This dissertation investigates two areas rarely treated in Early Modern studies. First, it explores the origins, functions and importance of the entremes as a performance genre historically relegated to what Victor Turner has called the "liminal" spaces of social and scholarly discourse. These marginalized places of ambiguity in between one space and another provide the artist with a less restrictive creative setting in which to explore the otherwise difficult and even unmentionable social themes. Literally placed in between acts of the comedia performance experience, as well as chronologically placed in between the medieval pageant theater and the emerging early modern theater houses, the entremes serves as an entertaining breed of performance monster, building upon a thematic foundation "betwixt and between" acceptable and objectionable forms of theater.Second, the dissertation examines in detail the 12 lesser-known entremeses of Francisco de Quevedo as examples of liminality in the development of early modern theater practices. Specifically, the study analyzes these theater pieces as they subscribe to three categories of cardinal sin: desires of the ego (pride, wrath and sloth); desires of ownership (greed and envy); and desires of the body (lust and gluttony).As a result, this work hopes to demonstrate the aesthetic value of the interlude and the ways in which Quevedo's various manifestations of this liminal genre, based heavily on the construct of sin, both complement and contradict the model of the entremes as established by his predecessors.

This dissertation uses the seventeenth-century Spanish plays which employ an array of mythological stories of Theseus to analyze the Early Modern ideology of the Prince. The consideration of the different rulers in these plays highlights different aspects of these sovereigns such as their honor, prudence, valor, and self-control. Many of these princes fall well short of the ideal explained in the comedia and in the writings of the arbitristas. By employing the hylomorphic theory in which everything can exist in either its matter or its form, it is shown that in order to have the form of a prince, rulers must act in certain ways to reach that ideal or perfect state. Many princes in the plays, however, at least at certain times, only have the matter of a prince and fall short of the form. By drawing from mythological theories which describe the need for a mediation or an alleviation of an irresolvable contradiction within a society, it is shown that despite the imperfections of the flawed princes that are put on stage, these plays still defend and glorify the monarchical system in which they were created as well as the specific imperfect princes. The six plays examined here in which Theseus is a primary protagonist are El laberinto de Creta, Las mujeres sin hombres, and El vellocino de oro by Lope de Vega; Los tres mayores prodigios by Calderón de la Barca; El labyrinto de Creta by Juan Bautista Diamante; and Amor es más laberinto by Sor Juana Inés de la Cruz and Juan de Guevara. These plays span a large portion of the seventeenth century and although the authors wrote some of them for the corrales, they created others to be performed before the court.

Medicine is a field of science that is always changing and promoting new ideas and innovations. Throughout history, medicine has been an important factor in the lives of people around the world since the beginning of civilizations. This study focused on the literature of medicine as it relates to the Spanish Golden Age period. By looking at the history and critical studies in medicine during sixteenth and seventeenth century Spain as well as during the pre-colonial period in America, this thesis overviews the effects and influences in regards to health and illness in Spain and the Americas during the Spanish Golden Age era.

The aim of this study is to demonstrate the destructive effects of infidelity in the old-aged husband-the young wife marriages which end up with tragedy. In John Ford&rsquo / s Love&rsquo / s Sacrifice (1633) and Lope de Vega&rsquo / s Punishment Without Revenge (1631), tragedy turns out to be the inevitable consequence of the plays since the motives of jealousy, honour, revenge and love converge and lead people to commit sinful crimes. Within this scope, the first chapter of the thesis is devoted to the historical information about the state of English and Spanish theatres together with the biographies of the playwrights. In the second chapter, the tripartite relationship between jealousy, revenge, and honour is dealt with based upon examples from the primary sources in a historical framework. The reasons and results of these themes are studied through the characters in the plays. The third chapter covers the theme of love, its history and its influence on characters. In this chapter, the nature of love between the characters and its consequences are examined. The conclusion asserts that the old-aged husband and the young wife create a mismatched union and accompanied with the motives of honour, jealousy and revenge, the institution of marriage breeds tragic consequences. The analysis of the above mentioned themes is based on a historical context and it is also concluded that although Love&rsquo / s Sacrifice (1633) and Punishment Without Revenge (1631) belong to the Renaissance age, both plays bear the influences of the Greco-Roman drama tradition. Thus, the similarities and differences between classical and Renaissance tragedy are demonstrated.

