<p> Este trabajo de tesis doctoral presenta una interpretaci&oacute;n del <i> arte nuevo</i> espa&ntilde;ol. Concretamente se enfoca en el estudio de la dial&eacute;ctica entre la <i>intenci&oacute;n cosmopolita</i> y el <i>sentimiento de pertenencia</i> en el marco cronol&oacute;gico que va desde 1918 (fin de la I Guerra Mundial) hasta 1936 (inicio de la Guerra Civil espa&ntilde;ola). Se advierte que en la articulaci&oacute;n de este di&aacute;logo el paisaje y el entorno local son elegidos para representar el <i>sentimiento de pertenencia.</i> El cosmopolitismo es interpretado culturalmente, y adem&aacute;s se propone la formaci&oacute;n de un <i> tercer espacio</i> transnacional para el encuentro de los intelectuales y artistas.</p><p> Estructuralmente este trabajo est&aacute; organizado en tres cap&iacute;tulos enfocados a literaturas locales diferentes: Castilla, Catalu&ntilde;a y Canarias. El primer cap&iacute;tulo estudia la literatura del <i>arte nuevo</i> que considera Castilla como centro cultural del Iberismo y del Hispanismo. Para ello se toma como fuente principal la revista <i>La Gaceta Literaria </i> (1927-1932) y su director, Ernesto Gim&eacute;nez Caballero. El segundo cap&iacute;tulo se centra en el estudio del <i>art nou</i> catal&aacute;n a partir fundamentalmente de la revista <i>L&rsquo;Amic de les Arts</i> (1926-1929), y los artistas pl&aacute;sticos Salvador Dal&iacute; y Joan Mir&oacute;. Finalmente, el &uacute;ltimo cap&iacute;tulo analiza el <i>arte nuevo</i> canario tomando como textos principales la revista Gaceta de Arte (1932-1936), y las obras <i>Lancelot 28&ordm;. 7&ordm;</i> (1929) de Agust&iacute;n Espinosa y El hombre en funci&oacute;n del paisaje (1930) y <i>L&iacute;quenes</i> (1928), de Pedro Garc&iacute;a Cabrera.</p><p>

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Associer Barbey d'Aurevilly à la décadence, l'idée n'est pas tout à fait nouvelle, quoiqu'elle ne soit pas très répandue. De plus, cette association de l'oeuvre aurevillyenne n'a pas été analysée en profondeur.Il semble bien que Champfleury ait été le premier à faire le lien entre Barbey et la décadence, et ce, dans son ereintement d'Une Vieille Maitresse, daté de novembre 1856: "Littérature de décadence, il est vrai, de piment, d'alchool (avec un h) [sic], littérature d'homme blasé qui a épuisé jusqu'à la dernière goutte toutes les re- cherches d'une ardente volupté, littérature bestiale de sang et de tigre, que pour l'honneur de M. d'Aurevilly, je veux bien croire une affectation, une sorte de dandysme.

This paper explores mythical and imaginary representations of America by Boris Vian and examines the personal and social context in which they were nurtured and produced. The purpose is to contribute to an understanding of the extent and nature of the transmission of cultural values and myths between the US and France in the period between 1930 and 1955, roughly corresponding to the most productive years of Vian's life. The central texts in this discussion are those in which the American influence is most strongly present: Vian's reviews of the jazz press, written for Jazz Hot over a period of 10 years, and his four pseudo-translations of American romans noirs published under the name Vernon Sullivan, especially J'irai cracher sur vos tombes. Background discussions include Vian's childhood in the Thirties, French opinion and the U.S., the importance of American expatriates and cultural imports like the New American Novel, cinema, black American writings, American influences in other mid-century French writing, and the war-time zazou movement. The evaluation of Vian's jazz criticism involves comparisons using critical texts from Vian's French and American contemporaries as well as new critical appreciations of recorded performances which would have influenced Vian. The readings of the Sullivan novels are accomplished through a comparative look at the hardboiled American school, specifically Raymond Chandler and James Cain, both writers explicitly acknowledged by Vian to have been major influences. The paper closes with an examination of the importance of myth in evaluating both the Vian production and its American antecedents.

The paradoxical principle I explore in the fiction of Dickens and O'Connor is perhaps best expressed this way: the archetype of the child reveals that isolation, smallness, and apparent insignificance can create connectedness, expansiveness, and meaning. The archetype surfaces in any character that suffers these first three fates, be it the solitary child or the seemingly insignificant, outcast adult (or "little man," in O'Connor's words). Central to the study is my suggestion that the small, often childlike narrative consciousness O'Connor describes as fundamental--even exclusive--to the short story can exist in the novel, as well. The "little man" of the short story, O'Connor writes, "impose(s) his image over that of the crucified Jesus" (The Lonely Voice 16). I believe that by looking at the way in which O'Connor characterizes the paradoxical rhythm of smallness and expansiveness, as well as the way that rhythm manifests itself mythologically, we can open up new avenues (through the small portal of the childlike figure) to larger works of fiction, as well. The fiction of Charles Dickens, which includes some of the most sprawling novels in all of literature, becomes illuminated in the context of the myth and the short story. Dickens's short installments (a feature of the literary tradition of nineteenth-century England); his oral, fireside narrative voice; and his extensive depiction of small and childlike characters all reveal the explosion of events in tiny but potent milieus.