Theses and Dissertations from UMD
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Item Quevedo y su recepción y huella en la poesía del Siglo XX (De Rubén Darío a José Emilio Pacheco)(2013) Echazú, Alejandra; Sánchez Martínez de Pinillos, Hernán; Spanish Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The metaphysical and love poetry of the Spanish writer Francisco de Quevedo (1580-1645) has exceeded all the dynamics that writing at that time had imposed: its rhetoric shows the intimacy of the poet's feelings and his anguish in a way that it approaches him to the existentialist pain of a contemporary man. Quevedo was valued as a Humanist thinker and an original concept-maker both, in his own life as well as in his writings; thus, Quevedo's verbal inventions, ideological perspectives, and innovative expressions that renewed the Petrarchan and Cancioneril traditions, have been intensely reread by Contemporary poets. First, I delimit some of Quevedo's poetics that called the attention of 20th Century poetic generations, contextualizing them in the Baroque period. Stemming from Dámaso Alonso's seminal study, "El desgarrón afectivo en la poesía de Quevedo," I focus on the term "affective tearing" in the context of Renaissance anthropology (affectus is defined as the rhetorical, semantic and syntactical lyrical expressions that manifest the breakup of the analogical traditional world view). The influence of Quevedo at the beginning of the 20th century is explored in the second chapter in the figure of the Nicaraguan poet Rubén Darío through the legacies of the Baroque time during the Modernist period. Having broken the link between the symbol and the symbolized, Darío had to reformulate some poetic concepts. In the third chapter, I concentrate on the term "sincerity" as a rhetorical trope that connects passion and intellect, after Gracián's theory of poetical language, a motto for the avant guard poets, both Spanish and Latin Americans, living in Europe before WWII. I explore their poetics and the legacies from the Baroque and the Romanticism as they had to work in a diverse symbolic horizon, very different from their predecessors. In the fourth chapter I focus on the poetic dialogue between Quevedo and the Peruvian poet César Vallejo regarding the transcendence in death and through the body. Finally, I trace the legacy of Quevedo in the second half of the 20th century in the poems of Pablo Neruda, Jorge Luis Borges and Octavio Paz. Some of Quevedo's topics are glossed, others are rethought, others are adapted to new contexts, but all these poets recognize their debt to the Spanish Baroque poet. In order to demonstrate that Quevedo's poetry continues to be reread and rewritten, I conclude my study with the works published in the 21st century by the Mexican poet José Emilio Pacheco.Item SOÑADORES LITERARIOS: DE BERNAT METGE A FRANCISCO DE QUEVEDO. "EL SUEÑO" Y SU APORTACIÓN AL RELATO HISTÓRICO-CULTURAL DE DOS ÉPOCAS.(2013) Santos Sopena, Oscar Oliver; Sánchez Martínez de Pinillos, Hernán; Spanish Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)My dissertation, titled Literary Dreamers: From Bernat Metge to Francisco de Quevedo, explores the intersection of culture, religion, and literary theory in the work of two Iberian Peninsular authors: Bernat Metge (Barcelona, ca. 1340/46-1413) and Francisco de Quevedo y Villegas (Madrid, 1580 - Villanueva de los Infantes, 1645). The first chapter of the study analyzes the work of several Catalan and Castilian authors who use the motif of the dream in a specific humanist perspective as a literary genre and a philosophical classical discourse. Chapters two and three outline the cultural and literary landscape of two primary texts: Lo somni (1396- 99) by the Catalan Humanist Bernat Metge, and Los sueños (1627) by the Castilian Baroque Francisco de Quevedo. Both works represent excellent examples of the use of the dream motif from the Medieval to the Baroque period. As I juxtapose Catalan and Castilian literature, I examine the historical, social, cultural, and ideological perspectives of Catalan Humanism and the Castilian Baroque, two movements that traditionally have not been understood together. Thus, I suggest that Catalan and Castilian texts should be explored in relation to the notion of Christian Humanism, which I understand as a philosophical epistemology linking Christianity and Anthropocentrism. In the context of Humanism and Christianity, the use of the dream motif emerges as both a literary genre and an artistic-philosophical device. To understand the author's strategy, it is crucial to re-examine the extension of Classical, Biblical, and Oriental reminiscences, which helps us analyze the development of dreams in Peninsular literatures. This dissertation seeks to illuminate the cultural, historical, and literary influences of Catalan and Castilian literatures, which are not always taken into account despite the fact that Catalan Humanism preceded the development of Castilian Humanism since the 14th Century. I will examine how Italian Humanism came to the Iberian Peninsula through the Crown of Aragon's connections to Southern France, Italy, Corsica, and Sardinia. I argue that this cross-pollination of humanisms from the Mediterranean world served as a bridge between the different civilizations and cultures since the time of the Catalan prehumanist Ramon Llull (Palma de Majorca, 1232 - Tunis, 1316). This study proves the existence of Catalan Humanism and its importance for Spanish literature, and will lead to a better understanding of European Humanism.