The purpose of the present study is to develop and explain a teaching aid for Spanish word recognition, to be presented as advance preparation for large-exposure reading.

Manuel Machado is known as one of the most innovative Spanish modernist poets of the twentieth century. Despite his recognition as a literary figure in Spain, the mimetic descriptions in Machado's poetics are interpreted as mere innovations in Spanish poetry. Those mimetic descriptions are examples of ekphrasis in Spanish literature. Ekphrasis is both a literary and representational art. The mimetic dimension in Machado's poetry is ignored or misinterpreted by the critics of his poetics. This study written in Spanish investigates the use of ekphrasis in terms of Machado's poetic style. An analysis of Manuel Machado's ekphrastic poems will determine: ekphrastic poetry is a representational art; how visual and acoustic aspects of Machado's poems create enargeia; and the manifestation of ekphrasis in Spanish verse. In using Machado's poems, this project will contribute to future explorations of ekphrasis in Spanish literature.

Includes lesson plans. / Digitized by Kansas Correctional Industries

Este trabalho pretende pesquisar e analisar as relações de poder que envolviam a monarquia e as Cortes (1590-1598) na Espanha, com enfoque em Castela, durante o reinado de Felipe II (1556-1598). Devido à existência de ampla documentação disponível sobre as Cortes, o recorte definido neste projeto será as últimas Cortes desse período. É nesse momento que os conflitos entre o rei e os procuradores se tornaram mais intensos e os discursos ganharam contornos mais radicais devido, principalmente, aos problemas financeiros enfrentados pela Coroa. Esta pesquisa se propõe a desenvolver um estudo sobre a esfera do poder na Espanha moderna a partir da análise da configuração política da monarquia e suas relações com outros poderes, no caso específico do projeto, as Cortes, que envolve também a disputa pelo discurso político, mobilizado em torno dos interesses almejados pelas duas instituições. Assim, esta proposta pretende investigar as representações políticas elaboradas pelas Cortes, e perceber como se inseriam na cultura e no pensamento político na Espanha quinhentista / This work aims to research and analyse the power relations between the monarchy and the Cortes (1590-1598), with emphasis in Castile, during the reign of Philip II (1556-1598). Due to the large documentation available regarded to the Cortes, the temporal mark defined in this investigation will be that one of the last Castilian Cortes of that time. That´s the moment when the conflicts between the king and the proctors became more radical, mainly because the financial problems faced by the Crown. This research has the proposal to develop a study concerned to the power sphere in the Early Modern Spain from the analysis of the political configuration of the monarchy and its relations with another powers, on the specifical case of this project, the Cortes, that also involves the contest for the political speech, mobilized according to the interests of both institutions. This proposal intends to investigate the political representations developed by the Cortes and to understand how it was inserted in the culture and political thinking of Spain in the XVI century

