This thesis attempts to situate three Hispano-Latin histories within the broader context of twelfth-century Spanish literature that includes chronicle writing and vernacular epic. The Introduction traces the development of Latin historiography in Leon from the ninth century, highlighting features still evident in the twelfth-century histories. It also describes the evolution of Spain's heroic age in Castile and contrasts this with the Reconquest aspirations of Lean. The one inspired epic poetry, the other a complementary form of celebratory literature: the heroic biography. Each history celebrated the deeds of one man: Rodrigo Diaz in the Historia Roderici, Alfonso V1 in the Historia Silence and Alfonso VII in the Chronica Adefonsi Imperatcris. The final section of the Introduction outlines the approach to these works, which focuses on form in relation to theme, on the significance of a heightened form of expression and on point of view. In the following three chapters, these aspects are examined in each work in relation to the portrayal of the central figure. Chapter II examines also the panegyrical Carmen Campidoctoris and concludes with a comparison of the attitudes of the poet of the Cantar de Mio Cid and the historian of the Historia Roderici to their subject-matter. The second part of Chapter III distinguishes between the Historic Silense and the Liber chronicerum of Pelayo with which it has been compared. Chapter IV includes a separate study of the verse section of the Chronica Adefonsi Irnperatoris, the Poem de Almeria, but the latter is seen as an integral part of the history. Chapter V draws together aspects of the preceding chapters, for it studies the Cronica Majerense c as a cross-section of twelfth-century Spanish literature, its material being drawn from chronicles, histories and heroic legends. Finally, the historical writings of the twelfth century are related to broadly defined categories of chronicle, biography and history. Chapter VI examines common stylistic features of the Latin works and of vernacular epic. The first part is devoted to linguistic features and distinctive forms of phraseology, the second to narrative motifs typical of the celebratory work. An appendix-to the chapter explores the function of several of these features in one genre: the Romance epic. The approach adopted in this final chapter coincides with that sustained throughout the thesis, 'which is to highlight similarities between histories and epic, while observing the basic' differences between the two genres.

Este trabalho inicia-se com a apresentação do autor, sua importância literária e seu contexto histórico, e tem por objetivo analisar a trajetória de Aniceto Hevia, narrador autodiegético do romance Hijo de Ladrón, de Manuel Rojas. O romance se articula em torno aos problemas e experiências das classes socialmente marginalizadas e dos conflitos sociais e econômicos do proletariado no Chile entre o fim do século XIX e o início do XX. Observaremos o Bildungsroman Clássico, gênero discursivo originado na Alemanha, em meio à difusão das ideias burguesas de fins do século XVIII. O intuito aqui é observar como o livro de Rojas, inscrito em um contexto afastado pelo tempo, espaço e circunstâncias sócio econômicas do paradigma do Bildungsroman, mantém afinidades de ponto de vista e de conteúdo em relação ao gênero clássico em questão. / This work begins with the introduction to the author, to his literary importance as well as to his historical context, and it has the purpose of analyzing Hevia Anicetos pathway, who is the autodiegetic narrator in the novel Hijo de Ladrón by Manuel Rojas. The novel revolves around the problems and the experiences lived by the socially marginalized classes, and also around the social and economic conflicts experienced by the proletariat in Chile from the end of the 19th Century to the beginning of the 20th Century. We will observe the Classic Bildungsroman, which is a discursive gender originated in Germany in the midst of the dissemination of bourgeois ideas from the end of the 18th Century. Our purpose here is to observe how Rojas book, which is inserted in a context kept away by time, space and socio-economic circumstances of the Bildungsroman paradigm, maintains content and viewpoint affinities in relation to the classical gender in question.

abstract: If different societies encode their communication according to their socio-historical context, it makes sense to postulate that satire resides in the no-man's-land that sprawls between what an individual claims to be and the reality revealed by his actions. Thus, satirical caricature, as graphic and scenic art, results in the indictment of collective or individual vices through irony, sarcasm and farce. This study examines the Spanish-American War of 1898, and the "disaster" brought about by the defeat of Spain and the loss of its colonial empire, through the lens of the caricatures published by three satirical magazines—Don Quijote (Madrid), La Campana de Gracia (Barcelona) y El Hijo de El Ahuizote (Mexico)—between January and December, 1898. These magazines provide a many-splendored set of facets depicting a scathing and hard-hitting campaign supporting the war and the demonization, management, and suppression of the other through the use of symbols. While in the peninsular press Spain is represented as a raging bull, a lion, or a virgin maiden, Cuba as an empty container or a black and ignorant peasant and the United States as imperialist pigs and a treacherous thieves, the Mexican magazine views the Spanish as the usurpers, pirates and traitors, the United States as liberator, and the annexed populations as respectable and noble societies to be freed from the Spanish colonial yoke. Whether motivated by internal ideological confrontations or in opposition to external threats, the use of graphic representation as a political weapon considerably enriches the meaning of symbols. Satirical caricature represents a categorical instrument for the definition of national identity. The creation and dissemination of unified stereotypes—images assumed to be identical for all recipients—generates the development of a powerful national imaginary, both abstract and highly accessible to the reader, fomenting the manufacture of "public opinion". It is precisely here where its great semiotic power lies, because caricature achieves its maximum expression when it veers toward the symbolic rather than the discursive, delivering its content in an abstract and unlimited fashion, and spreading its effects through time and all the different socio-cultural contexts it may find along the way. / Dissertation/Thesis / Doctoral Dissertation Spanish 2019

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Trabalho realizado no Hospital Pedro Hispano, orientado pela Engª Joana Andrade / Tese de mestrado integrado. Engenharia Mecânica. Faculdade de Engenharia. Universidade do Porto. 2013

L'animal comme personnage et narrateur a été une figure présente depuis toujours dans la mythologie, les fables et l'épique. Au XXème siècle, l'incertitude en face des idéologies légitimatrices et l'émergence de nouvelles théories qui donnaient la parole aux opprimés, a servi pour revigorer la voix de l'animal. Divers genres littéraires et plusieurs écrivains ont utilisé cette voix. Notre recherche a comme but l'analyse de cette voix originelle dans les œuvres des écrivains hispano-américains de la deuxième moitié du XXème siècle. Pour y arriver, nous proposons l'identification d'un dessin général capable de répondre aux questions suivantes: pourquoi et comment l'animal participe dans la littérature. Notre étude est divisée en trois parties qui correspondent au dessin déjà mentionné. La première et la deuxième partie font l'analyse de la voix satirique. La différence entre les deux voix se trouve dans la cible de la satire. Pendant que la première critique et ridiculise les institutions et idéologies humaines, la deuxième dénonce la relation de pouvoir entre l'humain et l'animal. Finalement, nous faisons la recherche d'une voix narrative qui se concentre dans la psychologie, le monde et l'anecdote du même animal. Cette recherche propose de répondre à quelques questions qui motivent la participation de l'animal dans la littérature hispano-américaine du XXème siècle, et la façon dont cette participation se réalise. Nous espérons ainsi ouvrir le chemin par où la critique hispano-américaine pourra s'intégrer à l'étude d'un des personnages et un des narrateurs les plus intéressants : l'animal.

Texte remanié de: Thesis Ph. D.--Binghampton, N.Y.--State university of New York. / Bibliogr. p. 286-295. Index.

Tesis doctoral--Facultad de filología--Santiago de Compostela--Universidad de Santiago de Compostela, 1994. / Bibliogr. p. [321]-345.

Thèse de doctorat : Espagnol : Rennes 2 : 2008. / Bibliogr. p. 176-211. Index des lieux et des personnes (vol. 2).