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This dissertation examines the way in which the querelle des bouffons was conceived as abiding by the principles of eloquence, using previous rhetorical quarrels (including the Ancients and Moderns, and Atticism versus Asianism), as well as the fundamental tenets of both eloquence and music, to frame a wide-ranging debate that ultimately rethinks the two arts' roles. The supporters of Italian music (known as the coin de la reine) and the partisans of French music (known as the coin du roi) adhere to this common context, while defining the selection of its essential components, as well as their makeup, according to the values of their given side. I contend that it is the relationship between eloquence and music that allows the quarrel's thinkers—which include Rousseau, Diderot, Grimm, D'Alembert and Rameau, as well as lesser-known figures such as Castel, Caux de Cappeval, Cazotte and Jourdan—to engage in complex intellectual explorations that use the quarrel's innate divisiveness as a means of creating meaningful dialog. Through a system of multi-layering and intricate referencing—and based on a valuing of the essential and an evacuation of the ornamental—, the quarrel's texts themselves determine the debate's corpus, hinting at a new direction for this type of public discourse. The dissertation aims to show that the resulting theoretical considerations use the pamphlets' broad dualities of French and Italian, modern and ancient, harmony and melody, etc., to foster internal multiplicities in the development of subtext and cross-referencing, yielding a new collective, written conversation that achieves a form of musical eloquence.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2601. Adviser: Ronald Sousa. Includes bibliographical references (leaves 271-281) Available on microfilm from Pro Quest Information and Learning.

<p> During the 20th century, book historians, bibliographers, librarians, and archivists laid down the theoretical and empirical framework to understand the printed book as a commodity--a product of a specific market. In the 21st, the predominance of digital technologies and the cyberspace has made more evident than ever that print technologies created a specific market space for cultural exchange: the <i>printspace</i>. We propose <i> authorship</i> as a textual commodity, a cultural object that is shaped by the legal, commercial, and material limitations of the printing press as a platform of media communication.</p><p> Under this framework I present four study cases, analyzing different authorships associated with a specific print product, all in the context of the Spanish Golden Age. In the first case, I posit that the material characteristics of the <i>pliego suelto</i> produce a very specific kind of authorship that differs greatly from the authorship for books. Here, the works of Benito Carrasco and Crist&oacute;bal Bravo serve as an example and a probe for the market of <i>pliegos</i>. In the second case I contrast Mateo Alem&aacute;n&rsquo;s authorial project with how the readers consumed his authorial persona. This juxtaposition shows how an authorship is not the sole creation of the author, but the product of the mechanisms of production, distribution, and consumption of printed text. The third case investigates the interaction between the market of <i>comedias</i> and the market of printed books. The play <i>El Burlador de Sevilla</i> serves to illustrate how this transfer created persistent authorial problems. I demonstrate how the <i>printspace</i>, as a theoretical framework, can provide critical solutions to these authorial problems. The last chapter studies the authorships of Lope de Vega and Juan P&eacute;rez de Montalb&aacute;n as part of the editorial enterprise of the book merchant Alonso P&eacute;rez. This case exhibits the marketing strategies used in the construction of both authorships, and showcase the importance of the nascent figure of the editor in the market of books.</p><p>

