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The four main thesis novels are Alas's La Regenta (1884), Gald6s's Fortunata y Jacinta (1886-7), Puig's Boquitas pintadas (1969) and Cabrera Infante 's La Habana para un infante difill1to (1979). Specific criteria for the Don Juan novel are drawn up and seducers not fulfilling the prerequisites of the attractive, vain, sexually potent, deceitful and diabolically impious Don Juan rejected. Classical literature ( myths of Zeus, satyr stories, Ovid's AI'S AlI1atoria) and early Spanish ballads concerning irreverent gallants are posited as influences on the Don Juan legend. The two key plays are Tirso de Molina's EI bur/adOJ' de Sevilla (1630) and Zorrilla's Don Juan Tenorio (1844). Other sources include Don Juan works by Zamora, Espronceda, Moliere, Shadwell, Byron, Lenau, Shaw, Mozart and Sh'auss and the memoirs of Casanova. The progression is h'aced from the early Don Juan plays, in which the seducer's father is the sole parental presence, to the novel, in which Don Juan's domineering and adoring mother exercises a powerful influence on her son. Early classical mother figures such as Venus (Cupid), Liriope (Narcissus) and Jocasta (Oedipus) are analysed as her predecessors. The three main psychologists consulted regarding the seducer's umesolved Oedipus complex are Freud, Jung and Otto Rank. Other theorists include Maraft6n, Kierkegaard, Lafora, Brachfeld, Weinstein, Miller, Aramoni, Mandrell, Smeed and Kristeva. The thesis counterbalances the views of those who see Don Juan as immature, effeminate, melancholic or hysterical with others who consider him to be powerful, masculine, confident and eloquent, revealing the modern Don Juan to be a complex and multifaceted figure. The importance of the novels' musical themes is considered together with the different ways in which Don Juan is made to suffer in variations ofTirso's hellfire, The thesis demonstrates that, in spite of being metamorphosed into a mother's boy, Don Juan continues to wreak his infernal charm over author and audience alike.

This thesis proposes to read Argentine postdictatorship fictions of the 1980s–2000s not, as has frequently been the case, from the point of view of mourning, memory and defeat but from a more positive perspective oriented towards the reconstruction of a fuller national history and identity. As in Borges’s “Pierre Menard”, the argument is essentially a critical hermeneutic one: it is based on a dynamic rather than static thinking of history and textuality that seeks to open up the reading of texts to the present rather than leave their interpretation statically closed off in the past. The social, political, and economic crisis known as “the Argentinazo” (December 2001), the annulment of the Amnesty Laws in August 2003, and the politics of memory and human rights that ensued thereafter provide in this thesis a distinct historical context from which to rethink both “early” (1980s/1990s) and “new” (post–2001) postdictatorial literature. My suggestion all along is that the linkage of literature, artistic and activist cultural politics, including a politicised reading of literature, will necessarily have as its aim the formation of a popular or collective critical consciousness. Overall the main contributions of this thesis are twofold. Firstly, the interpretation of postdictatorial fictions from a pedagogico-political perspective makes the textual analysis of these fictions new and original in their own right. And secondly, this research demonstrates that postdictatorial fictions constitute a cultural reservoir or a cultural archive of historical resistance, dissent, and human rights struggles from which it is hoped present and future generations can learn to live more democratically.

My work reads the compañero [working-class male] as allegory of the Chilean nation in a corpus of Antonio Skármeta’s fiction that portrays the convulsive years leading up to, and during the early years of the Pinochet dictatorship. I deploy an interdisciplinary methodology to expound the relationship between Skármeta’s textualisation of the writer/artist and his ideological project of allegorising the nation in the compañero. My innovative approach uses key concepts drawn from theorisations of nation, identity and gender in order to evaluate the allegorical construction and de-construction of the figure of the compañero in national discourses. My aim is to structurally theorise the compañero´s rise, climax and destitution as the hegemonic masculinity of the Chilean Socialist state. I use the work on allegory of Walter Benjamin, Lynnette Hunter and Edwin Honig, among others, in order to further refine my analytical apparatus. Within masculinities studies, I follow the concepts of gender order, power relations and hegemony from Connell, Kimmel and Foucault. To complete my analysis I also read the compañero via extant studies from Chilean specialists, particularly Manuel Antonio Garretón, Nelly Richard, José Olavarría and Sonia Montecino.

