Esta dissertação trata do livro de contos El canto de la juventud (1990), escrito por Montserrat Roig (1946-1991), e busca discutir os possíveis modos como a memória se configura ficcionalmente através da ótica feminina em torno à noção de biblioteca. Na obra delineia-se um passado que remonta ao período do pós-guerra civil espanhola, o que leva à reflexão sobre a conjuntura histórico-social relacionada com a contenda. São destacados aspectos biográficos de Montserrat Roig, bem como relativos à sua produção literária e não ficcional, marcada pela presença da língua catalã e da mulher, com vistas a embasar a leitura das narrativas que, em um primeiro momento, sinaliza para o processo composicional da lembrança e, posteriormente, aprofunda essa ideia. Esta análise está centrada nos contos El canto de la juventud, A salvo de la guerra y de las olas, Madre, no entiendo a los salmones e Antes que merezca el olvido, que propiciam o exame acerca do exercício rememorativo, configurado também pelo esquecimento e pela criação imaginativa do passado. / This dissertation on the short story book El canto de la juventud (1990) by Montserrat Roig (1946-1991) is aimed at discussing how memory is fictionally designed from a feminine perspective based on the notion of library. The past exhibited in the stories traces back to the post-Spanish Civil War years, which leads us to reflect on the circumstances of the conflict. In order to support our study of those narratives, we highlight some biographical aspects of Montserrat Roigs life and provide information on her literary and non-fictional works, imprinted by the Catalan language and the female presence. At first, we point out the compositional process of memories, which we further elaborate. Such analysis focuses on the short stories El canto de la juventud, A salvo de la guerra y de las olas, Madre, no entiendo a los salmones and Antes que merezca el olvido, once they allow us to examine the remembering exercise, also formed by oblivion and the imaginative recreation of the past.

(english) The thesis deals with the British policy of non-intervention during the civil war in Spain between the years 1936 and 1939. Its main objective is to analyze the strategic and foreign political interests of the United Kingdom that formed this policy, to introduce the issue of non-intervention into the British policy of appeasement and to describe the form of non-intervention policy in Spain and its problems. In an effort to maintain peace in Europe and prevent new world war, the British government, in co- operation with France, has succeeded in enforcing this policy. A Non-intervention agreement was adopted by a total of twenty-seven European countries. They then co- operated in the Non-intervention Committee in London and jointly set up a System of Observation over Spanish borders to ensure compliance with non-intervention. However, foreign intervention in the Spanish conflict was not prevented. Due to the failure of control, disputes within the Non-intervention Committee, and the development of civil war, the policy of non-intervention was terminated in April 1939, though practically ceased to work much earlier.

Master of Arts / Department of Modern Languages / Douglas Benson / The purpose of this report is to demonstrate mastery of content in the Spanish MA program in Second Language Acquisition at Kansas State University. After graduation from this program, I plan to pursue a career as a high school Spanish teacher. As evidence of content mastery, this report contains my philosophy of education, which emphasizes communicative competence in the Spanish classroom. I discuss best teaching practices in presenting and practicing Spanish vocabulary and grammar with students. The use of the target language and the integration of culture and the four language skills is designed to further my students’ development through the progression of the lesson plan, from warm-up, to input, to the activity sequence, to closure. This report also contains a rationale, or how my philosophy of education directly and specifically applies to my teaching, for a unit plan including daily lessons and related appendices on the subject of the Spanish Civil War, and outlines student learning outcomes for this unit, such as the ability to compare their home culture to the culture of the second language as well as the ability to relate art and literature to the events of the war. The topic of my unit plan is of particular interest to my students and me as wars and violence are a present reality in our world. The secondary focus of my unit plan involves the significant detrimental effects of the Spanish Civil War and well as its specific consequences in the lives of women and children.

