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Luis Landero's Juegos de la edad tardia was published in 1989, at a time when Spain was passing through a rapid process to reach a complete democracy. After more than forty years of dictatorship, the country was taking part in Postmodernism (e.g., the cultural hedonism of the "Movida" and the creation of a new economic liberalism), having scarcely passed by the project of Modernism. The purpose of this work is to study Juegos de la edad tardia as a paradigm of its age. Located in Madrid in the mid-sixties, the novel presents the story of Gregorio Olias, who tries to accomplish his "afan" to become a poet, a man of action, a cosmopolitan adventurer. With the help of Gil, a salesman desirous of a modern hero to admire, the main character will be reborn into Faroni. After introducing the concept of intertextuality and its evolution over time, this study will emphasize the importance of the concept as the basis for the textual identity of Gregorio/Faroni. By mixing high and low culture (e.g., movies, canonical education and cultural stereotypes), Gregorio/Faroni creates a textual universe from which he can get his textual identity. By opposing this strategy of identity formation to the alienated world of Franco's Spain that surrounds him, Gregorio finally will be able to reach his "afan". Written in an age when Modernism and Postmodernism were in tension, this novel can be considered as a paradigm of the decade of the 80's. By taking Cervantes' Don Quixote as its hypotext, however, it manages to provide a certain amount of hope that the modern project against human alienation will be achieved.

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L'attrait des romances espagnols, poèmes populaires que les romantiques croyaient remonter au Moyen Âge, s'est exercé sur des écrivains comme Chateaubriand, Abel Hugo et Émile Deschamps. Ceux-ci voyaient dans le Romancero un témoignage de la mémoire du peuple, une forme d'expression collective qui aurait contribué à la prise de conscience de l'identité nationale. Nous montrerons comment ces auteurs ont transposé l'intertexte espagnol dans leurs propres textes en nous appuyant sur la distinction opérée par Gérard Genette entre les modalités intertextuelles telles que la citation, l'allusion et le plagiat, instruments privilégiés par Chateaubriand, et les modalités hypertextuelles que sont la traduction et l'imitation, employées par Abel Hugo et Émile Deschamps. À partir de l'analyse de textes précis de chacun de ces écrivains, nous nous interrogerons sur les rapports qu'établissent les romantiques français avec le Romancero: s'agit-il d'un véritable dialogue, ou l'intertextualité n'est-elle qu'une arme de combat contre les principes du classicisme?

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The purpose of this M.A. thesis is to present a modernized and annotated edition of a Spanish Golden Age play, No hay burlas con las mujeres o casarse y vengarse by the Spanish poet and playwright Antonio Mira de Amescua, applying the methodology of textual criticism. This edition is based on the princeps printed text, published in the Quinta parte de comedias escogidas de los mejores ingenios de Espana. Madrid. Pablo de Val 1653. Biblioteca Nacional de Madrid (R-22658). The thesis begins with an Introduction which is divided into two sections. The first section gives a brief account of Mira de Amescua's life and works. The second section of the Introduction is itself divided into four different parts which provides information about the text of the play, its structure and versification, staging, and the editorial criteria used. The main body of the thesis consists of the text of the play itself whose spelling and punctuation have been modernized, according to the standard practice. The critical apparatus consists of two sets of notes: philological notes, which explain archaic vocabulary, historical and mythological allusions and other references in the text; and textual notes, which record spelling and versification mistakes, and other textual matters.

This M.A. thesis is a modernized and annotated edition of an anonymous manuscript version of Lope de Vega's 'comedia' Peribanez y el Comendador de Ocana. The manuscript, part of a volume entitled "Comedias de Lope de Vega. Tomo I MSS", belonged at one time to Lord Holland and is now found in the Melbury House library of the Viscount and Viscountess of Galway in Dorset, England. The manuscript is not a direct copy of Lope de Vega's Peribanez but, more than likely, the work of a 'memorion'. A 'memorion' was someone who attended theatre performances for the purpose of memorizing, copying and finally adapting plays with perhaps the collaboration of a poet or the director of a theatre company, known as the 'autor de comedias'. These pirated adaptations would then be performed for rural audiences. Lope de Vega himself was well aware of these activities, which confirms that the profession of the 'memorion' was fairly common in those days. The main objective of this edition is to provide a readable text of the MS. To this end I have modernized the spelling and added the necessary punctuation and accents. I have reconstructed the text according to modern editing practices and rules of verification and also indicated the division of scenes or "cuadros" and the type of verse form used. Changed to the text of the MS and comments about the play are found in the notes at the end of the edited text. (Abstract shortened by UMI.)

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This M.A. thesis offers for the first time a critical edition of Calderon's auto sacramental El indulto general. The thesis consists of: (A) an Introductory study, composed of the following sections: (1) general survey of the dramatic genre known as the auto sacramental or sacramental play, mystery plays in honour of the Holy Eucharist; (2) date of composition and performances of El indulto general; (3) critical analysis of the auto, with special emphasis on its allegorical nature; (4) a study of the textual transmission of the auto, using the calculus of variants to construct a bibliographical stemma in order to establish the best available copy-text; (5) editorial criteria used to reconstruct an eclectic edition of the auto based on the nine independently-derived extant witnesses. (B) The edited text of the auto; (C) Critical apparatus. The thesis also contains a Bibliography and an Index of words commented in the Philological Notes. (Abstract shortened by UMI.)

Abstract Not Available