Os Infortúnios trágicos da constante Florinda, de Gaspar Pires de Rebelo, foram publicados em 1625. Devido ao sucesso alcançado pelo texto, veio a público, em 1633, uma continuação intitulada Segunda parte da Constante Florinda, em que se trata dos infortúnios que teve Arnaldo buscando-a pelo mundo. A Constante Florinda (esse é o título pelo qual as duas partes da obra, em conjunto, ficaram conhecidas), muito lida nos séculos XVII e XVIII, foi praticamente esquecida nos séculos seguintes. Este nosso trabalho tem como objetivo analisar a referida obra, evidenciando os procedimentos retóricos e poéticos e os ensinamentos estóico-cristãos que constituem a narração e a doutrina da Constante Florinda. Tendo em vista tal propósito, o estudo, num primeiro momento, volta-se para os preceitos retóricos e poéticos que permitem pensar-se numa ars narrandi, ou seja, uma técnica de narrar que o narrador, como persona gnara, conhece e sabe empregar ao relatar os infortúnios trágicos de Florinda e Arnaldo. Se um dos ofícios dessa narração é ensinar algo para os leitores, já que estes devem ser movidos não apenas pelo deleite, mas também pelo proveito, nosso trabalho, num segundo momento, discute as lições das histórias narradas. Assim, o que buscamos demonstrar é que o proveito da narração dos infortúnios de Florinda e Arnaldo ecoa os ensinamentos da doutrina estóico-cristã dos séculos XVI e XVII, difundida por autores como Justo Lípsio e Francisco de Quevedo. Ressalta-se neste trabalho, por fim, o seu próprio artifício. Apenas no nosso estudo narração e doutrina podem ser separadas, pois no texto da Constante Florinda tudo se dá simultaneamente: a narração já é doutrina, e mostra aos leitores, com exempla estóicos, os caminhos (trágicos) do viver cristão. / Gaspar Pires de Rebelos Infortúnios trágicos da constante Florinda was published in 1625. Given its conspicuous success, a sequel, Segunda parte da Constante Florinda, em que se trata dos infortúnios que teve Arnaldo buscando-a pelo mundo, came out in 1633. Constante Florinda (this is the title both parts became known as), largely disseminated in the 17th and 18th centuries, was nonetheless virtually forgotten in the subsequent centuries. This dissertation intends to analyze the aforementioned work, so as to highlight not only rhetorical and poetic procedures, but also stoic-christian lessons which lie beneath both the narrative and the doctrine of Constante Florinda. Bearing this goal in mind, this study will first focus on rhetorical and poetic precepts which render it possible to think about the ars narrandi, that is to say, a narrative technique that the narrator (as persona gnara) deeply understands, thus being able to employ it when reporting the tragic misfortunes of Florinda and Arnaldo. If one of the purposes of this narration is to teach something to its readers, since the latter must be moved not only by delight, but also by profit, we also intend to adduce the lessons of the stories the narrator tells. Therefore, we mean to demonstrate that the profit from the narration of Florindas and Arnaldos misfortunes reflects 16th and 17th-century stoic-christian doctrine, profoundly advertised by authors such as Justus Lipsius and Francisco de Quevedo. Last but not least, our dissertation has it as an inherent intention to stress its artifice. Only in our study can narration and doctrine be set apart, since in Constante Florinda they emerge simultaneously: narration is also doctrine, and conveys the (tragic) paths, with stoic exempla, of christian life.