This dissertation analyzes selected pieces of work related to the Spanish Civil War (1936-39) produced during the twenty-first-century as cultural artifacts to be considered in their historical and socio-political context. Specifically, my dissertation focuses on the relationship between the way the conflict is depicted and the message it conveys. Parting from the premise that there has been an overproduction of lieu de mémoire that has transformed the Spanish war into a cultural trend, the civil war-esque, I study a number of humor works. Precisely, these humorous works deconstruct such trend by considering its most common characteristics: the use of metafiction and nostalgia. The Introduction presents the socio-political situation of contemporary Spain, the civil war-esque trend, and different categories of humor. In the first chapter I focus on the TV-series Plaza de España (2011). By combining the theoretical framework of the sitcom and the Critical Analysis of Discourse, I demonstrate that the program reinforces the official message in regard to the Spanish recent past. In the second chapter I examine the novel La comedia salvaje (2009) by José Ovejero. This parody, understood by the lens of Bakhtin, invites the readers to be skeptical about what they know and what they have been told about the war. In the third chapter I study the film The Last Circus I (2010) by Álex de la Iglesia. Departing from an esperpento, the film leaves this genre behind and transforms itself into a satire which demythifies the traditional research method, such as visiting archives or interviewing witnesses, and opts for imagination to reproduce a traumatic past. Finally, the goal of this dissertation is to help envisage that a wider, and at the same time critical representation, of the Spanish Civil War its possible, and in turn could lead on to a potential change in the Spanish current cultural production as well as its social and political situation.

La politique extérieure canadienne en regard de la Guerre civile espagnole fut adoptée en juillet 1937. Le gouvernement canadien adopta une politique de neutralité analogue à celle pilotée par la Grande-Bretagne à travers le Comité de non-intevention. Il promulgua un embargo sur l’exportation d’armes de toutes sortes sur le territoire espagnol, et ce, aux deux belligérants. De plus, avec la Loi sur l’enrôlement à l’étranger, Ottawa criminalisa l’engagement volontaire sur toutes ses formes, plus particulièrement le Bataillon Mackenzie – Papineau, ramification canadienne des Brigades Internationales. Au Québec, cette guerre fut fortement ressentie. Les élites traditionnelles et le clergé catholique anathématisent le Front Populaire espagnol en l’assimilant au communisme soviétique, et se solidarisent avec leurs coreligionnaires espagnols. Selon Ernest Lapointe, bras droit de Mackenzie King au Québec, Ottawa doit tenir compte du courant conservateur chez les Québécois francophones afin de prévenir une crise domestique pouvant avoir des conséquences sur l’unité nationale. Mais la politique étrangère du Canada à l’égard du gouvernement républicain espagnol n’a que partiellement été influencée par la réaction clérico-nationaliste au Québec. Elle est bien davantage le résultat de l’alignement du Canada sur la politique étrangère britannique. / The Canadian foreign policy in view of the Spanish Civil War was adopted on July 31th. The shilly-shallying of Ottawa related to his politic is questionable in regard of the motivations that guided the federal gouvernement. The Canada adopted a neutrality position, similar to the one of Great Britain, decided by the Non-intervention Committee. Like London, Ottawa voted a weapons embargo on both sides of the belligerants. Also, with the Foreign Enlistement Act, it was criminally forbidden to go to fight in Spain. The law applied on both sides, but was aimed especially to prevent the making of the Mackenzie-Papineau Batallion, the Canadian branch of the International Brigades. These acts dedicated the neutrality of Canada. In Quebec, this war was deeply felt. The traditional elites and the catholic clergy assimilated the Spanish governement to Soviet communism and showed solidarity with the Spanish Catholic Church. According to Ernest Lapointe, the main minister in Quebec, Ottawa should deeply take into account the conservative movement in Quebec to prevent a domestic crisis that could endanger the national unity. But the foreign policy of Canada was only partially influenced by the clerico-nationalist reaction in Quebec; it was much more dictated by the following of the British foreign policy.

