La elección del tema de tesis y su objeto de estudio obedece a un doble interés: por un lado, el de progresar en el conocimiento de la sintaxis coloquial, en concreto, en el de las llamadas construcciones incompletas; por el otro, el de aportar propuestas didácticas para la enseñanza-aprendizaje de la comunicación oral, dada la exigente demanda de lo oral en los programas educativos preuniversitarios. En este sentido, podemos afirmar que en esta tesis convergen los objetos de estudio correspondientes a las líneas de investigación de dos disciplinas: el Análisis del Discurso, pues tratamos de ahondar en el conocimiento de las construcciones incompletas a partir de su análisis en conversaciones coloquiales reales, y la Didáctica de la Lengua y la Literatura, en tanto que abordamos el estudio de los enfoques didácticos, los recursos, los materiales, las estrategias, los instrumentos para la evaluación, etc. que resulten adecuados con el propósito de concebir propuestas didácticas para la enseñanza-aprendizaje de la comunicación oral en la etapa de Bachillerato. Por tanto, unidos ambos intereses, el objetivo de este estudio es proporcionar propuestas didácticas basadas en las construcciones incompletas, que contribuyan a desarrollar la competencia comunicativa de los estudiantes de Bachillerato. Para ello, hemos analizado cómo son dichas estructuras ofreciendo una descripción exhaustiva de ellas y revisando, asimismo, algunas propuestas didácticas enfocadas a la enseñanza-aprendizaje de lo oral en las etapas educativas preuniversitarias. / The choice of the topic of thesis and his object of study obeys a double interest: on the one hand, of progressing in the knowledge of the colloquial syntax, in I make concrete, in that of the so called incomplete constructions; for other one, of contributing didactic offers for the education-learning of the oral communication, given the demanding of the oral thing in the educational programs previous to the university. In this respect, we can affirm that on this thesis there converge the objects of study corresponding to the lines of investigation of two disciplines: the Analysis of the Speech, since we try to go deeply into the knowledge of the incomplete constructions from his analysis into colloquial royal conversations, and the Didactics of the Language and the Literature, while we approach the study of the didactic approaches, the resources, the materials, the strategies, the instruments for the evaluation, etc. That turn out to be adapted with the intention of conceiving didactic offers for the education-learning of the oral communication in the stage of Baccalaureate. Therefore, joined both interests, the aim of this study is to provide didactic offers based on the incomplete constructions, which help to develop the communicative competition of the students of Baccalaureate. For it, we have analyzed how structures are said offering an exhaustive description of them and checking, likewise, some didactic offers focused on the education-learning of the oral thing in the educational stages previous to the university.

This thesis explores theatre's capacity to act as a medium for the 'production' of history. Proposing a theoretical model capable of accommodating this significantly underexplored function of contemporary drama, I adapt recent developments in the debates over textual historiography to the processes of theatrical production. Concurrent with this investigation, I examine certain examples of one of the most popular forms of contemporary historical theatre in Britain - the documentary strand known as 'verbatim' - and demonstrate the ways in which a lack of attention to theatre- historiography has allowed some uninformed and unstable historical methodologies to proliferate in theatrical discourses. Initially focussing upon the August Riots of 2011, I demonstrate the ways in which the political disingenuousness of key verbatim methodologies renders them unfit to engage productively with the demands of their surrounding context. Arguing the necessity for theatre to fulfil this societal function, I then consider alternative, politically conscious theatrical approaches to history. Exploring the work of Edward Bond through a preliminary study of Saved and a chapter-length analysis of Lear, I address the topic of narrative historiography in theatre. Interrogating the trajectories of dramatic and performance texts over time, I demonstrate that theatre's propensity to respond to the conditions of its performing context complicates the notion of a single or 'stable' narrative. Thus, in conjunction with the theatrical and scholarly responses of Peter Brook and Jan Kott, I argue that the Shakespeare with whom Bond interacts in Lear is a product of the twentieth, rather than the seventeenth century. Focussing in on the theatrical 'event' as a site of historical production, I then examine the National Theatre's 2012 production of Howard Barker's Scenes from an Execution. Barker's plays employ an ambiguous and disruptive approach to history, designed to oppose the orthodoxies of the performing contexts into which they are brought into being. However, using this production as example, I show that this opposition is only possible if a historiographic consciousness is maintained at the level of performance. The studies of Bond and Playing with the Past: The Politics of Historiographic Theatre Barker outline a model for the production of 'historiographic theatre' - theatre that exploits its own unique capacities to produce and engage with history. I reassert the value of this kind of theatre by returning, in the 'Epilogue', to the August Riots, events that I propose are symptomatic of wider instabilities in contemporary socio-political climates. Historiographic theatre, I argue, has the capacity to point beyond these climates, providing a space in which these instabilities may be engaged.

