Thesis (Ph. D.)--University of Texas at Austin, 2003. / Supervisor: Virginia Higginbotham. Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (doctoral)--Universität Köln, 1981. / Includes bibliographical references (p. 551-557).

Thesis (Ph.D.)--Brown University, 2008. / Vita. Advisor : Wadda Ríos-Font. Includes bibliographical references (leaves 159-184).

Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--Ohio State University, 2002. / Title from first page of PDF file. Document formatted into pages; contains vii, 188 p. Includes abstract and vita. Advisor: Stephen J. Summerhill, Dept. of Spanish and Portuguese. Includes bibliographical references (p. 167-188).

<p>This thesis explores the phenomenon of canonical revision by migrant and postcolonial writers in Spain and Italy. By recycling, rewriting or revising canonical works or film movements of the host countries in which they work, these writers call attention to Spain's and Italy's concerted attempts to perform a European identity. In doing so, they simultaneously challenge the literary categories into which they have been inserted, such as "migrant" or "Hispano-African" literatures. Rather, these writers illustrate that these categories, too, work in tandem with other forms of exclusion to buttress, rather than challenge, Spain and Italy's nationalist attempts to overcome their-"South-ness" and perform European-ness.</p><p>The thesis consists of four chapters, each focusing on a different migrant writer. The first chapter examines how Amara Lakhous, an Algerian-Italian writer, models his novels after the film genre of the commedia all'italiana in order to make national and ethnic identity categories look like theater and spectacle. The second chapter analyzes how Najat el-Hachmi, a Catalan writer of Moroccan birth, rewrites a classic of Catalan literature (Mercé Rodoreda's The Time of the Doves) to challenge the oppositions between "immigrant" and "native," while also articulating a transnational, feminist critique of patriarchy. The third chapter studies how Francisco Zamora Loboch, an Equatorial Guinean exile in Spain, re-interprets Don Quijote as an iconically anti-racist text. The fourth chapter studies how Jadelin Mabiala Gangbo, a Congolese-Italian writer, recycles Shakespeare's play Romeo and Juliet in his novel Rometta e Giulieo in order to challenge the polarized dichotomy of "migrant" and "canonical" writing.</p><p>My work both draws on and critiques several, interrelated fields of scholarship, including Southern European studies, Afro-European studies, Mediterranean studies, migrant literary studies, and postcolonial studies, as well as criticism pertaining to specific canonical works these writers revisit in their works. In doing so, I hope to demonstrate that a critique of racism or xenophobia in contemporary Spain or Italy necessitates not only a critique of the Global South against Eurocentrism, but also a simultaneous critique of Europe's North-South divide.</p> / Dissertation

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Spanish women writers that establish their literary careers early in twentieth century find themselves at an interesting historical crossroads as the world changes from an agrarian to an industrial paradigm. On one hand, this change leads to a strong current of traditionalism, to which most male writers adhere, as it offers the attractive idea of return to a pre-modern simplicity; on the other, this change opens up possibilities for social improvement and participation for those groups traditionally excluded from power. Embracing this change poses the opportunity for female subjects to reshape fundamental structures of society and, in sum, eventually create a different world where women can become full citizens. Blanca de los Ríos, Concha Espina, Carmen de Burgos, María Lejárraga, and Caterina Albert are representative of Spanish women writers facing this situation. Their fictional works written between 1898 and 1914 offer a rich literary production that invites us to examine the emergence of new cultural and social practices. These authors renegotiate deeply rooted ideologies that structure not only gender relations but also the social class system, the spatial organization around country/city, and Spain’s national identity built around the discourse on race. Addressing conflicting perspectives between tradition and modernity through the prism of gender, the analysis of their works reveals their taking on a modern stand, hopeful of the promises brought by the new socioeconomic reality and the liberating aspect of modernity. As Rita Felski and Barbara Mashall´s studies have pointed out, many theorists of modernity, such as Marshall Berman and Jürgen Habermas, do not take gender into consideration. Grounded in a gendered analysis, this study reveals the importance of Spanish female authors as agents of modernity at the turn of the twentieth century.

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.