A Guerra Civil Espanhola (1936-1939) foi o primeiro conflito do século XX sistematicamente fotografado, essas imagens produzidas por diversos fotógrafos foram divulgadas através de revistas ilustradas. Essa pesquisa teve como objetivo analisar a fotografia como documento a partir das imagens de Robert Capa e Gerda Taro durante o conflito espanhol e publicadas nas revistas ilustradas Vu, Life e Picture Post e no livro Death in the making, buscando trabalhar as imagens pelos seus aspectos formais, comparando as formas de veiculação e produção de narrativas nas revistas ilustradas produzidas pelos editores e pelos fotógrafos no livro. Por fim, essa comparação busca refletir sobre as fotografias como formas de expressar a experiência da guerra e sobre que tipo de narrativa elas produzem. / The Spanish Civil War (1936-1939) was the first conflict of the twentieth century systematically photographed, these images produced by several photographers were disseminated through illustrated magazines. This research aimed to analyze photography as a document starting for the images produced by Robert Capa and Gerda Taro during the Spanish conflict and published in the illustrated magazines Vu, Life and Picture Post and in the book Death in the making, seeking to work the images by their formal aspects. And comparing their ways to convey and produce of narratives in the illustrated magazines produced by publishers or photographers in the book. Finally, this comparison seeks to reflect on the photographs as ways of expressing the experience of war and on what kind of narrative they produce.

Após a Guerra Civil Espanhola (1936-1939), conflito que durou quase três anos e culminou com a vitória das forças conservadoras fascistas e o estabelecimento da ditadura do general Francisco Franco, a Espanha atravessou um período de extrema miséria e desolação, período também conhecido como \"años de hambre\". Camilo José Cela retrata as mazelas sociais deste período em uma narrativa repleta de ironia e cinismo em La Colmena, romance que abriu portas para o realismo social na década de 50. Na obra de Cela, a perspectiva fragmentada da realidade, a reprodução dos valores conservadores e o conformismo disseminados no cotidiano constroem um quadro de inércia e desolação sociais, onde cada indivíduo é obrigado a aceitar a condição em que se encontra, tentando sobreviver por mais um dia em uma sociedade alienada e violenta. / After the Spanish Civil War (1936-1939), which lasted nearly three years and culminated in the victory of the conservative fascist forces and the establishment of General Franco\'s dictatorial regime, Spain experienced times of extreme poverty and despair known as \"años de hambre\". In La Colmena, Camilo José Cela depicts the social maladies of that time through a narrative where irony and cynicism abound. The novel cleared the way for social realism in the 50\'s. In Cela\'s work the fragmented perspective of reality, the reproduction of conservative values and the resignation disseminated in everyday life paint a portrait of inertia and social despair, where each individual is obliged to accept the conditions in which they find themselves and tries to survive one more day in a violent and alienated society.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-03-24T11:46:54Z No. of bitstreams: 1 Geny Brillas Tomanik.pdf: 7773000 bytes, checksum: 980a9ec53e0e97421710947f82005ea5 (MD5) / Made available in DSpace on 2017-03-24T11:46:54Z (GMT). No. of bitstreams: 1 Geny Brillas Tomanik.pdf: 7773000 bytes, checksum: 980a9ec53e0e97421710947f82005ea5 (MD5) Previous issue date: 2017-03-17 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Pontifícia Universidade Católica de São Paulo - PUCSP / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis aims to analyze and discuss the life trajectory, including the recurring displacements, of Pedro Brillas (1919-2006), born in Barcelona, anarchist and former fighter that, when he was 17 years old, voluntarily enlisted the republican anti-Franco forces in the Spanish Civil War (1936-1939), where he was wounded. At the end, when the defeat was imminent – motivated by the advance and the attack of the Franco army, with the support or the Nazi Condor Legion –, the young man participated of the Spanish flow towards France denominated La Retirada. This massive Spanish exodus and the republican exile were consequences of the Spanish Civil War. When crossing the French border, in February 1939, he became a permanent exile, with only 19 years old. The guiding thread and the documentary body of the research is based on the private archive of Pedro Brillas, an historical agent, composed of several memoirs, journals (some of them from the war front), letters, official letters, personal