L’objectif premier de cette recherche était de mettre en évidence, à partir des concepts de genèse et processus d’écriture, les poétiques, les réflexions créatives et les tendances esthétiques sous-jacentes aux travaux de Gabriel Aresti, Joseba Sarrionandia, Ramon Saizarbitoria et Bernardo Atxaga. La critique génétique prétend étudier les processus d’écriture-lecture et de réécriture-relecture, le processus d’écriture se trouvant au centre de ce courant de recherche : « l’objet étudié ne sera pas le texte produit, mais la production du texte » (Grésillon, 1985). Le texte étant le résultat de différents choix au cours de son développement, −« le texte, en principe, est un choix de texte » (Bellemin-Nöel, 1997)-, nous avons étudié les différentes phases de création du texte et les modifications provenant des variantes de la construction textuelle. En somme, par la relecture et la réinterprétation du parcours littéraire d’Aresti, Saizarbitoria, Atxaga et Sarrionandia, nous avons tenté, à travers le recueil des différents témoignages écrits, de présenter leur évolution, avec curiosité et minutie. Nous avons analysé la rédaction de nouvelles, de pièces de théâtre et de romans chez Aresti, pour suivre l’évolution de ses textes. De même, l’observation de nouvelles et poèmes de Sarrionandia nous a permis de mettre en évidence sa tendance à réécrire de façon récurrente ses nouvelles et ses poèmes pour des rééditions ou des éditions actualisées et de détailler l’évolution textuelle de ses nouvelles et poèmes. Au troisième chapitre, nous avons établi les dossiers génétiques des auteurs objets de l’étude. D’une part, nous avons analysé l’évolution et le développement de la narration de Ramon Saizarbitoria, par l’étude d’Egunero hasten delako. Une édition génétique plus complète de l’œuvre publiée pour la première fois en 1969 et réécrite et rééditée en 2007a révélé le processus de création sous-jacent à cette réécriture, par une étude approfondie des avant-textes, constitués de manuscrits, de tapuscrits et de témoignages des différentes périodes d’écriture. Puis, au quatrième chapitre, nous avons analysé avec précision l’importance des relectures et réécritures dans l’œuvre de Bernardo Atxaga, à partir de réécritures dans certains de ses travaux publiés. Puis, nous avons étudié les autres avant-textes que nous avons pu nous procurer. Cela nous a permis de démontrer que les réécritures et les reformulations ont toujours revêtu une importance capitale dans le processus créatif de l’auteur, dès ses débuts. / The chief concern of this study is to highlight the poetics, reflections on the creative process and aesthetics under Gabriel Aresti's, Joseba Sarrionandia's, Ramon Saizarbitoria's and Bernardo Atxaga's writings in the light of concepts such as genesis and writing process. Genetic criticism takes the writing-reading and the rewriting-rereading process as its object of analysis. This field doesn't focus on the final text, but rather on the writing process, “the object of anaysis is not the produced text but the production of the text” (Grésillon 1985). With this approach, genetic critics want to study the creative process by which the work came to be, analysing and interpreting all of its writing stages. In order to carry out this reasearch, I have studied some selected author's published texts and avant-textes. The avant-text, “would be the reconstruction of the testimonies prior to the final text, analysed by a critical method” (Bellemin-Nöel 1977). This is the selected Basque author's corpus which has been studied: In Aresti's case, I have supplied documentary evidence of the evolution of his novel Mundu munduan, published in 1925 and based on the play Oilarganeko etxola batean. As I have found some significant rewriting traces in it, I also have referred to the author's other plays, short stories and letters. I have paid close attention to the constant re-reading and re-writing practice in Joseba Sarrionandia's short stories and poems. The writer changes and reconstructs his texts in new printed editions. I have also analysed the evolution of Saizarbitoria's narrative work, focusing on the writing stages of his novel Egunero hasten delako. Although it was first published in 1969, I presented not only his rewritten and republished version in 2007 but also drafts, sketches and manuscripts which lead to this work. As far as Atxaga is concerned, rewriting has been important in his work. I have compared his writings as well as analysed his avant-textes. Finally, I have drawn some conclusions and enclosed the avant-textes used for the analysis of the works.

The succeeding chapters of this present investigation seek to establish a classification of stylistic devices employed by Valle-Inclan in the four Sonatas, with emphasis, not only upon imagery, but equally upon the author's use of regional and natural phenomena, supernatural elements, the arousing of human emotions through sensory appeal, and finally, upon purely rhetorical patterns and organizational elements.

