The succeeding chapters of this present investigation seek to establish a classification of stylistic devices employed by Valle-Inclan in the four Sonatas, with emphasis, not only upon imagery, but equally upon the author's use of regional and natural phenomena, supernatural elements, the arousing of human emotions through sensory appeal, and finally, upon purely rhetorical patterns and organizational elements.

Esta tese busca pensar o desfuncional latente em toda escritura, linguagem e vida: suas potências não dominadas, nem domináveis, pelo corte finalista, utilitarista, entre funcional e disfuncional, e o devir-poesia destes interditos quando revertidos em afirmação de possibilidades para além das determinadas pelos códigos fixados e modelos de composição existentes. As obras de Jacques Derrida e Gilles Deleuze (parte com Felix Guattari) são as referências centrais para a constituição deste pensamento, que constantemente se volta ao fazer poético. O trabalho, porém, é conduzido pela extravagante figura que ele livremente se cria do engenhoso fidalgo e cavaleiro Dom Quixote de la Mancha, por seu modo errante de atuar, sua andante poesia. Sua relação com a morte iminente; o papel da leitura em sua fantasia, cuja extensão se mostra incontornável a quem quer que se aproxime; sua irredutibilidade a qualquer juízo que se possa tentar de sua sanidade mental; sua constante construção de uma equívoca e fugidia identidade; e seu permanente e delirante improviso no teatro do mundo configuram uma escritura lúdica, inventiva, aberta, consciente de sua formação, de seu contexto e de seus percursos, o que possibilita a construção da noção de uma poética da existência, sugerida pelas especulações teóricas preliminares. / This thesis seeks to think the latent defunctional in every writing, as language and life: its potencies not dominated by the finalist and utilitarian cut between functional and dysfunctional, and the becoming-poetry of this interdicts when reversed in the affirmation of possibilities beyond those determined by fixed codes and existing composition models. The works of Jacques Derrida and Gilles Deleuze (part with Felix Guattari) are the central references to the constitution of this thought, constantly turned to the poetic making. The work, however, is conducted by the extravagant figure that it freely creates of the ingenious gentleman and knight Don Quixote of la Mancha, by his errant acting mode, his walking poetry. His relationship with imminent death; the role of reading in his fantasy, which extension shows up inescapable to whoever gets close to it; his irreducibility to any judgment that could be tried on his mental sanity; his constant construction of an equivocal and elusive identity; and his permanent and delirious improvisation in the theatre of the world configure a ludic, inventive and open writing, aware of its formation, its context and its routes, which enables the construction of the notion of a poetics of existence, suggested by preliminary theoretical speculations.

Esta tese busca pensar o desfuncional latente em toda escritura, linguagem e vida: suas potências não dominadas, nem domináveis, pelo corte finalista, utilitarista, entre funcional e disfuncional, e o devir-poesia destes interditos quando revertidos em afirmação de possibilidades para além das determinadas pelos códigos fixados e modelos de composição existentes. As obras de Jacques Derrida e Gilles Deleuze (parte com Felix Guattari) são as referências centrais para a constituição deste pensamento, que constantemente se volta ao fazer poético. O trabalho, porém, é conduzido pela extravagante figura que ele livremente se cria do engenhoso fidalgo e cavaleiro Dom Quixote de la Mancha, por seu modo errante de atuar, sua andante poesia. Sua relação com a morte iminente; o papel da leitura em sua fantasia, cuja extensão se mostra incontornável a quem quer que se aproxime; sua irredutibilidade a qualquer juízo que se possa tentar de sua sanidade mental; sua constante construção de uma equívoca e fugidia identidade; e seu permanente e delirante improviso no teatro do mundo configuram uma escritura lúdica, inventiva, aberta, consciente de sua formação, de seu contexto e de seus percursos, o que possibilita a construção da noção de uma poética da existência, sugerida pelas especulações teóricas preliminares. / This thesis seeks to think the latent defunctional in every writing, as language and life: its potencies not dominated by the finalist and utilitarian cut between functional and dysfunctional, and the becoming-poetry of this interdicts when reversed in the affirmation of possibilities beyond those determined by fixed codes and existing composition models. The works of Jacques Derrida and Gilles Deleuze (part with Felix Guattari) are the central references to the constitution of this thought, constantly turned to the poetic making. The work, however, is conducted by the extravagant figure that it freely creates of the ingenious gentleman and knight Don Quixote of la Mancha, by his errant acting mode, his walking poetry. His relationship with imminent death; the role of reading in his fantasy, which extension shows up inescapable to whoever gets close to it; his irreducibility to any judgment that could be tried on his mental sanity; his constant construction of an equivocal and elusive identity; and his permanent and delirious improvisation in the theatre of the world configure a ludic, inventive and open writing, aware of its formation, its context and its routes, which enables the construction of the notion of a poetics of existence, suggested by preliminary theoretical speculations.

