Esta tese consiste no estudo da representação de personagens escritores da obra narrativa de Max Aub (Paris, 1903 Cidade do México, 1972). O corpus está constituído por Campo cerrado (1943), Campo abierto (1951), Campo de sangre (1945), Campo del moro (1963), Campo francés (1965), Campo de los almendros (1968) e Vida y obra de Luis Álvarez Petreña (1971). Propõe-se que os romances citados colocam em movimento um processo de corrosão da imagem de autoridade dos personagens escritores. Tal processo contamina também a figura de Aub, que encena, nos Campos e em Vida y obra..., um debate sobre a diluição de seu poder de narrar. O lócus de enunciação do autor, que escreve a partir do exílio, consciente da derrota dos republicanos na Guerra Civil Espanhola (1936-1939), incrusta-se na forma dos romances, fraturando a imagem de potência dos personagens escritores. / This thesis examines the representation of characters who are writers in Max Aubs narrative work (Paris, 1903 Mexico City, 1972). The corpus is composed of Campo cerrado (1943), Campo abierto (1951), Campo de sangre (1945), Campo del moro (1963), Campo francés (1965), Campo de los almendros (1968) and Vida y obra de Luis Álvarez Petreña (1971). The study proposes that the aforementioned novels put in motion a process of corrosion of these characters image of authority. This process also contaminates the figure of Aub, who performs in Campos and Vida y obra..., a debate about the dilution of his power to narrate. The lócus of the authors enunciation, who writes from exile, and is aware of the Republicans defeat in the Spanish Civil War (1936-1939), embeds in the form of those novels, and fractures the image of potency of the characters who are writers.

Este trabalho tem como foco a análise da função da oralidade e do registro coloquial em treze contos do ciclo El Laberinto mágico, do escritor espanhol Max Aub, que se ocupam da vida nos campos de concentração franceses criados ao final da Guerra Civil Espanhola para internar a massa de vencidos que então cruzou os Pirineus. O corpus é composto pelos seguintes textos: Vernet, 1940, Una historia cualquiera, Historia de Vidal, Los creyentes, Un traidor, Manuel el de la Font, El limpiabotas del Padre Eterno, Yo no invento nada, Ruptura, El cementerio de Djelfa, Manuscrito cuervo: historia de Jacobo, Playa en invierno e Ese olor. A análise pauta-se no exame dos seguintes elementos: léxico, sintaxe, formas de tratamento, registros de fala, presença de frases feitas, uso de provérbios e nível sociocultural e lingüístico do narrador e dos personagens. / This paper focuses on the analysis of the function of orality and the colloquial register observed in thirteen short stories written by the Spanish writer Max Aub, in the cycle El Laberinto mágico. These short stories are about life in the concentration camps the French created in France at the end of the Spanish Civil War in order to hold the defeated and broken men and women that crossed the Pyrenees and then became inmates of such camps. The corpus encompasses the following stories: Vernet, 1940, Una historia cualquiera, Historia de Vidal, Los creyentes, Un traidor, Manuel el de la Font, El limpiabotas del Padre Eterno, Yo no invento nada, Ruptura, El cementerio de Djelfa, Manuscrito cuervo: historia de Jacobo, Playa en invierno and Ese olor. The analysis is based on the study of the following elements: lexicon, syntax, forms of address, records of spoken language, occurrence of idioms, use of proverbs, as well as the socio-cultural and linguistic level of the narrator and the characters.

