No description available.

No description available.

No description available.

This doctoral dissertation identifies a new sub-genre in Contemporary Spanish Peninsular Literature, the Spanish Campus Novel. The impetus for research was to ascertain whether or not the genre characterized the Spanish novels dealing with university life (SpCN). The texts in question build upon the British and American Campus Novel tradition while inflecting it with issues, styles and themes particular to Spanish literature. I examined nine examples of the Spanish Campus Novel (SpCN) to determine their distinctive characteristics: Carlota Fainberg, Antonio Muñoz Molina (1999); El inquilino (1989) and La velocidad de la luz (2005), Javier Cercas; Todas las almas (1989) and Negra espalda del tiempo (1998), Javier Marias; El enigma (2002), Josefina Aldecoa; Último domingo en Londres (1997), Laura Freixas; Mimoun (1988), Rafael Chirbes; and Soy un escritor frustrado (1996), José Angel Mañas. In spite of variances in the circumstances of the protagonists, the repetition of key elements created a justification for the academic novel classification. Chapter One reviewed criticism of the Anglo academic novel and established essential characteristics of the majority of the novels: campus location, academic protagonist, satire and humor, job-insecurity, political correctness and departmental politics. I reviewed the socio-political history of the Spanish university in order to contextualize the SpCN, both its paucity and its recent emergence. Chapter Two examines the works of Antonio Muñoz Molina and Javier Cercas; their protagonists share the commonality of living and working in the US. Chapter Three considers two novels of Javier Marías and how the author plays with the both the academic novel and fiction. Chapter Four reviews the novels by Josefina Aldecoa and Laura Freixas and the manner in which stereotypical professors (sexually predatory ones) imply certain cultural mores. Chapter Five investigates the lyrical novel of Rafael Chirbes and its contribution to the campus novel. Additionally, José Angel Mañas’ bleak comedy is investigated as unique, the only novel taking place in Spain. The conclusion summarizes the novels, the identified Anglo and Spanish characteristics and contextualizes the novels within current trends in recent Spanish Peninsular fiction. Lastly, an overview of four Latin American Campus Novels is suggested for further research / Spanish

When Cindy, a naive and doting orphan, arrives at the estate of her late father’s wealthy protégé and soon-to-be son-in-law, she unearths dark secrets and hidden residents. The weekend exposes unsettling entanglements and temptations, forcing Cindy to confront the realities of the relationships that threaten to constitute her future.

After being wrongly targeted, A witch teams up with her opposite to save their jobs by unionizing the workers at a spell craft agency while battling a curse within and even worse, feelings.

The purpose of this study is to contribute to the investigation of the semantics and syntax of Negative Words (N-words) in negative concord languages, with a focus on Spanish. An in-depth look into the syntactic behavior as well as into the meaning of terms such as nadie 'nobody', nada 'nothing', nunca 'never', etc., will provide some insight into the controversial nature of these words in the Romance languages as well as a better understanding of their peculiar pattern of distribution. On a larger picture, a thorough investigation of the semantics and syntax of these items will, in turn, contribute to a better understanding of the nature of negative polarity items in general. Thus, as I just anticipated, my conclusion is that N-words are in fact equivalent to negative polarity items, and that the phenomenon of negative concord, by which, in some languages, various negative items contribute only one semantic negation to a sentence, is a subcase of the crosslinguistic phenomenon of negative polarity licensing. In this respect, my analysis of N-words builds on the analyses of Bosque (1980) and Laka (1990). I base my conclusion that N-words are negative polarity items upon an extensive survey of comparative data coming from different Romance languages as well as from English, and I bring up new data and arguments supporting my view on the issue. In addition to arguing for the negative polarity nature of N-words, I also explore the extent to which syntactic operations are involved in the licensing of N-words, and I provide evidence showing that N-word licensing does not directly involve syntactic movement (contra most standard assumptions). Finally, in my investigation of the nature of N-words, I go beyond simply identifying them as negative polarity items. Specifically, I look deeply into the logicosemantic contribution of N-words, and I present arguments and data showing that N-words do not have either negative or any other kind of quantificational force. Rather, as I argue, they are better characterized as logicosemantic variables (in the sense of Kamp 1981 and Heim 1982.) In this regard, I depart from Bosque's (1980) and Laka's (1990) characterization of N-words. My view is more radical than theirs in that I do not just claim that N-words do not have inherent negative content, but also that they do not have any quantificational force of their own at all.

