Tesis doct.--Universidad de Amsterdam, 2002. / Bibliogr. p. 185-199.

Universiẗat, Diss., 1999--Freiburg (Breisgau).

En este texto, el autor desarrolla la historia del neorrealismo italiano y el contexto histórico en el que se desenvolvió. De igual manera, se rastrea las características de su estética que supuso un momento de corte frente a las anteriores estéticas realistas. Frente al neorrealismo visto únicamente como crítica o crónica social, algunos críticos y filósofos como André Bazin y Gilles Deleuze relevaron sus aportes en la Historia del Cine tanto por las innovaciones en la puesta en escena como por ser el inicio de un cine que utilizó el tiempo cinematográfico en tanto elemento expresivo primordial. Fueron algunos directores provenientes de este movimiento, en la década del cincuenta, como Roberto Rossellini, Federico Fellini y Michelangelo Antonioni quienes hicieron el tránsito de una estética neorrealista al cine moderno, privilegiando al tiempo cinematográfico como una característica importante en el cine de autor de entonces, que Deleuze denominó como Imagen-tiempo. La vigencia de estos directores en el cine contemporáneo no es casual: marcaron un territorio que luego será emulado por jóvenes directores interesados en los efectos expresivos y poéticos del tiempo cinematográfico. Ese es el caso de varios de los directores mas interesantes de América Latina durante la primera década del año dos mil. Ese es el caso del cineasta argentino Lisandro Alonso. / The research focuses on the history of Italian neorealism and the historical context in which it developed. Similarly, it analyzes the characteristics of its aesthetics that implied a rupture with previous realistic aesthetics. Considering neorrealism only as a criticism or social chronicle, some critics and philosophers such as André Bazin and Gilles Deleuze, divulged its contributions in the History of Cinema both for its innovations in staging as for being the outset of a cinema that uses cinematographic time as a fundamental expressive element. Some of the directors of this movement in the decade of the fifties as Roberto Rossellini, Fellini and Michelangelo Antonioni started the movement from a neo-realistic aesthetic to modern cinema granting especial characteristic to cinematographic time in the author cinema of that time, which Deleuze labeled as the Time-Image. The authoritativeness of these directors in contemporary filmmaking is not fortuitous: they underline a territory that will be later imitate by young directors interested in the expressive and poetic effects of the cinematographic time. This is the case for some of the most interesting directors of Latin America during the first decade of the year 2000. This is the case of Argentinean director Lisandro Alonso. / Tesis

Informe de Seminario para optar al grado de Licenciado en Historia.

El tema de esta tesis es la relación entre Cervantes y Avellaneda en el plano paremiológico. El propósito del estudio es realizar un análisis contrastivo y diferencial entre el Quijote de Cervantes y el de Avellaneda en lo atinente al uso de refranes y sentencias. / The subjet of this thesis is the relationship betwen Cervantes and Avellaneda in the paremiological plane. The aim of this book is to make a contrastive analysis with proverbs and sentences used in the Quixote by Cervantes and by the other writer, Avellaneda.

The thesis analyses religious themes in the poetry of Dámaso Alonso and José María Valverde, who published their most famous collections of poems in the 1940s. First, it shortly presents the literary context and tradition of religious poetry in Spain in the years following the Civil War. The main part analyses religious motifs in the works of the two poets and compares their perspectives. The thesis focuses, in particular, on the theme of God (and his various aspects in the poems) and man and on their mutual relationship. It also explores the faith (and doubts) and the perspectives of life and death. The analysis aims at revealing two tendencies common for both authors: the inclination towards dialogism and thoughts associated with the Bible.

