Luis de Gongora (1561-1627) and Lope de Vega (1562 - 1635) are contemporaries and rivals, whose late parodic poems call into question the dominant features of analytical response to the genre: an undervaluation of parodic counter-texts within a context of general critical neglect; and the limitations of studies which attempt to establish and fix meaning on a mode of writing which, this thesis argues, depends on its inherent ambiguity and deliberately anti-mimetic nature in order to forge significantly ironic connections between word and baroque realities. The overarching question of this thesis, is why do these poets turn to parody at the end of their careers? To this end, the study focuses on both poets' parodic trajectories, from G6ngora's 1589 Hero and Leander romance through to his culminating parody, La/cibula de Piramo y Tisbe (1618), and through Lope de Vega's alter ago Tome de Burguillos, whose anthology, Rimas humanas y divinas del licenciado Tome de Burguillos, was published a year before Lope's death, in 1634. Working from the premise that parody provides a Derridean supplement to exhausted, dominant modes (e .g. Petrarchism) and genres (e.g. pastoral, lyric, epic), this study asks: what do these texts achieve by their supplementarity, and how do they achieve it? Through an analysis of the texts' intertextual relationships with the architext or doxa, of their linguistic str~tegies (including meta-language), and of their ethos, this study will question the processes and paradoxes at work in Lope's and G6ngora's late parody. This comparative study seeks to reveal the depth of our poets' late parodic works, and, against the grain of dominant criticism which sets them in opposition, the extent to which their parodic trajectories correlate.

Although Gómez Manrique left a corpus of over one hundred poems, there is still only one short monograph on his work, Introducción a la poesía de Gómez Manrique by Kenneth Scholberg, and the brief introduction by Francisco Vidal González to his edition of the poet’s work. Scholarship on his output has otherwise consisted mainly of articles on just one poem. This thesis is an attempt to place his work in the context of fifteenth-century society taking into account its social and political climate. His military career, political activity in the conflicts in the Iberian peninsula, and his administrative posts, together with the fact that he mixed with many of the most influential members of Castilian society, are all important aspects of his life, an awareness of which contributes to our understanding of much of his work. While the main editions of Gómez Manrique (Paz y Melia and Vidal González) divide his work into categories such as his love poetry, debate poetry, moral works and his political writing, here it is argued that these areas of his work do not fall neatly into discrete categories as there is much overlap among them. For this reason an attempt is made to trace the development of his verse and prose within a chronological framework as far as this is possible, taking into account a certain duality in his thought that suggests a rather complex character who is striving to make his voice heard in the turbulent society in which he lived. What binds the different elements of his work together to a large extent is a strong didactic purpose, driven by both Christian and Stoic teaching and Gómez Manrique’s desire to influence those in a position of power in Castilian society by means of the various literary forms that were cultivated by his contemporaries.

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This thesis examines the relationship between Federico Garda Lorca and Modern Greek poetry as witnessed during the period 1933 to 1986. Exploring Lorca's vast popularity in Greece and arguing for his Hellenization, it is divided into two parts relating to reception and creative appropriation respectively. The first part deals with three forms of reception: translations, criticism, and poetic tributes to Lorca. Translations of his work, with a particular focus on poetry, and critical attention Lorca the poet and person received, are discussed in view of the social, political, and ideological context of the period 1933-1986. Poetic tributes, mainly inspired by Lorca's death at the outbreak of the Spanish Civil War, are also examined as an integral part of his importation and accommodation in the Greek context. The second part of this thesis explores the ways four major Greek poets, Odysseus Ely tis, Nikos Gatsos, Yiannis Ritsos, and Nikos Engonopoulos creatively appropriated elements of Lorca's poetry in their own work. These poets sought to forge their national and literary identity through renegotiating their relationship with Greek tradition and contemporary artistic and ideological European movements, especially Surrealism. In Lorca, they found inspirational means of addressing these preoccupations. This thesis follows the uninterrupted trajectory of Lorca in Greece offering at the same time a new perspective on Modern Greek poetry. A diachronic examination of the interconnection between the various forms of response to Lorca demonstrates that the Spanish writer played a decisive role in the development of Modern Greek poetry.

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