Nada é considerada a primeira referência de romance do realismo existencialista do pósguerra civil espanhol. Em 1944, mesmo ano de seu lançamento, obteve o reconhecimento por parte da crítica especializada, com a primeira edição do Prêmio Nadal de Literatura. Hoje, é objeto de estudo dos que se ocupam com sua crítica e parte obrigatória de qualquer antologia ou história da literatura espanhola do século XX. O objetivo desta dissertação é fazer uma tradução da obra Nada, de Carmen Laforet. Relataremos os impasses que foram enfrentados nesta versão, seja na manutenção do estilo, seja na escolha do léxico, na fluidez do texto, nas estruturas gramaticais e semânticas do romance. A proposta é a de seguir o caminho sinuoso e complexo da tradução, mantendo o sentido e o tom do texto de partida. A pesquisa realizada junto aos teóricos sobre tradução fez-nos perceber a impossibilidade de postular uma única teoria que consiga resolver todas as facetas do processo tradutório. Uma vez que não há regras para todos os casos, sobram-nos como consolo os empíricos conselhos sobre literalidade e fidelidade, destinados a quem se aventura no universo da tradução. / \'Nada\' is considered to be the first framework for the existentialist realism of the Spanish postcivil war. In 1944, same year of its launch, it won recognition by the literary critic when it received the first edition of the Nadal prize of literature. Today it is object of study of the ones who occupy with its critique, and compulsory part of any anthology or 20th century Spanish literature history. The aim of this dissertation is to make a translation of the work Nada by Carmen Laforet. We will relate the impasse faced in this version, either in keeping the style, in the lexical choice, in the fluency of the text,or in the grammatical and semantical structures of the novel.The proposal is to follow the sinous and complex path of translation, maintaining the sense and the tone of the original. The research elaborated on translation by the theorists made us perceive the impossibility of postulating a single theory that is able to resolve all the facets of the translating process. Since there are no rules for all cases, we are left, as consolation, with the empirical advice on what is literal and faithful, aimed at whom takes risks in the universe of translation.

Can words create worlds? My fiction thesis, El mundo es mentira (The World Is a Lie), explores different voices and points of view to examine the ways in which they not only tell stories, but also generate spaces, atmospheres and, ultimately, worlds of their own. Moreover, the book aims to be a meeting ground where these voices dialogue with the voices of the literary tradition, reinterpreting and rewriting it. This collection was conceived as an experimental laboratory as well: it is comprised by short and micro-stories which question and challenge conventional forms of storytelling by incorporating poetic, memoiristic and essayistic devices.

Carolina Coronado is often being compared to Rosalía de Castro or even Gustavo Adolfo Bécquer and the truth is that even Bécquer found his inspiration in her. The fact that in the Czech Republic nobody has ever studied this author before made me choose her as the subject of my thesis. Writing this work was complicated, since there is no literature available in the Czech Republic, so I was constrained to find an appropriate literature in Spain. The goal of this thesis is to present the author and analyze her life and work depending on the romantic tendencies in order to lay the foundations for future study. We are going to study her childhood and outer impulses that had later influence on her work, just as her first liberal and feminist thinking. Then we will familiarize ourselves with a very original way of composing verses, the very first poetry and publication. We are going to analyze her life together with the political and social situation in Spain and we will present the author as a feminist pioneer. We will find out that all those aspects depended on the romantic tendencies of those times and comparing the author with other romantic authors we will understand that her themes and expressive forms were not novelty. Finally we are going to summarize all of her work and analyze her poetry. In...