Nada é considerada a primeira referência de romance do realismo existencialista do pósguerra civil espanhol. Em 1944, mesmo ano de seu lançamento, obteve o reconhecimento por parte da crítica especializada, com a primeira edição do Prêmio Nadal de Literatura. Hoje, é objeto de estudo dos que se ocupam com sua crítica e parte obrigatória de qualquer antologia ou história da literatura espanhola do século XX. O objetivo desta dissertação é fazer uma tradução da obra Nada, de Carmen Laforet. Relataremos os impasses que foram enfrentados nesta versão, seja na manutenção do estilo, seja na escolha do léxico, na fluidez do texto, nas estruturas gramaticais e semânticas do romance. A proposta é a de seguir o caminho sinuoso e complexo da tradução, mantendo o sentido e o tom do texto de partida. A pesquisa realizada junto aos teóricos sobre tradução fez-nos perceber a impossibilidade de postular uma única teoria que consiga resolver todas as facetas do processo tradutório. Uma vez que não há regras para todos os casos, sobram-nos como consolo os empíricos conselhos sobre literalidade e fidelidade, destinados a quem se aventura no universo da tradução. / \'Nada\' is considered to be the first framework for the existentialist realism of the Spanish postcivil war. In 1944, same year of its launch, it won recognition by the literary critic when it received the first edition of the Nadal prize of literature. Today it is object of study of the ones who occupy with its critique, and compulsory part of any anthology or 20th century Spanish literature history. The aim of this dissertation is to make a translation of the work Nada by Carmen Laforet. We will relate the impasse faced in this version, either in keeping the style, in the lexical choice, in the fluency of the text,or in the grammatical and semantical structures of the novel.The proposal is to follow the sinous and complex path of translation, maintaining the sense and the tone of the original. The research elaborated on translation by the theorists made us perceive the impossibility of postulating a single theory that is able to resolve all the facets of the translating process. Since there are no rules for all cases, we are left, as consolation, with the empirical advice on what is literal and faithful, aimed at whom takes risks in the universe of translation.

Esta dissertação consiste na tradução anotada de duas novelas de Cervantes: O casamento enganoso e O colóquio dos cães, que fazem parte da coleção de doze novelas publicadas pelo autor em 1613 sob o título Novelas exemplares. As traduções são precedidas de um estudo no qual se discutem: a origem, a cronologia e a classificação das novelas, sua originalidade e exemplaridade, bem como os conceitos de admiratio e verossimilhança, aos quais os escritores do século XVII dedicavam especial atenção. / This dissertation consists of the annotated translation of two short novels by Cervantes: El casamiento engañoso e El coloquio de los perros, both part of the collection of twelve short novels published by the author in 1613, Novelas ejemplares. The translations are preceded by a study in which the following topics are examined: the origin, the chronology and the classification of the short novels, their originality and exemplariness, as well as the concepts of admiratio and verisimilitude, to which XVII century writers dedicated especial attention.

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.

