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<p>Alcohol has been present in almost every society throughout history, and so has a double standard around alcohol usage: women are stigmatized far more than men for excessive drinking. In this dissertation, I explore the intimate association between wine consumption and gender relations in Spanish late medieval and early modern literature. In late medieval and early modern European society, distinctions of gender, age, class, religion, and occupation were reflected in what one chose to eat and drink. Wine was undoubtedly the most popular and highly regarded beverage, especially in the Iberian Peninsula and the rest of southern Europe. Wine has always been deeply integrated into the Spaniards’ lives, not only as a daily beverage but also as a marker of individual and group identities. While references to wine have flowed through Spanish literature, thorough examinations of women’s drinking have surprisingly been left unexplored. </p> <p>This study fills that gap, analyzing representations of female drinking in Spanish literature, specifically the ambivalent approach to wine as it relates to the construction of gender identities. This study analyzes the representation of female drinking throughout the Spanish literary canon, especially focusing on the <i>Libro de buen amor</i> (ca. 1343), the <i>Arcipreste de Talavera</i> (also called as <i>Corbacho</i>, ca. 1438), and the <i>Tragicomedia de Calisto y Melibea </i>(also known as <i>Celestina</i>, 1502) with the purpose of demonstrating how wine consumption constitutes, reflects, and questions normative gender roles. In medieval and early modern Europe, gender identities were either masculine or feminine, attached to rigid, stereotypical gender roles for men and women. Drunken women, therefore, presented a threat that needed to be contained. During the Middle Ages, while drunken women were represented as personifying gluttony and violating both moral and gender norms in didactic, moralizing treatises, there were literary fictions that depicted female drunkards who openly enjoyed wine, praised its virtues, and socialized by drinking with other women. The gender ideology of Spanish patriarchy created masculine anxiety around unfeminine women, like female drunkards, who were unsuited to a life of purity and chastity. I argue that this anxiety, evident in the extreme condemnation of drunken women, paradoxically reveals the contradictions underlying the patriarchal agenda. I also interpret female drinking practices as performative acts of resistance against normative gender roles. Drawing on the notion that gender is a performative act, alcohol drinking by women can be understood as a subversive act that transgresses and reconfigures social norms around gendered identities in late medieval and early modern Spain. </p>

This is a history of the relationship between prejudices and reality during the first century of the Spanish Conquest and colonization of America. The study deals particularly with the Discovery and Conquest of La Española and La Nueva España. The authors studied are Cristóbal Colón, Ramón Pané, Pedro Mártir de Anglería, Gonzalo Fernández de Oviedo, Bartolomé de las Casas, Hernán Cortés, Francisco López de Gómara, Bernal Díaz del Castillo, Vasco de Quiroga, Toribio de Benavente "Motolinía", Diego Durán, Bernardino de Sahagún and José de Acosta. There is a change in the perception of reality during the Renaissance. It brings a separation between the realms of the earthly and the divine as well as a glorification of the self, known today as individualism. There is also a great tension between the Middle Ages and the Renaissance in Spain. A way of seeing the world that privileges the divine fights ferociously with another one that suddenly has an immense need to understand the real, concrete world. This tension makes the study of the early descriptions and interpretations of America particularly interesting. They document the ways in which the Western imagination learns to apprehend reality in the very beginnings of the Modern Age. The writers of the Western Indies struggle with their words, their ideas, their faith and their own life in their attempt to describe and understand the New World. The process is highly complex and superbly exemplifies Marx's concept of ideology: the awareness that there is always a real and an imaginary way interacting with each other when we try to live and understand reality. Idealizations, prejudices, inventions, fantasies, destructions and abuses coexist in the texts of the "Cronistas de Indias" with a heroic effort to describe, understand, classify and explain a reality that is totally alien to their eyes and their mental schemes. This effort reaches an end with the triumph of the Counterreformation in Spain. All the early history of the New World had to be proof of a divine plan and so, many of the truths, methods and ideas that the early writers of America had gained, with a truly heroic effort to overcome ideological limitations, started to get lost once again. / text

Thesis--Auburn University, 2008. / Abstract. Vita. Includes bibliographical references (p. 104-108).

Thesis (Ph. D. in Spanish)--Vanderbilt University, Aug. 2009. / Title from title screen. Includes bibliographical references.

Thesis (Ph. D.)--Indiana University, 1989. / Vita. Includes bibliographical references (leaves 252-293).

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Si el siglo XX creó una extendida conciencia sobre las variantes de la intertextualidad en la ficción literaria, hoy enfrentamos transformaciones en la naturaleza de la ficción y sus relaciones con otras formas discursivas y/o creativas como el arte, y con la misma realidad, que es posible designar con el concepto de ficción extrema. Desde “Don Quijote” o “Las meninas” hay incursiones en la metaficción y/o autorrefecividad. Pero a partir de las vanguardias modernistas y de modo creciente en los estertores de la postmodernidad nos abocamos a un singular tipo de hipertextualidad que desbordando lo literario se apropia de prácticas artísticas (o lo contrario) como recurso para la transposición de sus ficciones, no sólo de uno a otro campo, sino para su inserción en la realidad: la ficción extrema. Max Aub (España 1903-México 1973), Leonora Carrington (Inglaterra 1917-México 2011) y Enrique Vila-Matas (España 1958), radicalizaron este tránsito o filtración de los imaginarios artísticos y literarios subvirtiendo las delimitaciones entre —pintor catalán Jusep Torres Campalans, junto con sus obras pictóricas, creadas como sombra o doble de Picasso. Así insertó su existencia en ciertos dominios del cubismo como un modo de meta-crítica artística. Carrington asumió un doble animal que transitó entre cuentos y cuadros y se inscribió en la memoria del surrealismo. Vila-Matas narró su “Historia abreviada de la literatura portátil” como un doble del espectro Marcel Duchamp —a su vez asaltado por otros— que reescribe la memoria del dadaísmo de tal modo que ha llegado a ser confundida con un ensayo. La revisión de las estrategias de la ficción extrema en estos autores junto con las de otros contemplados en el epilogo —Mario Bellatín, y los artistas Liliana Porter, Luis Camnitzer, José Guillermo Castillo, Ana Tisconia, Rubén Torres Llorca y Carlos Amorales— arroja nueva luz sobre sus obras, enriquece los estudios transatlánticos y revela la movilidad y multiplicación de la identidad y los deslizamientos de la ficción en la realidad como signos de tránsito a la altermodernidad.

by Mary Odom / Typescript / M.A. Florida State College for Women 1931 / Includes bibliographical references (leaves 117-118)