Orientador: Antonio Roberto Esteves / Banca: Maria Dolores Aybar Ramirez / Banca: Silvia Inês Cárcaro de Arcuri / Banca: Magnolia Brasil Barbosa do Nascimento / Banca: Cátia Inês Negrão Berlini de Andrade / Resumo: Este estudo propõe-se a investigar, em uma perspectiva comparatista, como ocorre a releitura da história e a retomada da memória esquecida da Espanha franquista, por meio do discurso da ficção. Tendo como corpus os romances Galíndez (1990) e Autobiografía del general Franco (1992) do escritor Manuel Vázquez Montalbán, a pesquisa enfatiza o estudo da metaficção historiográfica e o papel de relevância destas obras, como modelo estético para outras narrativas que surgiriam, posteriormente, no campo da literatura espanhola e que também abordariam a temática da Guerra Civil e do franquismo. A tese indaga sobre como estas narrativas históricas se inserem no contexto de uma estética da Pós-Modernidade, sem, no entanto, deixar que a relativização da história amenize os horrores da violência, da repressão e do abuso de poder presentes nas ditaduras trujillista e franquista. Portanto, apesar destas narrativas de Manuel Vázquez Montalbán se construírem com os recursos estéticos característicos da metaficção historiográfica, como a metaficção, a paródia, o pastiche, a ironia, as relações intertextuais e a autorreflexividade, não abandonam o caráter de reivindicação por uma estética da ética e de uma história não oficial das ditaduras / Abstract: This study investigates, in a comparative perspective, the process of rereading history and reviving the forgotten memory of Francoist Spain by the fictional discourse. Based on the novels Galíndez (1990) and Autobiografía del general Franco (1992) by Manuel Vázquez Montalbán, this research highlights the study of the historiographic metafiction and the role played by these works as aesthetic models for other narratives which would later arise in the Spanish literature, and which would also address the subject of the Spanish Civil War and the Francoism. This study investigates how these historical narratives arise in the context of an aesthetics of Postmodernity, without, however, letting the relativization of history fade the horrors of violence, repression and abuse of power seen in Trujillo‟s and Franco‟s dictatorial governments. Therefore, although these narratives by Manuel Vázquez Montalbán incorporate the typical aesthetic resources of historiographic metafiction, such as metafiction, parody, pastiche, irony, intertextuality and self-reflexivity, they do not abandon the characteristic of claiming for an aesthetics of ethics and an unofficial history of the dictatorships / Doutor

Cette thèse souhaite reconstituer l’histoire du Nouveau Théâtre Espagnol, courant marginalisé de la scène en son temps, dans une double optique : celle de la diffusion —dans ses multiples aspects— et celle de la caractérisation éthique et esthétique. Incluant aussi les pièces censurées et inédites, l’étude propose de faire revivre un mouvement dramatique et scénique novateur qui s’est développé en Espagne pendant le franquisme tardif et le début de la Transition (1967-1978), artistiquement expérimental, culturellement anticonformiste, esthétiquement anti-conventionnel et politiquement antifranquiste. La recherche de nouvelles propositions et de solutions scéniques a provoqué l’apparition d’une néo-avant-garde à la fin de la dictature ; ces productions étaient impossibles à contenir dans les limites structurelles du théâtre commercial (œuvres classiques, comédies d’évasion), ni même dans celles des propositions du Réalisme contemporain. La transformation voulue de la scène dramatique passait par une prise de conscience progressive de groupe —marginalisé de diverses manières— ainsi que par la création de nouvelles formes non aristotéliciennes (parfois inspirées de l’avant-garde scénique européenne et américaine) et de nouveaux modes d’expressions fondés sur la création langagière, la provocation verbale, l’allégorie et le symbole. Ce travail propose une réflexion sur la dénomination et le concept même du Nouveau Théâtre Espagnol, sur son contexte socio-culturel et politique —décisifs pour son essor et son développement— et veut offrir une approche d’analyse stylistique afin de préciser les caractères définitoires du mouvement. / This Ph. D. thesis tries to reconstruct, under a double perspective, the history of the Spanish New Theatre, an artistic manifestation marginalised from the scenes on its times; the essay considers its extent –on multiple aspects– and its ethic and aesthetic characterisation. Including also censored and unpublished plays, this study intends to revive an innovative scenic and dramatic movement which developed in Spain during the late Francoism and the early Spanish Transition (1967-1978); it was artistically experimental, culturally non-conformist, aesthetically unconventional and politically anti-Francoist. The search for new scenic propositions and solutions provoked the appearance of a new avant-garde at the end of the dictatorship; its productions were incomprehensible within the structural limits of commercial theatre (classic drama, light comedies) or even contemporary Realism’s propositions. The transformation of the dramatic scene implied a progressive awareness of group –marginalised in many ways– and generated the creation of multiple non-Aristotelic forms (sometimes inspired in the European and American avant-gardes); it supposed also new modes of expression based on a creative language, verbal provocation and an extended use of allegory and symbol. These pages propose a reflection about the Spanish New Theatre’s name and very concept, on its socio-cultural and political context –capital for its birth and development– offering a stylistic analysis approach in order to specify the movement’s defining features.

