Written in French, this thesis presents a comparative and intertextual study on the theme of « windows » in four poems by Charles Baudelaire, Stéphane Mallarmé, Marie Krysinska and Guillaume Apollinaire. Charles Baudelaire (1821-1867), Stéphane Mallarmé (1842 -1898), Marie Krysinska (1857-1908) and Guillaume Apollinaire (1880-1918) use « windows » as a common theme in their poetry. My study compares this common theme found in four poems: (1) “Les fenêtres” by Charles Baudelaire in Spleen de Paris XXXV, 1869. (2) “Les fenêtres” by Stéphane Mallarmé in Le Parnasse Contemporain, 1863/66. (3) “Les fenêtres” by Marie Krysinska in Rythmes pittoresques, 1890. (4) “Les fenêtres” by Guillaume Apollinaire in Calligrammes (1913-1916), 1918. I focus on what distinguishes these fours poems by following the evolution of poetical forms between symbolism and futurism/surrealism. The common theme (“windows”) provides an opportunity to better underline the formal heterogeneity which separates these different “poetical avenues”: with Baudelaire, the newness of prose poetry; with Mallarmé, the symbolist renewal of a more classic form; with Apollinaire, a form of simultaneity inspired by futurism. The comparative analysis brings to light the original value of the poem written by Krysinska, whose works have not greatly captivated the attention of critics.

The political ideologies that Martí envisioned of an America free from the inherited yoke of European ideals were taken by Fidel Castro as an anti-imperialist discourse. Therefore, Marti’s political vision on the power that the United States began to carry out at the end of the 19th century and the beginning of the 20th century was an excellent strategy to establish the anti-imperialist character of the Cuban revolution. Since 1961, Castro set Martí as the face of his Marxist-Leninist ideology to institute his anti-American philosophy; Castro created a myth of Marti’s persona, and converted him into the bastion of his political ideology. As a result, Castro distorted the revolutionary ideas of Marti’s. Castro proposed his ideas out of context and portrayed the incorrect idea of this great thinker and poet. Martí’s human ethic and love for the independence of Cuba placed Martí as a liberator of revolutionary and progressive ideas of his generation. Martí was not thought as a dictator and never was a man who lacked democratic values. The expressed analytical assimilation of Martí on his sociopolitical and economic juncture that was presented in America and Cuba was used to trace the political anti-imperialist propaganda by the dictatorial regime …

The unfolding of eroticism always has been controlled socially; its expression forbidden for the women and accepted for the men. Ernestina de Champourcín’s poetry is an example of the presence of eroticism and the Avant-Garde in Spanish poetry. Champourcín becomes a member of the Generation of ‘27 after appearing in the prologue of Gerardo Diego’s anthology, Poesía Española Contemporßnea (1934). According to this thesis, the shortage of studies on her work is due to her exile, not to the Spanish Civil War. The exposition celebrates the life and work of Champourcín and studies the relationship between the Avant-Garde and sensuality in her poetry and in poems of Pedro Salinas and Vicente Aleixandre. It compares their individual handling of the Avant-Garde, the sexual act, and love, and concludes that Champourcín’s poetry is as Avant-Garde and erotic as the works of her companions of the Generation of ‘27.