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-07-28T13:29:30Z No. of bitstreams: 2 Dissertação - Raquel de Souza Machado - 2016.pdf: 18577103 bytes, checksum: 38c23e875dc8ca736715d9750a4347f0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-07-28T13:32:58Z (GMT) No. of bitstreams: 2 Dissertação - Raquel de Souza Machado - 2016.pdf: 18577103 bytes, checksum: 38c23e875dc8ca736715d9750a4347f0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-07-28T13:32:58Z (GMT). No. of bitstreams: 2 Dissertação - Raquel de Souza Machado - 2016.pdf: 18577103 bytes, checksum: 38c23e875dc8ca736715d9750a4347f0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-07-14 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / This Master's Thesis, entitled “The Sacred Art in Goiás: the recognition of the work of Veiga Valle and the other anonymous saint makers (1820-1940)”, presents the results of the field research and the literature review about the saint makers from the state of Goiás, Brazil, that remained under the shadow of José Joaquim da Veiga (1806-1874) during the 19th century and the beginning of the 20th century. Hence, the considered period of the artistic production starts in 1820 and ends in 1940. In spite of not including a secular historical study, this work deals with the biographies of the artists and their art works. Regarding the religious iconographic representations, only those that are relevant to the role of saint makers, related to the considered period, are analyzed. Basically, the text discuss the saint makers role as creators of either original or non-original art works that represent not only their own subjectiveness but also the collective spirit of their time. In addition, the aim is to determine the relations between history and art history in terms of saint makers art and to understand the language associated to the images and their potential for the comparative analyses of the works. Initially, the objective was to develop a comparative study between the works by Veiga Valle and his son Henrique Ernesto da Veiga Jardim (1849-1933). However, the conducted research revealed other saint makers from the state of Goiás that deserve recognition as well. Hence, the goal was slightly modified into the discoveries of their works, their location and the authorship corroborating documents. In the cities of Goiás, Pirenópolis, Goiânia, Jaraguá and Cuiabá, the empirical research and interviews were developed based on the methodology of the oral history. Among the most relevant saint makers from the state of Goiás, one can mention Antonio de Sá (1879- 1905) and Francisco Ignácio da Luz (1821-1878), both from the city of Pirenópolis, Henrique Ernesto Veiga Jardim and Sebastião da Silva Jesus, this one known as Sebastião Epifânio (1869-1937) from the city of Vilas Boas. In order to understand the sacred art in Goiás, it is important to define a group of images for the iconographic study, namely, the sculptures of God Boy, that were chosen not only due to their presence during religious celebrations, but also because they were made in significant numbers by Veiga Valle and the other studied saint makers. Only Francisco Ignácio has never carved or even there is no sign about such event. The aim of this research is to focus on some concepts related to the art history and to demonstrate the interpretation about the found discoveries, once the history itself shows distinct versions and seeks an approximation with the truth, the verisimilitude. Through the collection of documents and iconographic analysis, the research was conducted towards to reveal anonymous saint makers, to valorize their art works, a heritage of the cultural patrimony from the state of Goiás. Additionally, these sacred art works have great devotional meaning and nowadays they are also considered as artistic objects. Most of these works can be found in either private collections or even are exposed in museums and churches. / Nesta dissertação, intitulada “A imaginária religiosa de Goiás: o reconhecimento de Veiga Valle e o anonimato dos santeiros goianos (1820-1940)”, procuro divulgar os resultados da pesquisa de campo e bibliográfica sobre os santeiros goianos que ficaram à sombra de José Joaquim da Veiga Valle (1806-1874) no século XIX e início do século XX. O período dessa produção artística abrange de 1820 a 1940. Não apresento, contudo, um estudo histórico secular, e sim a biografia dos artistas e suas obras. O que pretendo é, por meio das fontes e imagens, analisar as representações iconográficas religiosas desse tempo histórico, no qual se destaca o papel dos artistas santeiros responsáveis por sua produção, interpretando-os