Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 203-213). Also available on the Internet.

The power struggle between the death of Isabel I of Castile and the Comunero uprising of 1520-1521 involved both dynastic rupture and a crisis of legitimacy. While Juana's titular rights as proprietary sovereign were always recognised, her husband, father and son opposed her right to govern. The thesis challenges deeply-embedded views about Juana's political indifference, while also questioning the recent, influential contention that Juana sacrificed her rights to protect dynastic interests. Juana might have suffered intermittently from mental health problems, but was a key player, and the history of the period cannot be understood without taking her queenship, and question of her right to influence government policy, fully into account. Juana saw herself, above all, as Isabel's daughter, and a Trastámara, and her successes, failures, and changing political strategies are seen in this light. Despite her notion of filial obedience, at a time when her father, Fernando II of Aragon, who had co-reigned with Isabel, remained active and ambitious to govern Castile, Juana engaged with, and greatly influenced, major events between 1505-1507. Again, in 1520, her role during the Comunero revolution, when she came to the defence not only of her son, Charles V, but, more especially, of the principle of royal authority, proved crucially significant. The thesis explores political and cultural concepts of the time to show how they were applied to the manner in which Juana was seen, such as the development of a Queen's 'party' based on the knightly ideology of honour and loyalty; the application of the notion of 'shadow' monarch to attempts to marginalise her from power in 1506-1507, and the essentially gender-based topoi of jealousy and hysteria that informed views about the last Trastámara monarch's unfitness to govern.

This dissertation is focused on the Künstlerroman, or artist-novel, which can be understood as a variation of the Bildungsroman, or novel of formation. The artist-novel describes the creative learning of a young artist and is centered on the development of the protagonist's aesthetic ideals, the struggles to accomplish them, and the quest for self-achievement. This quintessential Modern genre emerges in Germany at the end of the 18th century. However, it is not until the late 19th and early 20th century when esteemed writers from Europe and the Americas, fascinated by the narrative possibilities of its premises, raise it to a higher artistic status and confer upon it great critical prestige. In spite of its importance in the Spanish context, artist-novels and their relation to turn-of-the-century aesthetics have not been properly addressed. This dissertation analyzes five Künstlerromane of key Spanish authors of this period: Pío Baroja's Camino de perfección (1902), José Martínez Ruiz, Azorín's La voluntad (1902), Emilia Pardo Bazán's La Quimera (1905), Vicente Blasco Ibáñez's La maja desnuda (1906), and Gabriel Miró's La novela de mi amigo (1908). Considering the critical and theoretical framework of the Künstlerroman as a point of departure, this approach studies how these novels incorporate and develop its structures and conventions by concentrating on three essential aspects. First, it examines the fictional portrait of the artist as a "divided self." Deriving the concept from Maurice Beebe, this dissertation argues that the tensions of Modern society have a direct influence on the artist-hero's portrayal and perspectives of self-realization. Second, it considers the voyage as a key narrative device that functions as a structural component in these novels. Third, it discusses the Künstlerroman as a synthesis of creative contemporary issues. Specifically, the combination of two concepts of language--one that exists in space with one that exists in time--contributes to the analysis of modern relationships between literature and other artistic expressions, especially painting and architecture. As a conclusion, the Künstlerroman implies an exploration of new anti-Realistic modes of representation in search of an innovative lyrical and subjective discourse: the novel of the artist becomes simultaneously an art of the novel. / text

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This dissertation utilizes the gay neighborhood of Chueca as the foci for understanding the rise of public gay identity in Madrid and Spain. By "reading" the urban space and coupling that reading with information gathered from ethnographic and historical methodologies, my work sheds light on the role of globalization in sexual identity, draws connections between changes in socio-political circumstances and the rise of public gay identity, and explores how gay men understand and use urban spaces in order to engage fluid and fixed sexual subjectivities. This dissertation, a product of over two years of living and researching in Chueca, Madrid, Spain, is informed by themes of: globalization of sexual identity; the relationships between sexual identity, consumption and popular culture; the use and sometimes abuse of urban space for the fomentation of sexual identity in personal lives, politics and public awareness; and, of course, the problems facing a 'native' and yet, foreign anthropologist in a globalized Western European city. Overall, the study addresses how the urban space of Chueca is understood, utilized, and taken advantage of by the gay community in Madrid; and the repercussions, and consequences evident from 1975, the time of Spain´s transition to democracy (La Transición) to one year after the 2005 legalization of gay marriage in Spain.