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The Ciego In The Novels Of Galdós: Costumbrismo, Realism, Symbolism, Vernon Chamberlin
The Ciego In The Novels Of Galdós: Costumbrismo, Realism, Symbolism, Vernon Chamberlin
Decimonónica
Like many of his contemporaries, both in Spain and other European countries, Galdós utilized many blind characters in his novels1. Although he was unaware of the fact as he created these characters, he himself would spend his final years sightless. Individual Galdosian blind characters are sometimes mentioned by critics as part of the overall discussion of specific works, but to date there has been no study showing how pervasive the ciego is throughout the vast panorama of Galdós’s works. Therefore, the aim of the present study is to demonstrate that the ciego, and the multiplicity of his …
Transforming Wuthering Heights And La Madre Naturaleza Into Abel Sánchez: Creating The Postmodern Out Of Its Past, Thomas R. Franz
Transforming Wuthering Heights And La Madre Naturaleza Into Abel Sánchez: Creating The Postmodern Out Of Its Past, Thomas R. Franz
Decimonónica
In chapter 17 of La Madre Naturaleza (1887), Gabriel Pardo de la Lage rummages through the library of Los Pazos [as the priest Julián Alvarez had done in Los Pazos de Ulloa (1886)] and discovers copies of Andrews’s Clarissa Harlow and Richardson’s Pamela (1856), exemplars of the English sentimental novel. Somewhat later on, the reader begins to note provocative similarities between La Madre and Emily Brontë’s proto-Gothic, Romantic masterpiece, Wuthering Heights (1847). There are headstrong sets of lovers, a strong hint of the demonic, the possibility of happiness through marriage to a more civilized man, a strong suggestion of the …
Galdós’S Tristana And Giuseppe Verdi, Thomas R. Franz
Galdós’S Tristana And Giuseppe Verdi, Thomas R. Franz
Decimonónica
Galdós’s musicianship, interest in music, early journalistic work as a reviewer of operas, familiarity with composers’ lives, and use of musical motifs in his novels are all well known. Franz has shown how the plotting and characterization of Doña Perfecta echo those of Rossini’s Il barbiere di Siviglia (“Doña Perfecta” 127–33). Chamberlin has detailed the parallel structure of Fortunata y Jacinta (1886–87) and Beethoven’s Symphony no. 3 (Galdós and Beethoven) and related details of the same novel to the life and work of Rossini (“Echoes” 91–103), continuing a line of investigation initiated years earlier by Nimetz …
Making Emotion Visible: Felipe Trigo And La Sed De Amar (Educación Social), Louise Ciallella
Making Emotion Visible: Felipe Trigo And La Sed De Amar (Educación Social), Louise Ciallella
Decimonónica
In his day, Felipe Trigo (1864–1916) was a polemical yet widely appreciated author. In both his essays and fiction, he proposed and actively promoted solutions for the hysteria, melancholy, and latent violence produced by the nineteenth-century gender construct of the ángel del hogar, the initially middle-class ideal that established marriage and the home as the place for all women. Yet, in 1983, Ángel Martínez San Martín could justifiably write: “El desprecio y el olvido han sido, hasta hace muy poco, los dos más fieles compañeros de (su) obra literaria” (239). Today, most critics dismiss his work or apologize for …
“Beethoven” And “Sigue Beethoven”: The Sonata-Form Structure Of Galdós’S La Desheredada, Vernon A. Chamberlin
“Beethoven” And “Sigue Beethoven”: The Sonata-Form Structure Of Galdós’S La Desheredada, Vernon A. Chamberlin
Decimonónica
It has been demonstrated that while creating the novel Tristana, as well as the first volume of Fortunata y Jacinta, Galdós did clearly follow the musical pattern known as sonata form.1 This musical design is most frequently used as the basic structure for the first or last movement of a sonata (and sometimes also for the first movement of a symphony, as in the case of Beethoven’s Third [Eroica] Symphony). In creative fiction it has served as a model for such well-known authors as James Joyce, Virginia Woolf, E. M. Forster, Thomas Mann, Hermann Hesse, …