Bernardino de Ávila Girón was a Spanish merchant and notary who lived in Japan between 1594 and 1619. He traveled from Spain to Manila around 1583, took up residence in Nagasaki and was living there when six missionaries and twenty Japanese were crucified on February 5, 1597. He witnessed the persecution of Christians after the edict of expulsion of European missionaries on February 14, 1614. Based on these experiences and his observation of Japanese customs, he wrote the Relación del reyno del Nippon al que llaman corruptamente Jappon, the only secular account written in Spanish about Japan and the failed expansion of Christendom in the sixteenth and seventeenth centuries. The ties linking seventeenth-century Spain and the Americas in literature have been widely explored. Literary critics have studied the relationship between Spain and Asia in the context of medieval travel writing and nineteenth- and twentieth-century Orientalism. The relations between the Spanish empire and the empires of Asia, however, have been studied mostly by historians. My dissertation examines Bernardino de Ávila’s work not as a historical account, but as a narrative composed by a layman who would not have been considered in the seventeenth century either a historian or a reliable chronicler of martyrdoms. However, he provides a valuable and memorable eyewitness account that defies categorization. I use published sources and archival documentation to establish a more complete biography of Bernardino de Ávila, study the textual transmission of the Relación, a work that exists in multiple copies, place the Relación and Bernardino de Ávila’s life in historical context, and focus on its relation to other historical and literary writing of the period, including writing on the Japanese martyrs by the Jesuit Pedro Morejón and the playwright Lope de Vega, who were writing for very different readerships. I define the genre of the Relación and examine ideas of authority in the writing of history and hagiography and conclude by tracing the history of this work from the seventeenth century to our own day, and offer an explanation of why it has been excluded from the literary and historical canon.

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The present research is focused on the formal devices that Azcona and José Luís García Sánchez display in the film adaptation of Las galas del difunto, a theater play included in Martes de Carnaval, published in 1930 by Ramón María del Valle-Inclán. Framed within the state politics of cultural promotion, Las galas del difunto was released for television consumption, thus, its characteristics are very relevant in order to analyze the priorities and strategies developed in the adaptation process. Not only does the main obstacle remain in the fact that the original play is difficult to represent in theater (mostly due to its secondary text), but also the metatextual dimension of Valle-Inclán’s texts. The Galician writer creates his own genre (el esperpento) trough both a series of characterization devices, a master use of language, and action structures; but also writing from a very particular perspective (looking for aesthetic distance) and mixing other existent genres. This complex collage crashes with the naturalistic tendency of audiovisual representation and offers a wide variety of open fronts that appeal directly to the adaptation concept. Clearly, the script writers have noticed the formal structures in the text and, to a certain extent, “translated” into genuine cinematographic language. However, the result of this sense of fidelity could present paradoxes within the movie and in regard to the audience’s reception. Those contradictions, even though included in the original play, have to deal with the whole new cinematographic context. The tensions between the play and the movie will arise through acting, lightning, camera framing, and mise en scene.

This thesis considered the impact of censorship and authoritarian rule by dictator Francisco Franco on two novels by 20th century Spanish author Carmen Martín Gaite: El balneario, (1955) and Entre visillos (1958). The two works utilize a “discourse of censorship” to express complaints about life as a young woman deprived of fulfilling relationships and self-determination. These novels were analyzed through a search for subtexts and hidden meanings to argue for their status as texts that contain a subversive message. This investigation was accomplished through historical research on Francoist censorship and repression; use of Michel Foucault’s theories about panopticism; and feminist criticism of both novels. In the exploration of El balneario it was determined that a very strange dream sequence revealed psychological trauma from the Spanish Civil War, an anxiety-provoking sense of voicelessness, and an overwhelming isolation from the outside world. In the inquiry into Entre visillos, it was found that provincial and traditionalist social structures prevented meaningful communication and promoted unquestioned obedience to social norms. Martín Gaite achieved this look into society through her detailed depictions of the characters’ experiences and by viewing their social interactions through the lens of an outsider – a German teacher, Pablo Klein. The conclusion of this study was that, despite censorship’s silencing effects, Martín Gaite’s novels do expose the difficulties of daily life under authoritarian rule and are subversive in their implication that Franco’s insistence on maintaining 19th century social and political structures is harmful, and that change is possible if freer communication were allowed.

