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Esta tese investiga o vínculo entre o signo mar, o exercício da memória e o trabalho com a palavra na poesia escrita por Rafael Alberti (1902-1999) durante seu exílio na Argentina e no Uruguai (1940-1963). Trata-se de um conjunto que chama a atenção pelo processo de escritura praticamente simultâneo, o qual, embora compartilhe motivos e problemas, apresenta uma grande diferença formal. A variação também sugere que o movimento é, efetivamente, um traço constitutivo da voz poética albertiana. Em meio a esse canteiro de obras, aparece Retornos de lo vivo lejano, cujos quarenta e cinco poemas se intitulam retornos, dando corpo a uma nova forma criada pelo poeta. O movimento de retorno não é só a atitude de um sujeito que revisita o passado, mas a escolha da nostalgia como perspectiva crítica sobre a história, postura a partir da qual se constrói uma poesia (do) possível. Propomos um percurso analítico que se inicia com Marinero en tierra, obra de estreia do poeta, de 1925, em que se lançam as bases da relação triádica entre mar, memória e poesia. Retornos de lo vivo lejano será tomado como um ponto de inflexão da trajetória de Rafael Alberti por permitir pensar a um só tempo o vínculo com o signo mais presente em sua obra, o mar, seu compromisso (po)ético com o exercício da memória, e sua concepção do trabalho poético. / The present thesis investigates how the sign \"sea\", the exercise of memory and the poetic work connects in the poetry written by Rafael Alberti (1902-1999) during his exile in Argentina and Uruguay (1940-1963). Due to its almost simultaneous writing process and similar issues, this set of books is remarkable. At the same time, they present formal differences, which suggests the movement is, in fact, a constitutive characteristic of Alberti\'s poetic voice. In this worksite, we found Retornos de lo vivo lejano, in which all the forty-five poems are titled \"retornos\", the new form the poet creates. It claims the return movement is not only an attitude of revisiting the past, but it means the poet assumes nostalgia as a critical perspective over history, from which he builds up his poetry of the possible. We propose an analitical path that begins in Marinero en tierra, Alberti\'s first book (1925), because it contains the foundation of the triad sea-memory-poetry. Retornos de lo vivo lejano will be considered as an inflection point of Alberti\'s itinerary, as it allows us to think the poet\'s bond with the greatest sign of his poetry, the sea, his (po)ethical commitment to the exercise of memory, and his conception of the poetic work.

Este trabalho propõe-se a examinar a obra Jardín cerrado (1946) de autoria do poeta espanhol Emilio Prados, exilado no México. Tem por objetivo apontar o jardín cerrado como um território de busca da identidade do sujeito lírico, onde se realiza um deslocamento simbólico que é associado ao processo de elaboração poética. O trabalho constrói-se a partir da análise de sete textos poéticos, na sequência dos livros que compõem a obra, e pretende analisá-los sob o signo do trânsito que marca a experiência do exílio republicano espanhol para delinear a proposta de uma poética do escritor. / The proposed study aims to examine the literary work Jardín cerrado (1946) written by the Spanish poet Emilio Prados, exiled in Mexico. It aims to define \"jardín cerrado\" as a search territory of the identity of the lyrical subject where there is a symbolic displacement associated to the process of poetic creation. The study builds on the analysis of seven poetic texts presented according to the sequential books which compose the work. The study intends to analyse them under the image of the passage that describes the experience of the Spanish republican exile to outline the author\'s poetic proposal.