Este trabalho foca seu estudo nas estruturas transitivas dos verbos dar e vender, presentes nos documentos notariais castelhanos dos séculos XII e XIII, das antigas regiões de Castela do Norte, Burgos, Rioja (Alta e Baixa) e Toledo, transcritos diretamente dos originais por Ramón Menéndez Pidal. A partir da leitura dos documentos, foi possível formar um corpus composto por fragmentos de todas as regiões e dos dois séculos, com a presença dos verbos dar e/ou vender e todos os seus complementos (diretos e/ou indiretos). Para a identificação dos objetos direto e indireto, usamos o critério da proporcionalidade dos objetos pelos pronomes lo(s), la(s) / le(s), respectivamente. Como suporte teórico ao estudo das estruturas transitivas, apoiamonos nos estudos funcionalistas de Hopper e Thompson (1980) e Alarcos Llorach (1994), para quem a determinação da transitividade não depende somente do verbo, mas de toda a complementação verbal, de modo a considerar que não há verbos transitivos, mas estruturas verbais transitivas. A análise dos fragmentos possibilitou a identificação de 18 estruturas diferentes, reunidas em quatro grandes grupos de estruturas sintáticas: Grupo 1 Estruturas presentes nos dois grupos; Grupo 2 Estruturas com complementos verbais latinos; Grupo 3 Estruturas topicalizadas; Grupo 4 Estruturas específicas com o verbo dar. O uso do objeto indireto com a preposição a ainda não estava definido, havendo no período muitos casos de ausência dessa preposição. As regiões de Castela do Norte e Toledo foram as únicas que apresentaram construções de tópico, com todos os casos situados no século XIII. Em relação à presença do latim medieval hispânico nos documentos, encontramos diversos fatores que mostram a integração entre a tradição latina e o falar romance, resultando em textos com a presença tanto de elementos castelhanos quanto de elementos latinos, tais como o pronome dativo uobis ao lado de a uobis. / This paper focus its analysis on transitive structures of the verbs dar (give) and vender (sell), present in Castilian Notarial documents from the 12th and 13th centuries, from old regions of North Castela, Burgos, High and Low Riojas and Toledo, trasnscribed directly from the originals by Ramón Menéndez Pidal. From the reading of those documents, it was possible to form a corpus made up of fragments from all regions and from the two centuries with the verbs dar and / or vender and all their complements. To identify the direct and indirect objects, we used the criterion of proportion of complements set by the pronouns lo(s), la(s), / le(s), respectively. We based the study of transitive structures on the principles proposed by Hopper and Thompson (1980), two functionalists, and Alarcos Llorach (1994), to whom the determination of transitivity doesn´t depend only on the verbs, but on the whole verbal complementation, so that there are no transitive verbs, but rather, transitive verbal structures. The analysis of the fragments made the identification of 18 different structures possible, gathered in four big groups of syntactic structures: Group 1 Structures present in the two groups; Group 2 Structures with Latin verbal complements; Group 3 Topic structures; Group 4 Specific structures with the verb dar. The usage of the indirect complement with the preposition a wasn´t defined yet, what, in this period, justifies the many cases in which the preposition doesn´t occur. The regions of North Castela, Burgos and Toledo were the only ones which presented topic constructions, all of them occurring in the 13th century. In relation to the existence of the Spanish Medieval Latin in the documents, we find several factors that show the interaction between the Latin tradition and the spoken Romance, resulting in texts with Castilian as well as Latin elements, such as the dative pronoun uobis coexisting with a uobis.

Este trabalho pretende pesquisar e analisar as relações de poder que envolviam a monarquia e as Cortes (1590-1598) na Espanha, com enfoque em Castela, durante o reinado de Felipe II (1556-1598). Devido à existência de ampla documentação disponível sobre as Cortes, o recorte definido neste projeto será as últimas Cortes desse período. É nesse momento que os conflitos entre o rei e os procuradores se tornaram mais intensos e os discursos ganharam contornos mais radicais devido, principalmente, aos problemas financeiros enfrentados pela Coroa. Esta pesquisa se propõe a desenvolver um estudo sobre a esfera do poder na Espanha moderna a partir da análise da configuração política da monarquia e suas relações com outros poderes, no caso específico do projeto, as Cortes, que envolve também a disputa pelo discurso político, mobilizado em torno dos interesses almejados pelas duas instituições. Assim, esta proposta pretende investigar as representações políticas elaboradas pelas Cortes, e perceber como se inseriam na cultura e no pensamento político na Espanha quinhentista / This work aims to research and analyse the power relations between the monarchy and the Cortes (1590-1598), with emphasis in Castile, during the reign of Philip II (1556-1598). Due to the large documentation available regarded to the Cortes, the temporal mark defined in this investigation will be that one of the last Castilian Cortes of that time. That´s the moment when the conflicts between the king and the proctors became more radical, mainly because the financial problems faced by the Crown. This research has the proposal to develop a study concerned to the power sphere in the Early Modern Spain from the analysis of the political configuration of the monarchy and its relations with another powers, on the specifical case of this project, the Cortes, that also involves the contest for the political speech, mobilized according to the interests of both institutions. This proposal intends to investigate the political representations developed by the Cortes and to understand how it was inserted in the culture and political thinking of Spain in the XVI century