Homometries : Representations of Homosexual Desire in Spanish Golden Age Literature traces literary representations of homosexuality during this period. Traditional criticism is written from a perspective that reflects the heteronormative idiosyncrasy that permeates this literature. In my study, I interpret the authors' textual imaginings and how they manipulate hegemonic ideals of identity and sexuality to highlight overt or encoded attempts to subvert the concept of transhistorical heterosexuality. My study valorizes "anachronistic" queer literature. It differs from those in the 1990s by averting from the consideration of homosexuality as a recent "invention". I revisit Spanish Golden Age texts to illustrate how human relations in this era can provide the spaces where alternative sexual identities can take hold. I propose five imperatives, one, it is necessary to admit that these texts incorporate not only hegemonic ideals but all the intensities of human desire; two, when these intensities have to do with homosexuality they are registered in three levels: codified, embedded in a homophobic concept, or silenced; three, when the codification appears in a positive context it can be identified through the rhetoric of homoeroticism or masculine love (homosociality would be the asexual variation and feminine love its lesbian counterpart); four, homophobia can be recognized in condemnatory, moralistic, or mockery situations; and five, the language of the closet exists in textual suggestions, in what is not pronounced but can be identified. Each chapter deals with and elaborates on each of these imperatives, with Chapter 1 acting as the theoretical platform. Chapter 2 focuses on homoeroticism through the poetry of don Juan de Arguijo. Chapter 3 studies a feminine man in the episode of Leandra and Vicente in Don Quijote, here, I propose the term, "homoscapes" (homo-relieves) as the identifiable characteristics of hegemonic gender transgressions. In Chapter 4, I revise Eve Kosofsky Sedgwick's homosociality to show how homosexual relationships between men could have been maintained in La boda entre dos maridos, a Lope de Vega play. Chapter 5 analyzes homophobia and its representations in Celos con celos se curan, a play by Tirso de Molina. And, Chapter 6 deals with the interpretation of the language of the closet in El castillo de Lindabridis, a play by Calderón de la Barca. / text

