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I contend in this study that commercial novels and theater from early twentiethcentury Spain often present male (homo)sexual characters as a point of constellation for anxieties regarding modernization in Madrid and Barcelona. In works by Jacinto Benavente, Josep Maria de Sagarra, El Caballero Audaz (José María Carretero), Antonio de Hoyos y Vinent, Carmen de Burgos, Álvaro Retana, Eduardo Zamacois, and Alfonso Hernández-Catá, concerns about technological and socioeconomic change converge upon hustlers and blackmailers, queer seducers, and chaste inverts. I examine these figures alongside an allegorical interpretation of Goethe’s Faust in Marshall Berman’s book All That is Solid Melts into Air: The Experience of Modernity (1982) in order to foreground their varying responses to modern innovation. They alternately sell themselves to prosper under consumer capitalism, seduce others into savoring the pleasures of city life, or fall tragically to the conflicting pressures of tradition and change. In the process, they reveal the fear and enthusiasm of their creators vis-à-vis rapid urbanization, fluctuating class hierarchies, the commercialization of art, and the medicalization of sex from the turn of the nineteenth century to the Spanish Civil War. From a methodological standpoint, I argue that close readings of commercial works are worthwhile for what they reveal about the discursive framing of modernity and male (homo)sexualities in Spain in the early 1900s. Hence, I use techniques of literary analysis previously reserved for canonical writers such as Federico García Lorca and Luis Cernuda to discuss texts produced by their bestselling contemporaries, none of whom has been equally scrutinized by subsequent criticism. Existing scholarship on modernity and sexuality in Spain and abroad helps contextualize my detailed interpretations. Although my project is not a sustained exercise in comparative literature, I do situate Spanish works within historical and literary trends beyond Spain so as to acknowledge the interplay of transnational and local concerns surrounding modern change and sexual customs. By considering the primary texts in relation to varying temporal and geographic contexts, the dissertation aims to be of interest to a readership in and outside Hispanism, and to supplement important studies of modernity, (homo)sexualities, and literature that overlook Spain.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Mireille Havet, née en 1898, rencontre très tôt le succès grâce à ses poèmes. Proche d’Apollinaire et de Cocteau, elle se fait une place dans le milieu littéraire de l’époque. Parallèlement à ses poèmes, et à son roman publié en 1923, elle écrit un journal intime, qu’elle commence alors qu’elle est encore adolescente. Forte de ses succès de jeunesse, la jeune femme se laisse alors peu à peu rattraper par la vie : les femmes et les drogues, ses deux grandes passions, l’entraînent dans un tourbillon dont elle peine à s’extraire pour produire la grande œuvre dont elle rêve. Résignée, au fil des années, elle se concentrera sur la rédaction de son journal, devenu le seul support s’accordant avec son mode de vie, sa mélancolie et son addiction de plus en plus extrême aux drogues. Elle tente alors de transcrire son âme dans ses carnets intimes, de « dire et révéler [son] monde » intérieur. Ce projet, s’il n’est pas celui, idéal, de l’œuvre fantasmée, contient cependant toute la poésie de Mireille Havet et s’avère, après relecture, former un « tout complet », presque à l’insu de son auteur. Ce journal peut-il alors remplacer la grande œuvre avortée dont la diariste a toujours rêvé ? / Mireille Havet, born in 1898, meets early success through her poems. Being close to Apollinaire and Cocteau, she makes a name for herself in the literary sphere of the time. Simultaneously with her poems and her novel published in 1923, she writes a diary, started when she was still a teenager. Driven by this success, the young woman is gradually caught up by her two great passions: women and drugs. It results in a turbulence against which she will struggle to attempt to produce the great work she dreamed of. Over the years, she finally resigned and will focus on her diary. It became the only reconcilable medium with her lifestyle, her melancholy and extremely increasing drug addiction. She then tries to transcribe her soul into her diary, "to say and reveal [her] world" inside. This project, even if it is not the ideal fantasized work, yet contains all the poetry of Mireille Havet, and forms, after rereading, a "complete whole" almost unknown to the author herself. Can this journal then replace the failed masterpiece the diarist always dreamed of?

Steel frame construction with unreinforced masonry infill walls is a common system found in high-rise structures built in the late nineteenth and early twentieth centuries. Recorded performance of this dual system during seismic events shows that the structures are able to resist a high level of lateral loads without collapse, primarily because a majority of damage is confined to the infill walls instead of the gravity carrying frame. To better understand expected performance of this structural system in different seismic risk regions, a prototypical building was analyzed using modal and nonlinear static procedures based on currently accepted evaluation guidelines. Nonlinear results from the computer model were compared with calculated target displacements for seventeen cities likely to have steel frame construction with unreinforced masonry infill in order to determine expected damage levels at varying levels of seismic risk. It was concluded that the structural system studied could experience damage in all seismic risk regions, including post-yield damage of the structure, although in low risk regions that damage is confined entirely to the infill walls. Practicing structural engineers should be aware that in all seismic risk zones existing steel frame buildings with unreinforced masonry infill, while able to resist a high magnitude of displacement without complete structural failure, will require additional lateral support under currently accepted rehabilitation guidelines.

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