Spectators, Spectacles And The Desiring Eye/I In La Regenta, Collin Mckinney
Spectators, Spectacles And The Desiring Eye/I In La Regenta, Collin Mckinney
Decimonónica
To what extent is the seeing/being seen dyad akin to a theatrical performance? Take the example of Saturnino Bermúdez’s cathedral tour in the opening chapter of Leopoldo Alas’s novel La Regenta. Don Saturno, the local historian and scholar, has been asked by Obdulia Fandiño to give a tour of Vetusta’s cathedral to two guests from out of town. He goes about providing lengthy exegeses of obscure and barely visible works of art and architecture with an air of affected solemnity. Saturno’s theatrical style is most evident when he takes the group to see the Panteón de los Reyes: “[H]ubo …
A Postmodern “Play” On A Nineteenth Century Cuban Classic: Reinaldo Arenas’S La Loma Del Ángel, H. J. Manzari
A Postmodern “Play” On A Nineteenth Century Cuban Classic: Reinaldo Arenas’S La Loma Del Ángel, H. J. Manzari
Decimonónica
Reinaldo Arenas’s La Loma del Ángel, published in the United States in 1987, represents one of a number of novels written by Cuban writers in exile, and yet, it is of particular importance with regard to the comparative study of the postmodern Caribbean narrative and the nineteenth-century Cuban costumbrista novel. La Loma appeared seven years after the young author left Cuba along with some 120,000 exiles that took part in the Mariel boat lift. Having lived the majority of his life under the Castro regime and finding himself imprisoned for his creative zeal, homosexuality, and ambition, the author’s life …
Don Álvaro O La Fuerza Del Signo, José Valero, Stephanie Zighelboim
Don Álvaro O La Fuerza Del Signo, José Valero, Stephanie Zighelboim
Decimonónica
Aunque Don Álvaro o la fuerza del sino comparte aspectos temáticos y argumentales con otras obras del canon romántico, la presencia de elementos distintivos como la intervención del azar en el pistoletazo que mata al marqués de Calatrava y la ortodoxia religiosa y social del protagonista han llevado a algunos críticos a singularizar la obra de Rivas. En Don Álvaro el obstáculo que impide la unión de los amantes parecería ser una suerte de injusticia “cósmica” o metafísica, más que la injusticia social del abuso aristocrático y la impermeabilidad estamental. Desde esta perspectiva, que tiene su mejor exponente en un …
Four Previously Unstudied References In The Original Manuscript Of Galdós's La Desheredada, Michael Schnepf
Four Previously Unstudied References In The Original Manuscript Of Galdós's La Desheredada, Michael Schnepf
Decimonónica
In the literary background of Galdós's pivotal 1881 novel, La desheredada, one finds a rich array of references and allusions to authors and their works. Shakespeare's Hamlet and Cervantes's Don Quijote, for instance, share space with lesser-known works such as Faustina Sáez de Melgar's La Cruz del Olivar.1 The present essay analyzes four additional, entirely unstudied literary references found in the original manuscript of La desheredada that provide new insights into how Galdós went about researching and composing the novel that serves as the cornerstone of the Novelas Contemporáneas.
Subversion In Gertrudis Gómez De Avellaneda’S Sab, Reina Barreto
Subversion In Gertrudis Gómez De Avellaneda’S Sab, Reina Barreto
Decimonónica
The colonial and slave society that was Cuba of the early nineteenth century is the setting for Gertrudis Gómez de Avellaneda’s first novel, Sab.1 Published in Madrid in 1841, this novel represents Avellaneda’s literary struggle against the injustices of slavery and the oppressive treatment of women within the patriarchal Romantic framework of the early 1800s. Avellaneda’s novel draws a parallel between women and slaves: “Como los esclavos, ellas arrastran pacientemente su cadena y bajan la cabeza bajo el yugo de las leyes humanas” (Gómez de Avellaneda 194). Catherine Davies states that Sab “is the only feminist-abolitionist novel published …