Angelina Muñiz-Huberman (1936) a développé pendant plus de quatre décennies au Mexique, son œuvre narrative, poétique et d’essai. Elle est l’introductrice du nouveau roman historique dans la littérature mexicaine, ses récits se caractérisent par l’exposition de la vraie nature humaine des personnages à travers l’introspection. Fille d’exilés républicains, son travail révèle un rapprochement avec ces événements, remportant leurs effets positifs. La recherche identitaire qui émerge depuis son enfance contrastée entre l’Espagne de ses parents et le Mexique du présent, est complétée par son exil juif du côté maternel. Par conséquent, l'exil se déroule sous toutes ses formes à travers des histoires quotidiennes, de personnages hors du commun et l'introduction du point de vue du narrateur. Le besoin d'expression expérimenté par l'auteur, appartenant à groupe des "Hispano-Mexicains", soulève un certain nombre de ruptures narratives et stylistiques au sein de son travail créatif. La réécriture de l’enfance à travers les pseudomémoires, l'utilisation innovante des signes typographiques, la reconstruction de l'histoire et une tendance marquée d'écriture féminine, font l'objet de cette étude. / Angelina Muñiz-Huberman (1936) has developed her narrative work, poetic and essayistic for over four decades in Mexico. Introducer of the new historical novel in Mexican literature, her narratives are characterized for exposing the true human nature of the characters through introspection. Daughter of Republican exiles, her work reveals reconciliation with this event, adjudging its positive effects. The search for identity that emerges from a childhood contrasted between the old Spain and Mexico's present completes with Jewish exile from the maternal family. Consequently, the exile unfolds in all its forms through everyday stories of unusual characters and the introduction of the narrator's point of view. The need for expression experienced by the writer, belonging to the "Spanish-Mexican" group, raises a number of narrative and stylistic ruptures within her creative work. The rewriting of the childhood through the seudomemorias, the innovative use of typographical signs, the reconstruction of history and a strong trend toward feminine writing, are the subject of this study.

Este trabalho propõe-se a examinar a obra Jardín cerrado (1946) de autoria do poeta espanhol Emilio Prados, exilado no México. Tem por objetivo apontar o jardín cerrado como um território de busca da identidade do sujeito lírico, onde se realiza um deslocamento simbólico que é associado ao processo de elaboração poética. O trabalho constrói-se a partir da análise de sete textos poéticos, na sequência dos livros que compõem a obra, e pretende analisá-los sob o signo do trânsito que marca a experiência do exílio republicano espanhol para delinear a proposta de uma poética do escritor. / The proposed study aims to examine the literary work Jardín cerrado (1946) written by the Spanish poet Emilio Prados, exiled in Mexico. It aims to define \"jardín cerrado\" as a search territory of the identity of the lyrical subject where there is a symbolic displacement associated to the process of poetic creation. The study builds on the analysis of seven poetic texts presented according to the sequential books which compose the work. The study intends to analyse them under the image of the passage that describes the experience of the Spanish republican exile to outline the author\'s poetic proposal.

The motif of 'exile-and-return' is found in works from a wide range of periods and linguistic traditions. The standard narrative pattern depicts the return of wrongfully exiled heroes or peoples to their former abode or their establishment of a superior home, which signals a restoration of order. The appeal of the pattern lies in its association with undue loss, rightful recovery and the universal vindication of the protagonist. Though by no means confined to any one period or region, the particular narrative pattern of the exile-and-return motif is prevalent in vernacular texts of England and Spain around 1170–1250. This is the subject of the thesis. The following research engages with scholarship on Anglo-Norman romances and their characteristic use of exile-and-return that sets them apart from continental French romances, by highlighting the widespread employment of this narrative pattern in Spanish poetic works during the same period. The prevalence of the pattern in both literatures is linked to analogous interaction with continental French works, the relationship between the texts and their political contexts, and a common responses to wider ecclesiastical reforms. A broader aim is to draw attention to further, unacknowledged similarities between contemporary texts from these different linguistic traditions, as failure to take into account the wider, multilingual literary contexts of this period leads to incomplete arguments. The methodology is grounded in close reading of four main texts selected for their exemplarity, with some consideration of the historical context and contemporary intertexts: the Romance of Horn, the Cantar de mio Cid, Gui de Warewic and the Poema de Fernán González. A range of intertexts are considered alongside in order to elucidate the particular concerns and distinctive use of exile-and-return in the main works.