The goal of this thesis is to propose a cognitive approach to intertextuality. Intertextuality has attracted the attention of a number of literary scholars interested in discussing the interrelations between literary texts without, however, focusing on how readers create these connections. On the other hand, despite its reader-oriented approach, cognitive poetics has largely neglected the concept. This project employs recent developments in the field of cognitive linguistics and cognitive psychology and proposes a multi-layered approach to intertextuality in the light of the principles of cognitive poetics. The main part of the thesis draws on the cognitive notion of frames defined as online processing domains. I propose that readers create intertextual links by combining their background knowledge with textual elements in intertextual frames. Three types of frames are identified: semantic, topical and stylistic. The term 'semantic frame' refers to the more impressionistic links that emerge from the identification of a single lexical item, while the term 'topical frame' refers to more complex constructions built by readers through the identification of multiple textual elements. The term 'stylistic frame' refers to links based on quotation identification or genre similarities. A variety of literary texts will be discussed in order to illustrate how these frames may be created. The final part of the thesis is dedicated to the investigation of the relationship between intertextuality and the emotional engagement of readers with literary texts reflecting recent directions in cognitive poetics. This is accompanied with a mixed methods study designed to present empirical data on how readers construct intertextual links and on the effects these have on the reading experience. The overall aim of this project is to provide the foundations and the theoretical point-of-entry for further related research.

The metropolitan hotel is a rich space for exploration in hotel fiction of the nineteenth and twentieth centuries due to its interesting connection with both the city and the home, and its positive and negative effects on the individual. Using spatial theory as a foundation for understanding how the hotel functions, and drawing on theorists such as Henri Lefebvre, Michel de Certeau, Edward D. Soja, Fredric Jameson, Yi-fu Tuan and David Harvey, this thesis offers an alternative approach to the culturally specific readings of past hotel studies; by contrast, it will draw on two alternate readings of the space: those which are concerned with the geographical and with the sociological make-up of the hotel. The ambition behind this thesis is to provide a framework for discussing novels from the realist tradition through to post-modern examples of spatial exploration. A selection of works will be studied, including: Elizabeth Bowen, The Hotel, Henry Green, Party Going, Arnold Bennett, Imperial Palace and Grand Babylon Hotel, Anita Brookner, Hotel du Lac, Kazuo Ishiguro, The Unconsoled and Ali Smith, Hotel World. These writers are linked through the particular use they make of the hotel and the creation of spatial identity in their novels. Spatial identity in turn arises through an awareness of the power of space, and its variable effect on an individual’s identity. This thesis begins by examining past hotel research, which centred on late nineteenth-century novels by Henry James and Edith Wharton. It then introduces the theoretical studies that have informed the current thesis. Before moving onto the two central chapters, which examine the geography and sociology of space, it includes a brief ‘interlude’ on Richard Whiteing’s No. 5 John Street, a work which introduces many of the themes central to this thesis. The central argument considers the agency or power of the hotel space, a concept which has been generally overlooked in criticism. The power of space in hotel fiction is exhibited in its capacity to alter events and emotions and identities in general. In this view landscape, traditionally considered two-dimensional, is no longer flat, but can be rather seen as a multifarious ‘character’ in its own right. This conception of the spatial environment of the hotel encapsulates what it means to function in the modern urban environment.

