Thesis (Ph. D.)--University of California, San Diego, 2005. / Vita. Includes bibliographical references (leaves 312-333).

Thesis--Sevilla, 1974. / Includes bibliographical references (p. [49]-57).

Thesis--Seville. / Documents included in "Apéndice" (p. [297]-349). Bibliography: p. 13-15.

Thesis (Ph. D.)--Ohio State University, 2005. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 Sep 21

Not available / text

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Karl W. Butzer. Vita. Includes bibliographical references.

Chapter one provides a multifaceted panorama of the Genoese community in medieval Seville that helps to link Francisco Imperial, an early 15th century poet, to a group of foreigners and naturalized Castilian subjects who, despite their marginality, contributed greatly to the kingdom's emergence as a global superpower by the end of the Middle Ages. Chapter two examines materialist and scientific dream theories from the classical, medieval and contemporary periods side by side, yielding a complementary platform from which to plumb the depths of dream vision texts. The third and fourth chapters place Imperial's most important poem, his Dezir a las siete virtudes (c. 1407) within the spiritually vital literary tradition of the dream vision, a genre with roots in classical antiquity and early Christian accounts of otherworld journeys. An examination of several representative Western European, Islamic and Castilian literary dream visions in Chapter 3 and of Imperial's Dezir in Chapter 4 is grounded in the insightful theoretical perspectives on the genre developed by Kathryn Lynch, Paul Piehler and Robert McMahon. The fourth and final chapter also offers a biographical sketch of Francisco Imperial and an overview of the Imperiale family that are based in part on original documentation, allowing a new vantage point from which to appreciate the rich life circumstances that gave birth to a uniquely resonant poetic voice.

Thesis (M.Phil.) - University of St Andrews, May 2007.

Thesis (M.A.)--Western Washington University, 2010. / Includes bibliographical references. Also issued online.

During the late Middle Ages, Iberian Christian and Jewish patrons commissioned intriguing monuments that incorporate Islamic-derived features. Determining possible reasons for the patronage of this architecture, commonly referred to as Mudejar architecture, has the potential to provide important insights into the complex, multi-cultural society that produced it, yet studies on its patronage have been limited in number and scope. Most of the early Spanish scholarship on Mudejar architecture focuses on formal issues and simply attributes its patronage to economic factors, an admiring fascination with the exotic, or a desire to subjugate Islamic culture. More recent scholarship has shifted to examining the motivations of patrons in specific case studies; however, many of these case studies are still framed within the overarching theory that Mudejar architecture was the result of a common architectural heritage among Christians, Jews, and Muslims. The reasons for Mudejar patronage cannot be confined to a single broad theory, but instead individual projects and patrons must be studied within their specific contexts and then compared to one another to provide a more accurate understanding of Mudejarismo. This dissertation traces the development of Mudejar architecture in Seville from the time of the city's conquest by Christian forces in 1248 to the early sixteenth century, just after the expulsion of Muslims and Jews from the Kingdom of Castile, in order to demonstrate the changing nature of Mudejar patronage in the city and how it relates to the relations among Christian, Jews, and Muslims. In establishing the chronology and the patronage of Seville's Mudejar monuments through a close analysis of their formal elements, three distinct phases in their construction become apparent: 1) the approximately fifty years following the city's conquest; 2) a period between the earthquake of 1356 and the initial construction of the Gothic cathedral in the 1430's; and 3) the remainder of the fifteenth century through the first years of the sixteenth century. Prevalent features of Mudejar architecture during each of these phases are considered within the socio-political climate of the time as evidenced in primary sources. While economic, social, and demographic factors contributed to the construction of Mudejar architecture in Seville, its patronage was largely the result of the changing political agendas of the city's ruling elite. Shortly after the city's Castilian conquest, Alfonso X favored Gothic over Mudejar features because of his goals of asserting the new Christian authority in a city still threatened by Muslim forces and creating for himself a cosmopolitan imperial image. By the mid-fourteenth century, when Christian hegemony was no longer a concern, Mudejar forms signified the absolute power desired by Pedro I and his rebellious half-brother Enrique II. The construction of Seville's enormous Gothic cathedral throughout much of the fifteenth century in addition to the patronage of the Catholic Monarchs and the rise of the Renaissance largely ended Mudejar patronage in the city with the exception of centrally-planned chapels and elaborate wooden roofs, which by this time had become a source of local pride. Thus, no general theory can encompass all of the reasons for Mudejar patronage in late medieval Seville, which were varied and continually in flux.