Blackwell, Frieda Hilda.Schirding, Elizabeth D.Baylor University. Dept. of Modern Foreign Languages.2007-12-032007-12-0320072007-12-03http://hdl.handle.net/2104/5087Includes bibliographical references (p. 57-61).Literary critics have long recognized Enrique Jardiel Poncela (1901-1952) as a precursor to the Theater of the Absurd, but many discount his works, asserting that they provide nothing more than ridiculous word games and hilarious character types. Critics have not concentrated on the satirical and existential elements present beneath the seemingly-innocent façade of the nonsensical. Two of his productions in particular, Eloísa está debajo de un almendro (1940) and Los ladrones somos gente honrada (1941), provide harsh criticism of the postwar experience, although Spanish critics have never acknowledged the connections. This work attempts to fill in the gaps left by most contemporary scholars. Whether or not intentional on the part of the playwright, these two plays subtly blame the Franco regime for the confusion and devastation which followed the outbreak of the Civil War (1936-1939). My research focuses upon Jardiel’s theatrical conceptions and analysis of these plays and their social implications.vi, 61 p.160592 bytes261296 bytesapplication/pdfapplication/pdfen-USBaylor University theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. Contact librarywebmaster@baylor.edu for inquiries about permission.Jardiel Poncela, Enrique, 1901-1952 -- Criticism and interpretation.Jardiel Poncela, Enrique, 1901-1952. Elóisa está debajo de un almendro.Jardiel Poncela, Enrique, 1901-1952. Ladrones somos gente honrada.Spanish drama -- 20th century -- History and criticism.ThesisWorldwide access