como artistas criadores, originais ou não, que representaram a sua subjetividade ou o espírito da coletividade da época. Busco estabelecer as relações entre história e história da arte no que se refere à arte santeira e entendo ser necessária uma compreensão da linguagem imagética e seu potencial de leitura para uma análise comparativa entre as obras. O objetivo, a princípio, era realizar um estudo comparativo entre as obras de Veiga Valle e de seu filho Henrique Ernesto da Veiga Jardim (1849-1933). No entanto, no decorrer da pesquisa, descobri que havia outros santeiros goianos que mereciam ser reconhecidos, isto é, sair de sua condição de quase anonimato. O intuito passou a ser a descoberta dessas obras, buscar sua localização e algum documento que comprovasse a autoria. Nas cidades de Goiás, Pirenópolis, Goiânia, Jaraguá e Cuiabá, fiz a pesquisa empírica e as entrevistas, para as quais utilizei a metodologia da história oral. Entre os santeiros goianos destacados estão os pirenopolinos Antônio de Sá (1879-1905) e Francisco Ignácio da Luz (1821-1878); os vilaboenses Henrique Ernesto da Veiga Jardim e Sebastião da Silva de Jesus, este conhecido como Sebastião Epifânio (1869-1937). Para entender a imaginária religiosa em Goiás, considero pertinente a definição de um grupo de imagens para o estudo iconográfico: as esculturas do Menino Deus, que foram escolhidas por sua presença nas festas religiosas goianas e por terem sido realizadas, em boa quantidade, por Veiga Valle e, entre os santeiros estudados, somente o padre Francisco Ignácio não o esculpiu ou não se teve notícia a esse respeito. Nesta pesquisa, abordo alguns conceitos relacionados à história e à história da arte e interpreto o que foi encontrado, uma vez que a história apresenta versões e busca uma aproximação com a verdade, uma verossimilhança. Por meio de documentos e análise iconográfica, busco tirar alguns santeiros do anonimato, valorizar a sua arte, herança ao patrimônio cultural goiano, destacar que essa imaginária religiosa possui grande significado devocional e hoje é vista também como objeto artístico. Muitas dessas obras se encontram em acervos particulares ou estão expostas em museus e outras ainda estão em igrejas.

Esta tese examina o processo de implantação de jardins públicos no Brasil entre o final do século XIX e início do XX, buscando identificar soluções de aclimatação das matrizes paisagísticas estrangeiras ao contexto cultural, social e geográfico do país. O trabalho toma como objeto de estudo os jardins das cidades do Recife, Fortaleza e João Pessoa e os analisa a partir de quatro variáveis - seus nomes, usos, elementos naturais e equipamentos -, privilegiando fontes documentais, relatos de cronistas e memorialistas e levantamento in loco, em diálogo com a historiografia do paisagismo. Assim, a tese evidencia que o cultivo de jardins públicos no Brasil refletiu ritmos e modos diversos de interpretação dos conceitos e elementos formais dos jardins estrangeiros frente a circunstâncias locais, como preexistências arquitetônicas e urbanísticas; recursos naturais, materiais e tecnológicos; usos; aspectos climáticos e terminológicos. / This thesis examines the process of implantation of public gardens in Brazil between the The nineteenth and early twentieth centuries, seeking to identify solutions for acclimatization of Foreign landscape to the cultural, social and geographical context of the country. Work takes Study of the gardens of the cities of Recife, Fortaleza and João Pessoa, and analyzes the From four variables - their names, uses, natural elements and equipment - Privileging documentary sources, reports of chroniclers and memorialists and survey in loco, In dialogue with the historiography of landscaping. Thus, the thesis evidences that the cultivation of Public gardens in Brazil reflected different rhythms and modes of interpretation of concepts and Formal elements of foreign gardens in the face of local circumstances such as pre-existing Architectural and urban planning; Natural, material and technological resources; Uses; aspects Climatic and terminological.