Die vorliegende Arbeit liefert einen Beitrag zur Erforschung der institutionalisierten Zensur von literarischen Texten im Franquismus anhand der Untersuchung von Werken Ana María Matutes. Als repressives Instrument diente die Zensur der Kontrolle, dem Schutz vor ‚kritischen‘ Inhalten sowie der Propagierung, Durchsetzung und Konsolidierung des franquistischen Dogmas. Zensiert wurden ‚bedrohliche‘ Werke aufgrund ihres kommunikativen Gehalts, aber auch wegen der sie charakterisierenden materiellen Fixierung, konnte die ‚gefürchtete‘ Aussage ihre Wirkung doch an vielen Orten noch lange nach dem Moment ihrer Entstehung entfalten. Die originale unzensierte Textfassung vieler Werke ist deswegen für den Leser bis heute oft unzugänglich. Das gilt auch für das Œuvre Matutes, einer der bedeutendsten spanischen Autorinnen der zweiten Hälfte des 20. Jahrhunderts. Anhand der erhaltenen Zensurakten zu vier Romanen – „Los Abel“, „Luciérnagas“/„En esta tierra“, „Los hijos muertos“ und „La trampa“ – wird zunächst deren unterschiedliches ‚Schicksal‘ zwischen staatlicher Zensur und forcierter Selbstzensur rekonstruiert. Die daraus gewonnenen Erkenntnisse dienen als Ausgangsbasis für die literaturwissenschaftliche Analyse der individuellen Auswirkungen dieser Eingriffe auf inhaltlicher, struktureller, figürlicher und formal-stilistischer Ebene sowie zur Feststellung des Grads an ‚Co-Autorenschaft‘ der Zensoren, die die Texte im Hinblick auf ihre Konformität mit den etablierten moralischen, politischen und religiösen Normen rezipierten. Darüber hinaus werden Funktionsweise, Irrtümer und Grenzen der literarischen Kontrollinstanz anhand von vier weiteren Werken dargestellt, zu denen „Fiesta al Noroeste“, „Pequeño teatro“, „Los niños tontos“ und „Los soldados lloran de noche“ zählen. Auf diese Art und Weise kann ein umfassender Einblick in die Arbeits- und Funktionsweise der franquistischen Zensurbehörde innerhalb des machtstrukturellen Kontextes des Franco-Regimes gegeben werden. / This research paper contributes to the study of institutionalized censorship of literary texts under Francoism by examining the works of Ana María Matute. As a repressive instrument, censorship served to control, protect against 'critical' content and propagate, enforce and consolidate Francoist dogma. 'Threatening' works were censored because of their communicative content, but also because of the material fixation that characterized them, since the 'feared' statement could continue to have its effect long after the moment of its creation and in many places. The original uncensored text version of many works is therefore often inaccessible to readers even today. This also applies to the oeuvre of Matute, one of the most important Spanish authors of the second half of the 20th century. Using the surviving censorship files for four novels – “Los Abel”, “Luciérnagas”/“En esta tierra”, “Los hijos muertos” and “La trampa” - we first reconstruct their different 'fates' between state censorship and forced self-censorship. The insights gained from this serve as a starting point for the literary analysis of the individual effects of these interventions on the level of content, structure, characters and formal style, as well as for determining the degree of 'co-authorship' of the censors, who only received the texts with regard to their conformity with established moral, political and religious norms. In addition, the functioning, errors and limits of the literary control authority are presented on the basis of four other works, which include “Fiesta al Noroeste”, “Pequeño teatro”, “Los niños tontos” and “Los soldados lloran de noche”. In this way, a comprehensive insight can be given into the working and functioning of the censorship authority within the power structure context of the Franco regime.

