Cover

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TItle Page, Copyright, Dedication

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Contents

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p. vii

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Preface

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pp. ix-xi

Benito P

List of Abbreviations

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pp. xiii-xvi

Key to Textual History of Fortunata y Jacinta

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p. xv

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Introduction

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pp. 1-14

The novel immediately preceding Fortunata y Jacinta among Benito P

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Chapter One Structure

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pp. 15-48

No serious editorial problems arise in connection with the published text of Fortunata y Jacinta. Its printed form, as it appeared in four volumes in 1887, constitutes the princeps text.1 There are no revisions or changes of substance in other editions. Where by contrast very substantial variations occur is at ...

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Chapter Two Representation

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pp. 49-84

The discussion seems to me to have two aspects, one concerned with literary creation and the other as a metaphorical pattern referring to life itself. Regarding the first, it is remarkable, but not untypical, that Gald

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Chapter Three Time and Space

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pp. 85-122

The two clearly defined critical positions set out by Gilman and Blanco Aguinaga on the "birth" of Fortunata previously discussed in chapter 1 reveal equally divergent attitudes toward history. The latter sets out "to show how history determines the structure of Gald

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Chapter Four Characters in Family and Society

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pp. 123-162

The depiction of the various social classes is, as Blanco Aguinaga contends, crucial to the structure of the novel, even though it does not follow the rigid deterministic pattern he indicates.1 While there is no doubt that Gald

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Chapter Five The Positivist-Idealist Dichotomy

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pp. 163-192

Quoting Fortunata's phrase about "Un mundo que se ve y otro que est

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Chapter Six Frustrations and Accommodations

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pp. 193-226

In previous chapters we have seen various sorts of frustration with material circumstances, which mayor may not be susceptible to relief: Juan Pablo, Nicol

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Chapter Seven Fortunata

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pp. 227-266

We have established in chapter 1 that in part I Fortunata's story was viewed only from the outside. Indeed, perhaps the most important structural decision Gald

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Chapter Eight Conclusion

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pp. 267-284

In each of these categories, as we have, seen in chapters 3 and 4, the novel fits exactly. It closely mirrors its period; it is set in an accurately designated time and place; it is imbued with historical connotations. The novel is no less in tune with Erich Auerbach's well-known argument that "the serious realism ...

Notes

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pp. 285-318

Works Consulted

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pp. 319-340

Index

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pp. 341-352