Ce travail de recherche porte sur les comédies de magie qui succèdent à l’événement théâtral qu’a constitué La pata de cabra, de Juan de Grimaldi (1829) dans l’histoire de la scène espagnole. L’angle choisi est celui de l’histoire culturelle, dans le dessein d’éclairer le “faire spectaculaire” de ce genre aussi bien du point de vue esthétique et artistique que technique et budgétaire. Ce théâtre de l’enchantement est abondant et il fit recette, malgré les critiques acerbes dont il fut l’objet, mais il est aujourd’hui tombé dans l’oubli. Si la comédie de magie est un genre mineur en apparence, elle s’inscrit pourtant dans une longue tradition “néo-ritualiste” espagnole et européenne et elle a sans conteste influencé d’autres genres (dans l’exploitation de tous les moyens qu’offre la scène) qui jouissent d’une plus grande renommée qu’elle. L’enjeu de l’étude est d’analyser l’aspect performantiel de cet objet culturel, fabrique des avant-gardes scéniques en Espagne. La comédie de magie est envisagée en tant que niche de talents et phénomène culturel d’exception en matière de technique représentative (décors, costumes, machinerie et autres dispositifs). / La pata de cabra (1829) by Grimaldi was a turning point in the history of Spanish Magical Theater. My dissertation is enquiry into 19th and 20th-Century Post- Grimaldian enchanting comedies. I use a cultural historical approach to shed light on this genre’s specific search for a “spectacular dimension” and to examine it from an aesthetic and artistic point of view, as well as a technical and budgetary one. This Magical Theatre was very prolific and successful at the time (despite harsh critics), but it has largely been forgotten since. Although Magical Comedy seems to be a minor genre, it is nonetheless part of a long “neo-ritualistic” Spanish and European tradition and, because of its extensive optimization of on-stage possibilities, it has undoubtedly influenced more renowned genres. I discuss the performance aspect of this cultural object and I argue that it is a workshop for Spanish Avant-Garde theatre. I show how Magical Comedy fostered theatrical creativity among artists and I discuss to which extent this singular cultural phenomenon shaped specific representative techniques (scenery, costumes, machinery and other devices) in Spanish theatre.

Cette thèse propose une étude de la population féminine en territoire germanique d’environ 1555, date à laquelle est signée la Paix d’Augsbourg qui affirme la légitimité de la Réforme, à 1648, qui marque la fin de la Guerre de Trente Ans. Il s’agit de voir comment et pour quelles raisons les femmes, et en particulier leur corps, sont l’objet d’une disciplinarisation sociale qui abouti à une redéfinition et à une codification précise de la féminité à partir de la Réforme et de la confessionnalisation des sociétés. Cette thèse se concentre sur des ouvrages normatifs écrits par des théologiens, des pasteurs protestants et des prêtres jésuites abordant des thèmes aussi variées que l’éducation, le mariage, la maternité, le veuvage, ainsi que des textes législatifs touchant à tous les domaines de la vie quotidienne et des traités médicaux pour tenter de mettre au jour les mécanismes de ce phénomène de discipline du corps féminin en mettant en avant une perspective interconfessionnelle. Il s’agit de comprendre comment les gestes, le maintien, l’apparence et la sexualité ainsi que le langage sont contrôlés et maîtrisés pour former un habitus spécifique. Outre les normes que sous-tendent ces textes, certaines pratiques qui entourent le corps féminin sont étudiées à partir de lettres, mémoires et procès-verbaux. Ce travail propose donc de croiser les perspectives d’histoire sociale et d’histoire des femmes, d’histoire culturelle et d’anthropologie historique tout en effectuant une comparaison interconfessionnelle. / This thesis is about the female population of the Holy Roman Empire from about 1555, when the Peace of Augsburg, confirming the legitimacy of the Reformation was signed, until 1648, at the end of the Thirty Years’ War. The purpose of this work is to see how and why women, and particularly their bodies, were targeted by social discipline, and how it generated a redefinition and a precise codification of femininity in the age of Reformation and the confessionalization of societies. This thesis focuses on normative books written by theologians, protestant ministers and Jesuits, dealing with diverse subjects like education, marriage, maternity and widowhood. Laws and decrees about daily life have also been analysed, just like medical treaties revealing the mechanisms of the female body discipline in an interconfessional perspective. It shows how gestures, attitudes, appearance, sexuality and language were controlled in order to define a specific habitus. Beside the norms spread in the different documents under scrutiny, some practices related to the female body have been studied from letters, memoirs and statements of offence. This work crosses perspectives of social history, women and cultural history, as well as historical anthropology with an interconfessional comparison.

