Anales Galdosianos最新文献

{"title":"Un caso de écfrasis en Fortunata y Jacinta: Mauricia y La Libertad guiando al pueblo, de Delacroix","authors":"J. Botello","doi":"10.1353/ang.2022.0001","DOIUrl":"https://doi.org/10.1353/ang.2022.0001","url":null,"abstract":"Resumen:La mayoría de los estudiosos ha destacado la representación negativa del personaje de Mauricia la Dura en Fortunata y Jacinta, fijándose ante todo en su carácter violento y cruel, en su embriaguez y en su caracterización como figura de tentación para Fortunata. Unos pocos han resaltado algunas virtudes positivas exhibidas por el personaje, destacando la ambigüedad del tratamiento de Mauricia y señalando que esta muestra tener cierta espiritualidad y comportamiento ético. Estos estudios han contribuido a una mejor comprensión del personaje, pero aún quedan aspectos importantes por clarificar, en particular los relacionados con su peculiar presentación iconográfica. Este ensayo analiza al personaje de Mauricia basándose en una vinculación con una fuente pictórica concreta que sorprendentemente ha pasado desapercibida para la crítica: La Libertad guiando al pueblo (1830), de Eugène Delacroix (1798-1863). Mediante esta comparación con la célebre tabla del artista francés, se comprueba cómo, al contrario de lo sostenido por una gran parte de los exegetas, Mauricia no es simplemente una demente o una pseudovisionaria alcoholizada. En realidad, es un personaje cuyo significado está anclado en la ambivalencia: junto a sus aspectos negativos, Mauricia se presenta como uno de los símbolos principales de libertad y justicia en la inmortal novela.Abstract:Most scholars have highlighted the negative representation of the character of Mauricia la Dura in Fortunata y Jacinta, pointing out specially her violent and cruel character, her alcoholism, and her characterization as a figure of temptation for Fortunata. A few critics have noticed some positive virtues exhibited by the character, highlighting the ambiguity of Mauricia's treatment and noting that she shows a certain spirituality and ethical behavior. These studies have contributed to a better understanding of the character, but there are still important aspects to be clarified, in particular those related to its peculiar iconographic presentation. This essay analyzes the character of Mauricia based on a connection with a specific pictorial source that has surprisingly gone unnoticed by critics: Liberty Guiding the People (1830), by Eugène Delacroix (1798-1863). By means of this comparison, we can see that, contrary to what most critics believe, Mauricia is not simply an insane or a drunken pseudovisionary. In reality, she is a character whose meaning is anchored in ambivalence: along with her negative aspects, Mauricia is presented as one of the main symbols of freedom and justice in the immortal novel.","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45165656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ghost of Colonies Past and Present: Spanish Imperialism in the Fiction of Benito Pérez Galdós by Mary L. Coffey (review)","authors":"Ana Mateos","doi":"10.1353/ang.2022.0015","DOIUrl":"https://doi.org/10.1353/ang.2022.0015","url":null,"abstract":"","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44352008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Saving the Nation? Amor y ciencia versus Las raíces","authors":"Margot Versteeg","doi":"10.1353/ang.2022.0007","DOIUrl":"https://doi.org/10.1353/ang.2022.0007","url":null,"abstract":"Abstract:In this paper I propose to read Galdós's Amor y ciencia (1905) in dialogue with Pardo Bazán's Las raíces (before 1909). Written shortly after Spain's painful colonial debacle, both plays focus on the country's de/regeneration. They take place in a bourgeois setting and have as protagonists an adulterous couple caring for one or more sick/deformed children (among several other similarities). However, the suggestions these works offer as to how to revive the Spanish nation greatly differ. In Amor y ciencia, Galdós presents a melodramatic opposition between an idealistic (\"good\") doctor who tries to mold the women in his environment who––as a result of their deficient upbringing––are either frivolous or fanatically religious (\"bad\"). The play offers an optimistic but at the same time ingenuous and patronizing message regarding Spain's regeneration. In Las raíces, Pardo Bazán shows a different set of ideas. Not only does she present the woes of the nation as far more systemic, but Pardo also gives her work an interesting gender twist. Just like Galdós, she underscores the importance of science, but instead of adopting the androcentric discourse that Galdós shared with the Generation of 1898, Pardo stresses the important contribution of women when it comes to avoiding the demise of the Spanish nation.Resumen:En este ensayo propongo leer Amor y ciencia (1905) de Pérez Galdós en diálogo con Las raíces (antes de 1909) de Pardo Bazán. Escritas poco tiempo después de la penosa debacle colonial española, ambas obras enfocan en la de/regeneración del país. Las tramas se sitúan en un ambiente burgués y las piezas tienen como protagonistas a una pareja adúltera, que cuida a uno o más hijos enfermos/deformes (entre varias otras semejanzas). Donde las obras divergen es en cuanto a las sugerencias que brindan para reanimar a la nación española. En Amor y ciencia, Galdós presenta una oposición melodramática entre un (\"buen\") médico idealista, que intenta moldear a las mujeres en su contorno que –como resultado de su educación deficiente– son o frívolas o beatas (\"malas\"). Amor y ciencia ofrece un mensaje optimista, pero al mismo tiempo ingenuo o condescendiente sobre la regeneración de la nación