Romancier, essayiste, ancien secrétaire général de la Asociación Colegial de Escritores de España, Andrés Sorel (Ségovie, 1937) est surtout connu pour son activité de militant antifranquiste. Il a pourtant publié à ce jour quinze romans et un nombre considérable d'essais. Depuis les années soixante, toute son œuvre est écrite sous le signe de l’engagement, ce qui peut expliquer en partie une forme de mise à l'écart du marché éditorial. Cette thèse vise à analyser comment sa dissidence intellectuelle contre l’idéologie dominante se construit dans sa production romanesque. On tentera de définir les contours de l’engagement, que ce soit à travers son rôle d’intellectuel, dans ses aspects les plus controversés, ou à travers les caractéristiques de son écriture engagée, dans sa dimension textuelle et avant-textuelle. On analysera également comment les marqueurs de l’engagement se développent dans la construction du narrateur, de ses personnages et de la temporalité. En prêtant toujours une attention égale au contenu idéologique et à sa mise en forme, Sorel conçoit l’écriture comme un exercice de réhabilitation de la mémoire des vaincus, s'inscrivant ainsi – et d'une certaine façon inaugurant – le « roman de la mémoire » qui domine le panorama littéraire de l'Espagne de ces deux dernières décennies. Il s’agit donc d'analyser la tension dialectique qui se joue entre un récit fictionnel et des modalités qui empruntent au factuel, notamment à l'essai. À travers la pluralité des témoignages littéraires, les textes de Sorel cherchent ainsi à faire émerger les vérités cachées et à redonner une voix à ceux qui en ont été privés. On étudiera par quels dispositifs formels ses récits constituent un contre-pouvoir contre le discours dominant des régimes autoritaires, totalitaires ou démocratiques. En dernier lieu, on analysera la dimension pragmatique d’une écriture qui prétend transformer la réalité, pour saisir le degré de visibilité de son discours littéraire et de sa présence médiatique, ainsi que la façon dont ses romans sont perçus par la critique littéraire. On cherchera enfin à esquisser les typologies du lecteur véhiculées par le récit, que ce soit pour les légitimer ou pour les rejeter. / As a novelist, essayist, and former general secretary of the Asociación Colegial de Escritores de España, Andrés Sorel (Segovia, 1937) is best known for his anti-Franco activism. To this day, he has published fifteen novels and a considerable number of essays. Since the nineteen sixties, all his work has been written under the sign of commitment, which may partly explain his side-lining from the editorial market. This thesis aims at analyzing how his intellectual disagreement with the dominant ideology is built up in his novelistic production. We will attempt to define the outlines of commitment, whether through his part as an intellectual, in its most controversial aspects, or through the characteristics of his committed writing, in its textual and pre-textual dimension. We will also analyze how the markers of commitment develop in the construction of the narrator, his characters and temporality. By always paying equal attention to the ideological content and its shaping, Sorel conceives writing as an exercise of rehabilitation of the memory of the vanquished, thus becoming a part of – and in a certain way launching – the "novel of the memory" which has dominated the literary panorama of Spain for the last two decades. It is therefore a matter of analyzing the dialectical tension that is played out between a fictional narrative and a method that uses factual elements, especially experimenting. Through the plurality of literary testimonies, Sorel’s texts seek to bring out the hidden truths and give a voice to those who have been deprived of it. We will study the formal devices through which his stories establish a counter power against the dominant discourse of authoritarian, totalitarian or democratic regimes. Lastly, we will analyze the pragmatic dimension of a writing style that claims to transform reality, in order to grasp the degree of visibility of its literary discourse and its media presence, as well as the way in which his novels are perceived by literary criticism. We will finally try to outline the reader types conveyed by the story, whether to legitimize or to reject them.

The intimate relationship one develops with his or her native language is an experience which cannot be replicated through any amount of education. Diction, vocabulary, intonation and the connotations which accompany the many facets of language all develop along with us as we progress through life's experiences. Because of this deeply ingrained personal understanding, each individual's perspective towards a work of art, namely poetry, is completely unique to his or her experiences with the language in which it is written. Therefore, no amount of diligent translation can make a poem inhabit the same sentiment and effect in any language other than the one it was originally written in. This phenomenon will be explained in terms of several sonnets written by Garcilaso de la Vega. While the sonnets were originally written in Spanish, several translations into English will be explored in order to express the downfalls and limitations inherent in poetic translation.

Through the works of Lord Byron and Gustavo Adolfo Bécquer, I explored the function of the themes of darkness and obscurity in Romanticism. There was a clear connection between the inclusion of these themes and the rejection of the Enlightenment period, which is what I focused on in this thesis. I discovered that the Romantics found inspiration and beauty in the darker, stranger aspects of the natural world, while rejecting the logical and rational beliefs of the Enlightenment.

Although certain critics have mentioned Blasco Ibáñez’s women characters in their writings, they often relegate these persons to a subordinate role relevant to the development of the plot and of the philosophy of the author. Many of the earlier critics have mentioned the importance of the setting in Blasco Ibáñez’s novels, as did James O. Swain when he wrote in 1935, “Especially in his Valencian novels, Arroz y Tartana, Flor de Mayo, La barraca, and Cañas y barro, does the setting play an important role.” As recently as 1961, Sherman Eoff has pointed out how characterization is secondary to the milieu of the people in some of Blasco Ibáñez’s early writing. There are, nonetheless, notable women who play an important part in some of Blasco Ibáňez’s early novels. Eduardo Betoret-Paris has mentioned the significance of women in both Cañas y barro and Flor de Mayo. Doña Manuela in Arroz y tartana and Neleta in Cañas y barro are cited by Antonio Espina as being significant human portraits. M. Romera-Navarro has indicated the mastery with which Blasco Ibáñez created a particular kind of woman in Entre naranjos. Tía Picores in Flor de Mayo has been called a strong and dominant character. Still another woman has been singled out for the complexity of her character in Blasco Ibáñez’s La Maja Desnuda. In recognition of the fact that some women do play an important role in some of Blasco Ibáñez’s earlier novels, this investigation seeks to reveal certain aspects of a particular kind of woman – the dominative woman. In order to present some of the significance of the dominative woman, an examination of portions of the life and philosophy of Blasco Ibáñez will be made. In addition, Arroz y Tartana, Flor de Mayo, Entre naranjos, Cañas y barro and La Maja Desnuda will be studied in order to illustrate Blasco Ibáñez’s presentation of the dominative woman, her characteristics, imagery related to her, and her roles in these works as they relate to aspects of the author’s life and philosophy.