Thesis (Ph. D.)--University of Texas at Austin, 2003. / Supervisor: Virginia Higginbotham. Vita. Includes bibliographical references. Also available from UMI.

Thèse complémentaire -- Toulouse.

No description available.

Thesis (Ph. D.)--Harvard University, 1997. / Includes bibliographical references (leaves 272-300).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1976. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Bibliography: leaves 223-230.

Since the 1940s, many works of Catalan literature have taken place in Cuba. While anthologies mention the genre, there has been as of yet no thorough examination of the importance of this trend. Starting with the long history of the relationship between Catalonia and Cuba, this dissertation employs a transatlantic approach to understanding the significance of the island to Catalan literature and identity. The Catalan protagonists, through their contact with Cuba, undergo change that is accompanied by a redefinition of both personal and national identity. The thesis is structured by various journeys from the Mediterranean to the Caribbean. In Por el cielo y mandamp;aacute;s allandamp;aacute; (2000), Carme Riera tells the story of a voyage which takes place in the late colonial period and in the early days of the Cuban fight for independence. Chapters from Gent del meu exili: inoblidables (1975) by Teresa Pamies and Records vells, histandamp;ograve;ries noves (1941) by Josep Maria Poblet personify the voices of Catalan Republican exile in Cuba. Habanera (1999) by Angeles Dalmau focuses on the overseas experience of a modern-day tourist. The methodology of this dissertation draws on literary geography, the study and interpretation of writers representations of physical space, and focuses particularly on the role that Cuba plays in redefining the protagonists of the works examined. Theories of historical memory and feminism, as well as concepts related to postcolonialism and cultural geography also contribute to the conclusion that the physical and cultural space of Cuba reshapes the identity of the fictional Catalans who encounter it.

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 284-298). Available also in a digital version from Dissertation Abstracts.

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In this thesis we have attempted to demonstrate that Noucentisme, as defined and propugnated by Eugeni d'Ors in the Glosari 1906-1910 is a continuation of the first Catalan Modernism. This theory has in great part been influenced by research on this subject compiled by the late Eduard Valentf, in his book, KL primer modernising Catalan y_ sus fundamen- tos ideol6gicos. We have, therefore, greatly relied on his generational and theological definition of Catalan Modernism, which we elaborate upon and sum up in the first two chapters. Owing to the extensive nature of Houcentisme, as of any literary movement, we have restricted our research to the work of its originator and theoretician, Eugeni d'Ors. In our thesis we have tried to point out that d'Ors reacted against the "fin de siecle" literary movements, which were a degenerate form of the original Catalan Modernist grouping, represented by L'Avenc.that was dispersed aflter 1893. In order to demonstrate that d'Ors absorbed, reorganized, and modified Catalan literary modernism, we have proceeded by closely examining the greater part of his work and ideology between 1900 and 1910, as well as most posterior writings concerning this period of. his development. In Chapter IV ye have studied his so-called modernist writings produced between 1900 and 1905, and collected in La muerte de Isidre Nonell seguida de otras arbitrariedades,'. From these we have determined the basic "modernist" ideas forwarded by d'Ors during those years. Between Chapter V and Chapter VII we have delineated the aesthetic and political ideology which d'Ors considers to be the basis of Noucentisme, and which was primitively contained in La muerte de Isidre Nonell seguida de otras arbitrariedades. In Chapter Till we have examined the direct relations between d'Ors theories and the modernist writers. The explicit formal relation between Modernism and Noucentisme is briefly discussed in the conclusion. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

This thesis examines the position of Barcelona’s Gran Teatre del Liceu within Barcelona’s cultural lanscapeas a means of exploring its modern-day role as one of Europe’s most important opera houses. Other studies of the Liceu have provided extensive historical narratives, but have rarely considered any kind of sociological or cultural theory when analysing the theatre’s role in the city. Chapter 1 explores the Liceu in Spanish and Catalan literature and dramaturgy and questions its role as a representative of upper-class Barcelona culture, and the changes this role has undergone over the course of Spain’s transition to democracy. The Liceu’s location in the adjacent Raval district is examined in Chapter 2: the area has undergone considerable physical and demographic changes over the last decades, and the opera house’s relationship to this area and the larger Barcelona context is discussed in some detail. The third chapter contextualises the Liceu within the wider Catalan cultural panorama and examines the impact of the recession in Spain, which has greatly affected cultural spending, and consequently the theatre’s programme. This problem has been aggravated by an awkward, opaque system of management; the thesis provides examples and analysis of the difficulties the theatre experienced between 2010 and 2013. The final chapter seeks to underline the efforts of the artistic direction to make the Liceu a referent of modern European operatic productions, with three case studies of stagings that represent modern interpretations of opera by contemporary Catalan directors. These works have been chosen as representative of the Liceu’s determined modernisation of the operatic spectacle and of its commitment to local artists. The thesis aims to present a more critical view of Barcelona’s opera house that goes beyond chronological narrative and anecdote in depicting the modern-day situation of the institution and its place in the Barcelona context.