<p> This dissertation explores operatic adaptations of Orlando <i>JR furioso </i> in the eighteenth century, particularly as they relate to the Arcadian Academy. Whereas the seventeenth century witnessed only a handful of <i> Furioso</i>-themed operas, the eighteenth century was a veritable geyser of operatic Orlando; dozens of libretti were produced on the subject, leading to an eighteenth-century craze for the crazed, staged Orlando. The most celebrated and most diffused operatic adaptations of the <i>Furioso</i> were produced by members of the highly influential Arcadian Academy, an institution that aimed to establish a literary (and therefore social, cultural, and political) reign of good taste and reason throughout the European continent. This dissertation probes why and how Arcadians, self-proclaimed harbingers of eighteenth-century reason, were so invested in the operatic depiction of a Renaissance madman. I am interested not only in the intertextual threads of operatic Orlando that is, how librettists and composers translated sixteenth-century sensibilities to the eighteenth-century stage&mdash;but also how these intertextual threads can be read for their broad cultural resonances. Operatic Orlando, in his many permutations, is emblematic of the complexities and contradictions espoused by the Arcadian Academy, and, as such, is crucial to the shaping of an eighteenth-century ethos.</p><p> This dissertation consists of five chapters. The first chapter explores the different ways in which Arcadians understood madness, in its myriad manifestations. Rather than focusing specifically on opera, I cast a wide net in my discussion in order to holistically approach Arcadian theories and practices: through an examination of early Arcadian writings I identify threads and currents that likely formed the text/texture for the operatic Orlando craze. Chapter 2 focuses more specifically on Arcadian opera, if such a concept truly existed: drawing from the works of scholars of music history such as those of Freeman, Strohm, and Smith, I explore the conventions of eighteenth-century opera and contextualize them within the frame of the Arcadian Academy and its reform culture. Chapters 3, 4, and 5 form the analytical body of the dissertation, as they each probe the conditions and textual questions of specific adaptations of the <i>Furioso</i>. I consider the libretti discussed in each of these chapters to be `ur-adaptations,' in that they were each performed&mdash;and often modified&mdash;numerous times in diverse locales, serving as textual bases for many of the eighteenth-century <i>Furioso</i> adaptations. In these chapters I perform both historical analyses and close readings of texts, as well as musical analyses and examinations of related textual objects. Thus in Chapter 3 I read Grazio Braccioli's libretto <i>Orlando furioso </i> (1713) as well as his related libretto <i>Orlando finto pazzo </i> (1714), and explore the musical settings of composer Antonio Vivaldi as they were performed at the Teatro Sant'Angelo in Venice; in Chapter 4 I turn to Rome, with Carlo Sigismondo Capece's libretto <i>Orlando ovvero la gelosa pazzia</i> (1711), and follow the work to its London iteration <i> Orlando</i> (1733), which was set to music by George Frideric Handel; finally, in Chapter 5 I analyze Pietro Metastasio's serenata <i>L'Angelica </i> (1720) within the context of the court of the Holy Roman Emperor, and explore its resonances throughout Europe.</p><p>

The Libro del rey Canamor is one of a small group of chivalric narratives that reached popularity levels in sixteenth-century Europe similar to the “best-seller” of today. In the nineteenth and twentieth centuries these works were often overlooked or easily dismissed by scholars and many have been forgotten by the modern press. My proposal is to present the Libro del rey Canamor to the scholarly public for closer examination, easier access and renewed interest. This study presents a review of the essential distinctions often made between various types of chivalric narratives, leading to a brief discussion of their history in Hispanic literature, as well as their classification and acceptance through the years. It also examines the history of the shorter narratives and their relation to sixteenth-century printing and the creation of an editorial genre. The analysis of the Libro del rey Canamor examines its editorial history and narrative structure. Although some of its contemporaries were published for a longer period of time, this text was not able to extend its publishing life into the seventeenth century. Nevertheless, there were at least ten different editions in its heyday. The Libro del rey Canamor consists of two independent nuclei which create a hybrid text, the first part of which comes from a medieval source, while the second brings to light the aforementioned editorial genre. It is likely that the second part was written specifically for publication in early sixteenth-century Valencia. The analysis of content focuses on the major protagonists, folk motifs and their roles and functions in the more developed episodes. Finally we examine the presence of humor found in each section, concentrating on battle bravado, love intrigues, and jests. The review of the history of the chivalric narratives, both editorial and social, as well as the analysis of the internal elements of the Libro del rey Canamor in particular, show that this brief narrative is a hybrid text: a combination of a medieval narrative, albeit heavily edited, and a newly written second generation, melded together to create one of the best-sellers of sixteenth-century Spain.

The thirteenth-century poetic dedication to Santa Oria is a vividly portrayed life of a little-known saint. Author, Gonzalo de Berceo abides by tradition in ways that the devotional poem is well-received by his public while presenting innovation which demands the attention of his contemporary audience. The Spanish poet selects a female religious subject and conforms to certain familiar motifs of female spiritual progression simultaneously exploring novel pathways. Dreams and voyages to the other world are decoratively displayed through a schematic of symbols, both bold and subtle. The artistic and picturesque quality to the poem melds elements of literary tradition to create an original voyage of a young saint, a vision and her soul. This study investigates the five visionary journeys presented in the poetic dedication to Oria. Elements of symbolism and imagery, the scripting of sanctity, with regard for female holiness, and the access to and artistic rendering of the other world are identified and located with respect to an opulent hagiographic ancestry. The Poema de Santa Oria is presented in context with other thirteenth-century mester de clerecía poems also offering visionary escapes. The Spanish-language works of shared legacy with Oria offer shades of the heavenly realm yet do not penetrate the other world locations to the extent of visionary literary precedent. The Poema de Santa Oria is positioned within an extensive tradition of hagiographic and visionary legacy descending from both art and letters. It is argued here that as a body, Oria shared language, experience and earthly spaces with her mester de clerecía contemporaries, yet the journeys of her spirit are more closely aligned with earlier literary experiences of divine destinations. Berceo's artistic style is as gentle and deliberate as the characters and landscapes he portrays. Consideration is given to the artist's exploitation of the senses which result in creation of the precious pictorial images governing narration of the saint's visionary world.