Cette étude exhume la poésie créée dans les espaces carcéraux du premier franquisme, depuis l’occupation progressive de l’Espagne par le camp national, entre 1936 et 1939, jusqu’à la fin de la Seconde Guerre mondiale voire des années cinquante selon les incarcérations. Ce phénomène, souvent réduit en Espagne à deux figures héroïsées (Miguel Hernández et Marcos Ana), recouvre pourtant une multitude de cas, allant du poète emprisonné, dont les ambitions littéraires sont entravées, aux prisonniers de guerre ou politiques qui s’essayent au romance pour tuer le temps : au-delà de la valeur littéraire de l’œuvre, on s’intéresse à la poésie de témoignage autant qu’à la poésie lyrique, aux poèmes en prose et en vers, oraux ou écrits, à travers un corpus varié, tant sur le plan générationnel qu’idéologique, d’une soixantaine d’auteurs. José Luis Gallego (1913-1980) est un exemple paradigmatique, puisqu’il compose une vingtaine de recueils en prison de 1939 à 1942 puis de 1943 à 1960, dont seulement trois ont été publiés. Toute la géographie espagnole est concernée (notamment Madrid, l’île de Saint Simon ou les Canaries) et divers espaces carcéraux, dont des camps. Si certains symboles singularisent un auteur, la culture ou la situation espagnole, cette poésie carcérale relève globalement d’une poétique de la libération, visant à fuir l’espace-temps oppressant de l’enfermement, tout en évacuant les émotions douloureuses dans des moules métriques qui disent la contrainte, et en glissant occasionnellement une subversion entre les vers. On envisage également les processus de création et de diffusion de ces œuvres lyriques, l’enjeu de la collaboration avec le pouvoir dans les pages de l’hebdomadaire pénitentiaire Redención et le destin de vers confiés aux réseaux semi-clandestins ou exposés à un silence éditorial. À partir d’archives familiales et nationales, on analyse ces voix lyriques d’une résilience difficile, inédites ou méconnues, en tension entre l’enfermement dans l’intimisme de l’insilio et l’extériorisation subtile d'une dissidence réprimée. / This study sets out to uncover the poetry created in carceral spaces during early Francoism, from the progressive advancement of the Nationalist faction in Spain, between 1936 and 1939, to the end of the Second World War, up until the late fifties in some cases in line with the duration of imprisonment. This phenomenon, mainly reduced in Spain to the two heroicized figures of Miguel Hernández and Marcos Ana, nonetheless, involves a vast number of others, ranging from the jailed poet, whose literary ambitions are thwarted, to the prisoners of war or political prisoners who try their hand at romances to kill time. The focus of this study is not limited to the literary value of a poem, but also considers testimonial as well as lyrical poetry, prose poems and verse, both written and orally-transmitted. The corpus in question varies widely both in terms of generation and ideology and spans sixty authors. José Luis Gallego (1913-1980) is paradigmatic, since he composed around twenty collections of prison poems from 1939 to 1942 and then from 1943 to 1960, of which only three were published. The whole of Spanish geography is covered (especially Madrid, San Simón island and the Canaries) and several prison spaces, including prison camps. Even if certain symbols underline the specific circumstances of a particular author, specific cultural aspects or the Spanish situation on the whole, the prison poetry discussed here mainly derives from a poetics of liberation, whose goal is to leave behind the oppressive space-time of imprisonment. At the same time, the poetry acts as a release for painful emotions expressed and compressed into metrical moulds indicative of the constraint, occasionally letting slip subversive comments between the lines. In addition, the process of creation and diffusion of these lyrical works, the implications of collaborating with power in the pages of the prison weekly Redención and the destiny of those verses that were entrusted to semi-clandestine networks or met with editorial silence are examined. Taking family and national archives as the starting point, these lyrical voices of a difficult resilience, unpublished or unappreciated, in constant tension between being locked into the intimism of the insilio and the subtle exteriorization of a repressed dissidence. / Este estudio exhuma la poesía creada en los espacios carcelarios del primer