An aspect of the Romance languages that defies neat linguistic analysis is tense usage. In particular, students of Romance languages as well as grammarians have found it difficult to provide a consistent explanation for the imperfect - preterite opposition. Two main points of contention concern (i) the question of whether the two forms have an inherent aspectual content and (ii) the structure and role of lexical aspectual information in determining the overall meaning of a sentence. While the attempts at explaining French and Spanish usages of the imperfect and the preterite are numerous, hardly any work has been done in the interpretation of Romanian data. Furthermore, a general assumption that the same form - function opposition holds across Romance languages has led to cross-linguistic differences rarely being examined. I argue that the imperfect and the preterite do have an inherent aspectual content. However, in opposition to previous accounts, I maintain that the preterite does not provide a ‘closed’ viewpoint and that an atelic eventuality described by the verb phrase in the preterite can continue up to the present moment. I propose a description of the imperfect - preterite opposition that includes finer distinctions of lexical aspect based on its constituent stage structure. These finer lexical aspectual distinctions allow the identification of an area of divergence in the use of the two forms in French, Spanish, and Romanian: the preterite was found to be used more widely with states in Romanian than in French and Spanish.

O objetivo principal desta tese foi editar a segunda e a terceira partes da Crônica de Dom Duardos, escrita por Dom Gonçalo Coutinho no final do século XVI ou início do XVII, completando o trabalho iniciado por Raúl Cesar Gouveia Fernandes, que, em sua tese defendida em 2006, editara a primeira parte desse livro de cavalarias inédito. Dividimos o trabalho em três volumes: o primeiro contém a apresentação da obra, do autor e da edição; o segundo e terceiro volumes trazem, respectivamente, a segunda e terceira partes da Crônica de Dom Duardos. / The main objective of this thesis was to edit the second and third parts of the Crônica de Dom Duardos, written by Don Gonçalo Coutinho in the late sixteenth or early seventeenth centuries, completing the work begun by Raúl Cesar Gouveia Fernandes, who, in his thesis defended in 2006, edited the first part of this unpublished book of chivalry. We divided the work into three volumes: the first contains the presentation of the work, the author and edition, the second and third volumes bring, respectively, the second and third parts of the Crônica de Dom Duardos.

Este trabalho inicia-se com a apresentação do autor, sua importância literária e seu contexto histórico. O capítulo seguinte destina-se observar a estrutura espacial interna da casa ficcional considerada tipicamente chilena, isto é, elenca as partes constitutivas deste ambiente doméstico, não somente descritas, mas também entranhadas no enredo do romance. No primeiro sub-capítulo, há uma breve análise do título que apresenta as bases teóricas do trabalho e os sub-capítulos seguintes, irão se detendo, em um ambiente da casa, cada um, com o objetivo de analisar questões políticas, históricas e sociais. Finalmente, observaremos os espaços externos à casa, trabalhados de forma descritiva ou através da narração. Os subcapítulos serão dedicados às cenas em que é possível localizar, de modo total ou parcial, panoramas da cidade, como por exemplo, a disputa de pipas ou as descrições do narrador da Alameda principal; os bairros e as ruas já existentes, suas características, construções e costumes. / To begin with, the first chapter of this dissertation aims to present the author, his social and historical context. In the second chapter, we intend to organize the spatial structure of the fictional house, considered typically Chilean, that is, we intend to list the constitutive parts of its domestic environment that is not only described, but pierced in the plot of the romance. In the first subchapter, there is a short analysis of the title that presents the theoretical basis of this work. Each following subchapter will focus in the environments of the house, in order to understand some of the main political, historical and social issues implied within it. Finally, we will observe the external spaces of the house, which are conceived in a descriptive or a narrative way. The subchapters will be dedicated to the scenes where there is a possibility of a partial or a substantial panorama of the city. The kites contest, the narrators description of some of the main avenues, the neighborhoods and streets that already existed in those days. Their old shapes, buildings and habits, will be on the spot.