Dans ce travail, nous analysons les contes d’Emilia Pardo Bazán parus dans le journal, d’obédience monarchique, Blanco y Negro entre 1895 et 1910. Femme de Lettres très féconde, elle n’en demeure pas moins une journaliste très engagée dans un siècle finissant et en pleine mutation. Ainsi, nous étudions ses activités journalistiques et littéraires en relation avec ses engagements socio- politiques et décortiquons sa collaboration avec le journal. Nous examinons aussi comment son statut de femme journaliste influence son œuvre littéraire. L’interférence entre les deux modes d’écriture est analysée à partir de l’édition de texte et de la structuration du récit. Nous déterminons les relations entre les deux discours étant donné qu’ils s’abreuvent des deux modalités d’écriture. / In this essay, we have analysed the tales of Emilia Pardo Bazán published in the newspaper, of monarchical obedience, Blanco y Negro between 1895 and 1910. A very fertile woman of letters, she is nonetheless a journalist very committed to a century ending and changing. Thus, we have studied her journalistic and literary activities in relation to her socio-political commitments and let's dissect her collaboration with the newspaper. We have also examined how her status as a female journalist has influenced her literary work. The interference between the two writing modes is analysed from the text editing and structuring of the story. We have determined the relationship between the two discourses as they have drunk from both writing methods.

Clerical sexual incontinence was a prevalent satirical theme during the Middle Ages manifested by anticlerical sentiment towards reprobate clergymen and the laws that they disobeyed. This satirical genre of literature targeted not only the cleric of a small town, but bishops and cardinals who were also abusers of canon law. The anticlerical theme originated in Western Europe in the time of Constantine when early Christianity was competing with many religions for dominance. In the fourth century, Constantine, through the Edict of Milan, granted religious tolerance to all, thus allowing Christianity to become a major religion. Clerical celibacy originated from the writings of early church fathers such as Augustine of Hippo, Origen, and Tertullian, who determined that celibacy provided greater spiritual access to God. Early patristic church fathers supported the ideal of sexual celibacy for Christians in order to spiritually overcome the other religions. In the fourth century A.D., the church demanded that the clerics remain celibate even though they were married. By the twelfth century, canonical laws demanded that clerics not marry and remain celibate. These laws initiated an extreme sexual repression of clerics who began to sexually seek women, refusing them absolution for their sins if they refused the clerics' sexual advances. The purpose of this thesis is to establish that the corrupt clerics victimized the laity, who, although fearing for their salvation, produced satirical poetry expressing their anticlerical sentiment. This thesis also will present literature that discusses the pros and cons of clerical concubinage. There are three different forms of articulation in this thesis. The first is didactic and teaches the reader by demonstrating literature that encouraged clerical celibacy. The second illustration is satirical poems with the seven deadly sins as a recurrent theme. These poems are divided into two groups: the first is the poems written by the nobility, and the second is the popular anonymous poems, sung to music for peasant entertainment. The third articulation is the proponents of clerical concubinage. This poetry reflects the human side of companionship and need during a tumultuous time when people banded together in order to survive.

This dissertation explores references to islands in 13th and 14th century Iberian literature in a corpus of encyclopedias, travel books and chivalry novels from 1223 through 1396. I explore how island geography became part of the Medieval imago mundi. Many Medieval readers were interested in these faraway lands where, they believed, monstrous races flourished, sea monsters lurked, and Paradise awaited to be rediscovered. The physical and human geography featured in these narratives, gave birth to an imaginary, utopian, exotic, extravagant, and mysterious concept of “islandness” located in idyllic places to be interpreted as cognitive maps of the social, politic and economic conventions of the era. The purpose of this dissertation is to contribute with a new approach to Medieval Island Studies by means of a rhetorical analysis in geography through tropes (metaphor, synecdoche, metonym and irony) and fiction modes (romance, tragedy and comedy). This proposal assumes that the author-narrator is a self-aware geographer willing to satiate the desires and prejudices of its audience by constructing an attractive narrative that may stimulate a longing for this unattainable island world.

