This doctoral thesis analyses the types of feminine identity represented in Adelaida Garcia Morales' works. It examines as well how these subjectivities are constituted and points out that this Spanish writer's narrative proposes alternative symbolic representations of Spanish women and new feminine identities who are not framed according to patriarchal standards. Furthermore, this study highlights how Garcia Morales' novels and short stories constitute what it has been labelled as "fiction of debate". That is, they represent different ideas and feminist concepts proposed by the two main Spanish feminist approaches: feminism of difference and feminism of equality. The texts analyzed in these theses provide a valuable channel of communication, and create a forum for both airing and debating the main concerns of Spanish women and issues at stake during the 80's and 90's. This study will follow a literary feminist approach, which focuses on the historical and social frameworks of Garcia Morales work's production as well as contextualizes her narrative with reference to the recent Spanish social and political history. Therefore, this study points out the dialectical relationship between texts and ideological structures, which allows an account of the interrelationships between literature and feminist politics.

The thesis looks at the patterns, tendencies, and tensions that characterise the Anglo-American critical reception of the three peninsular woman authors Merce Rodoreda, Esther Tusquets, and Rosa Montero, generally assigned a representative role as feminist writers in the field of gender-centred Hispanism. The study begins with the recognition that there has been an increase in the level of awareness as to certain recurrent mechanisms of academic Hispanism in America, as is proved by the recent burgeoning of studies with an avowed metacritical slant. My analysis partakes in this trend but integrates also translational analysis, with a view to showing the validity of translated texts as critical artefacts, informed by similar operations and leanings. Ultimately, my aim is to shed light on the often downplayed complexities characterising ideologically inflected instances of cultural reception and diffusion, of which the Anglo-American critical response to women-authored, contemporary narrative in Spain is a case in point.

In this dissertation I explore how the representation of space and self is articulated in the autofictional writing of the Colombian author Fernando Vallejo (Medellín, 1942), focusing on four texts: Los días azules (1985), El fuego secreto (1987), La Virgen de los sicarios (1994) and El desbarrancadero (2001). I particularly examine what textual strategies are used to convey this articulation, and what perceptions of space and self, as well as what conceptions of the city and the intellectual, inform these texts. Drawing on theory and criticism on autobiography and autofiction, I propose to read in Fernando Vallejo's writing a return of the author-subject -a return of the ‘real’- though that return is taken as an opportunity to explore, in a playful and ironic mode, the fictionality of the notions of subject and identity in the autobiographical text, and to examine the privileged role played by space in that exploration. On one hand, based on theoretical studies of the poetics of space, I seek to demonstrate that, since space is always relative to a point of view, to a certain position -physical, biographical and ideological-, its representation conveys more than just spatial meanings. I argue that as a product of the gaze of this fragmented subject, of this author who returns, -though not as a guarantor of the truth of what he writes-, space is not only signified, represented, but also functions as a signifying element, condensing cultural, aesthetic and ideological meanings; in sum, a world vision. On the other hand, I show that it is mainly in reference to past and present spaces that images of self, both ambiguous and multiple, are created in the texts. And these images, these self-figurations, which constitute individual creations as much as cultural and social products, reveal in Vallejo’s writing, not just a fictionalizing reconstruction of his personal past, but a critical reading of Colombia’s history, and what Vallejo sees as its disastrous present. In this sense, my contention is that, beyond referring to existing places outside the texts, through the use of proper names and with diverse degrees of mimetism, and thus creating the illusion of reality, or beyond acting as mere background, narrative space functions as a key element in the production of meaning in the texts by Fernando Vallejo examined here.

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The aim of this thesis is to offer a comparative analysis of the nineteenth-century translations of Don Quixote into English, which have received little critical attention to date. During this process I will focus on the issue of translating irony, in order to engage in the discussion regarding reader response to Don Quixote in England during the nineteenth century. This reader reception represents another area of research yet to be studied in any significant detail. This thesis will take the following structure: in the first chapter I will provide a background into the existing problems and working concepts as they have been researched so far. In the course of this I will look at the work of Allen (2008) in particular, as the critic who has provided the longest known, though by no means exhaustive, list of examples of irony identified in Don Quixote. This will be followed by a review of reader response along the centuries, beginning with the seventeenth and eighteenth and then an overview of the nineteenth. I will then engage in an analysis of specific examples of irony, using a representative sample taken from Allen’s selection. The conclusions this analysis will offer will shed further light on the importance of studying irony in Don Quixote, and also on how irony can be used as an explanation as to why so many translations of it were produced in such quick succession in the 1880s, after so long without any new versions. This research also considers the question of the transience of irony and the extent to which what constitutes irony changes over time, as reflected by a similar list of examples of irony compiled by Albert Calvert (1905). My analysis will also add further evidence to the two main debates surrounding critical opinion on Don Quixote in the nineteenth century; firstly, that Ormsby’s is justified in being regarded as the best translation of the three produced in that century, if not of all time, and secondly, the ongoing debate over whether or not Don Quixote was or should still have been regarded as a Romantic novel during the 1880s. By tracking trends and shifts in critical thinking down the centuries since Don Quixote first appeared at the start of the seventeenth century, my analysis will also offer some comment on the novel’s subsequent twentieth-century reception. Moreover, as the first study of all three of the nineteenth-century translations of Don Quixote into English, my conclusions make an important and original contribution to the emerging area of study into Cervantes in a transnational context.