A pesar del interés que suscita, la minificción del exilio republicano español en México ha sido mayormente ignorada por la crítica y, cuando se ha reparado en ella, su acercamiento descontextualizado ha provocado inexactitudes que se reflejan en el canon minificcional propuesto para la Península. Por ello, examino algunas vías de contacto entre el exterior y el interior de España y propongo una primera aproximación a un corpus de autores en exilio, entre los que destacan Max Aub, María Luisa Elío y José de la Colina. Además, el estudio de estos tres autores revela una minificción que no está ubicada ni aquí ni allí, tampoco instalada en un pasado ni en un presente, y menos aún alojada en la voz de un narrador monolítico, sino polifónico. A este grupo lo denomino minificción de intersticio, es decir, aquélla que manifiesta un distanciamiento y, a veces, oscilación de los grandes centros deícticos (espacio, tiempo y voz). Dicha poética del intersticio se ve reflejada en varios recursos, como la representación del extrañamiento (ostranenie), una fuente de enunciación inusual, la ucronía, la mise en abyme, la parodia y la ecfrasis, entre otros. El conjunto de estas estrategias desrealizadoras expresa una narrativa híbrida y ex-céntrica, en cuyo análisis vertebro un paradigma de encuentro y de oscilación, que facilita un estudio transatlántico entre la minificción del exilio y su lugar en la historia literaria.

This dissertation examines transnational flows and identities in the work of four European filmmakers and writers that have done extensive work in Latin America around the mid-twentieth century. Not renouncing to the thematic and formal analysis of representation in the works themselves, it focuses more broadly in the modes of production and circulation of cinematic and literary creations. More specifically, it pays close attention to the location in which the work was produced, understood as a conglomerate of circumstances, places, people, as well as symbolic and cultural demands that exert pressure on the author. Understanding that a transnational piece establishes a multi-national dialogue, I emphasize the frequently unacknowledged dialogue that these authors establish with the Latin American tradition and culture. Not only were they conscious of the symbolic landscape in which they were working, but also their production represents a valuable contribution for such landscape, even when their primary audience might be European. The case studies include: an introduction on the globalization of “Tercer Cine”; Werner Herzog and his two Amazonian feature films in Peru; Luis Buñuel and his abundant Mexican production, with special attention to his American and French co-productions shot in Mexico; Max Aub and his Mexican stories and chronicles; and Witold Gombrowicz’ Trans-Atlantyk, as well as his translation of his novel Ferdydurke into the Spanish language. / Romance Languages and Literatures

abstract: The temple of the Sagrada Familia, by Gaudí, is nowadays one of the most emblematic buildings of Barcelona, and the most visited monument in Spain. Despite the high popularity surrounding the name of the architect, his great work, still unfinished, has divided public opinion in the city for decades and has starred since its inception in a complex and paradoxical cultural phenomenon. My object of study consists of four major novels of modern Spanish narrative (Antagonía [1973-81], by Luis Goytisolo, La ciudad de los prodigios [1986], by Eduardo Mendoza, Campo cerrado [1943], by Max Aub and El amante bilingüe [1990], by Juan Marsé): all of them stand out because of the interartistic dialogue they establish with the famous building, which is referred to more or less extensively in their plots. The study will prove that the textual references to the Sagrada Familia in each particular case contain important interpretive keys that illuminate the discursive characterization of the texts while at the same time opening a new avenue for reading them. To this end, I start by situating my object of interest within the studies on the literary city, a field where Barcelona has a unique tradition of reflecting on its novel. Then I trace the cultural reception of the Sagrada Familia as evidenced in literary testimonies of the early twentieth century, and continue by documenting the presence of the building in modern, post-Civil War narrative. After that, I explain the conceptual notions and terms on the phenomenon of the intersection between architecture and literature, which will guide the analysis of the texts. Finally, I carry out the literary analysis of the four aforementioned novels. The Sagrada Familia, as well as showing itself to be a versatile metafictional emblem at four different times in modern Spanish narrative, illustrates the possibilities of a literary analysis that takes into account the architectural component of the texts in order to illuminate their comprehension and their characterization. / Dissertation/Thesis / Doctoral Dissertation Spanish 2015

