Crueldad, simulacion, absurdo y amenaza: Barbarie del drama moderno y tradicion hermetica en los esperpentos de Ramon del Valle-Inclan

The purpose of this dissertation is to demonstrate that the esperpentos by the Spanish playwright Ramón del Valle-Inclán (1866–1936), represent a culminating moment of theatrical precepts of modern European drama, while perpetuating the ancient esoteric traditions of the Iberian Peninsula. Focusing on four plays—Los cuernos de Don Friolera (1920), Luces de Bohemia (1921), Las galas del difunto (1926) y La hija del Capitán (1927)—the research elucidates how this interpretation furthers understanding of the process that embraces the anti-realistic clamours during the initial decades of the XX century, up to the subsequent climax of the aesthetics of Cruelty, Absurdity, Simulation, and Menace. ^ In search for an ideal scenic language capable of reflecting the grotesque character and mystical essence of the esperpentos, this project examines the most significant works of philosophers from the hermetic tradition such as Plato, Pithagoras, Aquinas, and Flamel. Other important authors are Éliphas Lévy and H. P. Blavatsky, two personalities of great preponderance in the spiritual effervescence and occultist apotheosis at the turn of the 20th century. Finally, the mystical ideas of Spanish philosopher Roso de Luna and the psychological works on alchemy and magic by Jung find their conceptual correspondence in Valle-Inclán's aesthetic manifesto, La lámpara maravillosa. ^ The ultimate objective of this dissertation is to provide a proposal for a mise en scène of the esperpentos, aesthetically based on the simultaneous scenarios of the New Stagecraft and conceptually inspired by the mystical principles of the hermetic tradition. The comparative approach of this study establishes a dialogue between modernity and the esoteric tradition that results in a new Koncept for their representation, providing a simultaneous scenario, far from realistic theatre, and more coherent to house the magical substance of the esperpentos. ^

The McSweeney's Group: Modernist Roots and Contemporary Permutations in Little Magazines

The purpose of this project centered on the influential literary magazine Timothy McSweeney’s Quarterly Concern. Using Bruno Latour’s network theory as well as the methods put forth by Robert Scholes and Clifford Wulfman to study modernist little magazines, I analyzed the influence McSweeney’s has on contemporary little magazines. I traced the connections between McSweeney’s and other paradigmatic examples of little magazines—The Believer and n+1—to show how the McSweeney’s aesthetic and business practice creates a model for more recent publications. My thesis argued that The Believer continues McSweeney’s aesthetic mission. In contrast, n+1 positioned itself against the McSweeney’s aesthetic, which indirectly created a space within the little magazines for writers, philosophers, and artists to debate the prevailing aesthetic theories of the contemporary period. The creation of this space connects these contemporary magazines back to modernist little magazines, thereby validating my decision to use the methods of Scholes and Wulfman.