Recent research on cultural citizenship focuses on issues of identity and belonging in multicultural societies and examines the political, economic, and cultural aspects of community membership in local, national, and transnational groups. Postcolonial research into colonial and neocolonial representations of individual and national cultural identities offers a means of interrogating hegemonic discursive practices of Orientalism, neocolonialism and globalization as they relate to the representation of cultural citizenship. This dissertation positions the representation of Indian cultural identities in the films of Deepa Mehta, Mira Nair, and Gurinder Chadha as practices of cultural citizenship that attempt to reposition the Indian as a local identity in three Western multicultural societies: Canada, the US and the UK. It draws on postcolonial, gender, and literary theory to textually analyze the discourses underlying the filmic representations of marginalized identities by incorporating the theories of Said, Spivak, Mohanty, and Bhabha into a socio-cultural analysis of Indian identity construction. The study utilizes the Lacanian theory of the mirror stage within the canonical writings of postcolonial theorists like hooks, Said, Fanon, and Bhabha, all of whom use Lacan’s work to describe the splitting of the subject from the Other in order to illustrate the production of the derogatory figure of the Indian as inscribed in Orientalist, and Western/ Eurocentric discourses. This figure is precisely that produced in and consumed through Bollywood films. Chapter one offers an analysis of the Lacanian subject formation as a moment in which the spectator of these films views the cinematic representation of the imago of Indian cultural identity—which in these films can be read as sociocultural constructions of local non-alien figures with community memberships in the adopted homelands—as practices of cultural citizenship acquisition affecting both the alienation of the characters and the spectators. My second chapter, by revising the feminist perspectives of Spivak and Mohanty, strategically locates the subject position of these diasporic filmmakers as intellectuals to relate the representation of Indian cultural identity as a cultural practice within the praxis of Western film. In doing so, it aims to unearth the Indian woman in the West as the cousin of the subaltern woman, positioning her vis-à-vis a Western and local identity within a multicultural society. In my exploration of the filmmakers’ practices of cultural citizenship I relate their community membership to the concept of Dharma as a culturally grounded feminist and postcolonial writing back to the subordinate representation of female Indians in their multiple locations. In the third chapter I offer that cultural citizenship as a practice of representation of visible minorities constructed by these filmmakers offers a necessary splintering of the dominant national identities of their multicultural societies that illuminates the hybridity of cultural identities and the plurality of national identities. The filmmakers achieve this revision by positioning the Indian as local of, rather than Other to, multicultural society. The discussion of Canadian multiculturalism in this chapter illustrates that these filmmakers’ representations of plurality in their construction of national identities, splinters the representation of white monocultural national identities prevalent in Western multicultural nations. My thesis contributes to the fields of postcolonial, literary, and cultural theory in the following ways: a) I add to the discussion of Lacan’s subject formation, and the mirroring of the Other and the alienation of the immigrant, by examining the imago as a reflection of identity which can offer spectators a moment of belonging within an adopted homeland as a cultural citizenship practice; b) I add to the debate on cultural citizenship by relating the historic concept of Dharma to my discussion of the intellectual production of female identities and explicate how its counter-narrative challenges to the gender roles of Indian men and women. Ultimately I conclude that the representation of Indian cultural identity by these filmmakers and the representation of the imago as external spectral image of the Indian, immigrant, or visible Other, discloses a discursive strategy of social cohesion in its challenging representation of plural national identities which are local, multiracial, and multicultural.

Aquesta tesi tracta de les propietats relacionals de la sintaxi i la semàntica de l'estructura argumental. En especial, estudio la relació entre l'estructura argumental i la descomposició lèxica: defenso que una descomposició mínima dels elements lèxics (e.g., ensellar o trencar) és necessària si es vol donar compte de les seves estructures relacionals complexes. Al capítol primer s'hi proposa la hipòtesi teòrica principal segons la qual hi ha un homomorfisme important entre la sintaxi i la semàntica relacionals de l'estructura argumental. Demostro que a aquesta hipòtesi se li pot donar una base teòrica si i només si es fa la distinció langackeriana següent: el significat és una funció del contingut conceptual i de la construalitat semàntica. En introduir aquesta distinció en el paradigma generativista, argumento que només la construalitat semàntica es codifica de manera transparent a la sintaxi. Poso també especial èmfasi a fer veure que la meva aproximació a l'estudi de l'estructura argumental participa tant de la teoria sintàctica de Hale i Keyser (1998, 1999a) com de la teoria semàntica de Mateu (1999). Al capítol segon s'hi analitzen les propietats relacionals de la sintaxi i la semàntica dels verbs inacusatius i inergatius. Exemplifico la meva anàlisi de la 'inacusativitat' amb l'estudi de