This thesis examines the writings on music during the earlier phase of the Francisco Franco regime in Spain (1939-1951) in three groups of periodical publications: the daily press, music periodicals and magazines, and cultural and humanities periodicals with relevant music sections. Through the analysis of this material, the study attempts to assess the expression in musical criticism of ideological elements germane to early Francoism, thus exploring the connection between music and politics in an era to which Anglo-American musicologists have paid little attention so far. The study opens with an assessment of the journalistic and legal framework in which music critics developed their activity, as well as of the doctrinal role they were expected to conform to, and then moves on to explore three topics of particular relevance for the ideology of the regime: the problematic relationship of Francoist critics with modernism and modernity, the devotion to traditional (folk) music, and the revival of Spain's musical past. Each of these topics is contextualized by establishing parallels with certain aspects of the cultural outlook pursued by contemporary fascist regimes (Germany and Italy) and by pointing out lines of continuity with trends active in Spanish musicology and musical criticism before 1936. Finally, the last two chapters explore the application in musical criticism of these three topics to two particular processes: the appropriation of composer Manuel de Falla as a composer-laureate of the regime, and the discourses surrounding musical exchanges with foreign countries (the Axis until 1945, the Western Block afterwards) throughout the decade. The study is complemented by appendices which offer individual descriptions of the most relevant publications and biographical profiles of the critics studied in this thesis.

This thesis will examine the foreign press corps in Francoist Spain from 1945 until 1975. After the end of the Second World War, the Franco regime was internationally isolated as a result of its ties with Nazi Germany and Fascist Italy. However, the dictatorship returned to the international stage during the 1950s and managed to survive on the margins of the Cold War world order until the death of Franco in 1975. Throughout these 30 years and while never loosening its dictatorial control over Spain, the Franco regime continuously tried to improve its international position and image beyond mere toleration. Foreign correspondents were working at the centre of this balancing act. Against this backdrop, this thesis has two central aims. First, it will examine the regime’s policy towards the foreign press. The thesis will show that the Francoist authorities never fully accepted the foreign press corps’ work within Spain and tried to exercise control over the foreign press corps until the end of the regime. Throughout the regime’s internal and external development, however, the Francoist authorities adapted the means they employed. At the same time, conflicting interests and strategies within the Franco regime shaped its policy towards the foreign press. This thesis will further show that conflicts with correspondents partially had their roots in the importance of the foreign press, distributed within Spain, for the Spanish public in general and the political opposition in particular. Second, this thesis will examine the foreign press corps itself. The presence of correspondents in Spain reflected the international media interest and the Franco regime’s changing international perception. As this thesis will further show, the composition of the foreign press corps also reflected the right-wing dictatorship’s ideological orientation and changing foreign relations. Through the examination of the foreign press corps, this thesis will break new ground in the understanding of the Franco regime. It will do so based on archival research in Spain, Germany, France, and Great Britain as well as interviews with former correspondents. The thesis applies a mixed-method approach, combining concepts and methods from historical research and the social sciences. As such, it will also contribute from a methodological perspective to current research on foreign correspondence.