L'objecte d'estudi d'aquesta tesi doctoral són els llibres I, II, IX I X d'una de les obres més conegudes de Ramon Llull, el "Llibre de meravelles", dedicats respectivament a Déu, als àngels, al paradís i a l'infern. Aquest treball fa part d'un projecte més ampli, la finalitat del qual és establir el text crític de la novel·la per a les "NEORL" i estudiar tots els llibres per grups temàtics per tal de completar un buit bibliogràfic evident, especialment significatiu en el cas dels llibres IX i X i per tal de descriure els elements que conformen i determinen la "literatura alternativa" del Beat. Aquesta tesi, doncs, presenta el text crític i l'anàlisi dels quatre llibres estrictament teològics de la novel·la i aquestes són, justament, les dues parts en què es divideix aquest treball.Pel que fa a l'edició crítica, cal recordar que, tot i la popularitat de l'obra i les diverses edicions efectuades, no existeix pròpiament una edició crítica del text català medieval segons els criteris filològics científics. Per aquesta raó, l'edició que es presenta tot seguit se centra exclusivament en la tradició catalana (dotze manuscrits entre els set medievals i els cinc de moderns), ja que s'ha preferit, davant la manca de referents concrets, d'establir amb seguretat l'stemma dels testimonis catalans i, en acabat, completar els resultats amb l'estudi de la resta de testimonis romànics segons els criteris de les NEORL. Un cop completat els procés d'estudi de la tradició manuscrita catalana, es va decidir de canviar el manuscrit base que tradicionalment s'havia editat (cf. 2.5). En definitiva, en aquesta primera part, s'ofereix una descripció esquemàtica dels manuscrits catalans de la novel·la, la recensio, l'stemma i, finalment, el text crític. La segona part de la tesi consisteix en l'anàlisi de la disposició de la novel·la i dels continguts, bàsicament des del punt de vista teològic i des del punt de vista literari. Pel que fa a l'anàlisi doctrinal, s'han aïllat els desplegaments artístics que determinen a priori l'estructura de tot el llibre, que han permet concloure que l'Art és el fonament doctrinal inserit harmònicament en l'estructura i en la trama de la novel·la. Els principis artístics que determinen l'obra són poc nombrosos. En els llibres I, II, IX i X pràcticament es podria dir que es limiten a una desena, com a molt, però s'ofereixen en contextos diversos, sense simplificar, en correspondència amb les qüestions i problemàtiques tractades per Llull habitualment en els seus tractats i en funció de les revisions metodològiques desenvolupades durant el període de transició entre les Arts quaternàries i les ternàries. Pel que fa a l'anàlisi literària, s'ha intentat demostrar que el fil argumental de la novel·la, que dóna cohesió i unitat al text, és justament la descripció del procés d'aprenentatge de Fèlix, cosa que permet la centralitat de l'Art tant des del cantó doctrinal com del cantó literari d'una manera natural. D'una altra banda, s'han aïllat diverses estructures (escenes, diàleg, procés d'aprenentatge) que demostren la rigorositat i la intencionalitat de la disposició dels continguts. Finalment, s'han enumerat els exemples dels quatre llibres i s'han analitzat i contextualitzat (quan s'ha pogut) individualment. En conclusió, s'ha intentat descriure i justificar que la "literatura alternativa" del Doctor Il·luminat parteix de l'Art i de la possibilitat de projectar la metodologia retòricament i moral. El Llibre de meravelles, amb elements enciclopèdics, dels romans cavallerescos o dels textos sapiencials, ofereix als seus lectors potencials un text atractiu, ple de referències, que manté la seriositat i la rigorositat exigida per la superlativitat dels temes tractats; i ho fa amb uns instruments discursius que parteixen de l'Art per arribar plenament al coneixement i a l'amor de Déu. / The first part of the thesis consists in the critical edition of the books I, II, IX and X of the "Llibre de meravelles" (1287-1289) de Ramon Llull (1232-1316). The second part of the thesis consists in the study of literary and philosophical aspects of the book. We have studied the philosophical and artistic context. Also we have studied the structure of the contents (dialogue, learning, scenes, etc.). We have studied the "exempla" from books I, II, IX and X. Llull uses these "exempla" for didactic purposes, making use of certain stylistic constants. The "exempla" of these books provide a good idea of Llull's concept of literature, the formal structure of the novel, the definition of the narrative roles of the characters, and, finally, of the presence of Art in this novel.