Emerging organically in the 1960s and soon incorporated into the revolutionary leadership‟s official drive to democratise culture, the Cuban talleres literarios have expanded over the decades into a significant literary movement based on grassroots participation. In 2009, the municipio-based talleres literarios, open to mass participation, engaged over 40,000 talleristas in creating their own literature, with a smaller number involved in more specialised talleres literarios de vanguardia, including the one based within the Centro de Formación Literaria Onelio Jorge Cardoso, a national institution for young writers of narrative fiction. This thesis analyses this unique and under-researched cultural movement by placing it within its historical context and using the notion of Cuban cultural citizenship in order to assess its impact. It contends that the talleres literarios in Cuba, by acting as literary public spheres, have provided a broad range of people with the opportunity to gain and enact cultural citizenship, thus endowing the movement with a political and social significance which has largely been ignored by academic literature. The shared experience of the talleres literarios has formed Cuban cultural citizens who not only are invested in some of the core values of the revolutionary process, but who also have the tools and space with which to participate actively in the construction of meanings. In this way, Cuban cultural citizens formed within the talleres literarios benefit individually through gaining a sense of belonging to, and empowerment in, the literary world, whilst also contributing to the evolution of cubanía revolucionaria and the ongoing negotiation of revolutionary hegemony. The thesis follows the recent work on Cuban culture which rejects the liberal assumptions that the cultural and political spheres should not mix and that civil society and the state are two distinct and oppositional entities. Instead, it uses the conceptual framework of cultural citizenship, which is based on the theoretical premise that culture and politics are inseparable, in order to approach critically the talleres literarios as sites for cultural participation. It offers a detailed history of the movement, from its origins to the present day, as well as an evaluation of the shared experience of talleristas based on the voices of participants from different periods and levels of the movement. By focussing on an outcome of cultural democratisation, the thesis poses a challenge to conventional accounts of revolutionary cultural policy and literature. It argues that cultural policy should be viewed as a productive as well as regulatory force, because the talleres literarios have been instrumental in creating a broad and inclusive literary culture which emphasises dialogic communication and active, public participation. The cultural citizenship attainable in the talleres literarios has provided the initial phase in the literary education of many established writers, fostered personal relationships between them, and facilitated the circulation of diverse ideas. Finally, the notion of cultural citizenship also adds a further dimension to the already broad field of research on participation and political culture. This case study of the talleres literarios follows the approach to participation that views it not in terms of top-down control or achievement of consensus but as a process by which shared meanings are both reinforced and new ones created as society and state interact within institutional frameworks.

En el marco de los actuales debates sobre los cambios económicos, políticos y culturales producidos en España a raíz de la instauración democrática y la progresiva incorporación al proyecto de unificación de la Unión Europea, se ha ido poniendo de manifiesto la necesidad de indagar detalladarnente en los procesos de legitimación que conforman la construcción de identidades nacionales. En el caso de España uno de los principales focos de recientes estudios ha sido la discusión sobre las diferentes formas de continuidad y/o discontinuidad que se produjeron y/o se siguen produciendo en el paso de la dictadura a la democracia. Esta tesis se propone explorar esas continuidades y/o discontinuidades a través de su articulación en las variadas representaciones filmicas y literarias de la madre durante la democracia. La focalización en esta figura surge a raiz del repetido interés que hemos rastreado en los estudios de cine y de literatura de mujeres. Estos tienden a interpreter lo materna como personificación del pasado dictatorial, sin detenerse en las tensiones que pueden estar siendo articuladas por medio de esa figura ni en su relación con la construcción de nuevos discursos en democracia. Nuestro estudio ofrece, en primer lugar, una contextualización historico-psicoanalítica que sirva para enmarcar la discusion en relación al discurso franquista sobre la maternidad, a la importancia de la figura materna en la constitución de sujetos, conforme ha sido teorizada por el psicoanálisis, y a las imágenes de la maternidad proyectadas por la cultura occidental. Seguidamente, el aná1isis textual de las novelas y las peliculas elegidas está dividido en tres secciones, las cuales abordan, respectivamente: lo materna como amenaza, como marginal y como renovada heterodoxia. Consideramos que esas representaciones articulan las fricciones resultantes de: un intento de conjurar las conexiones entre el proyecto democrático y el régimen democrático, un oscurecimiento de las estrategias de exclusión y/o instrumentalización de diferencias de clase, región, etnia y género que operan en la legitimación de discursos democráticos, y una necesidad de entender y reinscribir el legado de la dictadura en formas no perpetuadoras de las narrativas hegemónicas.