S.B. Gershwin, I.C. Schick. / "October, 1978." Caption title. / Bibliography: leaf 6. / Supported by the National Science Foundation under Grant no. NSF/RANN APR76-12036

Despite the award of the Nobel Prize to Miguel Angel Asturias in 1967, he appears to have gone into decline with the rise of the nueva novela latinoamericana. Emir Rodrguez Monegal's influential but negative view in "Los dos Asturias" ignores several important points already raised by G.Yepes-Boscan's "Asturias, un pretexto del mito". Asturias' two major innovations are a functional incorporation of Latin American myth allied to audacious experimentation with language, and these are the acknowledged central features of the "new" novel. El Senor Presidente and Hombres de maz together prefigure all the varied manifestations of the nueva novela, an example of which is Asturias' own Mulata de tal.

The aim of this doctoral thesis is to show how the Jungian process of individuation — the psychological development of a unique individual — is depicted in the fairy tales of the twentieth-century Spanish writer, Carmen Martín Gaite. The three shorter tales — El castillo de las tres murallas, El pastel del diablo and Caperucita en Manhattan — are explored here along with the novel, La reina de las nieves. Individuation, as well as being the means by which an individual person develops, also implies a new way of relating between human beings. Jung described the outcome of individuation as ‘objective cognition’ which, this thesis argues, is equivalent to love and conscious relatedness between persons. Dreams play a crucial role in the individuation process — as they do in the work of Martín Gaite — guiding the dreamer on his/her journey. Dreams facilitate encounters with aspects of the personal and collective unconscious, which appear in symbolic form. The protagonist of the story by Martín Gaite which is closest to a traditional fairy tale (El castillo de las tres murallas) and the novel which takes a traditional tale as its reference point (La reina de las nieves) illustrate the importance of dreams in the development of the protagonists. At the heart of each of the other two tales — El pastel del diablo and Caperucita en Manhattan — is an imagined text which illustrates, in symbolic form, aspects of the individuation process. Connections have been made in Jungian thinking between individuation and the development of Christianity into a third age, the Age of the Holy Spirit, because of the major shift in consciousness (akin to the change which occurred 2000 years ago with the birth of Christ). Alongside the exploration of individuation in the fairy tales, this thesis also considers parallels with the Christian story and indications of its development or renewal.

The aim of this thesis is design and realization of automatic test bench for parameters analysis of airborn radio-communication system R-863. Firstly we have taken up principles of the analysis properties of the radio system R-863. Then we proposed test bench for parameters analysis. In the next step we realize and integrate the digital control panel into the test bench. In harmony with the previous steps we have made program and software for the automatic test bench. Finally we make the user manual, which is easy to use.

Le roman d’avant-garde espagnol a longtemps souffert d’un discrédit tenace en raison du préjugé de « déshumanisation » auquel il était systématiquement associé. Ce travail de thèse entend démontrer que, loin de donner congé à l’homme, le roman d’avant-garde est hanté par l’expression, la représentation et la mise en écriture du sujet, entendu comme une réalité à la fois romanesque ou actantielle, métaphysique ou existentielle, morale ou politique, dans ses rapports avec le monde qui l’entoure. Afin de rendre compte, au plus près des textes, de l’expression romanesque de l’avant-garde nous avons souhaité combiner une approche thématique ordonnée autour d’une problématique englobante, celle de l’expression du sujet aux prises avec la modernité, avec une perspective diachronique qui tienne compte des modulations et des variations dans le temps et selon les auteurs. Les deux premières parties réévaluent ainsi l’image et le mythe, longtemps incriminés comme facteurs de déréalisation et de déshumanisation, pour mettre à jour un processus de subjectivisation du monde par l’image et d’humanisation du mythe par sa réécriture féconde. « Sujet regardant » dans l’image, puis « sujet regardé » dans le mythe, l’homme est enfin envisagé comme « sujet agissant », engagé dans l’Histoire, dans une troisième partie qui s’attache à rendre compte des dernières évolutions historiques de l’avant-garde, lorsque celle-ci prend le tournant de la réhumanisation, dès l’orée des années 30. / The Spanish Avant-Garde Novel has long suffered from an ongoing disrepute because of the dehumanizing prejudice to which it was systematically associated. This work intends to show that far from being neglectful of man, the avant-garde novel is haunted by the expression, representation and writing of the individual subject, considered here as a plural reality - both novelistic and actantial, metaphysical and existential, moral and political – interconnected with the world. To reflect the novelistic expression of the Avant-Garde, with close textual reading, I have decided to combine a thematic approach, dealing with the individual subject facing modernity, with a diachronic perspective that takes account of modulations and variations in time and of the authors’ individual perspectives. The first two parts reassess Image and Myth, long implicated as factors of derealization and dehumanization, to reveal a process of subjectivization of the world through images and humanization of myths by their fertile rewriting. First considered as an « examining subject » through the displaying of images, then as an « examined subject » through myths, man is finally thought as an « acting subject » in the third part of this work which endeavours to report on and assess the last historical developments of the Avant-Garde, at the turning point of rehumanization in the early 1930s.