Ramon Fernandez, un des plus eminents critiques francais de l’ entre-deux-guerres, revient a l’actualite apres une eclipse de trente-cinq ans. Et en meme temps revient le souvenir d’une carriere commencee avec eclat sous le signe de l’humanisme de la personnalite et terminee prematurement par la mort au moment ou s’effondrait autour de Fernandez le nouvel ordre europeen dont il etait devenu un des principaux porte-paroles. Comment expliquer la trajectoire qui le mena du socialisme au fascisme, de l’extreme-gauche en 1934 a la Collaboration en 1940? Pourquoi le decalage, sensible a ses contemporains, entre la promesse de l’oeuvre et l'apparent echec de l'homme? D'aucuns en ont cherche la clef dans le conflit d'heritages spirituels ou dans le sentiment de declassement social d'un homme ne d'une mere franc;aise d'origine bourgeoise et d'un aristocrate mexicain. Et qui pour comble de difficulte se sentait different de sa generation pour ne pas avoir fait la guerre de 1914-1918. Nous croyons que les racines du drame sont ailleurs, dans le bouleversement subi par un enfant accidentellement prive de son pere a l’age de onze ans, traumatisme qui rencontrant dans le psychisme les traces du fantasme parricidaire, devint le mobile profond de sa vocation. Dans la premiere partie de notre these, nous ex ami nons les faits de la jeunesse de Fernandez et les traits de sa personnalite a la lumiere des concepts psychanalytiques. Dans la deuxieme partie, nous montrons comment les themes, I 'organisation et le langage de sa pensee prennent leur sens dans des idees inconscientes se referant a la mort du pere, problematique que Fernandez essaya d'explorer imaginativement dans ses romans, auxquels nous consacrons la section suivante. Nous montrons enfin comment ses ouvrages critiques successifs reposent sur une identification de caractere paternel avec l'auteur qui evolue selon des modalites psychiques.

Thesis--Catholic University of America. / Bibliography: p. 169-178.

Made available in DSpace on 2016-08-29T14:12:00Z (GMT). No. of bitstreams: 1 tese_3986_Tatyana_Nunes_Lemos.pdf: 1199779 bytes, checksum: 4a078a5403a73f306c825a873025fa10 (MD5) Previous issue date: 2010-04-30 / No século XIII, os muçulmanos ainda eram um grande problema para a Cristandade. Com o fracasso das Cruzadas passagium generale para os medievais surgiram novas propostas para o confronto com o Islã, entre elas o uso da pregação. Nesse período, as controvérsias públicas eram habituais, tanto no Cristianismo quanto no Islamismo. As ordens mendicantes eram uma grande força nesse tipo de debate. Em Maiorca, um pensador também se ocupou desse problema, Ramon Llull (1232-1316). O catalão criou um novo método apologético baseado em sua Arte para ele revelada diretamente por Deus. Mesmo defendendo a pregação como principal forma para se conseguir a conversão dos muçulmanos, Llull não abdicou do uso da força. Reformulou o conceito de Cruzada, colocando-a a serviço das missões, sem, contudo, abdicar da coação. O maiorquino desenvolveu suas idéias em variadas obras. Analisaremos alguns de seus poemas fontes ainda inexploradas pelos principais historiadores para o assunto em questão para entender como Llull construiu seu projeto apologético.

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This doctoral dissertation examines the manifestation of Christian reconciliation in three thirteenth century literary works from the Iberian Peninsula and the island of Mallorca, then part of the Crown of Aragon. This study discusses interpretations of the term “reconciliation” and applies the term to each work with regard to three aspects: reconciliation of self with self, of self with society, and of self with the divine. Chapter 1 discusses the various connotations of the term “reconciliation.” It outlines reconciliation as a synonym of penance, as in the four-steps in the Catholic Sacrament of Penance, now referred to as the Sacrament of Reconciliation. It also discusses the related Pauline concept of reconciliation and Paul’s possible sources. Chapter 2 will analyze these three aspects of reconciliation in an anonymous thirteenth century Castilian work in verse: La Vida de Santa María Egipciaca, or the Life of Santa María, the Egyptian. The prepubescent Alexandrian prostitute has an epiphany outside a church in Jerusalem, realizes the error of her ways, repents at the moment of intersection between human activity and divine intervention, and changes how she views herself, interacts with society, and regards the connection between earthly life and divinity. Chapter 3 takes a look at Gonzalo de Berceo’s cuaderna vía poem, written in Castilian about 1250 , Vida de Santa Oria, the Life of Saint Oria, through the same three lenses of reconciliation. This time the female figure is the Egyptian’s polar opposite. Oria is a young anchoress who has behaved in a saintly way mortifying the flesh since childhood. It might seem that in her case there is no need of reconciliation with herself because her virtue exceeds that of the majority of humans around her. I posit that, even in her case, there is room for acceptance of inner conflict. In addition, Oria reconciles herself to society (which admires her but tries to pull her back toward Earth against her will) and to the divine (which promises she will receive what she most desires when God deems it time). Chapter 4 studies the Romanç d’Evast e Blaquerna, a prose work in Catalan which dates from 1283-85. This early text provides an opportunity to analyze not only the protagonist’s reconciliation with self, society, and the divine but also that of an array of fictional characters including family members, his potential fiancée and the many people he meets along his journey to become a hermit. Finally, the Epilogue suggests that the idealistic notion of reconciliation has already been put to practical use in modern times in large-scale conflicts within and across borders. Coming to terms and living peaceably with differences, even grave ones, was accomplished at moments in Medieval Iberia among the three monotheistic religions: Christianity, Judaism, and Islam, and hope remains that such moments of peace will extend beyond borders and be found again today. / Spanish