Notre travail s'inscrit dans une perspective d'histoire de la littérature et cherche à conduire une réflexion globale sur la nature, la signification et la portée de l’utilisation de l’apocryphe chez l'écrivain espagnol Max Aub (Paris, 1903, Mexico, 1972). Le procédé sous-tend l'ambitieux projet de "El Laberinto Mágico" _Le Labyrinthe Magique ̶, qui regroupe les œuvres consacrées à la guerre civile espagnole. Max Aub rompt avec une première pratique expérimentale de la littérature pour se focaliser désormais sur le jeu d’un personnage résolument plongé dans l’Histoire, et la création du personnage apocryphe prend chez l'auteur une valeur de témoignage existentiel, qui dépasse la dimension ludique du mélange entre fiction et réalité. Dans un siècle caractérisé par les guerres et la violence, chez un auteur profondément marqué par la guerre civile espagnole et la douloureuse expérience du déracinement, le personnage apocryphe renvoie aussi à la question identitaire, autant qu’à l’expérience de l’altérité et à l’exploration d’autres possibles itinéraires existentiels. Cette exploration des limites du genre narratif contribue à la résolution de la « crise du roman » des années vingt, s'inscrit dans une double perspective européenne et nationale, et s'ancre dans l'Histoire au point de donner de celle-ci une vision nouvelle. / This doctoral thesis has benn aproached in a perspective of history of literature, and aims to consider a global thought about the nature, the meaning and the impact of the use of the apocryphal for the Spanish writer Max Aub (Paris, 1903, Mexico City, 1972). The process underpins the ambitious project of "El Laberinto Mágico" ̶The Magic Labyrinth ̶, which groups together the works dedicated to the Spanish Civil War. Max Aub breaks with a first experimental practice of literature to focus from this point onward on the game of a character firmly immersed in History. The creation of the apocryphal character takes for the author a value of existential testimony, which goes beyond the playful dimension of the fiction and reality mix. In a century characterized by wars and violence, in an author deeply marked by the Spanish Civil War and the painful uprooting experience, the apocryphal character also goes back to the question of identity, as well as the otherness experience , and the exploration of the other possible existential paths. This exploration of the limits of the narrative genre contributes to the resolution of the "crisis of the novel" in the twenties, it is also part of a double perspective, national and European, and is anchored in History, to the point where it gives of it a new vision.

Este trabalho se debruça sobre a poesia do exílio republicano espanhol de 1939. A pesquisa procura demonstrar que o tempo de duração do exílio é fator preponderante para a leitura de uma produção poética ampla e dispersa. Desse modo, seu enfoque central trata de investigar como essa poética exilada assimilou e ressignificou as três décadas de exílio, reconstruindo a identidade de seus autores. O corpus é composto por livros de inflexão da obra de três autores: Luis Cernuda (Vivir sin estar viviendo, 1944-1949), Emilio Prados (La piedra escrita, 1959-1961) e Max Aub (Antología traducida, 1963-1971). / The present study examines the 1939 Spanish Republican exile poetry. The investigation aims to demonstrate that the time the exile lasted is a fundamental aspect when reading such a widespread poetic production. Thus, the focus is on analyzing in which way this exiled poetry incorporated and resignified the three decades of exile, reconstructing the authors identity. Critical books in three authors works compose the corpus: Luis Cernuda (Vivir sin estar viviendo, 1944-1949), Emilio Prados (La piedra escrita, 1959- 1961) and Max Aub (Antología traducida, 1963-1971).

Este trabalho se debruça sobre a poesia do exílio republicano espanhol de 1939. A pesquisa procura demonstrar que o tempo de duração do exílio é fator preponderante para a leitura de uma produção poética ampla e dispersa. Desse modo, seu enfoque central trata de investigar como essa poética exilada assimilou e ressignificou as três décadas de exílio, reconstruindo a identidade de seus autores. O corpus é composto por livros de inflexão da obra de três autores: Luis Cernuda (Vivir sin estar viviendo, 1944-1949), Emilio Prados (La piedra escrita, 1959-1961) e Max Aub (Antología traducida, 1963-1971). / The present study examines the 1939 Spanish Republican exile poetry. The investigation aims to demonstrate that the time the exile lasted is a fundamental aspect when reading such a widespread poetic production. Thus, the focus is on analyzing in which way this exiled poetry incorporated and resignified the three decades of exile, reconstructing the authors identity. Critical books in three authors works compose the corpus: Luis Cernuda (Vivir sin estar viviendo, 1944-1949), Emilio Prados (La piedra escrita, 1959- 1961) and Max Aub (Antología traducida, 1963-1971).