Rangel, Vicente H.

The comic plays of Munoz Seca have not received the critical acclaim, even the mention they deserve in drama criticism and theater histories. His comedies, originally performed between 1904 and 1936, have been hastily or superficially evaluated, and the merits of his canon have been entirely overlooked. Historical and critical backgrounds help introduce his work and establish a classification of the texts (over two-hundred plays), including especially the genre he invented, the astracan, and the character type he created, the fresco. Unique word-play underlies his typical use of caricature and parody. Comic verbal techniques include dialect, periphrasis, barbarism, and play on words. In general, beneath comic surfaces, lies sharp and consistent criticism of all that is false and pretentious in the Spain of his day.

This study's purpose is the classification of Arniches' grotesque
tragedies according to their socio-moral and sociopolitical
reforming content. Chapter One deals with the crucial
events as well as the influential figures of the Generation
of 1898 as they confront the important issues facing
Spain. Chapter Two presents a brief background of Arniches
and his grotesque tragedy and also provides the necessary
data that is used to rank these plays based on the total number
of reformist references. The works will then be studied
individually in Chapters Three and Four according to the results
of the data compiled in Chapter Two. The list of reformist
references will appear at the end of the text in
Appendixes A and B. It is hoped that the serious student of
literature will gain a better knowledge of the grotesque
tragedies as they represent the Generation of 1898's quest
for collective social reform.

Political protest has been prominent in Cuban poetry
since the nineteenth- century, and pro- American Cuban
poets have always been rare. There seem to be two main
developments of the image of the American. Prior to
1959, there was intense nationalism as a reaction to
American imperialism. Later, the negative image of
American capitalism was formed, in part, by Marxist
ideology. In poetry published after 1959 the image of
the American recurs on three levels: military, cultural,
and social. The image of the American as a military
invader, economic imperialist, threat to Cuban mores and
cultural values, and racist existed before the 1959 Revolution
and continues to be an underlying theme in contemporary
Cuban poetry.

This edition was prepared as a study aide for the students
of Spanish Literature at the college level. The work
consists of two chapters. Chapter I presents the author,
Carlos Arniches, the man and the playwright, while it offers
relevant information on the language techniques and the characters
he chooses. A section is also dedicated to the brief
presentation of Arniches' sainetes followed by a study of
the grotesque tragedy, in particular of La senorita de Trevelez.
Chapter II covers exclusively the annotated edition of
La senorita de Trevelez. The annotations are in English; all
difficult expressions are explained with the necessary background
for the best comprehension of the text. A bibliography
of all the sources consulted is included.
The student of the Spanish language will find in this
edition a tool for a better mastery of the language, the
culture of the time and the colloquial Spanish idiom.

The main force that directed the course of Valle-Inclan's
literary work was his spiritualism. This spiritualism, the
essence of Valle-Inclan's Carlism, led to a desire on his
part to transcend the senses and chronological time, and
found expression in his art, guiding the evolution of his
aesthetics from the Sonatas to the Esperpento, permeating
his traditionalism as well as his radicalism, and manifesting
itself in the mystical-aesthetic perspective expounded
in La lampara maravillosa. Valle-Inclan parallels the process
of spiritual life substituting the divine intervention
that characterizes the mystical phenomenon with artificial
means, namely, the use of marihuana. The perspective that
he obtains through this process offers a grotesque, radical
vision of Spanish reality; to better reflect this bitter reality, Valle-Inclan created the technique of the Esperpento.
This approach seeks to clarify the confusion among critics
dealing with this writer's contradictory political postures.

This edition was prepared in order to help the student decipher the
complex dialectical language of this most characteristic play of the
Quintero brothers, which is riddled with the popular speech of southern
Spain. The introduction has four chapters. It begins with an
explanation of the social circumstances in Spain at that time. Followed by a short biography of the authors ; and then, a third chapter
dealing with the characteristics of their works in relation to the
literary mainstream of Spain. The last chapter is a summary and
analysis of the play and its characters. Finally, the annotation in
English, in which special care was taken to identify all difficult
passages; translate them and place them on the same page in which
they occur, in such a way as to achieve a balance between the footnotes and the glossary, to make it easier and more enjoyable to read
the work.

The purpose of this annotated edition is twofold: to simplify
the reading of Benavente's Lo cursi for American college students and
to give the reader a greater appreciation of Benavente's contribution
to the Spanish theater. The introduction includes a summary of
Benavente's life, his political and moral philosophies, and his
relationship to current literary trends. A classification of his
works is made based on "El lugar escenico." Lo cursi is then
analyzed in relation to Benavente's techniques and style in his
other plays. In the annotation innuendoes and witticisms are
explained in the footnotes, while on the right hand side of the
printed text words which might provide difficulty for the English
reader are defined.

This edition has as its purpose the promotion of an interest in and a
better understanding of Carlos Arniches' contemporary theater. The introduction
focuses briefly on his life followed by an outline of his progression
from the early genero chico to the genero grande and ultimately,
the grotesque tragedy. The latter is discussed as to its meaning and how
its elements are presented in Es mi hombre. One other major area discussed
is that of language. Many of the words and expressions used are not readily
available in standard dictionaries and in order to help the reader
attain a better understanding of the play and Arniches' intent, it has
been annotated in English. A glossary is also provided at the end of the
play listing the many words throughout that are irregular in spelling.

The purpose of this study is to describe the extent of the
English lexical and syntactic influences on the Cuban Spanish of southeastern
Florida.
The data for this study were gathered from the following
sources: native informants, newspapers, magazines, letters, radio and
television programs, and advertising. The data was divided and analyzed
in the following categories: loanshifts, hybrid creation, hybrid compounds,
loan translation and syntactic interference. These data were
further analyzed as to the sub-categories of formal speech, informal
speech, formal written and informal written.
As a result of this analysis, the most productive categories
were found to be loanshifts and hybrid creation. The informal speech
category accounted for almost 100% of the borrowing.
There are three positions that may be taken regarding this
new emerging Cuban dialect: (1) it may be totally accepted; (2) it may
be totally rejected; (3) parts of it may be accepted, especially those
expressions which convey a concept not found in the Cuban culture, e.g.
coger un incompli, 'to get an incomplete.'

Esta tesis es el estudio del amor en la novela Cien
anos de soledad del autor Gabriel Garcia Marquez, estudio
compuesto de los siguientes capltulos: I) El autor y su
obra; II) Incidencias de la realidad socioeconomica, III)
Particularidades del tropico y de las costas latinoamericanas;
IV) El erotismo a la luz del psicoanalisis; V) Influencia
surrealista; VI) Las multiples caras del amor, y
los personajes; VII) La soledad y el amor.
Siguiendo la biografia del escritor en el primer capltulo,
el segundo y tercero enfatizan los factores ambientales
que influencian el amor. El cuarto y quinto analizan
el amor de acuerdo con las teorias psicoanaliticas y la modalidad
literaria del surrealismo. El sexto y septimo complementan
el tema y conducen a La conclusion de que el despliegue
de erotismo que revela la obra, es--contrario a lo
que parece--un mensaje moralizador de su autor.