española. En Las raíces, Pardo Bazán muestra una serie de ideas diferentes. Presenta los males de la nación como mucho más sistémicos, y da una interesante vuelta de tuerca a la representación de los roles de género. Al igual que Galdós, enfatiza la importancia de la ciencia, pero en vez de adoptar el discurso androcéntrico que Galdós compartió con la Generación del 98, Pardo insiste en la importante contribución de las mujeres a la hora de evitar la degeneración de la nación española.","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45254781","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Emilia Pardo Bazán y Benito Pérez Galdós: Viajes a Italia","authors":"Lieve Behiels","doi":"10.1353/ang.2022.0009","DOIUrl":"https://doi.org/10.1353/ang.2022.0009","url":null,"abstract":"Resumen:En la primera parte de este trabajo, presentaremos la cronología detallada de la publicación en prensa y en libro de los escritos de Emilia Pardo Bazán y Benito Pérez Galdós sobre Italia. En un segundo movimiento, enfrentaremos los textos de ambos escritores sobre la peregrinación a Roma que emprendió un grupo de peregrinos españoles para celebrar el jubileo de León XIII a finales de 1887 y principios de 1888. Nos interesaremos igualmente por las impresiones apuntadas por estos viajeros cultos e informados sobre la actualidad políticoreligiosa italiana y los tesoros que encierran las ciudades de arte. Concluimos que los dos autores adoptan un posicionamiento muy distinto frente a sus lectores, que corresponde con su personalidad e ideología respectivas. Esto no impide el saludo respetuoso de Galdós a su colega mediante repetidas referencias intertextuales. Su ideología permea hasta cierto punto sus preferencias artísticas, aunque ambos coinciden en valorar sobre todo la verdad en el arte.Abstract:This article first presents a detailed chronology of works by Emilia Pardo Bazán and Benito Pérez Galdós that document their travels through Italy, published both in the press and as books. The essay then analyzes texts by both authors that recount Spaniards' pilgrimage to Rome for Pope Leo XIII's Jubilee, celebrated at the end of 1887 and beginning of 1888. As Pardo Bazán and Galdós were informed and cultured travelers, their impressions of Italy's political-religious climate are also evaluated, as are their appraisals of the artistic treasures held in the Italian cities they visited. The authors' different positionings correspond to both their personalities and their respective ideologies. This does not preclude Galdós, in his reflections on Italy, from paying homage to his colleague through repeated intertextual references to Pardo Bazán's own travel writings. While to a certain extent their ideological predilections influence their artistic preferences, both value truth in art above all.","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46673953","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Escritores y lectores de un día todos. Literaturas periódicas en la España del siglo XIX by Santiago Díaz Lage (review)","authors":"Cristina Carnemolla","doi":"10.1353/ang.2022.0013","DOIUrl":"https://doi.org/10.1353/ang.2022.0013","url":null,"abstract":"","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47179465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"El Doble Y La Insania En Galdós: Los Doppelgänger De Zumalacárregui Y La Enfermedad De España","authors":"Mercedes Comellas","doi":"10.1353/ang.2021.0006","DOIUrl":"https://doi.org/10.1353/ang.2021.0006","url":null,"abstract":"Resumen:El motivo del doble, asociado a la enfermedad mental, está presente en la obra galdosiana desde sus inicios, jugando en ocasiones el papel de eje narrativo o clave interpretativa. Ejemplos singulares lo constituyen la novela que cierra la segunda serie de los Episodios nacionales (Un faccioso más y algunos frailes menos, 1879) y la que casi veinte años después inicia la tercera serie (Zumalacárregui, 1898), entre las que el motivo del doble sirve como engranaje de continuidad y también como código para la interpretación de la enfermedad de España durante las guerras carlistas: el mal del país, que lo divide en su más íntima concepción ideológica, se traslada a la alucinación de desdoblamiento que viven los personajes. Junto a la enfermedad, que tiene un papel axial en ambas novelas, y el Doppelgänger, un tercer motivo las conecta: don Quijote.Abstract:The motif of the double and its association with mental illness is present even in Galdós's earliest works, often functioning as narrative axis or interpretative lens. Notable examples appear in the final novel of the second series of the Episodios nacionales (Un faccioso más y algunos frailes menos, 1879) and the first novel of the third series, published almost twenty years later (Zumalacárregui, 1898). In both novels, the motif of the double provides narrative continuity and works as a code through which to interpret Spain's figurative ailment during the Carlist Wars. The country's illness, which fractured its most intimate ideological foundation, is reflected in the illusion of division experienced by the characters. Alongside disease, which plays a crucial role in both novels, and the Doppelgänger, a third motif connects these texts: Don Quixote.","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49305903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Episodios nacionales by Benito Pérez Galdós (review)","authors":"D. Baena","doi":"10.1353/ang.2021.0013","DOIUrl":"https://doi.org/10.1353/ang.2021.0013","url":null,"abstract":"","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46103101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"La Sinfonía Del Contagio: Música Y Cólera En Un Cuento De