documents (between wars) and pictures. This proposal is justified because it is a great and unprecedented archive that reveals common and extraordinary experiences, subjectivities, and narrates the displacements of Spanish exiles, as lived collectively. These e/immigrant‟s materials usually housed in chests and drawers, enables to retrieve and update the individual and collective memory, representing a great documental treasure of popular production, often invisible – and almost unavailable in archives records –, have gained value in the contemporary historiographic research. The memoirist witnessed, lived and recorded several historic facts and dramatic experiences, such as the Spanish Civil War, the Second World War (lived in France and Germany), the life at the French concentration camps, survived dangers, insecurities and uncertainty. Also, lived the quotidian of the war and the after-war period, in Germany, France and later in Brazil, to where he immigrated in 1951 with his family, supported by the International Refugee Organization (IRO), and was finally able to establish. The research is articulated with the historiographical studies about the Spanish Civil War and the international displacements of Spanish, particularly regarding the refugees and politic exiles, as well as the reception in these countries; and with studies on memory and identity / Esta tese objetiva analisar e discutir a trajetória de vida, incluindo os recorrentes deslocamentos, de Pedro Brillas (1919-2006), nascido em Barcelona, anarquista e ex-combatente que, aos 17 anos, alistou-se voluntariamente nas forças republicanas antifranquistas na Guerra Civil Espanhola (1936-1939), conflito em que foi ferido. No fim da iminente derrota – motivada pelo avanço e ataque das forças franquistas, com o apoio da Legião Condor nazista –, o jovem somou-se ao fluxo hispânico rumo à França denominado La Retirada. Esse êxodo massivo de espanhóis e o exílio republicano foram consequências da Guerra Civil Espanhola. Ao atravessar a fronteira francesa, em fevereiro de 1939, tornou-se exilado permanente, com apenas 19 anos de idade. O fio condutor e corpo documental da pesquisa fundamentam-se no acervo privado de Pedro Brillas, um sujeito histórico, composto de memórias, diários (inclusive da frente de batalha), cartas, correspondências oficiais, documentos pessoais (entre guerras) e fotografias. Tal proposta justifica-se por se tratar de um rico e inédito acervo que revela experiências cotidianas e extraordinárias, subjetividades, além dos deslocamentos dos exilados espanhóis, vivenciados coletivamente. Esses materiais de e/imigrantes, geralmente guardados em baús e gavetas, possibilitam recuperar e atualizar a memória individual e coletiva, representam um tesouro documental da produção de populares, muitas vezes invisível – pouco disponível em arquivos públicos –, e ganharam valor na pesquisa historiográfica contemporânea. O memorialista testemunhou, vivenciou e registrou fatos históricos e experiências dramáticas, como a Guerra Civil Espanhola, a Segunda Guerra Mundial (vivenciada na França e na Alemanha), a vida nos campos de concentração franceses, sobreviveu a perigos, inseguranças e incertezas. Além disso, vivenciou o cotidiano da guerra e do período pós-bélico, na Alemanha, na França e no Brasil, para onde emigrou em 1951 com a família, apoiado pela International Refugee Organization (IRO), e finalmente fixou raízes. A investigação articula-se com os estudos historiográficos sobre a Guerra Civil Espanhola e os deslocamentos internacionais de espanhóis, particularmente as questões que envolvem refugiados e exilados políticos, bem como o acolhimento nesses países; e ainda com os estudos sobre memória e identidade

Made available in DSpace on 2016-04-26T14:53:24Z (GMT). No. of bitstreams: 1 Syntia Pereira Alves.pdf: 6145209 bytes, checksum: 6ed1f8946f7c01f1edb9772275c49ca9 (MD5) Previous issue date: 2011-12-09 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Was Federico García Lorca a political agent? This is the question that frames the research here presented. However, this question must be split in two in order to be properly answered: first, who was García Lorca, taking into account his life and work; second, the several possibilities for political action. Politics is not restricted to the institutional realm, but permeates individual and societal relationships, being present both in public and private affairs, touching and being touched by art. A tragic artist, Federico García Lorca constitutes the main focus of this research. To find the politics in Lorca, it is essential to understand the relationship between his art and his life and society. With that in mind, the investigation starts from both external and internal analyses of Lorca's