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.

La difficulté de lecture de Una meditación a été soulignée tant par la critique que par Juan Benet lui-même. Ce travail essaie de caractériser cette difficulté et, par ce biais, la spécificité de l’expérience de lecture du roman de Benet. Notre étude s’appuie sur la psycholinguistique de la compréhension des textes, qui nous permet de définir la norme de lisibilité implicite par rapport à laquelle Una meditación est jugé « difficile ». Nous étudions les deux aspects qui, par rapport à cette norme, constituent les principales sources de difficulté du texte bénétien : la disposition de la matière romanesque (au niveau du récit et de la phrase) et le système de référenciation des personnages. Sur le plan de la disposition, le récit et – à son échelle – la phrase se caractérisent par une forte discontinuité pourtant dissimulée, par un développement temporel de forme spirale, et par le brouillage des relations hiérarchiques entre les événements. Sur le plan de la référenciation, la notion de nom du personnage perd son sens traditionnel, car les noms sont peu employés, ambigus, multiples, ou inexistants ; mais c’est surtout l’omniprésence de la référenciation pronominale qui déroute le lecteur en lui exigeant implicitement de ne pas oublier un seul détail du texte. Nous analysons aussi la figure du narrateur et nuançons une lecture courante selon laquelle le texte serait le produit d’une remémoration. Nous concluons que la « difficulté » de Una meditación semble être au service d’une écriture qui, à travers l’indifférenciation des personnages et des histoires, dépasse la fiction et vise un portait générique de la nature humaine. / The difficult nature of Una meditación has been highlighted by both scholars and Juan Benet himself. This dissertation characterizes such a text complexity and thereby the singularity of the reading experience of Benet’s novel. Our work relies on the psycholinguistics of reading comprehension. This framework allows us to achieve a definition of standard readability to which Una meditación is implicitly compared when judged as “difficult”. We study the two features that revealed to be the main sources of reading difficulty in Benet’s text: the narrative and sentence structures, and the particular system of reference to the characters. At the level of the text structure, the narration and—at its own scale—the sentence are characterized by a strong discontinuity, however concealed; by a spiral temporal development; and by the scrambling of the hierarchy of the fictional events. At the level of character reference, the notion of name of the character loses its traditional meaning. Names are barely used or these are ambiguous, multiple, or inexistent. However it is above all the omnipresence of the pronominal reference that disconcerts the reader, implicitly imposing memorizing every detail of the text. We also analyze the figure of the narrator, and criticize a common reading of Benet’s novel in which the text is the produce of a recollection. We conclude that the “difficulty” of Una meditación is the result of a writing that, by means of the indiscernibility of the characters and their stories, goes beyond literary fiction and aims at a generic portrait of human nature.

