Thesis (M.C.S.)--Regent College, Vancouver, B.C., 1998. / Abstract. Includes bibliographical references (leaves 127-129).

Thesis (Ph. D.)--Ohio State University, 2005. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2010 Jun 10.

Made available in DSpace on 2014-06-11T19:32:07Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-12-07Bitstream added on 2014-06-13T20:23:01Z : No. of bitstreams: 1 campos_as_dr_arafcl.pdf: 586348 bytes, checksum: 2994cd1103faf8ae0a5e25aa4752665e (MD5) / A presente tese de doutorado tem por objetivo investigar a questão do mito e da construção discursiva no romance Niebla (1914) de Miguel de Unamuno e como, através de estratégias de escrita que colocaram este romance espanhol na categoria das obras literárias que inovaram o gênero no início do século XX, é realizada, na elaboração de um pequeno drama burguês, a formação de um amplo painel das questões sócio-culturais e das relações dos discursos míticos deste período. Assim, Unamuno faz convergir, em sua obra, questões literárias, culturais, políticas, ideológicas e existenciais, as quais dirige ao seu leitor, e passa para este a responsabilidade de decisão dos sentidos, num processo de escrita que privilegia, em todos os níveis e sobretudo, o diálogo. A esse tipo de romance “dialógico” Unamuno dá o nome de “nivola”. Dentro desta perspectiva, o presente trabalho propõe-se a investigar o caráter metalinguístico do texto unamuniano; as relações, diretas e indiretas, que o romance Niebla tem com a chamada “modernidade” estética do início do século XX; a necessidade de renomeação do gênero e as implicações da criação da nivola como projeto estético; a discussão da relevância dos espaços no romance; a importância dos discursos míticos, vivos e atuantes, que aparecem na obra, na relação entre mito, lenda e relato. Na discussão da problemática do mito, que inclui a elaboração do seu discurso e das formas de metalinguagem, optou-se predominantemente por um instrumento de análise baseado na definição da semiologia barthesiana do mito, por dois motivos: por tratar do mito como discurso, ou seja, como um fenômeno amplo de linguagem e por lidar com os discursos míticos vivos e atuantes nas sociedades modernas, sobretudo os que têm maior expressão no cenário mítico da sociedade burguesa / Este trabajo de doctorado tiene como objetivo principal investigar la cuestión del mito y de la construcción discursiva en la novela Niebla (1914) de Miguel de Unamuno y como, a través de estrategias de escrita que pusieron esta novela en la categoría de las obras literarias que innovaron el género en los principios del siglo XX, es realizada, en la formación de un pequeño drama burgués, la elaboración de un amplio retrato de las cuestiones socio-culturales y de las relaciones del discurso mítico de este período. Así, Unamuno converge en su obra problemáticas literarias, culturales, políticas, ideológicas y existenciales; las cuales dirige a su lector y pasa a él la responsabilidad de decisión de los sentidos, en un proceso de escrita que privilegia, en todos los niveles y sobretodo, el diálogo. A esto tipo de novela dialógica, Unamuno le da el nombre de “nivola”. En esta perspectiva, este trabajo se propone a investigar el carácter metalingüístico del texto unamuniano; las relaciones, directas e indirectas, que Niebla tiene con la llamada “modernidad estética” del comienzo del siglo XX; la necesidad de renombrar el género y las implicaciones de la creación de la “nivola” como proyecto estético; la discusión de la relevancia de los espacios en la novela; la importancia de los discursos míticos, vivos y actuantes, que aparecen en la obra en la relación entre mito, leyenda y relato. En la discusión del problema del mito, que incluye la elaboración de su discurso y de sus formas de metalenguaje, se optó por un instrumento de análisis basado en la definición de la semiología barthesiana del mito, por dos motivos: por ver el mito como discurso, es decir, como un fenómeno amplio de lenguaje y por investigar los discursos míticos vivos y actuantes en las sociedades modernas, sobretodo los que tienen mayor expresión en el escenario mítico de la sociedad burguesa

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The purpose of this work is to explore how Luigi Pirandello’s Enrico IV (1922) and Miguel de Unamuno’s El hermano Juan o el mundo es teatro (1929) utilize metatheatrical strategies to create plays that constantly question the juxtaposition, and yet the fluidity, of reality and fiction. Through a similar existential search, which is guided by a Sartrean psychoanalytic approach, the protagonists endure a transformation that reveals contrasting results: Enrico remains entrapped in his theatrical portrayal of Henry IV. Conversely, Don Juan frees himself from societal restraints that had portrayed him as a trickster through centuries of literary tradition. In these plays, authority becomes an ever-shifting device that persistently moves from the author, to the characters, and finally to the audience, affecting their own freedom, intended in the Sartrean sense, and being.