dos casos diferents: en primer lloc, faig una explicació formal dels aspectes semàntics relacionals que determinen la selecció d'auxiliar en llengües com l'italià i el francès; en segon lloc, defenso que l'anàlisi de la construcció progressiva implica una estructura inacusativa locativa que domina l'estructura argumental que està lèxicament associada al predicat verbal. Al capítol tercer s'hi estudien les propietats relacionals de la sintaxi i la semàntica de l'anomenada 'elasticitat del significat verbal' (Rappaport Hovav i Levin 1998). Es demostra que la variació lingüística que afecta aquest fenomen està relacionada amb la distinció tipològica de Talmy (1985, 1991, 2000) entre llengües d'emmarcament en el satèl·lit com l'anglès, l'alemany o el neerlandès, i llengües d'emmarcament en el verb com el català, l'espanyol o el francès. S'hi analitzen de manera detallada la sintaxi i la semàntica relacionals de dues construccions que són típiques de les llengües d'emmarcament en el satèl·lit: les construccions de moviment que inclouen un verb de manera de moviment i un trajecte fitat, i les construccions resultatives complexes. Poso especial èmfasi a demostrar per què en català no existeixen aquestes construccions. Faig veure també per què en català no existeixen determinats verbs denominals complexos ni certs casos d'alternances locatives, que són més aviat típics de llengües germàniques com l'alemany o el neerlandès. Al capítol quart s'hi estudia l'anomenada 'restricció d'objecte directe' en les construccions resultatives de l'anglès. Tot i que s'ha posat en dubte aquesta restricció (e.g., vegeu Rappaport Hovav i Levin 2001), faig veure les raons per les quals cal recuperar la validesa d'aquesta restricció. En aquest capítol s'hi analitza també la sintaxi i la semàntica relacionals d'una construcció idiomàtica de l'anglès que té un correlat molt directe amb les construccions resultatives: i.e., la "way-construction". Demostro també per què aquesta construcció no transgredeix la 'restricció d'objecte directe', tot i que ho pugui semblar a primer cop d'ull. Al capítol cinquè s'hi fa un resum força extens de les tesis més rellevants que un hom pot extreure d'aquest treball. Aquestes tesis les exemplifico a partir de l'anàlisi de la sintaxi i la semàntica relacionals d'un dels meus casos d'estudi preferits: el verb climb. Cal advertir que aquest capítol està pensat per a aquell lector (cada vegada més freqüent!) que vol saber amb un cert detall de què tracta la tesi, però que no té temps per a llegir-se-la tota. / This thesis deals with the relational syntax and semantics of argument structure. Special attention is paid to the relation between argument structure and lexical decomposition: a minimal decomposition of lexical items like to saddle or to break is argued to be necessary in order to elucidate their complex relational structures. In chapter 1 I put forward the hypothesis that there is a strong homomorphism between the relational syntax and semantics of argument structure. This hypothesis is shown to gain theoretical support iff a fundamental distinction is drawn: meaning is a function of both non-syntactically transparent conceptual content and syntactically transparent semantic construal. Accordingly, a syntactically transparent approach to semantic composition is adopted in the present framework, which partakes in both Hale & Keyser's (1998, 1999a) syntactic theory of the basic argument structure types and Mateu's (1999) semantic theory of argument structure, which assumes that certain meanings are associated to certain structures.In chapter 2 I analyze the relational syntax and semantics of unaccusative and unergative verbs. The present analysis of unaccusativity is exemplified with two different case studies: Firstly, I provide a formal account of the relational semantic determinants of 'aux-selection' in languages like Italian and French. Secondly, I argue that the progressive construction can be analyzed as involving a locative unaccusative structure over that argument structure lexically associated to the verbal predicate.In chapter 3 I put forward a relational syntactic and semantic account of the crosslinguistic variation involved in the so-called 'elasticity of verb meaning' (Rappaport Hovav & Levin 1998). Such a variation is argued to be related to Talmy's (1985, 1991, 2000) typological distinction between 'satellite-framed languages' and 'verb-framed languages'. In particular, I analyze two constructions that are typical of satellite-framed languages like English, Dutch or German: complex telic path of motion constructions and complex resultative constructions. I also show why these constructions are impossible in verb-framed languages like Catalan or Spanish. Moreover, I provide an explanation of why certain classes of complex denominal verbs and some cases of locative alternation are more productive in satellite-framed languages rather than in verb-framed ones. In chapter 4 I argue my way to the conclusion that the so-called 'Direct Object Restriction' (DOR) on resultative constructions, which has been recently called into question by Rappaport Hovav & Levin (2001), must be regained. In this chapter I also put forward a relational syntactic and semantic analysis of the so-called way-construction, showing that, despite appearances, such an idiomatic construction does not violate the DOR either. Chapter 5 provides an extensive recapitulation of some relevant theses worth being drawn from the present work. I exemplify them by providing a relational syntactic and semantic analysis of one of my favorite case studies: i.e., the verb climb. CAVEAT: Chapter 5 is mainly intended for that reader who does not want to spend time reading a 300-pages work on lexical decomposition issues, but nonetheless wants a very detailed summary of it.