Este trabalho se debruça sobre a poesia do exílio republicano espanhol de 1939. A pesquisa procura demonstrar que o tempo de duração do exílio é fator preponderante para a leitura de uma produção poética ampla e dispersa. Desse modo, seu enfoque central trata de investigar como essa poética exilada assimilou e ressignificou as três décadas de exílio, reconstruindo a identidade de seus autores. O corpus é composto por livros de inflexão da obra de três autores: Luis Cernuda (Vivir sin estar viviendo, 1944-1949), Emilio Prados (La piedra escrita, 1959-1961) e Max Aub (Antología traducida, 1963-1971). / The present study examines the 1939 Spanish Republican exile poetry. The investigation aims to demonstrate that the time the exile lasted is a fundamental aspect when reading such a widespread poetic production. Thus, the focus is on analyzing in which way this exiled poetry incorporated and resignified the three decades of exile, reconstructing the authors identity. Critical books in three authors works compose the corpus: Luis Cernuda (Vivir sin estar viviendo, 1944-1949), Emilio Prados (La piedra escrita, 1959- 1961) and Max Aub (Antología traducida, 1963-1971).

A presente dissertação analisa os livros sobre o Museu do Prado, A la pintura (1948) e Noche de guerra en el Museo del Prado (1956), ambos do escritor espanhol Rafael Alberti, escritos na Argentina, durante seu longo exílio. A investigação parte da contextualização de Alberti, que nos leva a uma aproximação ao tema, o Museu do Prado, tratado de maneira diferente nas duas obras. Na sequência, é analisado o livro A la pintura e, em seguida, a peça de teatro Noche de guerra en el Museo del Prado. / This study analyzes the books about the Prado Museum, A la Pintura (1948) and Noche de guerra en el Museo del Prado (1956), both of spanish writer Rafael Alberti, written in Argentina, during his long exile. The investigation parts from the context of Alberti, that leads to an approach to the subject, the Prado Museum, treated differently in the two books. In the sequence is analyzed the book A la pintura and then the piece of theater Noche de guerra en el Museo del Prado.

A presente dissertação analisa os livros sobre o Museu do Prado, A la pintura (1948) e Noche de guerra en el Museo del Prado (1956), ambos do escritor espanhol Rafael Alberti, escritos na Argentina, durante seu longo exílio. A investigação parte da contextualização de Alberti, que nos leva a uma aproximação ao tema, o Museu do Prado, tratado de maneira diferente nas duas obras. Na sequência, é analisado o livro A la pintura e, em seguida, a peça de teatro Noche de guerra en el Museo del Prado. / This study analyzes the books about the Prado Museum, A la Pintura (1948) and Noche de guerra en el Museo del Prado (1956), both of spanish writer Rafael Alberti, written in Argentina, during his long exile. The investigation parts from the context of Alberti, that leads to an approach to the subject, the Prado Museum, treated differently in the two books. In the sequence is analyzed the book A la pintura and then the piece of theater Noche de guerra en el Museo del Prado.

Este trabalho se debruça sobre a poesia do exílio republicano espanhol de 1939. A pesquisa procura demonstrar que o tempo de duração do exílio é fator preponderante para a leitura de uma produção poética ampla e dispersa. Desse modo, seu enfoque central trata de investigar como essa poética exilada assimilou e ressignificou as três décadas de exílio, reconstruindo a identidade de seus autores. O corpus é composto por livros de inflexão da obra de três autores: Luis Cernuda (Vivir sin estar viviendo, 1944-1949), Emilio Prados (La piedra escrita, 1959-1961) e Max Aub (Antología traducida, 1963-1971). / The present study examines the 1939 Spanish Republican exile poetry. The investigation aims to demonstrate that the time the exile lasted is a fundamental aspect when reading such a widespread poetic production. Thus, the focus is on analyzing in which way this exiled poetry incorporated and resignified the three decades of exile, reconstructing the authors identity. Critical books in three authors works compose the corpus: Luis Cernuda (Vivir sin estar viviendo, 1944-1949), Emilio Prados (La piedra escrita, 1959- 1961) and Max Aub (Antología traducida, 1963-1971).