In 2008, Spain’s financial crisis had a great impact on the primary sector on which the nation’s ‘economic miracle’ was founded: housing.Land speculation, the increase in housing construction, and easy loans had become one of the hallmarks of twenty-first-century Spanish identity. The crisis del ladrillo (“brick crisis”) plunged the national economy into chaos and condemned many Spanish citizens to job insecurity, loss of earning power, threat of eviction, and put them at high risk of social marginalization. This dissertation studies the unusual proliferation of documentary films during the years surrounding this economic downturn about the ghettoization of the Spanish Gypsy population; a marginalization that was also indebted to the earlier economic development policies of the Franco regime and continued as Spain entered more fully into the free market in the late 1950s. As a result of Spain’s global socioeconomic exclusion due to the housing crisis, however, the Spanish Gypsy emerged in documentary film as a social actor who represented a reality that was no longer exclusive to the Other, but common to all. This project consists of a detailed analysis of three documentary films: Polígono Sur: el arte de Las Tres Mil (2002), Can Tunis (2006)and Una casa para Bernarda Alba (2011), all of which attempt to reconstruct national identity in an age of financial downturnthrough a shared emphasis on the spaces of exclusion experienced by gitanos (Gypsies). Informed by spatial theory, post-colonial studies, critical discourse analysis and theories of representation of the Other in film, the purpose of this research is to unveil the dialectical negotiation that is established between neoliberal discourse, economic crisis, and the experience of its victims (both Gypsies and non-Gypsies) in spaces of shared conflict: shanty towns, slums and housing projects. The findings of this dissertation are twofold: that the appropriation of the Gypsy population’s experiences by these documentaries reflects and at times continues legacies of internal colonization while, simultaneously, these films point the way toward representational strategies that open the door to the narratives of those who have been silenced under neoliberalism.

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My purpose in writing this dissertation is to re-evaluate the works of three influential Spanish-Caribbean authors who seem to be remembered more as exceptional historical characters rather than for their literature itself. Although often considered to be important contributors to the Spanish-Caribbean literary canon, these writers have also suffered a measure of marginalization as scholars have relegated them to the status of discursive subjects rather than evaluate them as authorial agents. As a consequence, the majority of their works have not been fully recognized as important factors in nineteenth, twentieth, and twenty first century literary production. I show how in their writings – many of which have been misunderstood, under-evaluated, and/or forgotten altogether – these writers narrated their own precarious situations and lifted their voice in protest against slavery, racism and economic oppression at a time when the dominant discourses and heavy-handed controls of the Spanish colonial government strictly forbid them to do so. These authors are Juan Francisco Manzano, Gabriel de la Concepción Valdés (Plácido) and Eleuterio Derkes. Because these authors lived in Cuba (Manzano and Plácido) and Puerto Rico (Derkes) as colonial subjects underneath the oppressive structures of their respective plantation and hacienda economies based on sugar production and slave labor, they experienced difficult colonial conditions and as such are able to narrate this life through a unique perspective that other writers associated with the dominant discourses of the time could not. While these brands of hegemony were indeed forced upon them as writers and artists, it did not stop them from narrating and communicating their unique Spanish Caribbean perspective. I show how these authors, as marginalized figures of nineteenth century plantation society, engineered their own discourses around these hegemonic institutions – writing between the lines of hegemony and concurrent with it at the same time – in order to create an alternative image of nineteenth century Spanish Caribbean society that requires further critical consideration and perspective. / text

This paper is part of the academic effort to recover historical memory in post-Civil War Spain and metaphorically applies the so-called Giobert Tincture to Carmen Martín Gaite’s El cuarto de atrás (1978), Dulce Chacón’s La voz dormida (2002) and Pedro Almodóvar’s La mala educación (2004) in order show how these works reveal the ghosts of the repression exerted against the epitome of the abject/obscene by Franco’s dictatorship: the queer collective. This collective continues to suffer from marginalization as well as from the effects of repression. I argue that El cuarto de atrás reveals C.’s repressed hybrid/queer identity and sexual orientation, that La voz dormida reveals Tomasa and Reme’s homoerotic/queer relationship and that La mala educación reveals in the form of cross-dressed/hybrid bodies how gender performativity is based on the repression of generic and sexual identity. First, I analyze the historical and artistic-cultural context of the selected works. Second, I outline the methodology and poststructural theoretical concepts that frame my thesis. Although the following chapters develop an episodic structure, a comprehensive reading of the paper provides a holistic perspective of the repression of queer people and its palimpsestic-spectral representation in the works of the above-mentioned authors.

Thesis(M.A.)--Auburn University, 2005. / Abstract. Vita. Includes bibliographic references.

Univ., Diss.--Oxford, 2001. / Published in association with The European Humanities Research Centre.

Thesis (Ph. D.)--University of Oregon, 2008. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 194-206). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.