L'education libertine est une theme a la mode dans les romans du dix-huitieme siecle. C'est la un paradoxe puisque l'education a tout d'abord une connotation morale importante importante, evoquant des valeurs vertueuses, et devant ultimement mener a la formation d'un adulte qui pourra etre utile a la societe. De plus, les libertins rejettent en principe ce que recherchent leurs, emules: le sentiment d'appartenance a la mondanite. Ce theme est au centre des trois romans auxquels cette these consacree: Les Egarements du coeur et de l'esprit de Claude Prosper Jolyot de Crebillon, publies en 1736 et 1738, les Memoires pour servir a l'histoire des moeurs du XVIII$\sp{e}$siecle de Charles Pinot Duclos qui l'ont ete en 1751, et Les Liaisons dangereuses de Pierre Choderlos de Laclos, en 1782. Ces romans qui utilisent des formes litteraires en vogue au moment ou ils paraissent--le roman-memoires et le roman epistolaire--imitent des textes non fictifs et facilitent la manipulation de la lecture. L'ambiguite, la dualite et l'omnipresence du masque, themes au centre des romans, servent de fil conducteur a cette etude. (Abstract shortened by UMI.)

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This M. A. thesis offers a critical edition of three short dramatic pieces from the seventeenth century: Entremes famoso de la melancolia, by Calderon, Baile de la comedia, anonymous, and El ensayo, by Gil Enriquez. The thesis consists of: (1) An introductory study, composed of the following sections: (a) general survey of the dramatic genre known as the teatro comico breve; (b) a critical analysis of the plays based on the characteristics of the genre and with special emphasis on the play within the play aspect; (c) a Bibliography. (2) The spelling and punctuation of the edited texts have been modernized and regularized, except where alterations would have affected the pronunciation. All abbreviations have been silently resolved. (3) The critical apparatus, consisting of two groups of Notes: (a) Textual Notes, where every substantial departure from the copy texts has been recorded and discussed; (b) Philological Notes, where any passage where the sense or the syntax might present difficulties, all internal references and literary and other allusions have been explained.

Comme l'attestent les nombreuses publications traitant du reve, aussi bien d'ailleurs les ouvrages "savants" que "populaires", le mot "reve" et ses multiples connotations peuvent nous entrai ner sur de nombreuses pistes. Pour eviter toute confusion, il convient de preciser le sens que je lui confere. Ainsi, ce qui m'interesse, c'est uniquement le reve en tant que source de creation litteraire; ce sont les images qui surgissent durant mes reves et que je transcris sous torme de recits de reves. Ce qui signifie que mon travail sur le reve ne constitue ni une technique de croissance personnelle, ni une demarche therapeutique, ni une experience mystique. De plus, je ne cherche pas a rendre compte de la nature, de la fonction ou de la signification des reves, ni des differences ou des similitudes entre l'activite onirique et l'activite vigile. La premiere partie de cette these en creation litteraire propose un ensemble de textes presentes sous la forme de proses breves qui temoignent de mes reves nocturnes. La deuxieme partie constitue un parcours reflexif lie a la redaction des textes de creation. D'une part, celui-ci se nourrira de certains recueils de recits de reves d'ecrivains chacun de ces auteurs me permettant de mieux circonscrire les enjeux inherents a mon entreprise. D'autre part, ces enjeux, multiples, convergent vers l'approfondissement d'un certain nombre d'interrogations reparties en quatre chapitres: premierement, je presenterai l'origine de mon interet pour les recits de reves, puis j'examinerai la notion "journal de reves"; deuxiemement, j'analyserai mes recits en tenant compte de certains parametres: la prose, le style et le temps; troisiemement, je proposerai une "petite esquisse psychanalytique" de mes textes. (Abstract shortened by UMI.)

This M.A. thesis offers for the first time a edition with a critical study and a annotation of Calderon's auto sacramental La inmunidad del sagrado. 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 play, mystery plays in honour of the Holy Eucharist; (2) critical analysis of the auto, with special emphasis on its allegorical nature, its metrical structure and its staging. (B) The edited text of the auto, whose spelling and punctuation have been modernized and regularized except where alterations would have affected the pronunciation. All abbreviation have been silently resolved in the text and all changes introduced in the copy-text have been registered in the Textual Notes. This thesis also contains a Bibliography of the cited works.

The purpose of this thesis is to present, for the first time, a modernized and annotated edition of the play Saber del mal y del bien, by Pedro Calderon de la Barca, published in the Primera Parte de Comedias in 1636. In this thesis the text has been modernized in conformity to the rules of modern punctuation, accentuation, and spelling. Every fifth verse has been numbered, and the different strophes indicated in the text, and studied in my introduction. The introduction includes a brief analysis of some of the central themes of the play in the hope that it may awaken interest in this relatively obscure Calderonian piece. I also attempt to reconstruct the possible staging of the original play which, according to Valbuena, was presented by the theatrical company of Roque de Figueroa on March 28, 1628. My proposed staging is based on what we know of the theatrical conventions which existed in the Spanish Golden Age. The most substantial part of a modernized edition consists in establishing and annotating the text. The purpose of the philological annotation is to explain references, allusions, and passages of the play of historical or mythological character as well as symbols and even aphorisms which are in the text and which, for a modern reader, amy seem ambiguous or confusing. The purpose of these notes is not only to elucidate these allusions but to also relate them to the text in order to offer an interpretation which is faithful to the original sense of the play. In conclusion, all these factors render Saber del mal y del bien an important comedia which will no longer remain in obscurity.

This study focuses on Devocionario, Ana Rossetti's penultimate book of poetry to date, viewing it as the culmination of a process of development towards poetic maturity. At the beginning of our research on the topic, we were first struck by the scarcity of critical studies on her work, as well as the repeated attempts to apply increasingly restrictive labels to it: erotic poetry, feminist poetry, new Andalusian poetry... If we add to the foregoing the notable lack of studies on her work as a whole, the scant attention paid to aspects of form in Rossetti's poetry, and the undeniable quality of her poetic style which captivates the reader from the very start, our intention of offering an overview of her poetic development through an analysis of Devocionario, the book of poetry which summarizes and encompasses her earlier works, will be seen to be a natural choice. Devocionario is, then, the object of our analysis, and we pay special attention to the last section of the work, entitled "Divinas Palabras". Our aim is to show that Devocionario, and especially "Divinas Palabras", can be seen as the end result of a poetic quest. (Abstract shortened by UMI.)

This M.A. thesis offers an annotated edition of Calderon's auto sacramental El orden de Melquisedech. The thesis consists of: (1) an introductory study, composed of: (a) a general survey of the dramatic genre to which the auto sacramental belongs; (b) the date of composition of El orden de Melquisedech; (c) a critical analysis of the auto, with special emphasis on staging and allegory; (d) editing criteria; (e) a bibliography. (2) the edited text of the auto, whose spelling and punctuation have been modernized except where the pronuntiation would be affected. All the changes introduced in the copy-text have been registered in the textual notes. (3) philological notes, where any difficult passage, internal references and biblical, literary and other allusions are explained.

Dans Le Corps lesbien, Monique Wittig tente de degager le personnage de la lesbienne de la penombre textuelle dans laquelle il est progressivement entre apres les vers de Sappho, c'est-a-dire au fur et a mesure que se consolide, en Grece, la culture des envahisseurs patriarcaux (les Acheens et les Doriens) et que la religion chretienne point dans le bassin mediterraneen. L'auteure opere la "resurrection" parodique de cette figure avalee par l'histoire de la litterature occidentale, en s'appropriant les deux mythes charnieres de la mythologie biblique et paienne, soit celui de l'Eucharistie (tel qu'il est presente dans le Nouveau Testament), et celui de la metamorphose des chasseresses, ou compagnes d'Artemis, en proies (tel qu'il apparai t dans Les Metamorphoses d'Ovide). Wittig realise l'absorption et la transformation de ces deux hypotextes, ou intertextes de base, en les emmelant a des recits mythiques de la devoration ou de la metamorphose qui leur sont anterieurs, tels ceux du cannibale Thyeste, de l'avalement de Jonas par le "poisson" biblique ou du changement de dieux et de mortels en animaux, plantes ou elements. De la sorte, elle demystifie et recompose ces mythes en montrant et exploitant leur processus de creation. Dans un premier temps, cette etude se penche sur la deconstruction du mythe de l'Eucharistie par le biais du grand procede intertextuel de l'oeuvre, celui du "va-et-vient". Par la constante evocation du mythe de la Communion eucharistique a travers ceux des celebrations paiennes, ce procede met en relief le motif central de l'oeuvre qui est une "passion-consommation" amoureuse plutot que sacrificielle. (Abstract shortened by UMI.)