Notre recherche utilise comme source les enluminures des manuscrits de la littérature profane produites aux XIVe et XVe siècles dans les ateliers de France. Elle s’intéresse plus particulièrement aux représentations des êtres étranges qui foisonnent dans la littérature du Moyen âge, qu’elle soit proprement médiévale, le roman arthurien par exemple, ou qu’elle tire son inspiration de l’Antiquité pour les contes mythologiques ou les récits de voyage. Ces personnages s’ils appartiennent à des catégories diverses, comportent un degré d’humanité et d’imaginaire très variable, et mettent en évidence toute l’ambivalence de la nature humaine. Au travers de l’analyse d’un corpus extensif de ces images, nous souhaitons poser la question de la figuration du corps dès lors qu’il sort des normes : normes de mensuration (les géants et les nains), normes morphologiques (anomalies de parties du corps), hybridations et métamorphoses. Que représentent dans l’imaginaire médiéval ces êtres qui transgressent les règles par leur apparence et par l’ambiguïté de leur rapport au règne animal ?Notre recherche s’appuie nécessairement sur les textes des manuscrits et le rapport à l’image, en raison de leur évidente relation de réciprocité. Elle s’appuie également sur les conditions de production des enluminures et le public auquel elles s’adressent. Par cette approche nous tentons de repérer les fonctions de ces images de l’altérité, ainsi que leurs évolutions significatives ou les impasses auxquelles elles peuvent aboutir dans les modes de figuration, tout au long de la période étudiée. / Our research is based on the illumination of manuscripts from the secular literature produced in French workshops in the fourteenth and fifteenth centuries. It focuses more precisely on the representation of strange beings, which abound in literature in the Middle Ages, whether it is strictly medieval like the Arthurian novel for example, or whether it derives its inspiration from Antiquity in mythological tales or travel stories. Although these characters belong to different categories, they present a very variable degree of humanity and fantasy and point out all the ambivalence of the human nature. Through the analysis of an extensive corpus of those pictures, we wish to raise the question of the figuration of the body from the moment it differs from the norm : norms of size (giants and dwarves), morphological norms (abnormal parts of the body), hybridizations and metamorphoses. What do these beings that transgress rules by their appearance and by the ambiguity of their relation to the animal kingdom represent in the medieval cultural imagination?Our research is necessarily based on the texts of the manuscripts and the relation to the picture on account of their obvious relation of reciprocity. It also based on the conditions of production of illuminations and on the people they were addressed to. By this socio-cultural approach, we try to determine the functions of those pictures of alterity as well as their significant evolutions or the stalemates they can reach in the figurative modes, all along the period under study.

Manifestation extérieure des secrets mouvements de l’âme, l’émotion possède un caractère universel, mais les sociétés fondent pour partie leur cohérence sur des pratiques communes de l’affectivité qui peuvent l’emporter sur cette expérience individuelle. Le prince, dont le corps et le geste concentrent les regards, n’échappe pas aux injonctions d’un habitus idéal dans lequel les émotions jouent un rôle essentiel, entre valorisation et transgression. Cette étude a l’ambition de montrer en quoi celles-ci sont convoquées en renfort de la communication politique. L’espace des Pays-Bas bourguignons des deux derniers siècles du Moyen Âge a été retenu, et l’on a voulu délimiter le contexte culturel à l’origine d’un discours de l’émotion pour le gouvernant, en retenant un corpus de sources diversifié. Une réflexion préalable sur la dimension protéiforme du corps et sur le portrait émotionnel du prince idéal permet de mettre en évidence une affectivité et une expressivité particulières pour celui-ci. Ces caractères sont des préalables pour l’usage privilégié de la colère, omniprésente dans les sources, dont la représentation sert l’exercice de la justice mais peut également conduire à des passages à l’acte préjudiciables pour la dignité et la majesté. Entre la joie des manifestations festives et les souffrances qui semblent consubstantielles à l’exercice du pouvoir, les auteurs esquissent un portrait du prince