Génesis y desarrollo de las asociaciones agrícolas y de propietarios territoriales en España

Since relatively a few years ago research work regarding the genesis and evolution of agrarian organizations in our country has been carried out. Studies with a marked regional emphasis that, rarely were able to reference the true state of the associational framework during the nineteenth century, exception made of the Sociedades Económicas and of very concrete monographic studies. It is necessary to go back to the first years of the past century to find the first descriptions and working papers alluding the agrarian associational framework in Spain. On this respect, José Elías de Molins already did a study entitled La Asociación y Cooperación Agrícolas, published in the year of 1912, in which a recount of confraternities and brotherhoods verified by the Consejo de Castilla in 1770 was done. The first of modern references related to the agrarian organizations, properly speaking, corresponds to Juan Pan-Montojo in his well known work “La naissance des associations agraries en Espagne 1833-1898”, in which the consequences and changes effected in economic power structures were reflected, once the suppression of privileges linked to the land had started, as a consequence of the strengthening of liberalism in a large portion of the state’s farms. After him, came he important works of, among others, Jordi Planas and Germán Rueda. On a comparative level, the formation of agrarian societies with mobilization capacity in other European states certainly took the same amount of time to happen. Thus, the Société des Agriculteurs de France or the Société Nationale et Centrale d’Agriculture, in 1867 and 1871, respectively, came to remind the Sociedades Económicas de Amigos del País in Spain...

Escritura entre rejas: literatura carcelaria cubana del siglo XX

The present dissertation examines literary perspectives, as well as textual and extra textual mechanisms of the Cuban Prison Literature of the twentieth century. By the term “Prison Literature” I refer to the literary works that have been developed inside the prison space –physically inside of it– and to those that take as a focal point jail itself. In other words, literary works about imprisonment created in order to reminisce about a prison experience or to recreate it, and imagine it from the outside. Likewise, I discuss the political, social and cultural context of each of the different periods where the works presented are framed, as well as the metaphorical projection of the concept of “prison” in various significant levels (the island, the city, the body and the language). Our corpus consists of a myriad Cuban intellectual works from the XXth century that we consider to be representative of the Cuban prison literary tradition, which dates back to the nineteenth century –mainly through the figure of José Martí and his poetic testimony El presidio politico en Cuba (1871)– the same continues during the twenty-first century with writers as María Elena Cruz Varela, Roberto Jesús Quiñones, Raúl Rivero, Ángel Santiesteban and Agnieska Hernández...

El teatro cómico de Enrique García Álvarez

Enrique García Álvarez (Madrid, 1883-1931) belonged to the group of writers who stood out in the late nineteenth century and early twentieth in what was known as “género chico”, label used to oppose this kind of theater to the dramaturgy considered serious. It was composed of brief and comic works whose intention was to generate a fun time for the spectators. Our author was one of the leading representatives and his numerous creations appeared profusely in the posters of the theaters per hour. In the twentieth century, he adapted to the new forms imposed on the scene. Despite his enormous fame at the time, nowadays Enrique García Álvarez remains completely unknown, not only in the eyes of the general public but also to the more knowledgeable circles of our literature. Studies of his dramatic work are almost nonexistent and basically limited to their collaborations with other authors who had more luck as Arniches or Muñoz Seca. The purpose of this thesis is, therefore, to complete a thorough study of the figure and production of Enrique García Álvarez, as well as its impact on the literature. The opening chapter is a reconstruction of the life and work of the author. In the following chapters, we proceeded to the analysis of structural features such as theme, time, space, and characters of his dramatic world. At the end of these pages, we have included a photographic appendix that illustrates some moments of his personal and professional career. We have also developed appendices to classify his librettos chronologically, by collaborator and by genre...