This thesis explores two debates that came to a head in early seventeenth century in Spain, in response to a period of military, economic, and religious crisis. The first of these debates, on the "u201cMorisco problem,"u201d concerned the decision of whether or not the baptized descendants of the Moors should be expelled from Iberia, on the grounds that they had not become true Catholics and thus remained a corrosive influence on society. The second debate, the co-patronage controversy, revolved around the belief held by numerous members of the government and clergy that Spain would be better represented by two patron saints rather than by only one. The newly canonized Saint Teresa of Ávila was strongly considered, at the urging of Philip IV and his favorite the Count-Duke of Olivares, for the role of co-patron at Santiago"'s side, as a symbol of purity, reform, and the struggle against Protestant heresy. I argue that the arguments for the expulsion of the Moriscos, as well as from those favoring the co-patronage of Teresa, represent attempts to make Spain more securely orthodox in response to perceived external and internal threats posed by heretics and infidels. In both cases, we can also clearly see that the monarchy and secular authorities were willing and able to overlook the opposition of Church authorities even within these two discourses intrinsically tied to matters of faith, demonstrating a weakness of the Spanish Catholic Church when its goals came into conflict with those of the state. / Bryan Laird

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In New Spain, the professionalization of medicine followed the same pattern as in Europe and was prompted by similar intellectual and political factors. As with their European colleagues, the local medical elite of the late eighteenth century was greatly influenced by the Enlightenment, working tirelessly to advance medical science and improve the quality of treatment available to the public. Scientific developments in Europe influenced practitioners in New Spain through local and imported publications as well as through the arrival of a large number of European practitioners. While the Enlightenment played an important role from the scientific and medical points of view, international politics proved crucial to the development of surgery and its rapid rise to a professional level. The intense rivalry among nations prompted Spain to reorganize its armies and consequently, to turn its attention to military surgery. In Mexico, the establishment of formal surgical education and the reorganization of the armies resulted in the arrival of foreign practitioners and the creation of a two tiered system based on nationality. Of equal importance for the initial stages of professionalization was the rapid erosion of traditional social values in the late colonial period. As reflected by the increasing laxity in the enforcement of the limpieza de sangre requirements, race and ancestry as a measure of status were beginning to give way to personal merit. The medical professional gives a unique opportunity to analyze the fascinating world of late colonial Mexico. The hierarchical organization of the profession reflects contemporary society and offers a glance at daily life from the point of view of various socio-economic levels while the relations among its members mirror the complicated relations among the different segments of society. The growing criollo nationalism becomes patent in the attitude of some practitioners, an echo of future and more profound antagonism. From an intellectual point of view, the medical profession illustrates the achievements of local practitioners and pharmacists which have been largely ignored by scholars. Finally, it reflects the last efforts of Spain to reassert control over its colony and its powerlessness to stop the tide of history.

This dissertation is focused on the Künstlerroman, or artist-novel, which can be understood as a variation of the Bildungsroman, or novel of formation. The artist-novel describes the creative learning of a young artist and is centered on the development of the protagonist's aesthetic ideals, the struggles to accomplish them, and the quest for self-achievement. This quintessential Modern genre emerges in Germany at the end of the 18th century. However, it is not until the late 19th and early 20th century when esteemed writers from Europe and the Americas, fascinated by the narrative possibilities of its premises, raise it to a higher artistic status and confer upon it great critical prestige. In spite of its importance in the Spanish context, artist-novels and their relation to turn-of-the-century aesthetics have not been properly addressed. This dissertation analyzes five Künstlerromane of key Spanish authors of this period: Pío Baroja's Camino de perfección (1902), José Martínez Ruiz, Azorín's La voluntad (1902), Emilia Pardo Bazán's La Quimera (1905), Vicente Blasco Ibáñez's La maja desnuda (1906), and Gabriel Miró's La novela de mi amigo (1908). Considering the critical and theoretical framework of the Künstlerroman as a point of departure, this approach studies how these novels incorporate and develop its structures and conventions by concentrating on three essential aspects. First, it examines the fictional portrait of the artist as a "divided self." Deriving the concept from Maurice Beebe, this dissertation argues that the tensions of Modern society have a direct influence on the artist-hero's portrayal and perspectives of self-realization. Second, it considers the voyage as a key narrative device that functions as a structural component in these novels. Third, it discusses the Künstlerroman as a synthesis of creative contemporary issues. Specifically, the combination of two concepts of language--one that exists in space with one that exists in time--contributes to the analysis of modern relationships between literature and other artistic expressions, especially painting and architecture. As a conclusion, the Künstlerroman implies an exploration of new anti-Realistic modes of representation in search of an innovative lyrical and subjective discourse: the novel of the artist becomes simultaneously an art of the novel. / text

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