This thesis investigates conceptual networks —systems of organising, understanding and explaining thought and knowledge— and the ways in which they underlie both text and its mise en page across a range of thirteenth- and fourteenth-century French and Catalan literary texts and their manuscript witnesses. Each of the three chapters explores a separate corpus of texts, using two of four interrelated network theories: Michel Serres’ notion of parasites and hosts as the basic interconnecting units that combine to constitute all relational networks; the ubiquitous organizational tree; Gilles Deleuze’s concept of the fold as the primary factor in producing differentiation and identity; and Gilles Deleuze and Félix Guattari’s unruly, anti-hierarchical and anti-arborescent rhizomatic systems. The first chapter engages primarily with parasites and trees; the second with trees and folds; and the third with folds and rhizomes. However, resonances with the other network theories are discussed as they occur, in order to demonstrate the fundamentally interconnected and often interchangeable nature of these systems. Each chapter includes close analysis of manuscript witnesses of the texts under discussion. The first chapter, ‘Saints Denis and Fanuel: Parasitism and Arborescence on the Manuscript Page’, examines parasitic and arboreal networks in two hagiographic texts: late thirteenth- and early fourteenth-century prose redactions of the Vie de Saint Denis, and the thirteenth‐century hagiographic romance Li Romanz de Saint Fanuel. The second chapter, ‘Ramon Llull’s Folding Forests: The World, the Tree and the Book’, addresses arborescent and folding structures in Llull’s encyclopaedic Arbre de ciència [Tree of Science], composed between 1295 and 1296. The third chapter, ‘Transgender Genealogy: Turning, Folding and Crossing Gender’, considers three characters in medieval French texts who can be read as transgender: Saint Fanuel; the King of Torelore in Aucassin et Nicolette; and Blanchandin/e in Tristan de Nanteuil. The chapter explores the ways in which these characters’ queer trajectories can be understood through conceptions of directionality which relate to the fold and the rhizome.

The Central American literary community and historiographical critics maintain a constant dialogue in regards to banana literature. Authors such as Asturias, Fallas, and Amador capture the pervasive nature of the banana enclave in their works. My research reveals the ways in which capitalist power controls and redefines spaces in the banner enclave. By taking a closer look these novels reveal the monopolistic power of the United Fruit Company exploits and destroys the natural space, this manuscript becomes a geographical map of the fictionalized banana enclaves, exposing the capitalist oppressing forces, which dominate nature and control the company workers. Chapter one explores different historical interpretations of the banana enclave, focusing on the geographical spaces in Guatemala, Honduras, and Costa Rica. The second chapter discusses the novel Prisión verde (1950), by Ramon A. Amador, and pointed to enclave plantations and neighboring towns as weaponized spaces that control the inhabitants. Chapter three focuses on Mamita yunai (1941), by Carlos L. Fallas, to show how the banana enclave exploits natural spaces and leave a country ruined by corruption. The fourth chapter concentrates on the banana trilogy by Miguel A. Asturias composed of Viento fuerte (1950), El papa verde (1954) y Los ojos de los enterrados (1960), and examines how geographical spaces in the banana enclave intertwine with total economic, political, and social control in Guatemala. In sum, this thesis brings to light the narrative techniques these authors use to construct and manipulate space within the banana enclave, as a reflection of the capitalist world of Central America.