El nuevo palacio del Retiro (1634), El cubo de la Almudena (1651), La devoción de la misa (1658), and El santo rey don Fernando (first and second parts, 1671) are works of a religious literary genre unique to Spain: the auto sacramental. Until recently, such plays have suffered a lack of critical attention, possibly due to their complicated theological focus. Pedro Calderón de la Barca (1600-1681), the master of this genre, is the author of nearly eighty of these one-act works celebrating the Eucharist. Of these, the most studied are those using biblical and mythological characters. Calderón's autos which use Spanish historical figures, such as the above five, have been the object of extremely few studies. Most of these analyses remain at a superficial level, focusing on the works' historical contents, rather than their central spiritual elements. These works illustrate the cosmography of the time and place of their conception. To uncover these autos' full meaning, it is necessary to interpret all other theatrical components in light of these works' primary topic: the Eucharist. Throughout El nuevo palacio del Retiro, El cubo de la Almudena, La devoción de la misa, and both parts of El santo rey don Fernando, the historical elements are framed by the spiritual. In the first, a competition in which the king participates is presented as an image of the transformation of Christ into the Eucharist. In the second, a historical Muslim siege of Madrid is used to assert the victory of Spain against historical and spiritual foes through the Sacrament. The third presents the devotion of a legendary soldier to the Mass as the source of victory in a historical battle. The two autos written on the occasion of the canonization of the medieval King Fernando III combine historical, legendary, and fictitious events to illustrate temporal and eternal victories through the Sacrament. As is evident in a more than superficial study, in these five autos, Calderón modifies history in order to convey an eternal message. / text

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This thesis is dedicated to establishing ways in which the image of Calderon was perceived and constructed by the thinkers of the Enlightenment, of both conservative and reformist convictions, as part of their efforts to create and impose their own understanding of what Spanish national identity is or should be like. / The thesis concentrates on the writings of several of the most important intellectuals of the XVIII century who took part in the heated debate as to the value of Calderon's work: Blas Nasarre y Ferriz, Tomas Erauso y Zabaleta, Nicolas Fernandez de Moratin, Cristobal Romea y Tapia, Jose Clavijo y Fajardo and Francisco Mariano Nipho. / The first two chapters of the thesis deal with the way by which the image of Calderon has been used in order to support certain ideological convictions, in particular, a certain way of understanding Spanish national identity. Chapter three examines the polemics itself, from its beginning in 1749 until the mid-sixties of the XVIII century. A brief section of conclusions closes the thesis, followed by a selected bibliography.

The purpose of this thesis is to investigate the process of manipulation of the image of the Golden Age playwright Pedro Calderon de la Barca (1600--1681) during the eighteenth and nineteenth centuries. Intellectuals of all political stripes sought to impose their own agendas by advancing both conservative and reformist convictions as they used the figure of Calderon to their own advantage in the creation of a 'Spanish national identity' for the time. / The research conducted here focuses on the writings of various thinkers of the rival ideologies over the two centuries mentioned above. What this demonstrates most cogently is how, first, the appropriation of Calderon's image always played an essential role in the political debate about 'national identity,' and, secondly, how the dramatist's image was increasingly identified with the values and parameters of conservative ideology. / The first chapter deals with the origins of the debate about the idea of a 'national identity' during the eighteenth century, and analyses in detail the ideological duality and division which characterized this debate as well as its strongly political background. The next two chapters examine respectively the writings of Bohl de Faber and Menendez Pelayo, both of whom took on key roles in the debate. The interpretation provided in these two chapters leads to the conclusion that, by the nineteenth century, Calderon's image was strongly identified with conservative ideology. The thesis ends with some final conclusions, followed by a select bibliography.

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This thesis examines Spanish representations of Muslim and Jewish cultures in Morocco during the colonial campaigns in the Rif (1909-1927) in relation to constructions of Spanish identity during this period. It focuses on visual and textual narratives in the press (colonial photojournalism) and on three literary texts: Carmen de Burgos' En la guerra (1909), Ernesto Giménez Caballero's Notas marruecas de un soldado (1923) and Arturo Barea's La ruta (1943). The analysis undertaken centres on the use of the motifs of the body and the city and references to the medieval Castilian ballad tradition, the Romancero, by writers and photographers to explore the cultural relationship between Spain and North Africa. The chapters explore the delineation of boundaries between Spanish and Moroccan cultures by contemporary commentators and the power structures that underpin those boundaries, considering the different hierarchies that are established in Spain's relationship with Moroccan Muslims and Jews. Chapter 1 concerns the socio-historical context of the colonial campaigns and highlights the significance of the question of Spain's identity in relation to Morocco during this period. Chapter 2 compares representations of cultural and ethnic affinity between Spain and Morocco, arguing that beyond merely serving as a tool of colonial domination, they are harnessed in some cases to support the colonial venture, in others to challenge it, and yet in others to explore the pre-modern origins of the Spanish nation. In many of the examples examined, a process of self-Orientalisation is observed, where the 'Orientalist' and colonialist gaze is turned back on Spain as well as on Morocco. Chapter 3 examines representations of Muslim and Jewish alterity, arguing that these assertions of difference reveal Spanish anxieties about non-difference from North Africa, cultural regression, national fragmentation, and Spain's ability to dominate the protectorate. I conclude that these anxieties provide the fundamental underpinning to Spanish constructions of Morocco during the Rif War, and that this self-awareness about non-difference and failures of domination unsettles the predominant paradigm of discourse analysis within colonial studies.

The topic of this Master's degree thesis are the lexical loanwords from Italian to European Spanish from the diachronic point of view. The first part is dedicated to the problems of language contact focused on lexical borrowings, followed by the characteristics of Italianisms and the history of the mutual contact of Spain and Italy, that led to the adoption of Italian word in Spanish and vice versa. The adaption of Italianisms in Spanish language is also analysed. The research part of this work is based on the so far most extensive and complex publication about Italianisms in Spanish, which at the same time has been strongly criticized by the science community. The expressions marked in Terlingen's work as Italianisms from the field of commerce are submitted to dictionary analysis. Based on approximately 70 historical, etymological and contemporary Spanish dictionaries, it is being verified whether the chosen words are truly loanwords of Italian origin. Every entry has its origin, meaning and ortographical variations evaluated, and the attention is also drawn to the period of time of their first occurrence and their use in Spanish. These aspects are being studied both in historical and the contemporary language. Last, the conclusions about mercantile Italianisms in Spanish are phrased and the...