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Le présent travail de recherche se propose d’étudier comment se décline le concept d’entre-deux dans El Pasajero de Cristóbal Suárez de Figueroa, en prenant pour point de départ l’épineuse question de l’appartenance générique de cette œuvre. La première partie de cette étude définit les influences diverses dont s’abreuve le texte. Par-delà l’inspiration italienne, le texte plonge ses racines dans un substrat folklorique hispanique réaffirmant ainsi la prégnance du concept d’entre-deux dans la prose figuéroène. Ce dernier se manifeste, en effet, dès le paratexte puisque le titre complet de l’œuvre, El Pasajero, advertencias utilísimas a la vida humana doit être lu comme une invitation à une pratique étendue de la transtextualité, une invitation que viennent confirmer les dires du meneur de l’interaction. La porosité des frontières entre réalité et fiction tend à ériger le texte en laboratoire d’expérimentation littéraire et en lieu de passage vers de nouvelles formules littéraires, aspect auquel est consacrée la deuxième partie de cette étude. Le traitement de l’espace et du temps mais aussi celui des personnages sont autant de points qui attestent de la fonction déterminante que joue le concept d’entre-deux dans la genèse de l’œuvre figuéroène. Celle-ci oscille perpétuellement entre tradition et innovation littéraires. Enfin la dernière partie de cette étude montre comment au-delà d’une certaine bigarrure, l’entre-deux confère aussi au texte figuéroen une cohérence et une homogénéité en devenant un élément structurant, à l’instar du discours sur le mérite qui sous-tend l’œuvre. Autrement dit, l’entre-deux, chez Figueroa, devient une stratégie d’écriture qui passe par différents mécanismes de glissements qui confirment la nature profondément hybride de El Pasajero. / The purpose of this PhD thesis is to study the in-betweenness concept in Cristóbal Suárez de Figueroa's El Pasajero in all its forms and will first deal with the thorny issue raised by the generic identity of the work. The first part of this study aims to define the different influences pervading the text. Besides being Italian-inspired, the text is deeply rooted in the Hispanic folk substrate, which thus testifies to the prevalence of the in-betweenness concept in Figueroa's prose. Indeed, the concept emerges as soon as one reads the paratext, for the full title of the work, El Pasajero, advertencias utilísimas a la vida humana, has to be construed as an invitation to indulge in extensive transtextual practices, as confirmed by the words of the character who presides over interaction. The porous frontiers between reality and fiction tend to transform the text into a laboratory where literary forms are experimented on and a place of exchanges leading to new literary patterns, which are the focus of attention in the second part of the study. The treatment of space and time and characterization all contribute to underlining the key role played by the in-betweenness concept in the genesis of Figueroa's work. The latter keeps wavering between literary tradition and innovation. Finally, the last part of the study shows that beyond the colourful patchwork, in-betweenness gives consistency and homogeneity to Figueroa's text by becoming a structuring principle, like the discourse on merit inscribed in the work. In other words, in Figueroa's work, in-betweenness is the cornerstone of a writing strategy based on different slippage mechanisms that account for the profoundly hybrid nature of El Pasajero.

This thesis investigates and examines the manifestations of ideology in paratexts, specifically concentrating on forewords and afterwords in Czech translations of novels written during the Spanish Golden Age and translated into Czech between 1948 and 1989. To uncover and classify each display of ideology, a new methodology was proposed. Its creation was based on research documented in the theoretical part of this thesis which discusses translatological concepts, studies ideology and censorship and characterizes the literature of Spanish Golden Age. The translatological concepts covered in this thesis are: the communicative model and praxeology of Anton Popovič, André Lefevere's concept of rewriting, and the paratext theory of Gérard Genett. The functionality of the proposed methodology was tested in the thesis's empirical part, in which nine paratexts were analyzed. On the basis of this paratext analysis, the trends of each ideology manifestations were established as well as factors that contribute to their presence.

This thesis examines the Jesuit and Ignatian influence on the works of Juan Eusebio Nieremberg (1595-1658), who was a prolific and widely published author and a member of the Society of Jesus in Spain. He wrote several works across different literary genres both in Spanish and Latin, but was best known for his popular works in Spanish: two miscellanies of natural philosophy, Curiosa filosofía (1630) and Oculta filosofía (1633); a catechism, the Práctica del catecismo romano (1640); his ascetical treatises, especially De la diferencia entre lo temporal y eterno (1640); and his ‘advice-books’ to princes and nobles, most notably Causa y remedio de los males públicos (1642). As a member of the Jesuit Order, Nieremberg wrote these works with the intention to ‘save souls’, this being the main apostolic goal of the Society. While they provide people with knowledge (‘noticia’) – whether doctrinal, natural, spiritual, or political – these works teach readers to view human existence according to its true end: God’s will of salvation. All things of the temporal world are portrayed as a means to that end. In order to accomplish this goal, Nieremberg incorporates elements from Loyola’s Ejercicios espirituales (1548), the spiritual foundation of the Jesuit Order, and develops a rhetorical strategy which encourages readers to discern the will of God in the world they inhabit. He also develops this rhetoric according to some of the principal literary and artistic conventions of the seventeenth century, and provides an important example of how a prominent Jesuit writer came to express the apostolic and spiritual principles of his Order, but in the language and imagery of Spain’s Siglo de Oro.