportar més contingut científic. Els preus dels APC són, de mitjana, deu vegades més cars a les revistes híbrides que a les d’accés lliure. El Factor d’Impacte (IF, que només està disponible per al 27% de les revistes estudiades), el Scimago Journal Rank (SJR) i el Source-Normalized Impact per Paper (SNIP), tenen en general valors més alts per a les revistes sobre ciència, tecnologia i medicina, amb APC i en anglès. Mentre que els valors més elevats d’IF apareixen a les revistes publicades per editorials comercials, els SNIP més alts estan relacionats amb associacions i societats. Els preus de subscripció no guarden relació amb cap indicador d’impacte, ni a nivell de volum anual ni a nivell d’article. Pel contrari, els preus dels APC correlacionen moderadament amb indicadors d’impacte, però només amb SJR i SNIP, no pas amb IF. L’anglès, els articles escrits per autors estrangers, les col·laboracions internacionals i els experts estrangers dels equips editorials han estat considerats com a elements d’internacionalitat mesurables. Excepte les col·laboracions internacionals, amb molt poca incidència (especialment baixa en arts i humanitats), tots els elements tenen una mitjana general aproximada del 33%, tot i que depenen molt de l’àrea temàtica i del tipus d’accés. La llengua anglesa és la més comú en ciència, tecnologia i medicina, així com a les revistes publicades per editorials comercials i també en publicacions amb APC. Els autors d’altres països tenen major presència a ciències de la salut, matemàtiques i física, i també a revistes amb APC. La proporció d’estrangeria és similar entre autors i equip editorial, però amb diferències menys notables entre categories. La proporció d’experts forans és també inferior a ciències de la salut, i superior a enginyeries. Les revistes publicades per institucions acadèmiques solen incloure més investigadors amb filiació estrangera als seus equips editorials que la resta de revistes. En general, els elements d’internacionalitat presenten patrons de distribució similars, especialment quant a autors i experts estrangers. Finalment, es descriuen les limitacions d’aquest estudi, possibles línies futures d’investigació, i conclusions globals.

This research explores the availability and potential educational uses of different forms of poetry that can be read using a postcolonial approach. The focus is on contemporary France and Spain, two contexts where people with different cultural heritages coexist and need to negotiate cultural imbalances inherited from colonial and neo-colonial domination. This research highlights poetry’s overlooked suitability to engage young people in the expression of cultural difference in a progressively globalized world where cultivating cross-cultural understanding and tolerance needs to be at the top of our agendas. For this reason, the dissertation includes an analysis of poems (currently available for young people) aiming to foreground the possibilities of a postcolonial reading. I also studied similarities and divergences between the French and Spanish scenarios based on evidence gathered during a survey of the Spanish and French fields of poetry for young people and from interviews with informed agents. The survey of the field consists of the exploration of textbooks and anthologies but also the examination of poetry circulating through on-line channels. The interviews were undertaken with selected French and Spanish representatives of people currently involved in the production and dissemination of poetry for young people. I observed that the number of poems showing connections to a postcolonial legacy was scant in the French school material and even more in the Spanish books that I examined. I also confirmed that little attention was given to oral ways to deliver poetry especially showing little regard for the oral literary practices and traditions of non-European French and Spanish speaking communities. The Spanish lack of attention to these traditions is more salient. This contrasts with observations about non-school contexts. Spanish and French young people can nowadays easily engage with varied cultural traditions in poetry which circulate in poetry events and social media. Interviewees confirmed these observations but also raised issues about Spanish and French poetry education that need to be dealt with so as to improve school attention to mixed cultural heritages in poetry. The main contribution to knowledge of this thesis consists in identifying the underused and unexplored educational potential of French and Spanish poetry currently available for young people that can be fruitfully approached using postcolonial lenses. The evaluation of the information gathered in this research reveals that dominant French and Spanish approaches to poetry and limited poetry repertoires hinder the visibility of some contemporary forms of poetry and restrain the effectiveness of some poetry already present in mainstream poetry corpora. However, the comparison of scenarios shows that France offers more accessible and relevant ‘places of enunciation ’ than Spain does for poets to address young people. For instance, comparing contexts, French young people have easier access and more support than Spanish youth to engage with poets’ expressions of being culturally displaced.

In my dissertation, I study a selection of little known Spanish and Cuban texts published during the Cuban War of Independence at the end of the 19th century. In this project, I provide a transatlantic approach of literary texts in various genres and subgenres, and political messages exchanged between Cuba and Spain, which have been neglected by scholars in the field. By analyzing the emergence of a colonial discourse in the works of novelists, politicians and thinkers who wrote about the Cuban-Spanish confrontation, I establish their ambiguous and frequently contradictory colonial messages. In doing so, this dissertation furthers our understanding of the complexities of the political moment as well as the interest and ideals that ignited the conflict. The study is of great relevance in view of the recent agreements between the United States and Cuba. The relations between the two countries are evolving in a way that was unthinkable at the beginning of the 20th century. Furthermore, secessionist feelings within the Spanish nation are reemerging and similar allegations and demands that brought Cuba to independence are in place. For all these reasons, it is necessary revisiting and comprehending the complex and, frequently contradictory, discourses that emerged in a moment, which was determinant for the development and future political attitudes of the three nations involved.

(In Spanish) The Spanish Civil war isn't over in the hearts and minds of the people of Spain; rather, it is still being fought in the ideological realm of historical memory. Originally explored in literature and film, the theme of historical memory has not only become more visible and more explicit, but has taken the leap from art and literature into the political realm to become one of Spain's most pressing political issues.