The present study examines the figure of Mary Magdalene in the poetry of Lope de Vega and Richard Crashaw. I propose that while setting Mary Magdalene as the perfect example to convert, both authors could also express their conversion through the composition of two different poems: “Las Lágrimas de la Magdalena” by Lope de Vega and “Saint Mary Magdalene or, The Weeper” by Richard Crashaw. Each poem is centered on the idea of Mary Magdalene’s copious tears as the performative mark of her repentance which will effect her conversion. These two conversions are placed within two European literary traditions, Spain and England; as well as two different processes: on the one hand, Lope de Vega would go from a licentious life in his early years to becoming a priest at the end of his life, thus, devoting his life to religion. On the other hand, Richard Crashaw’s conversion would take place in between two conflicting religious beliefs, i.e., his transition from Protestantism to Catholicism. The other main goal of this work is studying these poems through the Baroque movement developed at the beginning of the seventeenth century. Hence, Lope de Vega’s poem is full of Baroque characteristics typical of the Spanish conceptism despite his reluctance consider his poetry Baroque. Crashaw, on his side, presents a poem which differs from the literary production in England in the first part of the seventeenth century. His Baroque sensibility would be, accordingly, influenced by his readings of the Spanish Golden Age authors. Therefore, anomaly, exaggeration, tempus fugit, conceptism, contradiction, paradox, and binary oppositions are Baroque characteristics both authors have in common in regard to their own particular description of both Mary Magdalene’s biblical stories and tears. Lastly, both poems will lead us to draw parallels with the Song of Songs in terms of spiritual conversation, and feminine identification.

Así pues, este estudio trata de dos novelas del autor mexicano contemporáneo, Luis SPota. Las novelas llevan el título de Los sueños del insomnio, publicada en 1966, y Lo de antes, publicada en 1968. Los diversos temas socio-políticos, que Spota trat en estas dos novelas, serán examinados para ver si las condiciones que él describe verdaderamente existen en México. La intención de este estudio no es criticar la obra del autor.No se propone decir que el autor no ha creado fantasía en su obra, ni que solamente son novelas que narran hechos verídicos. El poder creativo del autor será en todo momento respetado. Interesa ver si existe una correlación entre los hechos que describe el autor en estas dos novelas,, y algunos acontecimientos en la sociedad actual de México. Estos hechos tal vez han servido como fuentes de inspiración para la obra del autor.

This study analyzed how six Heritage language learners at the university level gained conscious awareness and control of the concept of modality as revealed in student verbalizations (Vygotsky, 1998) throughout five different written communicative events. This work took place in the only course designed for Heritage language learners at a large public suburban university in the Northeast part of the United States. Grammatical simplification in bilingual speakers is due to incomplete acquisition of Spanish, attrition or loss of an underused linguistic system (Lynch, 1999; Martínez Mira, 2009a, 2009b; Mikulski, 2010b; Montrul, 2007; Ocampo, 1990; Silva-Corvalán, 1990, 1994a, 1994b, 2003; Studerus, 1995). The result of the process of simplification is reduction or loss of forms and/or meanings. In this work, I investigated in which ways Gal’perin’s (1989) systemic-theoretical organized instruction promoted awareness, control and internalization of the concept of modality in three sets of data: definition, discourse and verbalization (Negueruela, 2003). In addition, I examined how the concept of modality emerged and proceeded. By focusing students’ attention in Negueruela’s (2003) Concept of Mood in Spanish orienting chart in a top down fashion, students were able to strengthen their theoretical understanding in practical activity while still accessing empirical knowledge, and eventually generalizing its use in new contexts across nominal, adjectival and adverbial clauses. At the definition level, Gal’perin’s Systemic-theoretical instruction promoted emergence and progress of their conceptual understanding from perceptual to semantic. At the discourse level, students’ theoretically based semantic understanding had a positive impact as revealed in student’s discourse progress throughout tasks. At the verbalization level, semantic, abstract and systematic verbalizations showed students’ emergence of awareness of the interrelated categories of modality. The conceptual category of anticipation was appropriately verbalized and contextualized 68% of the time. The absence of quality verbalizations referring to a specific conceptual category in some students lead me to conclude that students did not fully understand the meaning of some conceptual categories. On the contrary, their presence in any of the tasks showed emergence of conceptual meaning(s) in appropriate contexts, further appropriate recontextualization may provide full awareness and control.