CARDOSO, Maria Inês Pinheiro. Cavalaria e picaresca no romance D' A Pedra do Reino de Ariano Suassuna. 2010. 547f. Tese (Doutorado) - Universidade de São Paulo, Departamento de Letras Modernas da Faculdade de Filosofia, Letras e Ciências Humanas, São Paulo, 2010. / Submitted by anizia almeida (aniziaalmeida80@gmail.com) on 2016-09-09T12:17:58Z No. of bitstreams: 1 2010_tese_mipcardoso.pdf: 3562395 bytes, checksum: 030144ce6a8af7214aab818446c7f935 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-09-13T17:46:50Z (GMT) No. of bitstreams: 1 2010_tese_mipcardoso.pdf: 3562395 bytes, checksum: 030144ce6a8af7214aab818446c7f935 (MD5) / Made available in DSpace on 2016-09-13T17:46:50Z (GMT). No. of bitstreams: 1 2010_tese_mipcardoso.pdf: 3562395 bytes, checksum: 030144ce6a8af7214aab818446c7f935 (MD5) Previous issue date: 2010 / The purpose of this paper is to show that in the conception of the novel Romance dA Pedra do Reino e o príncipe do sangue do vai-e-volta by the Brazilian writer Ariano Suassuna, the chivalry books and the picaresque novel, two narrative subgenres of Hispanic origin, stand out as constitutive elements. Strongly attached to a well defined notion of time and space, they go through adaptations to suit adequately the environment of the Romance dA Pedra do Reino. The author includes in his narrative an extensive collection of Northeast-centered popular cultural manifestations (in whose hybrid characteristics are stressed out Iberian traits) as catalyst and amalgam of these elements. The comparative analysis is used with the aim of identifying the traits of the gender models considered and the adaptable mechanisms employed by the author. / O propósito deste trabalho é mostrar que na concepção do Romance d'A Pedra do Reino e o príncipe do sangue do vai-e-volta, do escritor paraibano Ariano Suassuna, estão presentes, como elementos constitutivos, dois (sub)gêneros narrativos de origem hispânica, os livros de cavalaria e o romance picaresco, antagônicos, em sua origem. Fortemente vinculados a um tempo e a um espaço bem definidos, eles passam por adaptações para deslocar-se adequadamente para a ambiência d'A Pedra do Reino. O autor incorpora em seu texto um farto acervo de manifestações da cultura popular nordestino-sertaneja (em cujas características híbridas se acentuam os traços de origem ibérica) como catalisador, encaixe e amálgama desses elementos. Recorre-se, no trabalho, à análise comparativa, com o propósito de identificar as marcas dos gêneros aludidos e os mecanismos adaptativos, aos quais recorre o autor.

Notre thèse s'attachera à montrer la pertinence d'une écriture engagée et genrée de la Seconde République et du Franquisme à travers cinq romans de femmes récents pour réparer les déficiences de l'Histoire. La tension référentielle créée par l'historicisation et la fictionnalisation de ces romans permet leur ancrage dans un référent historique questionné et fragilisé à travers une écriture postmoderne et non-événementielle. Ces choix épistémologiques soulignent le projet axiologique sous-tendu. Ainsi, l'analyse du discours porté sur l'Histoire révèle sa subjectivité, partialité et son ironie pour imposer une approche mémorielle orientée vers la récupération de la mémoire des vaincus/ues, volontairement manichéenne pour construire la condamnation du franquisme. L'analyse des thématiques privilégiées met en lumière ensuite la réhabilitation de la sphère privée, à travers les relations entre sexes et la famille, pour en révéler l'historicité. L'étude des enjeux familiaux met au jour la construction des identités et des mémoires familiales, de leurs stratégies pour se perpétuer, mais aussi des processus de délitement qu'elles subissent, à travers les questions de la filiation et de la transmission. L'étude des personnages, de l'hétérogénéité énonciative et formelle montre enfin comment ces histoires assument un traitement sexué de l'Histoire induisant une focalisation sur l'expérience historique des femmes et une récupération obsessionnelle de leur parole pour révéler les enjeux de pouvoir, déconstruire les préjugés androcentriques sur la féminité, établir l'identité, voire la spécificité de la culture des femmes de l'époque pour révéler les processus de son occultation et de sa dévalorisation, tout en pointant le projet misogyne qui informe le franquisme. / Our thesis will endeavour to show the relevance of a committed, gendered writing on the Second Republic and on Francoism - through five recent novels written by women - to compensate for the deficiencies of History. The referential tension created by the historicization and the fictionalization of these novels makes them fall into a historical referent questioned and weakened through post-modern and non- factual writing. These epistemological choices emphasize the underlying axiological project. Thus, the analysis of the speech found in History reveals its subjectivity, bias and irony to impose a memorial approach restoring the memory of the vanquished (male or female), an approach voluntarily manichean to condemn Francoism. Then the analysis of the privileged themes brings into light the rehabilitation of the private sphere, through the relations between genders and families to reveal its historicity. The study of what is at stake in families reveals the construction of identities and family memories, their strategies to perpetuate them but also the processes of disintegration they are submitted to, through the questions of filiation and transmission. The study of the characters, of the heterogeneity of speech and form finally shows how these stories take on a gendered treatment of History leading to a focalization on the historic experience of women and an obsessional recuperation of their voices to reveal power interests at stake, deconstruct androcentric prejudices on femininity, establish the identity, or specificity of women's culture at the time, to reveal the processes of its concealment and depreciation while pointing at the misogynist policy which characterizes Francoism.