Après la victoire militaire du général Franco, le 1er avril 1939, s’instaure en Espagne une dictature militaire et ecclésiastique. Un « temps du silence » commence pour les vaincus de la guerre. À partir de 1945, cependant, la dictature surnage après la défaite des régimes qui avaient été ses modèles ; elle va traverser plusieurs étapes. L’époque médiane du franquisme (1945-1959) sera celle de la consolidation du régime, qui s’affiche désormais comme nationalcatholique.Dans le domaine photographique, les pratiques professionnelle et amateur vont se heurter à de sévères et nombreux interdits, et l’imagerie nationale sera celle du repli sur soi, du respect des conventions. La photographie espagnole sera adepte du franquisme ou sa vassale obligée ; ses avant-gardes seront balayées, les reportages, muselés, et les mouvements rétrogrades, comme le pictorialisme tardif, magnifiés. Une photographie qui ne donnera qu’une vision borgne de la réalité, tant les sujets traités obéissent à une certaine nostalgie de commande, aux reflets maniérés et académiques d’un passé révolu.Un élan de modernité et des minces filets d’air libre surgiront néanmoins de la province – où naîtront des associations d’amateurs – ainsi que de la vision des quelques photographes étrangers qui parcourent l’Espagne à cette époque. En interrogeant les usages et les pratiques, en scrutant l’esthétisme de ces images, nous tenterons de savoir dans quellemesure, de quelle manière et jusqu’à quel point les photographes espagnols et étrangers ont pu représenter la société espagnole de 1945 à 1959. Les uns, dans un discours de légitimation d’un pouvoir en place ; les autres, dans un esprit moderniste et humaniste / After General Franco’s victory on April 1st, 1939, a military and ecclesiastical dictatorship takes hold of Spain. A “time of silence” sets in for the vanquished of the war. After 1945, however, the dictatorship survives the demise of the political regimes it had modelled itself on and goes through several stages. Under the median period of Franquism (1945–1959), the regime, in a phase of consolidation, sets itself up as National-Catholic. In the realm of photography, both professional and amateur practices are up against harsh, manifold prohibitions, and the national imagery displays introversion and respect for conventions. Spanish photography proves the follower or mandatory vassal of Franquism; its avant-gardesare annihilated, its reports muzzled, while retrograde movements, such as late Pictorialism, are glorified. It conveys only a one-eyed vision of reality in that its subjects respond to a conventional nostalgia reflecting a bygone past in affected, academic fashion.However, a surge of modernity, as well as thin trickles of fresh air, emerges from the provinces –where amateur associations come into light– and from the vision of some foreign photographers then touring Spain. We will question common practices and scrutinize the esthetics of these images in order to find out how, to what extent and in what way theseSpanish and foreign photographers have managed to picture Spanish society between 1945 and 1959: some with a view to legitimizing the authorities in control, others in a modernist, humanist frame of mind

La présente étude porte sur l'expression de la mémoire féminine dans les fictions traitant de la guerre civile espagnole(1936-1939) et du franquisme. Elle s’intéresse plus particulièrement aux oeuvres publiées depuis la fin de la dictature (1975) jusqu’en 2010, en français (Agustin Gomez-Arcos et Mercedes Deambrosis) et en espagnol (Dulce Chacón, Carme Riera, Josefina Aldecoa, Jesús Ferrero, Marifé Santiago Bolaños et Ángeles Caso).Nous nous attachons d’abord à l’étude globale des représentations des expériences féminines de la guerre et de la répression. Dans l’écriture des violences subies comme dans celle des luttes et résistances, la double dimension politique et de genre émerge. L’analyse se resserre ensuite sur les représentations du traumatisme, entre manifestations pathologiques et tentatives de ritualisation. Nous montrons à cet égard comment le récit peut assumer une fonctionrituelle.La « poétique du traumatisme » mise au jour dans le corpus d’étude qualifie des réalisations formelles diverses, rassemblées en trois ensembles, correspondant à autant de lieux possibles d’ancrage du traumatisme : le rapport générationnel, le corps et la voix. Une attention spéciale est accordée à la figure de la victime. Des phénomènes tels que la répétition et la délinéarisation, apparaissant à divers niveaux du récit, éclairent le rapport que les fictions entretiennent avec le passé ainsi que leurs positions éthiques et politiques dans le présent de la démocratie / The current study explores the expression of women’s memory in literary works dealing with the Spanish Civil War (1936-1939) and Francoism. It focuses on the fictional narratives published between the end of the dictatorship (1975) and 2010, in French (Agustin Gomez-Arcos and Mercedes Deambrosis) and Spanish (Dulce Chacón Carme Riera, Josefina Aldecoa, Jesús Ferrero, Marifé Santiago Bolaños and Ángeles Caso).The thesis first conducts a global analysis on the representations of women’s experiences of war and repression. In thewriting of violence, struggle and resistance, the double political and gendered dimension emerges. The research focuses subsequently on the trauma representations, between pathological manifestations and ritual attempts, and shows how narrative can assume a ritual function.The « poetics of trauma » characterises various formal realisations, divided into three groups. Each of them embodies a possible space for the inscription of trauma : the generational link, the body and the voice. Special attention is given to the figure of the victim. Phenomena such as repetition and delinearisation, that appear at various levels, clarify the relationship that fictional narratives build with the past as well as their ethical and political positions in the democracy

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