(in English): This work focuses on the novel titled Lucía Jerez which represents the only novel written by Cuban author, heroe and so-called freedom fighter José Martí. The objective of this work was to prove that this short book rightly can be seen as a modernistic novel and even can be considered as the first one in which all of the modernistic tendencies of new aesthetics are present. Using specific examples from the original novel, I tried to show the importance of this book in the context of the history of Spanish-American literature and to demonstrate several elements of the modernistic creation. Firstly I had proceeded from my personal feelings and beliefs which I later completed by opinions of literary critics. In most cases we concided, but of course there were some points in which my view differed in comparision with a general assertion. Despite these discrepancies in the understanding of some aspects of the book, I think José Martí managed to create a unique work. Lucía Jerez contains everything that is according to theories of modernistic work and Martí also achieved to impress Hispanoamerican character to the book. Even though we can find traces of Romanticism, Lucía Jerez is inherently modernistic work because of its critical approach.

(English) The aim of this work is to compare the features of the theatre of the absurd of three hispanoamerican works, Falsa Alarma by Virgilio Piñera, Los Siameses by Griselda Gambaro and La noche de los asesinos by José Triana. First, the theoretical introduction focuses on the origins of the so called theatre of the absurd and its main sources, its main characteristics and finally its extension throughout the Latin America. Furthemore, the principal part of this work deals with the concrete analysis of the three theatre works mentioned above, and slightly discusses lifes and works of its authors. Individual chapters aim as at the typical absurd elements, as at those that are in some way original within the theatre of the absurd paradigm. The main help for each analysis are three principal features of this movement: denial of the plot, violation of the communicative function of the language and even systematical rupture of characters. The final part focuses as on the mutual comparison of the three hispanoamerican works, as their likening to the european theatre of the absurd works.

This thesis investigates the principle of play in the diverse constituents of the modern novel, represented by the works of Rayuela by Julio Cortázar and Tres tristes tigres by Guillermo Cabrera Infante. In the chapter 1, it inquires into the conception of play in the point of view of the philosophy (mainly of Eugen Fink), sociology (of Roger Caillois) and psycology (of Carl Gustav Jung). In the chapter 2, it focuses from the point of view of the literary science on the play in the modern novel and it gives some examples from the world-literature. The chapter 3, which is the center of the thesis, applies the outcomes of the previous chapters in the analysis and comparison of the principle of play on the thematic, language, compositive and narrative level directly in the novels Rayuela and Tres tristes tigres, and on the finish it tries to formulate the sight of the world and the man in both works.