Cette thèse convoque dans un premier temps la notion d’intericonicité afin de pouvoir, ensuite, analyser avec précision les créations de l’Équipe et l’évolution du recours à différentes opérations au fil des années. Il s’agit de définir des concepts tels que la “parodie”, le “travestissement”, “l’allusion”, la “citation”, la « mise en abyme », entre autres, à partir de leur acception littéraire, afin d’en proposer une adaptation au domaine pictural. Ces considérations sont complétées par une réflexion sur les différents degrés de métaiconicité. Cette thèse s’attache ensuite à mettre en avant les points communs et les différences des deux peintres avec d’autres courants artistiques tels que le Pop Art ou la Figuration narrative. Ces analyses ouvrent alors une étude sur les questions de « chronique » et de « narration » à travers les six premières séries créées par l’Équipe, qui sont mises en perspective avec leur contexte de création. Enfin, à travers l´étude des neuf séries suivantes (créés jusqu’en 1977), ces recherches s’attachent à mettre en évidence la présence des concepts de Mémoire, d’Histoire et d’histoire de l’art à travers des créations qui s’inscrivent dans une époque politiquement intense pour l’Espagne. Il s’agit, finalement, de démontrer que les peintres valenciens s’inscrivent non seulement dans l’histoire de l’art, qu’ils l’utilisent comme matériau, mais qu’ils deviennent des historiens de l’art à travers les réflexions métaiconiques proposées dans leur peinture. La conclusion revient largement sur le concept de métaiconicité, puis évoque les séries créées entre 1977 et 1981 afin de mettre en avant leur particularité face au corpus de cette thèse. / This thesis first tackles the notion of "inter-iconicity" so as to then scrutinize the creations made by Equipo Crónica and the way their use of technique evolved throughout the years. The aim is to try and define concepts such as "parody", "transvestement", "allusion", "quotation" and "mise en abyme" - among others -, and, starting from their literary meaning, to suggest an adaptation of such terms to the pictorial domain. Such considerations are further detailed through the exploration of the various stages of meta-iconicity. This dissertation considers the points of convergence and divergence between the two painters at stake and the other artistic trends such as Pop Art or narrative Figuration. These analyses pave the way to a study of the concepts of "chronicle" and "narration" through the first six series created by the Equipe, that are then put into the context of their creation. Finally, through the study of the nine following series (created up to 1977), this research tries to shed light on the presence of the concepts of "Memory", "History" and the history of art through works of art that were created in a politically-charged context for Spain. Eventually, the aim is to show how Valencian painters inscribed themselves in the history of art which they used as a material, and at the same time how they turn into historians of art themselves, through meta-iconic reflections suggested in their paintings. The conclusion dwells on the concept of meta-iconicity and alludes to the series of paintings created between 1977 and 1981 so as to emphasize their particularities when compared with the rest of the corpus.

abstract: “Mierda.” was an original 50-minute solo dance and theater performance by Jordan Klitzke along with guest artist Gina Jurek that premiered from September 6-8, 2018 at Arizona State University. The creative tools of sensation, presence, and fantasy were applied in the development of an individualized movement vocabulary focused on the artist’s embodiment of contrasting ideas. That research was then further cultivated into an immersive theatrical collage that stimulated relational thinking and heightened consciousness. “Mierda.” was an example of a contemporary creative process that utilized the languages of dance and theater. The performance was a unique continuation of artistic research undertaken by pioneers in the dance and theater fields such as Danielle Agami, Lloyd Newson, Hofesh Schechter, and Anne Bogart. It was documented and created over a nine-month period including the three final performances. The form and content of “Mierda.” was not predetermined, but emerged throughout the creative process and performance of the work. The resulting narrative demonstrated the revelatory potential of this style of theatrical inquiry. Precise energy, tension and questioning formed an immersive, intimate experience for the viewers and performers and invited the audience to “fill in the blanks” as they connected with the emerging narrative. The final work was a collage of surprising juxtapositions on both the micro-level of individual movements and the macro-level of theatrical structure. Analysis of the work resulted in a critical understanding of the creative tools used along with future proposals for continued research. Not only did the research enlighten and contextualize the practices of an emerging choreographer, it also argued for a new understanding of the value of Dance as a personal practice of reflection and growth. / Dissertation/Thesis / Masters Thesis Dance 2018

As Christianity spread throughout the Iberian Peninsula during the Middle Ages, many believers attributed miraculous tales to the Virgin Mary and saints. In Camino de Santiago folklore, the Virgin Mary and Saint James intercede on behalf of pilgrims who cannot resolve a crisis without divine assistance. The Codex Calixtinus, a twelfth-century manuscript, contains such a story that occurs in Toulouse called "The Hanged Pilgrim." In this miracle, an innkeeper frames a pilgrim for theft and the local magistrate sentences the accused to hang as a consequence. However, the Virgin Mary and Saint James spare the pilgrim's life because of his devotion and the magistrate orders the pilgrim's release. Over centuries, pilgrims alter the original story as they retell it on the Camino trail. I argue that not only does this miracle of intercession change geographic location from France to the Iberian Peninsula, but that it also transforms from the Virgin Mary and Saint James saving an innocent pilgrim to female victims interceding on behalf of their betrayer and rapist. This analysis traces the displacement of "The Hanged Pilgrim" from a miracle in folklore and poetry to secular metaphoric reconciliation in a Spanish Golden Age play.

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