works. The external analysis explores Spain before its Civil War, given the importance of the period which is mirrored in Lorca's works. For internal analysis, the theatrical pieces Yerma and The House of Bernarda Alba were analyzed to investigate both the relationships among characters, and the social conventions shown in these works. Furthermore, a number of conferences and interviews with the author are employed in a dialogue with the theatrical works, with the goal of understanding his relationships with art and society. García Lorca's art, voiced by flamenco, communicated with his society and received an answer: death by firing squad. Lorca wasn't limited to his own time and space, but survives today, be it through his deeply disquieting art, or be it through his still mystery-shrouded death / Federico García Lorca foi um agente político? Sobre este questionamento se desenvolve a presente pesquisa. Porém, para responder a essa pergunta, é fundamental dividi-la em duas, voltando um olhar para quem foi García Lorca levando em consideração sua vida e obra e outro olhar para as diversas possibilidades de atuação da política. A política não está apenas no âmbito institucional, mas permeia as relações dos indivíduos e sociedades, se faz presente nos âmbitos público e privado, alcançando e sendo alcançada pela arte. Artista trágico, Federico García Lorca é o foco central deste estudo. Para buscar a política em Lorca, é fundamental entender a relação de sua arte com a sociedade e a vida do escritor. Para tanto, a investigação parte de uma análise externa e uma análise interna a obra de Lorca. A análise externa mapeia a Espanha que antecede a Guerra Civil Espanhola, tendo em vista a importância desta época que se encontra refletida na obra de Lorca. Para análise interna foram escolhidas as obras teatrais Yerma e A casa de Bernarda Alba, sobre as quais é feita uma análise das relações das personagens entre si e os códigos sociais que essas obras expõem. Além disso, são usadas para dialogar com as obras teatrais algumas conferências e entrevistas do autor, com a finalidade de entender sua relação com a arte e com a sociedade. A arte de García Lorca, entoada pelo flamenco, dialogou com sua sociedade e recebeu resposta desta: seu fuzilamento. Mas Lorca não coube em seu tempo e espaço e transborda para os dias de hoje, seja por sua arte, profundamente inquietante, seja por sua morte, até hoje envolta em mistérios

Este estudo analisa as relações diplomáticas entre o Brasil e a Espanha sob a ótica da política externa brasileira entre 1936 a 1960, tendo como referências para reflexão: as tensões político-ideológicas geradas pela Guerra Civil Espanhola e pelo alinhamento brasileiro aos Aliados durante a Segunda Guerra Mundial; o anticomunismo como fator de aproximação entre os dois países; a intensificação das ações de intercâmbio cultural e comercial verificada a partir da década de 1950; o fluxo imigratório de espanhóis para o Brasil como um elemento central das relações hispano-brasileiras. Tendo como principal fonte os documentos do Ministério das Relações Exteriores do Brasil, sob a guarda do Arquivo Histórico do Itamaraty/RJ e da Coordenação de Documentação Diplomática em Brasília, procuramos avaliar a posição da diplomacia brasileira frente à Espanha e os interesses que permearam a configuração das relações históricas construídas com esse país. Considerando os momentos de ruptura e permanência, demonstramos que os compromissos firmados no cenário internacional pautaram as atitudes do governo brasileiro frente à Espanha, especialmente entre 1936-1939 e na década de 1940. / This study analyses the diplomatic relationships between Brazil and Spain from the point of view of the Brazilian foreign policy between 1930 and 1960, using as references for the analysis: the political-ideological tensions generated by the Spanish Civil War and by the Brazilian alignment with the Allies during to Second World War; the anticommunism as an approaching factor between the two countries; the intensification of the cultural and commercial exchanges verified in 1950\'s; the emigration current of Spaniards to Brazil as a central element of the Spanish-Brazilian relationship. Using, as the main source for this study, the documents of Foreign Relations State Department of Brazil, under the guard of the Itamaraty Historical File/RJ and of the Coordination of Diplomatic Documentation in Brasilia, we tried to evaluate the position of the configuration of the historical relationships built with that country. Taking into account the moments of rupture and permanence, we demonstrated that the commitments in the international scenery ruled the attitudes of the Brazilian government concerning Spain, especially between 1936-1939 and in the 1940\'s.