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Planteamiento del trabajo. ObjetivosSe estudia la enseñanza de la Dramatización y eI Teatro en la Educación Secundaria y se propone un Proyecto Didáctico y un Diseño Curricular, que tratan de cubrir los tres aspectos principales de su utilización docente: como asignatura optativa, como recurso pedagógico en las diversas áreas/materias, y como animación sociocultural del Centro con su entorno. EI problema se concreta de la forma siguiente:1.- ¿La sociedad y la escuela actual ayudan al desarrollo integral y armónico de la personalidad del alumnado?2.- ¿Es una educación realmente diversa para todos?3.- ¿Hemos diseñado una educación demasiado tecnicista y poco atenta a la sensibilidad y las emociones?4.- ¿Qué recursos didácticos y auriculares utilizamos para paliar sus efectos nocivos?Hipótesis de trabajoLas cuatro hipótesis de trabajo planteadas apuntan hacia la escasa formación específica del profesorado en este ámbito; a la infravaloración curricular de la asignatura tanto en Primaria como en Secundaria; a la insuficiente formación emocional y estética del alumnado y a la penuria de recursos materiales, económicos y de infraestructura para su puesta en práctica. Dichas hipótesis se fundamentan recurriendo a las aportaciones de la comunidad científica y los expertos nacionales e internacionales sobre el proceso de enseñanza-aprendizaje y sobre los principales conceptos involucrados: educación estética y emocional, dinámica de grupo, intervención educativa, etc.Para su puesta a prueba y comprobación de hipótesis se ha realizado un diseño cuasi-experimental y muy variado, que se ha aplicado a las principales variables del proceso: se ha aprovechado la observación directa y participante del profesor a lo largo de casi 20 años de docencia, así como todo el material acumulado; además, desde 2001 a 2004 se han realizado entrevistas a 14 psicopedagogos-as, encuestas a 22 profesores de Primaria, grupo de discusión con 22 profesores de Secundaria, encuestas a 47 padres-madres de alumnos, todos ellos procedentes de Valencia y zona metropolitana; así como encuestas a 108 alumnos-as del ÍES Sedaví, donde se ha realizado este proyecto.ConclusionesEn el trabajo se expone cómo la puesta a prueba de las hipótesis muestran unos resultados que, esencialmente, las verifican y, tras examinar nuestra propuesta, se concluye que es posible una enseñanza-aprendizaje y utilización de la Dramatización y el Teatro que propicie en el alumnado, incluso en toda la comunidad educativa, un cambio actitudinal, metodológico y conceptual. / We are concerned here with the teaching of Drama in Education and theatre in secondary education. A teaching project is proposed as well as a curricular design, accounting for de three main aspects of their use by teachers: as an optional subject, as a teaching resource for other subjects and as a resource for social and cultural stimulation within the school and in the neighbourhood. All four work hypothesis suggest low specific qualification of teachers in this area of knowledge, as well as the scarce curricular prestige of this subject in primary and secondary education. This combines with the students' poor emotional and aesthetic background and the lack of economic and material resources within a context of poor infrastructures. Such hypotheses have been supported by referring to the contributions of the scientific community and national and international experts in the domain of the teaching-learning process an the main concepts implied: artistic and emotional education, group dynamics, educational intervention and others. In order to put to test and check the hypotheses used an almost-experimental design has been made up, based on interviews, inquiries and discussion groups. Direct observation and participation of teachers have also been taken into account. The paper presents the extent to which the hypotheses are verified. Once the proposals have been examined, we conclude that it is possible a teaching and use of drama in education and theatre aimed at bringing the children and the whole educational community towards a change in attitudes, methods and concepts

