Juan Marse is generally acknowledged to be one of Spain's leading writers, his work having achieved both critical acclaim and popular success. Despite this author's extensive use of references and allusion to, and quotations from, others' texts, previous research on Marse's novels has largely ignored the important role played by intertextuality in his work. This thesis explores Marse's use of others' texts in five of his later novels, viz. Ultimas tardes con Teresa (1965), La oscura historia de in prima Montse (1970), Si to diesen que cai (1973), La muchacha de las bragas de oro (1978) and Un dia volvere (1982). A general overview of theories of intertextuality is followed by a detailed discussion of Gerard Genette's theory of hypertextuality, as discussed in his work Palimpsestes: La litterature au second degre (1982). It is his theoretical model and terminology, together with insights from Linda Hutcheon's book, A Theory of Parody: The Teachings of Twentieth-Century Art Forms (1985), which inform the detailed analysis of Marse's novels which makes up the greater part of this thesis. This analysis focusses on Marse's extensive hypertextual use not only of literary texts but also of films, pictures, comic books and song lyrics. It also examines the ways in which Marse signals the presence of these borrowed texts to his readers and considers the connections in his work between metafiction and hypertextuality. It is argued in conclusion that hypertextual analysis of Marsd's later novels reveals hidden dimensions in the author's work not previously commented on in other critical studies of Marse's fiction.

Tomás Segovia and Angelina Muñiz Huberman belong to a group of writers known as «Hispanomexicanos». Most approaches to this generation have been towards the role that exile plays in their early work, paying almost no attention to its role after that initial stage. These approaches have been limited to the first years of their work, in the belief that those writers subsequently moved on to deal with issues which are different from those in which their experience of exile is clearly the central topic. However, through an analysis of the poetry of Muñiz and Segovia, this thesis aims to show that exile continues to play a central role beyond that first stage. It argues that their exile is transformed into a series of symbols that come to constitute a shared style and, more importantly, it proposes that their experience of exile is transformed into a feeling of existential displacement which impels a search for meaning and belonging to the world. Consequently, the conclusion presented in this thesis is that exile plays a central role in their poetry, in the sense that it expresses the ways in which these two writers search and transmit meaning and attempt to feel part of the world. Ultimately, this thesis aims to set an example of approach which could be productively taken to study the work of other writers from this generation.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished