"Los espanoles en Chile: A Distributed Multimedia Edition" joins computer technology and the comedia to produce a text that engages the user beyond the limits of traditional printed material. First, the project establishes a modern, critical edition of the 1665 princeps edition collated with the 1761 and 1841 editions. The critical text is then written in hypertext markup language (HTML) and combined with digitized images scanned from the early publication. Next, the critical edition provides a connection to a collection of resources accessible via hyperlinks. Because the critical bibliography, glossary and explanatory notes are also hyperlinked, they do not interrupt the reader's flow of the interest. Third, the inclusion of graphic materials such as representations of stage designs, costumes, blocking, machinery, historical materials and related artistic works, immerse the user in contextual information that contributes to an understanding of the play and its relation to Spanish and world literature. Finally, the unique opportunities of digital multimedia, including sound, animation and video, facilitate the perception of the relationship between text and performance. The contribution of each of these elements to Francisco Gonzalez de Bustos's Los espanoles en Chile at once enlivens the seventeenth-century text and enriches the reader's experience with Spanish Golden Age theater.

This work emerges out of a desire to explore cultural production of this place and this time in its broadest interdisciplinary context. A geography of capitalism, since it is an eminently urban form, is what is missing from current critiques of Spanish cultural production and what this project (inspired in large part by the theories of the geographer David Harvey and the philosopher Henri Lefebvre) provides. The first and second chapters of this dissertation explore how Madrid from 1914-1936 was the site of competing discourses of the modern in material and ideological terms and how this tension plays itself out culturally. The third chapter focuses specifically on the writings of Carmen de Burgos that narrate Madrid's urban environment. The fourth chapter locates Jose Diaz Fernandez's novel La Venus mecanica and his collection of essays El nuevo romaticismo within this same urban process. His comments on the dehumanizing effects of the fashion industry question the ideals of technological progress and critique the increased commodification of culture in Spain in general. The fifth chapter is a close reading of Cinematografo, by Andres Carranque de Rios, and its relationship to the fledgling Spanish film industry in the 1920s and 30s.

The criticism on Eduardo Mendoza that focuses on the role of Barcelona in his works mostly considers the city solely as an important backdrop for the action of the novels or in some cases a protagonist in a given work. There is not any comprehensive analysis of Mendoza's vision of the Barcelona throughout the trajectory of his novels, and the studies that do focus on the city in one or two of his works generally lack a viable urban theoretical basis. The object of my study is to reassess Mendoza's work by focusing on how it emerges from the process of the urbanization of consciousness described by the geographer and urbanist David Harvey, and how its role relates to the politics of space and place in late 20th-century Barcelona. Not only does this approach facilitate a greater understanding of the texts, but also examining the novels in this light provides a greater understanding of Barcelona. Chapter I elaborates on the urban theories of Harvey, Henri Lefebvre and others that detail the urbanization of capital, the urbanization of consciousness and the role of space and place in the urban process under capitalism. In the second chapter I look at Barcelona as a concrete example of the urban process and place construction from the implementation of the Plan Cerda to the post-Olympic era. Chapter III looks at La verdad sobre el caso Savolta (1975) and La ciudad de los prodigios (1989) as examples of an urbanized consciousness anticipating significant transformations; La verdad facing the end of the Francoist dictatorship, and La ciudad preparing for the 1992 Olympics. The fourth Chapter treats Mendoza's second and third works, El misterio de la cripta embrujada (1979) and El laberinto de las aceitunas (1982), comic detective novels written during and about the crucial era of the transition to democracy. Chapter V analyzes Mendoza's narrative perspective regarding Barcelona of the 1990s in Sin noticias de Gurb (1990) and Una comedia ligera (1996).

Il me semble que les premieres remarques qui viennent a l'esprit de beaucoup de ceux qui discutent ou etudient l'oeuvre de Jean Giraudoux sont des observations sur le style, des expressions rabachees par tous les critiques de son oeuvre, par certains dans un sens louanguer, par d'autres dans un sens detracteur. La preciosite de Giraudoux est devenue une banalite; elle a ete fort bien etudiee et commentee par de nombreux critiques, en particulier par Claude Edmonde Magny dont le livre Precieux Giraudoux offre probablement l'analyse la meilleure et la plus profonde de cet aspect de notre auteur. Mme. Magny analyse en detail la rhetorique de Giraudoux pour "arracher a ce demiurge ce secret pour transformer le monde"; et elle le fait avec beaucoup de comprehension. Certains admirent les metaphores extraordinaires, les etincelles, les bulles irrisees, la poesie, la fraicheur du style et de l'esprit de ce "sourcier de l'Eden" comme il acceptait qu'on l'appelat, alors que d'autres voient dans ce style incomparable une langue trop raffinee dont ils ne peuvent supporter la recherche. Ils se plaignent de l'influence nefaste de ce style sur les jeunes auteurs qui n'ont pas pour l'accompagner le genie de ce "precieux"; ils critiquent ses "manierismes de petites filles" et en general le rejettent en entier. Giraudoux est comme Proust, un auteur difficile et deconcertant au premier abord. On le goute, on l'apprecie, ou on ne l'aime pas. Alors qu'au debut de sa carriere il n'eut qu'un succes restreint chez l'elite intellectuelle, aujourd'hui il a obtenu, grace a son theatre surtout, un succes considerable aupres du grand public en France et a l'etranger. Il est vrai que ce succes est du en partie a un certain snobisme, mais il semble surtout qu'on se soit habitue a le lire, qu'il nous ait si bien "eduques" qu'il ne parait plus aussi inaccessible. Aujourd'hui, bien qu'une partie de la critique s'accorde pour le traiter de tres grand ecrivain donnant raison a ceux qui, comme Bouvier, etaient persuades des 1931 que Giraudoux deviendrait tout comme Proust un classique, son oeuvre reste encore tres discute. Meme parmi ceux qui l'admirent, beaucoup, comme Doisy, ne veulent y voir qu'un "pur divertissement de l'esprit," un oeuvre gratuit "sans humanite profonde ou pensee fortement murie."

Il nous a semble qu'une these sur Colette etait opportune. Les theses vont certainement etre nombreuses dans les annees a venir sur les aspects particuliers de notre auteur, comme son style, sa psychologie feminine, la nature, la morale de Sido, les betes. A l'heure actuelle, pourtant, aucun travail d'ensemble ne nous semble avoir ete fait, c'est pourquoi nous avons essaye de combler cette lacune avec notre etude. Nous n'avons pas suivi la methode utilisee par Larnac qui consistait a suivre la vie de l'ecrivain et la publication de ses oeuvres dont il donne un resume, puis de faire ensuite des considerations generales. Nous avons divise notre travail en trois grandes parties: (1) Une etude biographique nous a semble indispensable car la vie de Colette est inseparable de son oeuvre, et il n'a pas encore ete dresse de biographie complete. (2) Nous avons voulu montrer ensuite quels etaient ses sujets et nous avons detache ceux qui dominent tous ses ouvrages: l'amour, la nature, les betes. (3) Enfin, nous avons examine son art. Il nous a paru evident que l'essentiel de la valeur de notre auteur tient dans son style. Alors que Rousseau a invente le style de la sensibilite, Colette nous semble avoir cree ce qu'on pourrait appeler le style de la sensualite. Pour notre conclusion, nous avons essaye de voir s'il etait possible de degager un "message" de Colette, et si nous pouvions trouver une signification morale ou philosophique a son oeuvre. Ici, notre difficulte est beaucoup plus grande, car on ne trouve aucun systeme de pensee discursive. Aussi, nous nous sommes efforces de montrer ce que son oeuvre parait impliquer dans ce domaine.

"Divagation", which can be translated into English as wandering, rambling, ranting or even trespassing, is a literary "intergenre", closely tied to a norm and an interdiction. As an "intergenre", divagation appears in a variety of forms. We notice, however, a few recurrent elements: distance from the norm, movement and a special relationship with time and space. From the point of view of the norm, the subject of "divagation" can be perceived as a rival for the appropriation of a territory while from the point of view of the divagation, he might only be "passing by". As he "divagues" in space, the subject reveals the rhizome nature of that space, in which all points are connected to one another and in which the subject can wander in infinite configurations. Freed from the past and the future, the subject of divagation wanders in the present and his movement becomes a presence. Divagation goes beyond the antagonistic view of the norm and even sometimes embraces "error" as one of its components. The subject of divagation, with his ambiguous nature and consciousness, finds himself "at home" in postmodernity. After 1960, the number of books that claim to be "divagations" raises considerably, which can be explained in part by a hasty interpretation of automatic writing, the vulgarization of psychoanalysis and a major change in the status of madness. After 1970, divagation is often perceived as a "reverie" and is developped in poems with an emphasis on the "I". Another interpretation of divagation, this one closer to biography, also appears in the blog. The ease of publishing texts on the internet, the absence of censorship and the absence of a reading panel play an important role in the process. Examples are taken from diverse works of divagation by Rejean Ducharme, Louis Gauthier, Marc Trillard, Stephane Mallarme and Benjamin Peret amongst others. Particular attention is given to surrealism and pataphysics, each of which has a different way of divagating.

Movement, change, inconstancy; sinuous line, saturated space, elliptical, open forms; elaborate metaphor, narrative dislocation, excessive affectivity--this familiar topology of the Baroque work all serves to disorient and seduce its reader, beholder and spectator, eventually absorbing him as living presence in the work. In contrast with the perfected distance of Renaissance/Classical constructions, epitomized philosophically by Rene Descartes (+1596, $-$1650), such Baroque absorption of spectatorial presence plays out its tension best in French culture. Prior to the French Classicism and Philosophical Modernity which served to suppress it, a 20th-century return within the Postmodern reactions against the rational legacy is made by the Baroque in its concern with presence. Our analyses situate various facets of Baroque presence in the work, in both its historical period and beyond, through the disciplines of Religion, Philosophy, the Arts and Letters. An initial study of St. Ignatius of Loyola's Spiritual Exercises (1548) examines the positional evolution of the spiritual exercitant, from a subject before, to a subject within and, finally, to an ambulating Homo Baroccus of the Gospel narrative, or in a passage from perspective to transpective's double stance of Immensity (being-in) and Inhabitation (possession by). These stages of the Baroque subject exercised through the open Baroque work serve to guide the following cross-century analyses: from Descartes' distance to the philosophical proximities of Pierre Gassendi, Edmund Husserl and Maurice Merleau-Ponty; from transgressed boundaries of the art work in the Baroque painting of Simon Vouet and Eustache Le Sueur to the metacritical treatment of pictorial framing by Rene Magritte; in actorial/spectatorial transgression from Baroque theater of martyrdom to "Theater of Cruelty"; in figures of sacrificial madness from Jean-Joseph Surin to Antonin Artaud; from the soldier's epic war narrative of Agrippa d'Aubigne to 20th-century post-war narratives of Blaise Cendrars and Claude Simon. Here, presence--problematic, painful, and even comic--fills the work, draws others into its ethos, in a way that allows us to qualify these works of the 16th, 17th and 20th centuries as exemplary of Baroque presence and its Postmodern return in French culture.

This thesis focuses on three theatrical treatments of Don Juan as he is portrayed by four writers of the so-called Generation of '98: Valle-Inclan's Las galas del difunto (1926), Antonio and Manuel Machado's Juan de Manara (1927), and Unamuno's El hermano Juan o el mundo es teatro (1929), with an emphasis on the innovations to the legend contributed by the authors, and the historical, cultural, and religious elements prominent in their plays. The most significant difference between these three treatments of the 1920's and the earlier ones, of the seventeenth through the nineteenth centuries, is the theme of redemption. In the earlier versions, Don Juan is punished or expects punishment in exchange for his evil deeds. However, in the modern renditions, Don Juan's role is redemptive. Valle-Inclan exposes a society in need of redemption in his treatment, and Don Juan both receives and offers redemption in the adaptations of the Machados and Unamuno.

By focusing on how bourgeois and feminist discourses intersect in the moralistic paintings of Jean-Baptiste Greuze (1725--1805), I argue that Greuze's images manifest a thrust toward liberation from the ideological constraints of Father's Law and toward the advent of feminized ontology. Through the analysis of L'Accordee de village and La Malediction paternelle, I claim that the deconstruction of patriarchy and the return of the feminine are catalyzed in bourgeois economy by the monetary system. To support the significance of Greuze in the development of Realism, not only in art but also in literature, I posit Greuze as the precursor of Balzac. Informing my discussion by Jean-Joseph Goux's theory of the homology between the referential status of the sign, the Father, and the fiduciary system, I argue that Balzac's Realism, illustrating the milieu of commercial capitalism of the nineteenth century, exacerbate the loss of moral superiority of the paterfamilias. Although Greuze's work is profoundly embedded in the patriarchal ethic, the analysis of La Paresseuse italienne and La Mere bien-aimee provides evidence of the painters (not intended) feminist vision.

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