Texte remanié de: Th. Ph. D.--Berkeley, Calif.--University of California, 1987.

Texte condensé de: Thèse--Lettres--Paris--Paris IV-Sorbonne, 1987. Titre de soutenance : L'Art de Quevedo dans ses sonnets. / Bibliogr. p. 527-615. Index.

El libro que publica Lía Schwartz Lerner posee importanciafundamental en el marco de los estudios quevedianos y constituye, igualmente, un aporte a la moderna crítica del discurso retórico. En éL' la autora da a conocer los resultacios de una inquisición profunda en la obra total de Quevedo y en la crítica surgida en torno, de ésta, así como en la teoría literaria que elaborapropuestas sobre los fenómenos del discurso retórico y su funcionamiento.

Cette thèse commence par définir la notion de morale dans l'Espagne du XVIIème siècle, et celle de la poésie morale, en ce qui concerne l'oeuvre de Quevedo. D'autres buts préalables à l'analyse sont de définir et de justifier le corpus choisi, de montrer quelles sont les sources d'inspiration de l'auteur, de définir les notions utilisées dans l'analyse poétique par la suite, et de rappeler les précédentes études sur le sujet. L'objet de cette thèse est ensuite de montrer que la poésie morale quévédienne constitue un système cohérent, au service d'un propos non univoque, mais qui correspond à une préoccupation constante : l'édification morale de l'allocutaire. La figure de l'Autre est également au centre de ce travail qui entend montrer quelle place l'Autre occupe dans cette poésie, et ce que sa représentation implique du point de vue de l'écriture. Enfin cette thèse montre que l'idéal moral visé par ce corpus est le dépassement, complexe, de toute dualité (Bien/Mal, Vie/Mort, Autre/Soi), pour permettre à l'homme de s'acheminer vers Dieu et d'obtenir le salut de son âme. La conclusion finit d'illustrer la cohérence du système et du corpus étudiés et propose des éléments destinés à remettre en question la paternité de certains sonnets récemment attribués, de manière un peu inconsidérée, à Quevedo. / The thesis start with a definition of the concept of "morals" in 17th century Spain and with a definition of moral poetry in Quevedo's work. Preceding the analysis proper, I will define and justify the corpus of texts studied, identify the author's sources of inspiration, define the notions used in the poetical analysis, and finally mention the previous studies on the topic. The aim of this thesis is to show that Quevedo's moral poetry is a coherent system which serves a discourse that is far from unequivocal, but which corresponds to a constant preoccupation : the moral construction of the addressee. This work also focuses on the figure of Alterity, particularly what place it is granted in this poetry, and what its representations implies from the point of viex of writing. Finally, the thesis shows that the moral ideal aimed at in this corpus lies in the complex way in which it exceeds any duality - Good/Evil, Life/Death, Other/Self - to enable man to move towards God and to find salvation. The conclusion illustrates the coherence of the system and of the corpus and proposes arguments meant to question the authorship of some of the sonnets which where recently attricbuted to Quevedo.

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Summary of the author's thesis, Murcia, 1975. / At head of title: Facultad de Filosofía y Letras. Includes bibliographical references (p. 30-32).

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This dissertation investigates two areas rarely treated in Early Modern studies. First, it explores the origins, functions and importance of the entremes as a performance genre historically relegated to what Victor Turner has called the "liminal" spaces of social and scholarly discourse. These marginalized places of ambiguity in between one space and another provide the artist with a less restrictive creative setting in which to explore the otherwise difficult and even unmentionable social themes. Literally placed in between acts of the comedia performance experience, as well as chronologically placed in between the medieval pageant theater and the emerging early modern theater houses, the entremes serves as an entertaining breed of performance monster, building upon a thematic foundation "betwixt and between" acceptable and objectionable forms of theater.Second, the dissertation examines in detail the 12 lesser-known entremeses of Francisco de Quevedo as examples of liminality in the development of early modern theater practices. Specifically, the study analyzes these theater pieces as they subscribe to three categories of cardinal sin: desires of the ego (pride, wrath and sloth); desires of ownership (greed and envy); and desires of the body (lust and gluttony).As a result, this work hopes to demonstrate the aesthetic value of the interlude and the ways in which Quevedo's various manifestations of this liminal genre, based heavily on the construct of sin, both complement and contradict the model of the entremes as established by his predecessors.

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