d’émotion bourguignon difficilement réductible à nos catégories modernes, ce dont rend bien compte la polysémie des larmes. Au-delà des stratégies narratives, il est cependant possible de proposer des pistes pour élucider la nature des émotions proposées ainsi que leur insertion dans un discours global sur le pouvoir. / As an outward manifestation of the soul’s secret moves, emotion has a universal dimension. However, societies establish part of their consistency upon a common practice of feelings which may override individual experience. The ruler, whose body and gesture are the centre of every attention, cannot elude injunctions of an ideal habitus in which emotions play a substantial part, between promotion and transgression. This study emphasizes the extent to which emotions support political communication. The Burgundian Low Countries in the Late Middle Ages have been examined, and the cultural context in which emotion as a ruling practice emerged has been outlined, thanks to a diversified corpus of sources. In a first part, the study of the body’s protean dimension reveals that the ruler’s ideal image embodies specific feelings and expressiveness. These characteristics prelude to a privileged use of an omnipresent anger in sources, to which the exercise of power and justice owe more than a little. Yet, this emotion is also likely to drive the ruler to a detrimental acting out for his dignity and majesty. Between joy demonstrated in the context of a culture of feasts, and pain which seems to be consubstantial to power, emerges the portrait of the emotional prince of Burgundy which can not be outlined with modern categories of language, as shown by the ambiguity of tears. Beyond narrative strategies, it is yet possible to propose some perspectives of interpretation to elucidate the nature of proposed emotions and the way they may be integrated in a general ideology of power.

Orientador: Leandro Karnal / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-18T12:56:23Z (GMT). No. of bitstreams: 1 Tatsch_FlaviaGalli_D.pdf: 40321222 bytes, checksum: cb66576be2b3a95a377510525367def0 (MD5) Previous issue date: 2011 / Resumo: Este estudo apresenta uma reflexão sobre a construção da imagem visual da América nos séculos XV e XVI. O reconhecimento do potencial cognitivo da gravura como documento e a percepção do conjunto de relações que perpassam cada uma delas foram fatores importantes ao longo da pesquisa. Procurava-se entender de que forma as estampas eram o resultado de aspectos discursivos, da absorção das informações etnográficas e das operações de tradução e lugar de enunciação do Outro. Para isto, dividimos esta tese em três capítulos. O primeiro se ocupa da reflexão sobre a diversidade das imagens e das perguntas que podem ser feitas a elas, assim como a contribuição de alguns autores para essa discussão. O segundo capítulo trata das xilogravuras impressas para acompanhar as cartas sobre de Cristóvão Colombo e Américo Vespúcio. Entremeadas à escrita, não necessariamente pretendiam representar a realidade americana, mas traduzi-la em ilustrações compreensíveis ao público. O terceiro capítulo analisa dois momentos específicos: a construção de uma imagem a partir de estereótipos aliados à representação de objetos descontextualizados de seu uso original; e a personificação da América em alegorias. A conclusão diz respeito às sucessivas camadas que moldaram gradualmente a imagem visual da América e os significados diversos que dela emanavam / Abstract: This study presents a reflection on the construction of the visual image of America in the fifteenth and sixteenth centuries. The recognition of the cognitive potential of images as documents and the perception of the set of relationships that permeate each one of them were important factors during the research. The aim was to understand in which way the prints became the result of discursive aspects of the absorption of ethnographic reports and operations of translation and loci of enunciation of the Other. To accmplish this, we divide this, this thesis was divided into three chapters. The first one addresses reflections about the diversity of the images and questionings that could arise to them, as well as the contributions of several authors to this discussion. The second chapter deals with the woodcuts that accompany the printed letters by Christopher Columbus and Amerigo Vespucci. Interspersed in the writing, they did not necessarily intend to represent the American reality, but translate it into illustrations understandable to the public. The third chapter discusses two specific moments: the construction of an image from stereotypes associated with the representation of objects detached from their original context of use, and the personification of America in allegories. The conclusion refers to the successive layers that gradually shaped the visual image of America and the different meanings thereby conveyed / Doutorado / Historia Cultural / Doutor em História

