This work studies the arguments of eleven of Manuel Ortiz de Pinedo's works, which the author considers as a matter of research and worthy of criticism and analysis on everything related to their themes, characters and resources used by the playwright.

This thesis considers the novels of Carlos Fuentes from a thematic point of view, as well as looking at the place of the writer in Mexican narrative tradition. It also presents a brief history of the Mexican novel.

This thesis...

This study presents a biographical sketch of the author, a historical background of his period, an overview of his known works, an investigation of the definition and literary criticism of the "pasos," and summaries of and critical commentaries on the twenty-four known "pasos" of the Spanish dramatist whose work is considered to have significantly influenced the evolution of the Spanish theatre. The "pasos," brief comical dramatizations of realistic situations, involving diverse types of common people, reflecting witty and charming humor, are written in a prose style considered by critics to be equal to that of Cervantes and Rojas. The sources of investigation have been two volumes of his known works by the Real Academia Espanola, an edition of Pasos completos, literary histories, and several articles.

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 …

In this work, superficial to the extreme, it is my purpose to offer a review of the development of lyric poetry ("poesía lírica") in Colombia throughout its history. It is logical that because of the extent of the subject it is not possible to give a complete treatment of our political history, though I have tried not to leave out points of significance. The classification of authors and of poems, as well as the division of periods I have made arbitrarily, guided by my own criteria. Thus, I have the Romantic period divided into romanticism and post-romanticism, according to the dates generally regarded as the beginning and end of these two literary movements. In reality, romanticism only ended with the beginning of modernism, and one cannot therefore distinguish romantic poets from post-romantic poets. Due to the nature of this thesis, many poets--some of them well known--will not be mentioned. However, my intention is not to write a lyric anthology, but to reveal the spirit of Columbia through her poets and her poetry.

This paper reports a study of VanPatten's processing instruction (PI) and Ray's TPRS. High school students in a beginning Spanish course were divided into three groups (PI, TPRS, and control) and instructed in forms using the Spanish verb gustar. Treatment included sentence-level and discourse-level input, and tests included interpretation and production measures in a pretest, an immediate posttest, and a delayed posttest given two and a half months following treatment. The PI group made the greatest gains in production measures and in a grammaticality judgment test, and the TPRS group made the greatest gains in written fluency. The PI group's statistical gains in production measures held through the delayed posttest.

The purpose of this investigation is to characterize the dramatic characters of Federico García Lorca as realists or idealists. Lorca wrote a total of fifteen plays, and the majority of them are considered in this study. Additional source materials include the works of such critics as J. Alberich, María Teresa Babín, Alfredo de la Guardia, and Francisco Umbral.

Request to leave Laredo from Maria Josefa to José Ramón Díaz de Bustamente. The document is heavily stained and has frayed edges along the top right corner.

This thesis has as its purpose to make a study of the satirical vein that is revealed in the novels of Ramón Pérez de Ayala. It will be the goal to discover in these works the human habits and weaknesses that receive the censure of the author and to determine the means by which the novelist expresses his disapproval.

A study of the literary techniques used by Mariano José de Larra and Ramón de Mesonero Romanos.

A search for anomalous WW and WZ production in p{anti p} collisions at {radical}s = 1.8 TeV using the D0 detector at Fermilab is presented. With a data sample of p{anti p} {r_arrow} e{nu}jjX events corresponding to an integrated luminosity of 76.5 {+-} 4.1pb{sup {minus}1}. 399 candidate events were identified, from which 387.1 {+-} 39.8 events were estimated to be background. No deviations from the Standard Model were seen, which predicts 16.2 {+-} 2.7 events. The 95% CL limit on the cross section {sigma}(p{anti p} {r_arrow} W{sup +}W{sup {minus}}X) was calculated to be 93.8 pb. Limits on the CP-conserving anomalous WW{sub {gamma}} and WWZ coupling parameters were obtained from a binned likelihood fit to the transverse momentum spectrum of the W boson. Assuming that the WW{sub {gamma}} and WWZ coupling parameters are equal, the 95% CL limits on the CP-conserving couplings are {minus}0.56 < {Delta}{kappa} < 0.75 (with {lambda} = 0) and {minus}0.42 < {lambda} < 0.44 (with {Delta}{kappa} = 0), for a form factor scale {Lambda}{sub FF} = 1.5 TeV. Limits on other assumptions are also reported. These results were combined with the previous D0 WW, WZ {r_arrow} e{nu}jj published results (13.7 {+-} 0.7 pb{sup {minus}1}), and the limits …

This thesis explores the themes in the novels of Manuel Gálvez. The summaries deal with a considerable portion of his work which may be generally classified as sociological novels.