franquismo, desde el avance progresivo en España del bando nacional, entre 1936 y 1939, hasta el final de la Segunda Guerra Mundial, incluso de los años cincuenta según los encarcelamientos. Este fenómeno, que suele reducirse en España a dos figuras heroizadas (Miguel Hernández y Marcos Ana), abarca sin embargo una multitud de casos, que van desde el poeta encarcelado, cuyas ambiciones literarias son obstaculizadas, hasta los prisioneros de guerra o políticos que se ejercitan escribiendo romances para matar el tiempo: más allá del valor literario de la obra, nos interesamos tanto por la poesía testimonial como por la poesía lírica, por los poemas en prosa o en verso, orales o escritos, a través de un corpus variado, tanto a nivel generacional como ideológico, de unos sesenta autores. José Luis Gallego (1913-1980) es un ejemplo paradigmático, ya que compone una veintena de poemarios en prisión de 1939 a 1942, y de 1943 a 1960, de los cuales solamente tres han sido publicados. Se aborda toda la geografía española (especialmente Madrid, la isla de San Simón o las Canarias), y diversos espacios carcelarios, como los campos. Si bien algunos símbolos singularizan a un autor, la cultura o la situación española, esta poesía carcelaria implica en general una poética de la liberación, que apunta a huir del espacio-tiempo opresivo del encierro a la vez que evacua las emociones dolorosas en unos moldes métricos que expresan la coerción, y desliza a veces una subversión entre los versos. Igualmente, contemplamos los procesos de creación y de difusión de estas obras líricas, la cuestión de la colaboración con el poder en las páginas del semanario penitenciario Redención y el destino de unos versos confiados a redes semiclandestinas o expuestas al silencio editorial. A partir de archivos familiares y nacionales, analizamos esas voces líricas de una resiliencia difícil, inéditas o desconocidas, en tensión entre el encierro en el intimismo del insilio y la exteriorización sutil de una disidencia reprimida.

Dans quelle mesure la bande dessinée peut-elle être un outil approprié dans le processus d’enseignement-apprentissage de l’espagnol comme langue étrangère ? À partir d’un panorama sur la réalité de la bande dessinée dans le cadre de l’enseignement et l’apprentissage des langues, j’ai développé les théories et les concepts nécessaires pour aller plus loin dans l’étude du fonctionnement de la bande dessinée et dans la réflexion sur la langue et sa didactique. J’ai mené une étude approfondie de cinq ouvrages représentatifs autour de la thématique « La bande dessinée et la mémoire iconoverbale du franquisme ». L’application d’une grille d’analyse didactique à partir d’un triple critère, médiagénique, linguistique et culturel a démontré l’intérêt d’une étude globale de la bande dessinée tenant compte de sa spécificité dans le cadre d’un programme de langue et de culture. La richesse éducative de ce médium ouvre la possibilité de rendre complémentaires l’enseignement linguistique et, transversalement, l’éducation artistique, littéraire, historique et culturelle ce qui enrichit indiscutablement le processus d’enseignement-apprentissage de l’espagnol langue étrangère. / To what extent can the comic be an appropriate tool in the learning and teaching process as a result of a holistic study that takes into account the specificity of the medium? Starting from an overview of the reality of the comic in the framework of the teaching and learning of Spanish as a foreign language, the study discusses the necessary theories and notions to deepen into the idea of the comic as an autonomous means of cultural expression and into the reflection on language and language teaching. The study analyses five representative works around a common theme: «The comic and the iconoverbal memory of Francoism». Through the elaboration and application of a data collection protocol which includes the triple dimension – mediagenic, linguistic and cultural the study concludes that, provided its specificity is taken into account and a holistic approach is adopted, this medium constitutes an appropriate resource in the teaching and learning of language and culture. The characteristics of the comic allows to teach and learn linguistic content and simultaneously cover interdisciplinary context related to art, literature, history and culture, which undoubtedly enriches the process of the learning and teaching of Spanish as a foreign language.