Alejandro López Andrada, poète, romancier et essayiste appartenant à la « génération des fils » comme la nomme Juan Vila, retrace le passé perdu ou en voie de disparition de son Andalousie natale. Sa prose se démarque par son caractère élégiaque et en dépit de la diversité générique qui caractérise ses œuvres, celles-ci ont en commun l’expression d’un sentiment nostalgique. Cette étude s’attache à présenter, en premier lieu, la voix narrative qui s’exprime dans le corpus choisi ainsi que la subjectivité qui la définit, puis, dans un second temps, les modes d’expression de cette nostalgie à travers l’exaltation de l’enfance dans laquelle s’inscrit la représentation de la terre natale andalouse. Enfin, la dernière partie de ce travail est consacrée à l’humanisme chrétien qui se dégage des textes, lesquels traduisent ainsi la foi personnelle de l’auteur. Celle-ci se manifeste notamment par l’expression de l’amour de l’Autre, de la revendication de valeurs et modes de vie renvoyant à nouveau à la période de l’enfance de l’auteur et par le poids important du religieux dans l’ensemble de son œuvre. / Alejandro Lopez Andrada, a poet, novelist and essayist from the "generation of sons" as Juan Vila calls it, traces the lost or disappearing past of his native Andalusia.His prose is notable for its elegiac character and despite the generic diversity that characterises his works, they all express a feeling of nostalgia.This study aims to present, in the first instance, the narrative voice that is expressed in the chosen corpus as well as the subjectivity that defines it, and, secondly, the expression of this nostalgia through the exaltation of childhood, in which the representation of the Andalusian homeland is enshrined. Finally, the last part of this work is devoted to the Christian humanism that emerges from the texts, which reflect the author's own personal faith. This particularly manifests itself in the expression of love of the Other, in the demand for the values and way of life which hark back to the author's childhood and by the weight given to the importance of religion in all his work.

L’esclavage noir en Amérique espagnole des XVIe et XVIIe siècles à travers les documents juridiques. Dans le cadre de ce travail, nous avons traité dans un premier temps la question des différentes justifications de l’esclavage depuis l’Antiquité jusqu’à l’Époque moderne par les théories aristotéliciennes de l’esclavage par nature, les écrits bibliques ainsi que la question raciale telle qu'elle pouvait être perçue à l'époque. La condamnation officielle de l'esclavage des autochtones américains finalement prononcée par les autorités espagnoles va laisser toutes la place au trafic des esclaves d'origine africaine même si le gros des transactions sera laissé aux marchands portugais qui se lancent dans un commerce à grande échelle qui va durer plus de trois siècles. Dans ce contexte, on analyse comment l’homme noir devient « l’autre » depuis le moment de sa capture et de sa vente en Afrique puis durant sa captivité et durant la traversée avant sa revente en Amérique, comment la personnalité ainsi que le droit naturel à la liberté et se gouverner lui-même lui sont ôtées et niées. Il subit une privation générale de ses droits qu’ils soient naturels ou positifs. Par conséquent, l’esclavage commence par un processus de plusieurs phases de transitions brutales jusqu’à son arrivée en Amérique espagnole.Les traductions et transcriptions de documents authentiques et inédits glanés dans les différents dépôts d'archives nous ont permis de composer un corpus de lois de l’esclavage noir le plus exhaustif possible. Son étude approfondie nous permet de dégager des tendances et observer la complexité du monde colonial. En effet, l’Amérique espagnole des XVIe et XVIIe siècle est un monde violent où la personnalité de l’homme noir est saisie presque uniquement à travers la brutalité, notamment le port d’arme, l’ivresse, les vols, les regroupements dans la rue de jour ou de nuit et les fuites qui le mènent à créer des palenques durablement installés dans les montagnes, ce qui provoque