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Au centre de cette thèse se trouvent trois écrivains renommés qui appartiennent à un groupe littéraire espagnol, plus connu sous le nom de « génération de 1898 » : Azorín, Miguel de Unamuno et Ramiro de Maeztu. Bien que ce groupe ne soit pas homogène, ces auteurs engagés, à l'origine des journalistes, aspiraient à un seul et même objectif : procéder à la régénération de l'Espagne ravagée par la perte des colonies en raison de l'apathie et de la léthargie de ses dirigeants. Ce désir « régénérateur » s'est concrétisé à travers des expériences littéraires différentes qui ont mené chacun des trois auteurs à procéder à sa propre quête. Chacun d'entre eux s'est vu confronté à des interrogations existentielles telles que la question de l'éternel retour, celle de l'immortalité, ou encore celle de l'inanité de la vie. C'est par le biais des trois figures mythiques de la littérature espagnole : Don Quichotte, Don Juan et la Célestine, qu'ils sont parvenus à dépasser leurs préoccupations existentielles. En leur donnant une nouvelle vie, ces auteurs offrent aux figures mythiques une autre dimension : ils vont même jusqu'à les sanctifier. En réalité, les écrivains voient dans cette réinterprétation le salut même de l‟Espagne, mais les figures mythiques qu’ils ne cessent tantôt de valoriser, tantôt de démystifier, jouent d'autres rôles plus pragmatiques et plus prépondérants. Elles ont également une fonction plus immédiate. En fait, tout dans leurs œuvres tend à éveiller le peuple espagnol et à lui inculquer un sentiment patriotique imprégné d'une philosophie quichottesque, celle qui consiste à garder ses idéaux, tout en ayant une conscience lucide et aigüe. / In the centre of this thesis, there are three writers who belong to a Spanish literary group, better known to the word as “Generation of 1898” : Miguel de Unamuno, Azorín and Ramiro de Maeztu. Although this group is not homogeneous, these engaged writers, who are originally journalists, had a common and unique objective: regenerating Spain, that was devastated by the loss of its colonies due to its leader's apathy and lethargy. The desire was archives through various literary experiences that led each of the three writers to carry on his own quest. Each of them dealt with different existential questions such as the one of “eternal return”, “immortality” or the “futility of life”: it was in the three mythic figures of Spanish literature: don Quixote, don Juan and Celestina that their concerns were reflected. By reviving them, the three writers were giving these figures new dimensions. In truth, the writers considered this reinterpretation as a sanctification. Yet, the mythical figures that they valued sometimes and criticized some other times, played other, more prominent and pragmatic roles. They had equally a move immediate function. In fact, everything in their writings tended to awaken in Spanish people a sense of patriotism, impregnated with the “quixotic” philosophy. A philosophy that preserved an accurate and clear awareness.

This thesis in Spanish philology consists of three main parts. The first part represents an in-troduction to Miguel de Unamuno's and Ernest Renan's philosophy, an interpretation of both thinkers' writings in the context of their life stories and the values they defended. The second part is focused on the Czech reception of Ernest Renan between 1864 and 1948. The third part is dedicated to the Czech reception of Miguel de Unamuno between 1922 and 1948. Powered by TCPDF (www.tcpdf.org)

<p>My dissertation is in two parts. First, it develops a philosophical concept of “tragic uncertainty,” derived from early twentieth-century Spanish philosopher Miguel de Unamuno. Secondly, it demonstrates ethical application of tragic uncertainty to human societal events. The <i>ethical imperative </i>created from tragic uncertainty—and not either tragedy or uncertainty alone—is the following. Given a tragic situation with a great degree of uncertainty, people living with doubt, mental despair, and perpetual anguish because of it should be provided relief. Generally, this relief should be in the form of therapy, by which I mean an affective and emotional release. Two important case studies are explored. One on corrupted political systems in the USA-Mexico border. The other in Honduras, on both climate change and corrupted political systems. These are explained and categorized as tragically uncertain. Corresponding, minimal practical solutions accompany the ethical imperative created to remedy tragic uncertainty.</p>

In this study I hope to clarify some misconceptions about the female characters which appear in the novels of Miguel de Unamuno. The female agonista follows a slightly different pattern than does the male. Unamuno always includes evidence of social limitations which hinder the female agonista's quest for perpetuation. While she may be as ambitious, egoistic and wilfull as her male counterpart, this does not always ensure success. She must also defy conventional thinking in order to achieve her goals. By studying the agonistas and some of the secondary female characters, I hope to prove that Unamuno's characterization of women is deliberate. The two contrasting types, secondary characters and agonistas, are extremes and should be read as such. The repeated inclusion in the narrative of the female social condition indicates that Unamuno is aware of and concerned by gender distinction. The fact that his agonistas, who challenge convention, are granted conditional success is proof that Unamuno validates their attempts.