La influencia española y latinoamericana es muy evidente en el NBA. Hay muchos jugadores de América Latina y España que cambiaron la liga. El éxito de jugadores de América Latina y España ha aumentado el número de aficionados latinos y españoles en todo el mundo, y por eso el NBA está cambiando de una perspectiva de mercadeo y de negocios para globalizar la liga.

This thesis investigates Alphonso X's General Estoria, Estoria de Espanna, Cantigas de Santa María, Siete Partidas, and other writings in the alphonsine corpus to illustrate the concept of classification through diet. The work of this thesis is to reveal the gastronomic connections between central and peripheral relations in cartography. Through food symbolism and dietary behaviors, cuisine functions as the purveyor of an unrivalled sketch of a text’s characters and the social conditions of the text’s production. Once unraveled, these highly socialized norms of consumption confirm that diet and identity are inextricably linked and lead to a greater understanding of medieval Iberian cultural relations and attitudes revolving around food and the perception of the civility of the world.

Esta tesis utiliza la interseccionalidad como lente para hacer un análisis de los textos culturales y activistas para explicar cómo se manifiestan las ideas feministas en estos dos períodos cruciales de avance del feminismo en España: el primer cuarto del siglo veinte y las primeras décadas del siglo veintiuno. La interseccionalidad sirve como una prisma de análisis que permite entender los sistemas hegemónicos de poder. Esta tesis analiza ejemplos de textos y demandas que ilustran las preocupaciones y aparatos ideológicos que sustentan diferentes aproximaciones al feminismo en estas dos épocas. Un interés específico, en especial en la segunda parte, es el diálogo teórico y político del feminismo interseccional con el feminismo blanco y hegemónico en términos de exclusión de las comunidades marginadas. El objetivo al hacerlo es elevar las voces de las identidades marginadas que de otro modo se silencian por el discurso contemporáneo que no contempla sus experiencias.

This dissertation analyzes the representations of immigrants from North Africa, Latin America, and Eastern Europe in Spain. As engaged scholarship, it seeks to better the portrayal of immigrants in the mass media through the study of literature, film, and music about immigration spanning from the year 2000 to 2016. Because misconceptions continue to propagate in the media, this dissertation works to counteract anti-immigrant, xenophobic representations as well as balance out overly positive and orientalized portrayal of immigrants with a call to recognize immigrants as human beings who deserve the same respect, dignity, and rights as any other citizen. Chapter 1 examines and analyzes the background to immigration in Spain by covering demographics, the mass media, and political theories related to immigration. Chapter 2 analyzes Spanish music about immigration through Richard Rorty’s social theory of ‘sentimental education’ as a meaningful way to redescribe marginalized minorities as full persons worthy of rights and dignity. Chapter 3 investigates the representation of immigrants in Spanish filmic shorts and cinema. Lastly, Chapter 4 demonstrates how literary portrayals of immigrants written by undocumented immigrants can give rise to strong characters that avoid victimization and rear empathy in their readers in order to affect a social change that minimizes cruelty.

This dissertation examines narratives of early modern women travelers and the spectacles these women produced as a strategy to negotiate gender paradigms that aimed to silence and immobilize women. In María de Zayas's short novel “La esclava de su amante” (1647), the protagonist's journey to North Africa gives her the tools she needs to publically address her rape. Historia de la Monja Alférez (c. 1626) is the autobiography of Catalina de Erauso, whose constant movement on both sides of the Atlantic allows her to construct a spectacle of hybridity that both entertains her audiences and authorizes her many transgressions. Finally, Viaje de cinco religiosas capuchinas de Madrid a Lima (1722) highlights the masses of people who clamor to catch a glimpse of the itinerant nuns, creating a spectacle that reaffirms the women's importance in the social hierarchy of the Spanish Kingdom. In these three baroque texts, I highlight the construction of the female traveler's body and the suffering it endures while crossing great distances. I examine the ways in which each text reimagines or reorganizes the traveler's social relationships and her place in early modern Hispanic society. Through an analysis of spectacle based on the mediation of these relationships, I interrogate the image of women travelers and the power that image has to push back against a gendered social hierarchy.

This thesis analyzes the relevance of Miguel de Unamuno’s idea of Spain and its Nietzschean influence in two contemporary authors, Arturo Pérez-Reverte and Luisa Castro. My work contributes to a debate that is ever present in literature and politics: what is Spain and what defines Spanish identity. This debate has continued throughout the democratic period and reveals that Spain is still a controversial idea. The Constitution of 1978 might have shaped national identity but Spanish sociopolitical evolution has indeed questioned the idea of Spain emerged in the Transition. From my point of view, Arturo Pérez-Reverte and Luisa Castro evoke Unamuno’s ideological inheritance to offer a solution of what has been branded as the age-old problem of Spain. By the end of the nineteenth century, Unamuno introduced his theory of intrahistory in order to contravene the model of nation promoted by the political class during the Restoration. The author considered that this model imposed on society a metaphysical idealization, protected by reason, which distorted its actual national identity. Currently, the works of Arturo Pérez-Reverte and Luisa Castro reflect Unamunian intrahistory thus putting an end to this idealization. As seen in the chapters of this thesis, the combined analysis of the works by Pérez-Reverte and Castro reveals the implicit survival in our days of Nietzsche’s influence in Unamuno’s intrahistory. In this sense, they highlight the crucial role of individual subjectivity, work and interaction with their immediate environment, in the characterization of Spanish national identity. In so doing, their works reflect Unamuno’s implementation of Nietzschean theories on metaphysics, the Greek tragedy, the eternal recurrence and the overman. Pérez-Reverte and Castro’s works suggest that the solution to the problem of identity in Spain is to be found in Nietzsche’s influence on Unamuno’s intrahistory.