Spain underwent drastic social and political changes in the last decades of the twentieth century which also affected the nation’s patterns of emigration. Contemporary Spanish literature and film that portray these decades reflect the country’s fluctuating characteristics of migration. ¡Vente a Alemania, Pepe! (1971) by Pedro Lazaga, Coto vedado (1985) by Juan Goytisolo, El hijo del acordeonista (2003) by Bernardo Atxaga, and Yoyes (2000) by Helena Taberna demonstrate Spain’s migration trends during the last years of Franco’s dictatorship and the transition to democracy. The nation’s highly increased socioeconomic development in the 1970s and 1980s which eventually led to a first-world status also affected emigration, which can be seen in Carlota Fainberg (1999) by Antonio Muñoz Molina, Kasbah (2000) by Mariano Barroso, Restos de carmine (1999) by Juan Madrid, and Map of the Sounds of Tokyo (2009) by Isabel Coixet.

Throughout the history of the Dominican Republic, theater has played an instrumental role in the cultural life its people, one which transcends purely artistic and cultural dimensions extending its influence into the political and social fabric of the nation. In spite of Spanish colonization and later Haitian occupation, a nascent national identity began forming early on. The staging of certain plays exposed latent conflicts and revealed sectorial, class interests. Theater provided a means of expression for popular sentiments, thus revealing an urge by the people to manifest their concerns, usually under the heavy weight of censorship. This thesis focuses on key moments of the first 140 years of Dominican Republic theater. It is organized into three chapters: "Historical Antecedents", "Theater of the Dictatorship" and "Theater of the Post-Dictatorship." The first chapter deals with the struggle for independence through 1844; the next focuses on the theatrical plays and political climate of bloody Rafael Leonidas Trujillo dictatorship which spanned from 1930 to his assassination in 1961, and the third presents the theater that appeared in the subsequent years of the equally repressive Joaquin Balaguer presidency (1966-1978). The analysis of these key historical moments, in conjunction with the dramaturgy of playwrights such as …

This thesis studies three of the most significant themes in the poetry of the Cuban Modernist, Julian del Casal. The poet's morbid fascination with death is characterized by an inability to adapt to his life environment, boredom, a strong self-destructive drive, and the concept of death as the ultimate joy and refuge. He reflects the Modernist aesthetic code in his cult of plastic and lyric beauty. An escapist, he sought refuge in an ideal world of perfection and elegance. This unobtainable goal resulted in deep melancholia and despair. The theme of love reflects a complete absence of passion and eroticism. The poet's categorical rejection of woman as a sensual object is accompanied by subtle insinuations concerning his own physical impotence and inability to love.

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.

Los esfuerzos manifiestos en este trabajo se canalizan a presentar al lector un estudio sobre la obra de José María Díaz, merece, de vez en cuando, un estudio más o menos amplio de su producción artística. Todos somos los deudores de quienes mediante sus escritos nos entretienen e instruyen al compartir con nosotros sus experiencias e ideas, y parece que nos cumple manifestar de una manera o de otra nuestro agradecimento. Es esta actitud, pues, la que anima al autor del presente trabajo.

This analysis, written in Spanish, compares the use of violence in four of Castro's dramas with its use in their sources and in the works of other Golden Age authors. Chapter II investigates the manner in which the plays based on Greek myths compare with the original stories and with the ancient Classical theater. Each of the four following chapters compares one of Castro's plays to contemporary works with the same plot. The conclusion indicates that Castro's plays do not show an extraordinary use of violence. In some instances Castro demonstrates more restraint than the other dramatists. Thus, Castro, as a typical author of his epoch, does not deserve his reputation for writing excessively violent works.