Galdós","authors":"Assunta Scotto di Carlo","doi":"10.1353/ang.2021.0008","DOIUrl":"https://doi.org/10.1353/ang.2021.0008","url":null,"abstract":"Resumen:En \"Una industria que vive de la muerte; episodio musical del cólera\" (1865), Galdós nos ofrece unas reflexiones sobre un aspecto inusual de las epidemias: el ruido, o más bien, el ritmo musical de la enfermedad y de la muerte. El sonido del martillo de un infernal carpintero, que fabrica los ataúdes para las víctimas del cólera y que marca el tiempo de la vida y de la muerte en el silencioso barrio, despierta la imaginación del escritor, que construye un cuento fantástico denso de referencias mitológicas, literarias y musicales. Este trabajo, a partir del análisis de esta obra, pone en evidencia el tema de la representación auditiva de una epidemia y su capacidad de enriquecer la perspectiva sobre el cólera.Abstract:In \"Una industria que vive de la muerte; episodio musical del cólera\" (1865), Galdós offers reflections on an unusual aspect of epidemics: the noise, or rather, the musical rhythm of disease and death. The hammering of an infernal carpenter who makes coffins for cholera victims marks the time of life and death in a silent neighborhood, awakening Galdós's imagination. The author composes a fantastic short story, dense with mythological, literary and musical references. Through a close reading of the text, this article highlights the auditory dimensions of an epidemic, showing how it enriches representations of cholera.","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46496590","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"El Encuentro Con El Cuerpo En Nazarín De Galdós Y De Buñuel","authors":"Laurie Lomask","doi":"10.1353/ang.2021.0003","DOIUrl":"https://doi.org/10.1353/ang.2021.0003","url":null,"abstract":"Resumen:Este artículo compara dos versiones de la obra Nazarín: la novela original de Benito Pérez Galdós, publicada en 1895, y la adaptación fímica hecha por Luis Buñuel, estrenada en 1959. Se plantea que una de las diferencias más determinantes entre las dos obras es la relación entre el protagonista y su propio cuerpo. Mientras que en la novela galdosiana el cura Nazarín recupera una cierta conexión somática, la versión de Buñuel destaca un alejamiento de lo físico que ya es característico de la sensibilidad del siglo XX en adelante.Abstract:This article compares two versions of the story Nazarín: the original novel by Benito Pérez Galdós, published in 1895, and the film adaptation by Luis Buñuel, premiered in 1959. It argues that one of the major differences between the two works is the relation between the protagonist and his own body. While in Galdós's novel the priest Nazarín is able to recuperate a certain somatic connection, Buñuel's version highlights a distancing from the physical world that has become characteristic from the 20th century onward.","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66190536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ecos De Los Últimos Días De Pompeya En La Razón De La Sinrazón","authors":"Fabio Javier García Saleh","doi":"10.1353/ang.2021.0002","DOIUrl":"https://doi.org/10.1353/ang.2021.0002","url":null,"abstract":"Resumen:Este ensayo trata de probar que La razón de la sinrazón está inspirada en Los últimos días de Pompeya y a través de un análisis comparado entre ambas obras mostrar sus numerosos paralelismos y conseguir arrojar algo más de luz sobre determinados aspectos del argumento y los personajes de la obra de Galdós que hasta ahora no habían sido interpretados correctamente. De este modo, la literatura comparada nos servirá no sólo para confrontar personajes y sucesos de ambas obras y para realizar un análisis comparado de sus demonologías, sino asimismo para comprender numerosos aspectos de La razón de la sinrazón rodeados de incógnitas, como la naturaleza física y política del cataclismo que destruye Ursaria y el uso alegórico de la demonología dentro de la sátira que Galdós realiza del sistema político de la Restauración. El empleo de todos estos elementos durante su etapa mitológica será comparado con el que treinta y nueve años antes realizó de numerosos aspectos de Los últimos días de Pompeya en El Grande Oriente, demostrando la enorme influencia que la novela de Bulwer-Lytton ejerció sobre el escritor canario, su profundo conocimiento de la demonología persa y judía y su llamamiento a un cambio político, social y espiritual.Abstract:This essay attempts to prove that La razón de la sinrazón is inspired by The Last Days of Pompeii and, through a comparative analysis of both works, show their numerous parallelisms and shed more light on certain aspects of the plot and characters of Galdós' work that until now have not been correctly interpreted. In this way, comparative literature will serve us not only to confront characters and events in both works and to carry out a comparative analysis of their demonologies, but also to understand numerous aspects of La razón de la sinrazón surrounded by unknowns, such as the physical and political nature of the cataclysm that destroys Ursaria and the allegorical use of demonology within the satire Galdós makes of the political system of the Restoration. The use of these elements during its mythological stage will be compared with that which thirty-nine years earlier he made of numerous aspects of Los últimos días de Pompeya in El Grande Oriente, demonstrating the enormous influence that Bulwer-Lytton's novel had on the Canarian writer, his deep knowledge of Persian and Jewish demonology and his call for political, social and spiritual change.","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42022851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}