Jose Maria Merino (La Coruna 1941) is one of the most notable novelists in Spain's contemporary literary panorama. His narrative work consists, as of now, of six novels and two collections of short stories. Jose Maria Merino belongs to the second moment of the "Generation of 68" proposed by the critic Santos Sanz Villanueva, a moment characterized by the interest in storytelling and by the transgression of the imperatives of the two major novelistic tendencies existing until the middle Seventies: social realism and experimentalism. This is the first in depth study of the works of Jose Maria Merino. After reviewing the characteristics of the Spanish novel during the Seventies and Eighties, I analyze the narratives of our author using three broad areas: space, time and subject. In all of them the literary mechanisms aimed at correcting the everyday notions of those three categories stand out. With metafiction and the fantastic as predominant directions, all cases have mechanisms that favor the production of stories; be it the privileged role that the physical environments play in the genesis of the narrated events, the reflections on the plot and the plotting of lives and fictions, or the large number of "mestizos," "aindiados," "indianos" and of characters composed of dream and vigil, past and present or reality and literature. The scenes of recognition many times guide the dissolution of the subjects, who need fictions to recompose themselves as completed entities. Merino's fiction, also "mestiza," mixes elements of the classic novel with some experimentalist notions, always with the freedom of invention and the interest in storytelling as the only imperatives to be followed.

The metafictional novel is a novel that draws attention to its own form or construction and systematically flaunts its own condition of artifice, and by so doing poses questions about the relationship between fiction and reality. In other words, the metafictional novel is such that--explicitly or implicitly, and making use of a variety of strategies and techniques--deliberately exposes the fictiveness and artifice of the literary creation. As a tendency, the metafictional novel has been part of the history of literature since the very beginnings of the novelistic genre with the publication of Cervantes' Don Quijote de la Mancha. In the present Dissertation five Spanish novels belonging to four different periods of Spanish Literature have been selected: Miguel de Cervantes' Don Quijote de la Mancha, Benito Perez Galdos' El amigo Manso, Miguel de Unamuno's Niebla, and Gonzalo Torrente Ballester's Fragmentos de Apocalipsis and La Isla de los Jacintos Cortados. The first chapter is an introduction which refers to the most relevant theories as well as individual contributions to the study of metafiction, establishing the theoretical foundation for the individual and comparative analysis of each of the selected novels studied in the following chapters. These analyses identify the main characteristics of metafiction: its anti-realism, self-consciousness, self-referentiality or self-critical reflexion, the literary theorization within the novel, its playful nature, and the particular importance given to the role of the reader. Departing from the initial question regarding the emergence of a tendency from within the novelistic genre that includes, as part of the novel itself, the preoccupation about the essence of literature, the conclusion is that metafiction can be considered an answer to the "mystery" of literary creation and, therefore, to the interaction between reality and fiction, life and art. On the other hand, all the metafictional novels analyzed here claim, in one way or another, in a lesser or greater degree, a wide and dynamic conception of the novelistic genre and the freedom of creation and imagination.

Mário Henrique Leiria is mostly known for his short stories--- Contos do gin tonic and Novos contos do gin---published in the 1970's upon his return to Portugal from a "self-exile" in Brazil that lasted nine years. Little is known of his work composed earlier than 1973. Only some of his poems and drawings were published in anthologies of the Portuguese surrealist movement, together with other short stories. One can say "little is known" of his work in light of the considerable corpus on which the present study is based: poems, plays and short stories, but mostly poems written between 1938 and 1972. It is of utmost importance to mention that the poetic side of this author remains practically unknown to the general public. The objectives of the present dissertation are to bring to light and analyze the dated manuscripts found in the author's archives at the National Library in Lisbon. Due to the fact that Leiria contributed to the surrealist movement in Portugal, and that his surrealist period is his most prolific and aesthetically the most important in his career, this study will be divided into three parts, each of them accounting for one of the poet's three phases, with special emphasis on the second phase: "Leiria's pre-Surrealism", "Leiria's Surrealism", and "Leiria's post-Surrealism". The analysis of the poems comprising each of these phases will demonstrate that the author may be viewed as one of the representatives of literary modernity in Portugal or, more specifically, of the Portuguese vanguard.