En la tesis doctoral La biopolítica en la España franquista, el autor ha analizado la configuración, desarrollos, objetivos y particularidades de la biopolítica desarrollada en España durante el régimen del General Franco, desde su instauración en 1939 hasta su final en 1975. Dicha exploración se ha basado en el análisis de toda una serie de dispositivos biopolíticos -disciplinarios y reguladores-, encargados fundamentalmente de hacer aumentar las fuerzas de la nación y de disminuir la capacidad contestataria de los individuos. Todo ello ha mostrado al tiempo las características de aquello que podríamos llamar la gubernamentalidad franquista, articulada en base a unas formas determinadas de conducción de conductas capaces de elaborar a su vez ciertos modelos de subjetividad que habrían conformado, no sin resistencias, al sujeto idiosincrásico de la España franquista: a saber, el homo patiens. / In my Ph.D The Biopolitics in the Spanish Francoism, I analyzed the configuration, developements and specific objectives of the biopolitics developed in Spain during the Franco Regime, since its inception in 1939 until its end in 1975. This exploration is based in the analysis of some biopolitics dispositives -disciplinary and regulatory-, that is primarly responsable to increase the strength of the nation and to decrease the non-conformist ability of individuals. The conclusion of this research also shows the features of the Francoism's guvernmentality, that are articulated on the basics of certain shapes of driving behavior that is able at the same time to create certain models of subjectivity with its resistentes, and to build a characteristic subjectivity of Franco's Spain: the homo patiens.

La tesi estudia la repressió a la universitat espanyola duta a terme pel règim encapçalat pel general Francisco Franco. Primer s'analitzen els esforços republicans per consolidar la democràcia a partir de l'educació, amb l'oposició de l'Església catòlica i les classes conservadores que veuen perillar el seu control i privilegis. La guerra civil converteix la violència verbal en física i es desencadena una contundent repressió que en el cas del funcionariat -i el professorat particularment es disfressa com a depuració professional. El mèrit acadèmic dóna pas al mèrit polític i s'inicia una purga política contra tot docent sospitós o no prou compromès. A diferència de la depuració republicana defensiva i respectuosa amb la legalitat, la franquista escapça l'escalafó amb contundents i generalitzades sancions -assassinats, cessaments, empresonaments, trasllats, inhabilitacions i jubilacions forçoses . A més, la ciència queda sotmesa a la ideologia nacional-catòlica i les vacants esdevenen botí de guerra pels addictes. / This work studies the repression suffered by the Spanish university during the first years of Franco's dictatorship. First of all, the efforts of the Republican government to consolidate the democracy from the bases of the education are analyzed, together with the opposition exerted by both the Spanish Catholic Church and the conservative class, who feared about the loss of power and privileges. The civil war transforms the oral violence into physical violence and triggers the burst of a fierce repression, which in the particular case of teachers, is dressed-up as a professional depuration. Political merits and a political purge against any suspicious professor -or even against professors that are not enough engaged with the new regimen substitute the excellence in the academic records. Contrary to the republican depuration, which was defensive and respectful with the legacy effective, the Francoist depuration beheads the university roster with general and merciless punishments -murders, dismisses, imprisonments, transfers and forced retirements . Moreover, science starts to be ruled by the national-catholic ideology and the available positions become booty for those who prove to be followers of the new regimen.

Le Congrès Eucharistique International est l’un des événements de masse les plus significatifs du catholicisme contemporain. À mi-chemin entre la modernité et la tradition, il s’agit d’un phénomène de mobilisation des fidèles comparable à des événements de masse laïcs, tels que l´Exposition Universelle, les congrès scientifiques et politiques, et même les Jeux Olympiques. Notre travail fait une étude comparative de deux des trois Congrès Internationaux qui ont eu lieu en Espagne (Madrid 1911 et Barcelone 1952). Ces assemblées catholiques sont un vaste et riche champ pour la recherche du point de vue des études transdisciplinaires, et en particulier de la perspective de l’histoire culturelle, car chaque célébration implique une convergence particulière d’intérêts multiples (religieux, politiques, économiques, spatiaux, symboliques, etc.). Tandis que pour la première partie de la thèse nous avons fait une contextualisation historique approfondie de chaque congrès (locale, nationale et internationale), pour la deuxième partie, nous avons opté pour une perspective comparative et diachronique autour de deux thématiques essentielles pour l´étude des faits religieux contemporains : catholicisme espagnol et modernité (chapitre 5), et catholicisme espagnol et espace urbain (chapitre 6). La perspective spatiale de notre sixième chapitre est très importante, car, dans le cadre espagnol, il n’existe à ce jour que très peu d’études approfondies sur la religion comme un facteur de transformation de la ville, et inversement, de la ville comme un élément de modernisation du catholicisme contemporain. / The International Eucharistic Congress is one of the most striking mega events organized by the Catholic Church in late modernity. Its hybrid nature (both traditional and modern, secular and spiritual), the fact that it has been celebrated since the end of the XIXth century in all five continents, and the imposing multitudes it gathers, make it an extraordinary object of study for the field of Religion and History. Despite its being mainly conservative in nature, its celebration has also allowed for restricted, but fundamental, religious innovation, gradually allowing the Church to creatively face the challenges of an increasingly less observant modern society. Spain has celebrated the IEC on three occasions: Madrid 1911, Barcelona 1952 and Seville 1993. Our work wishes to establish a rich comparison between the first two. We will first situate the 1911 and 1952 celebrations in their local, national and international historical contexts. Then, in the second part of our work, we will study both celebrations from a diachronic and thematic perspective, namely, the relation of Spanish Catholicism both to Modernity (to the emergence of mass culture and society) and to Urban Space. Taking a postsecular point of view, we will emphasize the fact that the place, role, meaning, and identity of religion in Spain have changed in tandem with modernity’s social, economic, political and cultural transformations. Ultimately, inspired by both by S. Juliá´s revision of the historical metanarrative that considered Spain as Modernity´s failure/“anomaly”, and by F. Montero´s call to develop a Cultural History of Spanish Catholicism, our study wishes to critically reevaluate the role that History has traditionally ascribed to Catholicism in Contemporary Spain.

Le présent travail se consacre à l’étude de la trilogie de l’écrivain espagnol Rafael Chirbes (1949-2015), constitué de La larga marcha, La caída de Madrid et Los viejos amigos, et à travers laquelle l’auteur retrace l’histoire récente de l’Espagne, depuis la guerre civile jusqu’au retour d’un régime démocratique, en passant par le franquisme. L’étude narrative de chacun des trois romans couplée à une approche collective permettra d’observer comment l’histoire des personnages finit par retracer celle de l’Espagne et celle de la génération désenchantée de l’auteur lui-même. / This work is dedicated to the study of the trilogy of the Spanish writer Rafael Chirbes (1949-2015), made uo of the Larga marcha, La caída de Madrid and Los viejos amigos, and through which the author recounts the recent history of Spain, since the civil war until the return of a democratic regime, via the Francoism period. The narrative study of each novels coupled with a collective approach will allow us to observe how the story of the characters ends up recounting Spain’s History as well as the story of the author’s disillusioned generation.

While it may be argued that aggression against women is part of a culture of violence deeply rooted in Spanish society, the gender-related violence that exists in today’s Spain is more specifically a legacy of Franco’s dictatorship (1939-1975). Franco’s Spain endorsed unequal gender relations, championed patriarchal dominance and power over women, and imposed models of hegemonic and authoritarian masculinities that internalized violence by rendering it a feature inseparable from manhood and virility. This dissertation provides a comprehensive analysis of masculinity and gender violence in Franco’s Spain, by analyzing the novel as the primary cultural vehicle of social criticism and political dissent against the new regime during a period (1939-1962) dominated by silence and censorship. The first part of this work defines and elucidates the concepts of masculinity and gender violence and the relationship between them. It also compares the significant social and cultural achievements of Spanish women during the Second Republic (1931-1939) with the reactionary curbing of those achievements during Francoism. The second part of this research presents a multidisciplinary analysis of masculinity and gender violence in three novels: Nada (1944) by Carmen Laforet, Juegos de manos (1954) by Juan Goytisolo and Tiempo de silencio (1962) by Luis Martin Santos. Through the literary representation of different models of masculinity and the psychological and social parameters that encourage and incite gender violence, these authors conceptualize and express their political ideology, as well as their symbolic interpretation of Francoist Spain.