l’inquiétude grandissante chez les Espagnols, en peine pour canaliser cette caste noir et mulâtre toujours plus nombreuse en particulier dans les pôles urbains. Ainsi, il est intéressant de montrer quelles sont les relations qu’entretiennent les différents groupes en présence. Les relations sociales en particulier entre Indiens et Noirs sont d’une dureté inattendue même si parfois des élans de solidarités contre l’ennemi commun apparaissent. Grâce au rôle d’intermédiaires entre leur maître et les Indiens, les Noirs dans un sentiment nouveau de supériorité numérique, s’assimilent aux Espagnols et commettent de nombreux abus et mauvais traitements à l’égard des natifs par mimétisme et phénomène compensatoire. Ainsi que nous proposons à travers l’étude de différents documents juridiques, on ne peut lire ce monde de manière manichéenne où la place de chacun n’est pas figée mais plutôt en perpétuel mouvement est composé d’Espagnols oisifs, de Noirs qui s’enfuient pour échapper à leur maître, d’Espagnols qui les aident en leur fournissant des denrées alimentaires pour survivre, d’autres Noirs qui essaient d’occuper des postes assez haut placés réservés aux Blancs, d’autres encore qui devenus affranchis sont faits soldats par les autorités pour assurer la protection des villes portuaires de l’empire, des relations entre Noirs et Indiens tour à tour conflictuelles et solidaires, des mulâtres de plus en plus nombreux. On notera que dans de rares cas, esclaves ou maîtres font preuve de solidarité, d’empathie et de compassion envers autrui. / In this work, we first dealt with the question of the different justifications of slavery from Antiquity to the Early Modern Age through Aristotelian theories of slavery by nature, biblical writings and the racial question as it could be perceived at the time. The processes that lead to the use of Blacks as labour and leading to large-scale slave trade and the different areas of work in which they are employed have been described. In this context, we analyse how the black man becomes "the other" from the moment of his capture and sale in Africa, then during his captivity and the crossing before his resale in America, how the personality as well as the natural right to freedom and to govern himself are taken away and denied. He is subjected to a general deprivation of his rights, whether natural or positive. Therefore, slavery begins with a process of several phases of brutal transitions until it arrives in Spanish Colonial America.The translations and transcriptions of authentic and unpublished documents gleaned from the various archives have enabled us to compile a body of laws on black slavery that is as exhaustive as possible. Its in-depth study allows us to identify trends and observe the complexity of the colonial world. Indeed, Spanish America of the 16th and 17th centuries was a violent world where the personality of the black man was seized almost exclusively through brutality, including the carrying of weapons, drunkenness, robberies, street gatherings during the day or at night and the fleeing that led him to create palenques permanently installed in the mountains, which caused growing concern among the Spanish, struggling to channel this black and mulatto caste ever more numerous, especially in urban centres. Thus, it is interesting to show the relationships between the different groups involved. Social relations, particularly between Indians and Blacks, were unexpectedly harsh, even if sometimes there were surges of solidarity against the common enemy. Thanks to the role of intermediaries between their master and the Indians, Blacks, in a new sense of numerical superiority, assimilated to the Spanish and committed numerous abuses and illtreatment of the natives by mimicry and compensatory phenomena. As we propose through the study of different legal documents, we cannot read this world in a Manichean way where everyone's place is not fixed but rather in perpetual movement is composed of idle Spaniards, Blacks who flee to escape their master, Spaniards who help them by providing them with food to survive, other blacks who tried to occupy fairly high-ranking positions reserved for whites, others who became liberated were made soldiers by the authorities to ensure the protection of the empire's port cities, relations between blacks and Indians, alternating between conflict and solidarity, and an ever-increasing number of mulattoes. It should be noted that in rare cases, slaves or masters show solidarity, empathy and compassion towards others.