L'objectiu general d'aquesta tesi ha estat d'esbrinar la càrrega ideològica que subjau enl'ús d'un o d'un altre model de llengua formal per part dels membres de la comunitat deparla valenciana. Amb aquesta finalitat s'han analitzat les intervencions de 106 participantsen la sèrie documental Entre els nostres, que va emetre el segon canal de RTVV, Punt 2,en la temporada 2001-2002. En la selecció del corpus es va tenir ben present el criteri de larepresentativitat, fonamental en una recerca de tipus qualitatiu com aquesta: elsparticipants configuren un ventall de les més diverses procedències geogràfiques i socials,incloent-hi l'edat o el nivell de formació.L'anàlisi s'ha dut a terme a partir d'una metodologia clarament interdisciplinària,que tot partint de la base de la sociolingüística, pren elements de la pragmàtica, de l'anàlisicrítica del discurs i de la mateixa sociologia, com en la revisió del concepte fugisser icabdal d'ideologia. En definitiva, s'assumeix un enfocament del treball sociolingüístic quemira de centralitzar en el mateix parlant, com a membre d'un grup social, l'anàlisi delcomportament lingüístic en tant que comportament social.Es tracta, al capdavall, de superar l'esquema de regust conductista que situa lasituació comunicativa en el lloc de l'estímul i la parla en el de la resposta. Això es pot dura terme prenent en consideració la representació que es fa el parlant d'aquella situació,com a factor determinant de la seua manera d'actuar, més determinant que la situaciómateixa. Aquesta representació només pot tenir una base ideològica, des del moment queés possible observar diverses opcions segons el grup social.La perspectiva adduïda també implica la voluntat de passar pel sedàs analític latasca mateixa de la investigació sociolingüística. En aquest treball, s'han revisat conceptestan cabdals com el de comunitat lingüística o el d'estàndard lingüístic de la llenguacatalana, imprescindibles per a una anàlisi de les implicacions ideològiques de l'úslingüístic com la que plantegem ací.Entre els resultats de l'anàlisi, s'actualitza la descripció dels grups ideològics ques'associen generalment a aquests models, grups que se solen descriure a partir de la seuasituació en l'esquema identitari i de dreta-esquerra. En aquest sentit, també cal destacarque s'observa que la lleialtat formal dels valencians no sempre es correlaciona amb lainstrumental, cosa que posa en entredit l'aplicació abusiva del terme diglòssia i ensuggereix un altre: el valor d'autenticitat aplicat a la praxi lingüística. Caldria entendreaquest valor com l'adhesió a les variants lingüístiques de la tradició oral enfront de lespropostes formals, institucionals o ideològiques, sense que això implique necessàriamentuna devaluació de la percepció de la llengua pròpia enfront d'altres llengües. / The key issue of this doctoral thesis is to examine the ideological charge whichunderlies the use of the different formal language models existing in the Valencianspeakingcommunity within the Catalan linguistic community. To this aim, theinterventions of several participants in a documentary series broadcasted by RTVV in theseason 2001-2002 are studied. Representativeness, a crucial issue in a qualitative researchhas been taken into account in the selection of the corpus: the participants belong to themost diverse geographical and social origins.The methodology used is necessarily interdisciplinary: it starts from thesociolinguistics, and then some pragmatic elements as well as sociology and CriticalDiscourse Analysis have been considered. As a result, the analysis of the linguisticbehaviour considered as a social behaviour is focalised on the speaker himself/herself.All in all, the aim is to overcome the behaviourist scheme which locates thecommunicative situation in the place of the stimulus and the speech in the place of theresponse. This can be completed by taking into account the representation made by thespeaker of this situation, as a decisive factor of his or her way of acting, and even moreimportant, than the situation itself. This representation can only have an ideological basis,from the moment in which it is possible to observe different options depending on thesocial group.The perspective used also implies the determination to analyse the sociolinguisticresearch task from an ideological point of view. For instance, in this study have beenreviewed such crucial concepts as linguistic community or language standard, applied tothe Catalan language.Among the results of the analysis the following can be pointed out: formal loyaltyis not always correlated to use. This questions the excessive employment of the termdiglossia and suggests another: the value of authenticity as applied to linguistic praxis.This term aims to describe the occurrence in which the speaker shows a preference by theoral linguistic variants instead of the formal, institutional or ideological proposals, notnecessarily implying despise of the vernacular.