Le sculpteur français Juan de Juni (1507-1577) s’installa en Espagne au début du Siècle d’Or. Après quelques travaux au gré de son itinérance, il établit son atelier à Valladolid en 1540. L’artiste contribua à l’émergence de « l’École de Sculpture de Valladolid ». Il réalisa au total en Espagne une cinquantaine d’œuvres, principalement en bois polychrome, consacrées à la Passion du Christ et au culte marial. Précisément, notre travail de thèse consiste à ne pas restreindre son œuvre à la sphère artistique ibérique mais au contraire à montrer le caractère cosmopolite et la polyvalence stylistique du sculpteur ; pour cela, nous cherchons à faire la lumière sur son parcours de formation (1507-1533), depuis ses premières œuvres dans sa région natale jusqu’à son établissement à Valladolid / French sculptor Juan de Juni (1507-1577) settled in Spain at the beginning of the Golden Century. He sculpted a few works as his route took him until he reached Valladolid where he installed his workshop in 1540. The artist contributed to the emergence of the “Sculpture Academy of Valladolid”. He made fifty works in Spain in all, mostly in polychromatic wood, dedicated to the Passion of Christ and the cult of marriage. Our Ph-D study does not precisely consist in restricting his work to the Iberian artistic sphere but on the opposite in showing the cosmopolitan nature and stylistic versatility of the sculptor; in that aim we try to get right to the bottom of his career path (1507-1533), starting with his first works in his native region to his establishment in Valladolid

Ce travail porte sur les représentations féminines dans les nouvelles d’Alonso de Castillo Solórzano. Reflet de l’évolution d’un genre en vogue au XVIIe siècle en Espagne, les nouvelles étudiées sont caractérisées par l’extrême diversité et la complexité des images féminines. Cette étude propose ainsi de révéler les différents visages de la femme et leurs rôles inédits à travers une approche analytique des textes. À travers la perspective féminine, nous montrons que cet auteur privilégie constamment la variété, l’invention et l’admiratio. Son propos est avant tout de divertir et de captiver ses lecteurs.L’étude des représentations collectives et individuelles de l’existence féminine permet de souligner combien l’auteur affectionne les images féminines transgressives et de mettre en évidence l’espace d’autonomie et d’expression accordé aux héroïnes, par le biais d’une écriture spécifique. Sous sa plume, le schéma traditionnel régissant les rapports de domination et de pouvoir entre les hommes et les femmes se voit profondément bouleversé. Loin de revendiquer la cause des femmes ou de remettre en question l’ordre établi, les récits de Castillo Solórzano donnent néanmoins à voir le fléchissement des valeurs morales et les bouleversements qui ont marqué la société espagnole dite « décadente » de Philippe IV. / This thesis focuses on the representation of women in the short stories of Alonso de Castillo Solórzano. Mirroring the evolution of a genre popular in XVIIth century Spain, the short stories here under scrutiny are characterized by the extreme diversity and complexity of the female image. This study proposes to reveal the different faces of women and their new roles through an analytical approach to the text.Through the feminine perspective, we show that the author constantly favours variety, invention and admiratio. His aim is above all to entertain and charm his readers. The study of collective and individual representations of the female existence serves to underscore how much the author loves this transgressive feminine image, and to highlight the area of autonomy and expression granted to heroines, by means of a peculiar writing.Through his pen, the traditional framework governing the relations of domination and power between men and women is seen to be profoundly altered. Far from championing the feminine cause or questioning the established order, Castillo Solórzano's stories demonstrate, nevertheless, the decline in moral values and the upheaval which characterized the so-called « decadent » Spanish society of Philip IV.

Tesis para optar al grado de Doctor en Historia mención Historia de Chile

This dissertation focuses on Archbishop Alonso de Montúfar OP (ca. 1489-1572). It seeks to explore two decades of sixteenth century Mexican Church History mainly through the study of documents found in Spanish and Mexican archives. Born outside Granada in Southern Spain, just after the conquest from the Muslims, Alonso de Montúfar assumed teaching and leading positions within the Dominican order. After more than forty years as a friar, Montúfar was elected archbishop of Mexico and resided there from 1554 until his death eighteen years later. From the 1520s onwards, many missionaries went from Spain to Mexico in order to christianise the native inhabitants and to administer the church’s sacraments to them. Many of the missionaries were members of three mendicant orders: the Franciscans, the Dominicans, and the Augustinians. Alonso de Montúfar’s time as archbishop can be seen as a period of transition and a time that was filled with disputes on how the church in Mexico should be organised in the future. Montúfar wanted to strengthen the role of the bishops in the church organisation. He also wanted to improve the finances of the diocesan church and promote a large number of secular clerics to work in the Indian ministry. All this meant that he became involved in prolonged and very animated disputes with the friars, the members of the cathedral chapter, and the viceroy of Mexico. One chapter of this dissertation is devoted to a detailed study of Archbishop Montúfar’s role in the early cult of Our Lady of Guadalupe in Tepeyac, which today has become of the most important Marian devotions in the world.