Tesis doct.--Valladolid, 1986.

Texte remanié de: Dissertation--Mainz, 1986. / Bibliogr. p. 214-219.

Thesis (doctoral)--University of Zurich, 1999/2000--Cf. t.p. verso. / Includes three of Burgos' short novels: El perseguidor; La flor de la playa; and El brote. Includes bibliographical references.

Not available / text

Tesis doctoral ; fecha de lectura : 2006 ; Universidad de Burgos , Departamento de Ciencias de la Educación. Índices. / Recurso electrónico gratuito. Bibliografía.

Tesis (licenciatura)--Madrid, 1957.

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Supervisor: Joan A. Holladay. Vita. Includes bibliographical references.

This dissertation begins from the premise that indigenista narrative has always been considered by critics as literature produced in the Andean region by mostly Peruvian authors, and to a lesser extent, by those from Latin American countries with a significant indigenous population. My dissertation proposes that an expanded definition of the indigenous novel to include Argentine authors offers an exciting possibility for rearticulating the nature of this important movement of Latin American narrative fiction. It analyzes five major works written during the expansion of the indigenista movement (1920-1940) by authors born in different regions of Argentina. Moreover, while it has been widely held that the first neoindigenista novels were written by the two Peruvian masters of indigenismo, Ciro Alegría and José María Arguedas in 1941, this dissertation demonstrates that El salar, published in 1936 by Argentinian author Fausto Burgo actually deserves that distinction. The analytical frame for my work draws on the groundbreaking contributions of Antonio Cornejo Polar, Tomás Escajadillo and others in recasting its vision of indigenista narrative.

No description available.

<p>What does it mean in Spain to talk about national cuisine? This dissertation examines how three of Spain's most prominent intellectuals of the early twentieth century&mdash;Emilia Pardo Bazán, Carmen de Burgos, and Gregorio Marañón&mdash;confronted that question in their writing in cookbooks at a pivotal moment in Spain's history. Pardo Bazán, a feminist writer and novelist, authored two cookbooks, <italic>La cocina española antigua</italic> (1913) and <italic>La cocina española moderna</italic> (1914). Burgos, a teacher, newspaper columnist, and novelist, authored <italic>La cocina moderna</italic> (1906), <italic>¿Quiere usted comer bien?</italic> (1916), and <italic>Nueva cocina práctica</italic> (1925). Marañón, a physician and statesman as well as a writer, penned the prologue to Basque chef and restaurant-owner Nicolasa Pradera's 1933 cookbook <italic>La cocina de Nicolasa</italic>. These authors were active during a period that saw enormous changes in Spain's political structure and demographics, and in social and gender roles, and each of them engaged with the debates about Spain and the modern nation that consumed intellectual thinkers of the time. And yet each of these authors chose to write about cooking and food in a genre intended for the use of middle-class women in their homes.</p><p>Their writing in cookbooks, I posit, offered Pardo Bazán, Burgos, and Marañón the opportunity to address directly the middle-class female readers who stood at the nexus of their anxieties regarding Spain's modernization. These anxieties were generated by shifting social structures as women gained access to education and to paid employment outside of the home, and as a newly mobilizing working class threatened the social order through political and labor organization, as well as with violence and unrest. By teasing out the contradictions in their cookbook prologues, I show how these intellectuals use Spanish cuisine to promote a vision of Spain's modernization that corrects for the instabilities generated by those same modernization processes. </p><p>In Chapter One, I demonstrate how Pardo Bazán uses Spain's <italic>cocina antigua</italic>, catalogued in <italic>La cocina española antigua</italic> (1913), to "write the nation into existence" (Labanyi). By positioning cooking and cuisine in parallel to the dominant masculine nation-building discourses of the period, Pardo Bazán maps a role for her women readers, and for herself as a woman writer, in the task of building a modern Spanish nation. In Chapter Two, I focus on Pardo Bazán's second cookbook, <italic>La cocina española moderna</italic> (1914), and show how she uses Spain's modern cuisine to inculcate her female readers with the middle-class values that she believes will serve as a bulwark against the increasing unrest of the working class. In contrast to Pardo Bazán, who designates a conventional role for middle-class women in return for protection against the working class, Carmen de Burgos argues that there is no contradiction between women's domestic roles and having a public role and an intellectual life. Chapter Three analyzes how she uses a strategy of "double writing" (Zubiaurre) to show the importance of cuisine to the public sphere and to criticize the still extant obstacles to women's public activity. Chapter Four focuses on Gregorio Marañón's construction of Basque chef and restaurateur Nicolasa Pradera in his prologue to her cookbook. Marañón uses the prologue to promote a palatable version of Spain and its modernity to outsiders. Yet his version of Spain's modernity depends on reinscribing figures like Pradera into traditional, anti-modern gender and class roles. </p><p>At a moment in which the international media identify in Spanish cuisine "the new source of Europe's most exciting wine and food" (Lubow 1), this project historicizes the notion of "Spanish cuisine" at the center of Spanish haute cuisine. It also represents a foundational study in food cultural studies in Spain, offering a critical examination of cookbooks as a genre and as crucial texts in the <italic>oeuvres</italic> of Emilia Pardo Bazán, Carmen de Burgos, and Gregorio Marañón.</p> / Dissertation