Entre 1933 y 1945, con la huida de Alemania de una gran parte de los escritores alemanes de prestigio, surgió fuera de este país una literatura que resulta fascinante desde todos los puntos de vista. Refleja uno de los fenómenos más numerosos de emigración de la inteligencia literaria de la historia, con cerca de 2.000 escritores y periodistas exiliados. La literatura del exilio es de interés, además, por la variedad de aspectos que presenta, como el impacto en la inteligencia literaria del retraso socio-político de la sociedad alemana y la aparición de movimientos totalitaristas, como el nacionalsocialismo o el comunismo. El desarrollo del género novelístico después de 1933 ofrece un campo de investigación especialmente interesante de los procesos de creación de una nueva identidad cultural y de modelos intelectuales y concepciones poéticas que reflejan el nuevo entorno comunicativo en el exilio. El estudio del exilio literario alemán entre 1933 y 1945 ha gozado desde los años 80 de una dedicación intensa por parte de la investigación tanto en Europa como en los EE.UU.. La literatura de esta etapa se ha estudiado desde numerosos puntos de vista, como la actividad política de los escritores exiliados, sus condiciones de trabajo en los diferentes países de acogida o la evolución de la narrativa de escritores destacados del exilio alemán. Sin embargo, hasta ahora no había sido abordado el análisis de la literatura del exilio, y en concreto de la novelística, a partir de la evolución de la inteligencia literaria alemana y de las condiciones específicas para la comunicación literaria. El objetivo del estudio consiste en el análisis de la relación funcional entre la novelística del exilio literario alemán y su lucha política contra el III Reich en el periodo 1933-1945, y más específicamente en el periodo de formación de la plataforma política del Frente Popular alemán (Volksfront), y en la identificación de los modelos intelectuales y de la programática político-literaria que este fenómeno literario promueve. El análisis presentado en este trabajo se realiza, en primer lugar, a partir del estudio de la evolución de la inteligencia literaria, que desarrolla en el exilio un modelo de intelectual comprometido y una militancia política y supera la falta de liderazgo social en la República de Weimar. En segundo lugar, hemos analizado la aparición y funcionamiento del sistema literario del exilio, en el cual surge el fenómeno del exilio literario en el periodo 1933-1945. Nos centramos en el periodo de formación del Frente Popular alemán y hasta el final del exilio europeo (periodo 1936-1940), y, más específicamente, en la evolución del género narrativo de la Exilroman o "novela de la emigración". En tercer lugar, analizamos la propuesta poetológica de los autores exiliados dentro del género literario de la Exilroman en el periodo específico seleccionado. Para este análisis hemos seleccionado tres exponentes de la "novela de la emigración": Exil de Lion Feuchtwanger, Vulkan de Klaus Mann y Transit de Anna Seghers. Los resultados de nuestro estudio muestran que el hecho de exilio afecta profundamente a la literatura generada por los autores alemanes en esta etapa específica del exilio. La generación de modelos intelectuales para un compromiso político sólo genera de forma limitada una identidad artística antifascista en los personajes de las novelas estudiadas. La reflexión acerca de la comunicación literaria en el exilio no promueve la generación de una programática político-literaria específicamente antifascista, pero sí se refleja en una consideración especial de los aspectos de la recepción en forma de una renuncia a posiciones vanguardistas detentadas por los autores antes de 1933. / Between 1933 and 1945, as a great part of the German writers exiled from Germany, a literary phenomenon appeared outside the German borders which is remarkable from all points of view. It reflects one of the biggest exile phenomena within the literary intelligence, with more than 2,000 exiled writers and journalists. Moreover, this specific literature is a symptom of the impact of the obsolete socio-political status-quo on the literary intelligence and of the appearance of totalitarian movements, like national socialism and communism. The novelistic genre after 1933 offers a field for research of the creation of a new cultural identity, intellectual models and a literary program, which reflect the new communicative context in exile. The objectives of our study are the analysis of the functional relationship between the exile novel and the political fight against the Third Reich in the period 1933-1945, and the identification of intellectual models and the political-literary program promoted by this literature.We have studied, in first place, the evolution of the professional group of the literary intelligence, which develops in exile a model for the politically engaged writer. Secondly, we have analyzed the upcoming and operation of the literary system in the different exile countries during the period of establishment of the Volksfront (1936-1940). Third, we analyzed the exiled writers' poetical proposal within the Exilroman genre in this period, selecting three novels: Exil by Lion Feuchtwanger, Vulkan by Klaus Mann and Transit by Anna Seghers.The results of our study show that the fact of exile profoundly affects the generated literature in this specific period. The generation of intellectual models for a political engagement allows only partially the construction of an antifascist artistic identity for the personae in the analyzed novels. The authors' reflection on the literary communication does not promote the formulation of a political-literary program. However, it reflects a special consideration of the process of literary reception as the authors give up their vanguardistic positions of the period prior to 1933.