Univ., Diss.--Oxford, 2001. / Published in association with The European Humanities Research Centre.

Thesis (Ph. D.)--University of Oregon, 2008. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 194-206). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

Thesis (doctoral)--Freie Universität, Berlin, 2009. / Includes bibliographical references.

Thesis (Ph. D.)--Florida State University, 2006. / Advisor: José Gomariz, Florida State University, College of Arts and Sciences, Dept. of Modern Languages and Linguistics. Title and description from dissertation home page (viewed June 8, 2006). Document formatted into pages; contains vi, 75 pages. Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

No description available.

Le présent travail de recherche se propose d’étudier comment se décline le concept d’entre-deux dans El Pasajero de Cristóbal Suárez de Figueroa, en prenant pour point de départ l’épineuse question de l’appartenance générique de cette œuvre. La première partie de cette étude définit les influences diverses dont s’abreuve le texte. Par-delà l’inspiration italienne, le texte plonge ses racines dans un substrat folklorique hispanique réaffirmant ainsi la prégnance du concept d’entre-deux dans la prose figuéroène. Ce dernier se manifeste, en effet, dès le paratexte puisque le titre complet de l’œuvre, El Pasajero, advertencias utilísimas a la vida humana doit être lu comme une invitation à une pratique étendue de la transtextualité, une invitation que viennent confirmer les dires du meneur de l’interaction. La porosité des frontières entre réalité et fiction tend à ériger le texte en laboratoire d’expérimentation littéraire et en lieu de passage vers de nouvelles formules littéraires, aspect auquel est consacrée la deuxième partie de cette étude. Le traitement de l’espace et du temps mais aussi celui des personnages sont autant de points qui attestent de la fonction déterminante que joue le concept d’entre-deux dans la genèse de l’œuvre figuéroène. Celle-ci oscille perpétuellement entre tradition et innovation littéraires. Enfin la dernière partie de cette étude montre comment au-delà d’une certaine bigarrure, l’entre-deux confère aussi au texte figuéroen une cohérence et une homogénéité en devenant un élément structurant, à l’instar du discours sur le mérite qui sous-tend l’œuvre. Autrement dit, l’entre-deux, chez Figueroa, devient une stratégie d’écriture qui passe par différents mécanismes de glissements qui confirment la nature profondément hybride de El Pasajero. / The purpose of this PhD thesis is to study the in-betweenness concept in Cristóbal Suárez de Figueroa's El Pasajero in all its forms and will first deal with the thorny issue raised by the generic identity of the work. The first part of this study aims to define the different influences pervading the text. Besides being Italian-inspired, the text is deeply rooted in the Hispanic folk substrate, which thus testifies to the prevalence of the in-betweenness concept in Figueroa's prose. Indeed, the concept emerges as soon as one reads the paratext, for the full title of the work, El Pasajero, advertencias utilísimas a la vida humana, has to be construed as an invitation to indulge in extensive transtextual practices, as confirmed by the words of the character who presides over interaction. The porous frontiers between reality and fiction tend to transform the text into a laboratory where literary forms are experimented on and a place of exchanges leading to new literary patterns, which are the focus of attention in the second part of the study. The treatment of space and time and characterization all contribute to underlining the key role played by the in-betweenness concept in the genesis of Figueroa's work. The latter keeps wavering between literary tradition and innovation. Finally, the last part of the study shows that beyond the colourful patchwork, in-betweenness gives consistency and homogeneity to Figueroa's text by becoming a structuring principle, like the discourse on merit inscribed in the work. In other words, in Figueroa's work, in-betweenness is the cornerstone of a writing strategy based on different slippage mechanisms that account for the profoundly hybrid nature of El Pasajero.

The genre of the "picaresque" (romances of roguery), which were popular in sixteenth-century Spain, contain the literary type of the "picaro" or rogue, which can appear at times as a "student." The current work presents the historical context of the Spanish university and of the student's life as well as the representation of the "student" in several picaresque novels, namely, Mateo Aleman's El Guzman de Alfarache, Vicente Espinel's Marcos de Obregâon, Jerâonimo de Alcalâa y Yâanez's El donoso hablador, and Francisco de Quevedo's El Buscâon, in order to contrast the social reality of the student and its literary representation. The literary character of the "student" does not depart only from its reality. Its characteristics are based on the student stories from the oral medieval tradition, a residual cultural elements, as described by Maxime Chevalier, as well as the emerging picaresque narratives. / by Javier Fernândez del Pâramo. / Abstract in Engllsh. / Thesis (M.A.)--Florida Atlantic University, 2008. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2008. Mode of access: World Wide Web.

Originally presented as the author's thesis, Columbia University. / Includes bibliographical references (p. 246-249).

This dissertation studies the use of the epic genre to legitimize totalitarian power. It focuses on the writings of a group of Dominican authors who worked at the service of the dictator Rafael Leonidas Trujillo. Most specialists of the period agree that the wealth of texts produced by these men of letters articulated an ideological system that allowed General Trujillo's brutal regime to remain in power for three decades (1930-1961). Their governmental positions, as well as their prestige as writers and orators, granted them unrestricted access to the public school system and to the means of mass communication. They used this access to promote their notions of national identity, while naturalizing Trujillo's totalitarian power by building consensus in favor of what came to be known as "The New Fatherland." Their work in this respect was so effective that almost fifty years after the fall of the dictatorship their ideas about what it meant to be Dominican still plays a significant role in the anti-Haitian sentiment that fills the editorial pages of Dominican newspapers. These Trujillista authors and public servants, however, did not constitute a homogeneous front. An underlying current of texts produced by some them effectively departed from the main tenets of the official ideology, questioning the basic assumptions upon which lay its definition of dominicanidad. However, far from generating a unified discourse, they expressed divergent views on the Dominican racial and national identity. This fissure in the inner circle of power took the shape of a struggle between two generic forms in the field of cultural production. Whereas the dominant discourse followed the linear structure of the "epic of the victors," identifying the Dominican identity with Spanish culture and the Catholic faith, the oppositional texts incorporated the digressive form of an "epic of the vanquished," highlighting the contributions of the African diaspora to the emergence of a Caribbean consciousness. / text