This thesis examines the political and literary reception in Spain of the figure of Pedro Calderon de la Barca, Golden Age playwright, during the years comprising the start of the querella calderoniana until the end of the nineteenth century; a period dominated by the intellectual figure Marcelino Menendez Pelayo. The nineteenth century is characterized by widespread social, political, economic, religious and cultural change, as much as for the development of the intention, on the part of political ideologies in positions of power, to generate a concrete idea of the Nation; in short, a specific way of interpreting Spanish national identify. This changes and the process which followed the configuration of this idea of the nation are recorded in little studied and highly politicized print media of the time, as well as in various verbal polemics maintained over the course of the century. / The study of these has allowed me to demonstrate that the reception of Calderon has been strongly influenced by the presence and interaction of these aspects. As the century progresses, the figure of the playwright becomes increasingly identified with the ideals of the National identify established by political conservatives. / In the first chapter, I analyse what happened in this intellectual conflict contextualizing it ideologically in the calderonian polemics of the eighteenth century, and frame it within relevant events in the formation of national identity. / The next two chapters analyse the development of the querella calderoniana and the subsequent appropriation of Calderon, in one of the darkest moments for the written press in Spain, corresponding with Fernando VII's absolutist regime. This study has been achieved through close readings of various periodicals, literary and ideological discourses of this epoch. / The final chapter concentrates on the conservative appropriation of Calderon effectuated by Menendez Pelayo, one of the most important intellectual figures of nineteenth century in Spain, who attempted to integrate this appropriation with others preceding it. A brief section of conclusions summarizes the theses, followed by a selected bibliography.

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This study traces the current status of Spanish ethics as seen through the optics of historical memory. Starting from the Spanish Civil War in 1936, the thesis relates contemporary themes to their proposed origin throughout three additional distinctive eras of the 20th and 21st century in Spain: 1982-1996 (Socialist Spain), 1997-2010 (Post-modern Spain), and 2011-present (current Spain). Spanish narratives ranging from Los Abel by Matute, La magnitud de la tragedia by Monzó, "Fidelidad" of Ha dejado de llover by Barba and Las fosas de Franco by Silva are contextualized through their ethical architecture, in accordance with their socio-political context, and relationship to past historical traumas. This work proposes that the themes of anticlericalism, the pursuit of social equality, anti bureaucracy, and political distrust are trends culminating from Kohlberg's third level of morality. The thesis aims to be an exposition and legitimization of different ethical schemas that might otherwise be polarized as wrong and inferior by others.

Tras un trauma histórico, la memoria colectiva puede sufrir patologías similares a las de la memoria individual. Para tratar esta memoria herida, las sociedades – o los segmentos de estas aquejados de una memoria herida – deben iniciar un proceso de anamnesis para realizar un trabajo de duelo. Una de las manifestaciones de ese proceso anamnésico es la cultura de la memoria, de la que forma parte la “escritura de la memoria” en la que se inscriben Dulce Chacón y Marie-Célie Agnant.<p><p>Dulce Chacón desea recuperar la memoria de las vencidas en la Guerra Civil española, víctimas de la represión de la postguerra. En el caso de Marie-Célie Agnant, se trata de la voluntad de recuperar la memoria de las inmigrantes haitianas llegadas a Quebec huyendo de la represión del régimen duvalierista. Esta memoria herida remonta hasta la herida originaria de la esclavitud y rinde homenaje a las esclavas cimarronas. <p><p>En esta Tesis, proponemos un análisis comparativo desde una perspectiva transdisciplinar de la recuperación de la memoria en la obra de estas dos autoras.<p><p>L’objet de ce travail est l’étude comparée de l’œuvre de Dulce Chacón et de Marie-Célie Agnant sous l’angle de l’écriture de la mémoire. Bien que fondamentalement littéraire, cette étude est abordée sous un angle transdisciplinaire, puisqu’elle a recours à des outils psychanalytiques, sociologiques, philosophiques ou historiques.<p><p>L’écriture de la mémoire, dans laquelle s’inscrivent ces deux auteures, fait partie de façon active du procesus d’anamnèse collective. <p><p>Tout aussi bien Marie-Célie Agnant, écrivaine québécoise d’origine haïtienne, que Dulce Chacón, écrivaine espagnole, se positionnent en tant qu’écrivaines-témoin pour récupérer la mémoire blessée. Dans le cas d’Agnant, il s’agit de la mémoire de la migration, de la répresion du régime duvalieriste et, plus loin encore, de la mémoire de l’esclavage et du marronnage. Dans le cas de Chacón, il s’agit de la mémoire de la guerre civile espagnole et de la répresion franquiste de l’après-guerre. <p><p>À travers l’analyse de l’oeuvre littéraire de ces deux auteures issues de deux contextes différents, ainsi que du constat des caractéristiques communes, cette thèse doctorale propose une poétique de l’écriture de la mémoire basée sur une grille d’analyse qui comprendra des aspects contextuels, paratextuels et intratextuels au niveau discursif, sémantique et stylistique.<p><p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished