Thesis (Ph. D.)--Columbia University, 1942. / Vita. Bibliography: p. 353-369.

Tesis--Bryn Mawr College, Bryn Mawr, Pa. / Bibliography: p. 301-346.

Thesis (Ph. D.)--Ohio State University, 2005. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2010 May 13

Thesis (B.A.)--Haverford College, Dept. of Spanish, 2006. / Includes bibliographical references.

Thesis (Ph. D. in Spanish)--Vanderbilt University, Dec. 2007. / Title from title screen. Includes bibliographical references.

The exploration of Christian myths as literary resources in the work of Spanish poets writing between 1920 and 1944 has to date been attempted by scholars focusing on the works of individual poets, notably Luis Cernuda and Lorca. In this doctoral thesis, I aim to cover one of the few gaps in the criticism of this period by pointing to the use of Christian myths by a range of poets working with a similar intention, and within a common heritage. The Christian myths that I shall examine here, are approached in two different ways: firstly structurally, analysing them as Biblical references and fragments of myths –using Strauss’ nomenclature ‘Gross Constituent Units’—which appear decontextualised in many of the works, with a non-religious intention, that is, as a metaphor for something else. Secondly, thematically, by suggesting that there are four mythic topics common to many of the poets writing at those times, which are: creation by means of the word; the loss of Paradise; suffering; and the announcement of a new world to come. Through these myths, the poets reflect an evolution in their lives and Poetics. A phenomenological perspective is adopted in order to explain the role of the myths in the poems and to trace common grounds through the myth among the poets and as continuators of a Western poetic tradition since Romanticism (Prieto de Paula, 2002:59).The story line that these four topics constitute is very similar to the Romantic plot that M. H. Abrams had defined for the British Romantics and that Philip Silver and Derek Harris had already applied to the poetry of Luis Cernuda. This mirroring of the myth in the British and German Romantics has led the thesis towards a contextualisation of the work of the poets of 1927 in the modern Western literary tradition. They are seen in this specific context of practice as inheritors of a line which goes from European Romanticism, through the Modernism, Symbolism, Pure Poetry, and Avant-garde to the group of 1927, and therefore they are expressing typically modern topics by means of religious images and myths. As well as those conventionally studied as belonging to the “Generación del veintisiete”, the thesis discusses Ernestina de Champourcin, Elisabeth Mulder, Lucía Sánchez Saornil, Ana María Martínez Sagi and Rosa Chacel, and proposes a new way of seeing the group of poets writing between the 20s and the Civil war and after this in the exile as a new expression of the same Modernity.

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This thesis aims to rescue the name of Elisabeth Mulder, a Spanish female poet who started to publish her first poetry books around the rise of the Generation of 1927 in Spain. The importance of this work hinges on the recognition of Mulder as a female poet whose work has been marginalized from the literary canon, like that of many other women of her era. This thesis focuses on Mulde''s third poetry collection, Sinfonâia en rojo, which was published in 1929 and stands out for its symbolic richness and its romantic and modernist features. Part of this research deals with the symbolism of the color red and the meanings that red acquires within the context of the poems. The main leitmotivs of Sinfonâia en rojo are the images of fire and blood, which are used to make reference to both the emotional and the physical world of the poetic voice. The research also focuses on the connections between Mulder's work and that of her contemporaries, and it suggests that she was in contact with the literary world of her era. / by Itxaso del Olmo Lâopez. / Abstract in English. / Thesis (M.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

Luis Cernuda (1902-1963) was exiled from Spain in 1938 due to the outbreak of the Spanish Civil War. He lived in Great Britain, America and Mexico and he never returned to his homeland. Until the mid-1960s, he was considered by the Spanish literary establishment to be an evasive and astringent poet. Since then, critics have recognised and praised the ethical quality and nature of his work and he is now considered to be one of the most profound and influential Spanish poets of the twentieth century. Despite the growing body of critical work on Cernuda, the salient role played by memory in his poetry has received little sustained critical attention. Critics have tended to stress the nostalgic and the evasive rather than the ethical and contemplative role played by memory in his work both before and after his departure from Spain. The objective of this thesis is to provide a more balanced view of the poet’s use of memory in his early and mature poetry. Rather than limiting his concept of memory to nostalgia for his youth or his homeland, it argues that he deploys memory as an instrument of self-analysis, self-discovery and self-criticism. The first chapter concentrates on his pre-exilic poetry in order to show that memory plays a fundamental role in his poetics prior to the experience of physical exile. The central body of the thesis examines the increasingly analytical and philosophical role played by memory in a selection of his mature prose and verse texts written outwith Spain.