O propósito deste trabalho é mostrar que na concepção do Romance d A Pedra do Reino e o príncipe do sangue do vai-e-volta, do escritor paraibano Ariano Suassuna, estão presentes, como elementos constitutivos, dois (sub)gêneros narrativos de origem hispânica, os livros de cavalaria e o romance picaresco, antagônicos, em sua origem. Fortemente vinculados a um tempo e a um espaço bem definidos, eles passam por adaptações para deslocar-se adequadamente para a ambiência dA Pedra do Reino. O autor incorpora em seu texto um farto acervo de manifestações da cultura popular nordestino-sertaneja (em cujas características híbridas se acentuam os traços de origem ibérica) como catalisador, encaixe e amálgama desses elementos. Recorre-se, no trabalho, à análise comparativa, com o propósito de identificar as marcas dos gêneros aludidos e os mecanismos adaptativos, aos quais recorre o autor. / The purpose of this paper is to show that in the conception of the novel Romance dA Pedra do Reino e o príncipe do sangue do vai-e-volta by the Brazilian writer Ariano Suassuna, the chivalry books and the picaresque novel, two narrative subgenres of Hispanic origin, stand out as constitutive elements. Strongly attached to a well defined notion of time and space, they go through adaptations to suit adequately the environment of the Romance dA Pedra do Reino. The author includes in his narrative an extensive collection of Northeast-centered popular cultural manifestations (in whose hybrid characteristics are stressed out Iberian traits) as catalyst and amalgam of these elements. The comparative analysis is used with the aim of identifying the traits of the gender models considered and the adaptable mechanisms employed by the author.

During the period of military government in Argentina, Brazil (1964 –1982) and the present day communist Cuban regime, a machinery of cultural repression was established in these countries, these states had a systematic plan of cultural repression of any kind of opposition, dictatorships had an organized and sophisticated operating control over the press and all publications. The dissident writers examined in this dissertation developed strategies of resistance that depended largely on allegory to carry their messages against their respective oppressive regimes. By means of a detailed rhetorical analysis, our study examines the lookings of allegory and cultural resistance under the constraints of repression. Our corpus includes six novels written by dissident writers during the period studied in this dissertation. The fictional narratives selected in this study are divided into novels from Brazil, Argentina and Cuba. The Brazilian novels: of Jorge Amado Dona Flor e seus dois maridos (1966) and Érico Verissimo, Incidente en Antares (1971); two Argentine novels: Ricardo Piglia’s, Respiración artificial (1980) and Martin Khoan’s, Dos veces junio (2002); and by two Cubans: Jesús Díaz, Las iniciales de la tierra (1987) and Zoé Valdés, La nada cotidiana (1995). This dissertation demostrates that allegory and ghosts, as literary figures, can evolve and assume new functions of resisting oppressive governments through confronting, denouncing, identifying and conjuring national traumas as well as adapting themselves to the different political circumstances in which they are used.

The inherent flexibility of the letter form or epistolary mode of writing frees the writer within the framework of salutations and closings to use vocabulary and language to create, to omit or to invert conventional constraints imposed on women by a patriarchal society. The letter begins as a blank page but becomes the space for writing one’s personal thoughts and emotions to the absent other in a communicative effort to minimize the separation. This dissertation examines the female narrator in actual letters written during the Spanish emigration to the New World in the sixteenth century and four epistolary novels written by female authors during the nineteenth- and twentieth centuries. The female “I” emerges in the selected texts and attests to the writer’s ability to inhabit her own writing space. By applying Mikhail Bakhtin’s theory of dialogism and Janet Altman’s formal approach to the epistolary novel, the epistolary and literary textual creations by women writers challenge the silence and traditional anonymity generally assigned to women. I explore the cultural enculturation of the transgressive female who loses her “self”, her very being because of her inability to conform to societal norms as outlined by Barbara Creed and Elaine Showalter. In addition, I apply ideas from Linda Kauffman’s study on the transformation of the female writer who metamorphoses from victim to artist through the use of pen and paper. The female ‘self’ crafted by each of the letter writers is studied as they narrate their space, exercise agency, and negotiate the conflicts and contradictions of their domestic and public space. The epistolary, whether actual or fictional, becomes a textual creation challenging the silence and traditional anonymity assigned to women. The letter, when used as a literary device, is the perfect vehicle to create a narrator who controls his or her own life’s narrative. The writer constructs an implicit recipient linking the addressee and engages the reader in an absorbing story.

Alejandro López Andrada, poète, romancier et essayiste appartenant à la « génération des fils » comme la nomme Juan Vila, retrace le passé perdu ou en voie de disparition de son Andalousie natale. Sa prose se démarque par son caractère élégiaque et en dépit de la diversité générique qui caractérise ses œuvres, celles-ci ont en commun l’expression d’un sentiment nostalgique. Cette étude s’attache à présenter, en premier lieu, la voix narrative qui s’exprime dans le corpus choisi ainsi que la subjectivité qui la définit, puis, dans un second temps, les modes d’expression de cette nostalgie à travers l’exaltation de l’enfance dans laquelle s’inscrit la représentation de la terre natale andalouse. Enfin, la dernière partie de ce travail est consacrée à l’humanisme chrétien qui se dégage des textes, lesquels traduisent ainsi la foi personnelle de l’auteur. Celle-ci se manifeste notamment par l’expression de l’amour de l’Autre, de la revendication de valeurs et modes de vie renvoyant à nouveau à la période de l’enfance de l’auteur et par le poids important du religieux dans l’ensemble de son œuvre. / Alejandro Lopez Andrada, a poet, novelist and essayist from the "generation of sons" as Juan Vila calls it, traces the lost or disappearing past of his native Andalusia.His prose is notable for its elegiac character and despite the generic diversity that characterises his works, they all express a feeling of nostalgia.This study aims to present, in the first instance, the narrative voice that is expressed in the chosen corpus as well as the subjectivity that defines it, and, secondly, the expression of this nostalgia through the exaltation of childhood, in which the representation of the Andalusian homeland is enshrined. Finally, the last part of this work is devoted to the Christian humanism that emerges from the texts, which reflect the author's own personal faith. This particularly manifests itself in the expression of love of the Other, in the demand for the values and way of life which hark back to the author's childhood and by the weight given to the importance of religion in all his work.

This dissertation explores how the 19th century Spanish novel functions as a forum to prescribe and then question normative bourgeois masculinity. After establishing how masculinity was a central concern for 19th century Spanish intellectuals preoccupied with the building of a liberal nation, it analyzes novels written after the death of Fernando VII (1833) and through the first two decades of the Restoration period (1875-95). By 1840 it was clear that the stereotypical Spaniard, as coined by European romanticism, was of no use for the liberal nation, and a new national man was needed. The (failed) attempt of the novel of the 1840s to consolidate an archetypical masculinity is crucial to understand this process. For its part, the Restoration novel will challenge the myth of normative bourgeois masculinity, dissolving its national archetypes into more complex characters, and culminating with the absolution of the romantic myth it had previously attempted to erase.

Spanish writer Miguel de Unamuno's short fiction is neglected in both the academic and nonacademic communities, and it is especially underrepresented in English-language translation. This thesis constitutes a comprehensive approach to four short stories: "El que se enterró," "La manchita de la uña," "Mecanópolis," and "Batracófilos y batracófobos." A detailed exploration of thematic resonances among them, and between these and other works by Unamuno, precedes side-by-side translations of all four texts, of which only "Mecanópolis" has been previously published in English translation.