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This work explores the background and first two years of the First Carlist War--a conflict that pitted conservative northern peasants against the liberal Madrid government in the largest and most sustained case of armed peasant resistance to modernization in nineteenth-century Europe.
Originally published in 1984.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Benito Perez Galdos and the Creative Process was first published in 1954. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Most critics would rank Benito Perez Galdos second only to Cervantes among the great novelists of Spain. However, in spite of the esteem in which he is generally held, Galdos has been the subject of relatively few scholarly studies. Professor Pattison, by an analysis of two of Galdos' novels, attempts to reconstruct the creative processes that were involved in the writing of these novels. This is the first time that such a critical approach has been used in the field of Spanish fiction and the resulting study is significant not only to Spanish scholars but to all students of literature seeking further insights into the fascinating and still elusive creative process.
Professor Pattison analyzes the novels Gloria, published in 1877, and Marianela,which was published the following year. Both are stories of contemporary life, the former having as its theme the conflict between noble religion and the fanaticism of individual religious sects, and the latter presenting a story of tragic love interwoven with the social problem of the responsibilities of the rich toward the poor.
In tracking down the sources of ideas, characters, plots, and viewpoints that emerge in these novels, Professor Pattison worked first-hand in Galdos' personal library in Madrid. From the notes and markings in the books and from other intimate observations, the scholar-detective put his finger on many of the original sources that contributed to Galdos' artistic creations and identified the prototypes for fictional characters among persons Galdos knew.
Directions in the Modern Spanish Novel
The term metafiction invaded the vocabulary of literary criticism around 1970, yet the textual strategies involved in turning fiction back onto itself can be traced through several centuries. In this theoretical/critical study Robert C. Spires examines the nature of metafiction and chronicles its evolution in Spain from the time of Cervantes to the 1970s, when the obsession with novelistic self-commentary culminated in an important literary movement.
The critical portions of this study focus primarily on twentieth-century works. Included are analyses of Unamuno's Niebla, Jarnés's Locura y muerte de nadie and La novia del viento, Torrente Ballester's Don Juan, Cunquiero's Un hombre que se parecía a Orestes, and three novels from the "self-referential" movement of the 1970s, Juan Goytisolo's Juan sin Tierra, Luis Goytisolo's La colera de Aquiles, and Martín Gaite's El cuarto de atrás.
Seeking a stronger theoretical basis for his critical readings, Spires offers a sharpened definition of the term metafiction. The mode arises, he declares, through an intentional violation of the boundaries that normally separate the worlds of the author, the fiction, and the reader. Building on theoretical foundations laid by Frye, Scholes, Genette, and others, Spires also proposes a literary paradigm that places metafiction in a position intermediate between fiction and literary theory.
These theoretical formulations place Spires's book in the forefront of critical thought. At the same time, his full-scale analyses of Spanish metafictional works will be welcomed by Hispanists and other students of world literature.
Vol. 86 (2009) - Vol. 87 (2010)
The Bulletin of Hispanic Studies has been published continuously from Liverpool since its foundation by Edgar Allison Peers in 1923. Edited in one of the leading British University Departments of Hispanic Studies by an editorial team specializing in a wide range of Hispanic scholarship, and supported by a distinguished international Editorial Committee, the Bulletin of Hispanic Studies is the foremost journal published in Britain devoted to the languages, literatures and civilizations of Spain, Portugal and Latin America. It is recognized across the world as one of the front-ranking journals in the field of Hispanic scholarship.
The journal's interests are broad-ranging and cover the linguistic areas of Spanish, Portuguese, Galician, Catalan, Basque and Amerindian. While contributions are mainly in the areas of literature, linguistics, cultural history, film and visual arts, cultural and gender studies, it likes to reflect and engage with all aspects of 'Hispanic Studies', both traditional and modern.
Vol. 1 (1949) through current issue
The Bulletin of the Comediantes is a semiannual journal devoted to the study of the theater of the early-modern Hispanic world, with articles published in both English and Spanish. In continuous publication since 1948, the journal is now led by editor Elizabeth R. Wright (University of Georgia), associate editor Laura Bass (Brown University), managing editor Cory Duclos (Colgate University), book review editor Xavier Tubau (Hamilton College), and an editorial board comprised of noted comedia scholars from around the world.
Autobiografía e invención en el siglo XVI
First-person narrative does not always fall under the genre of autobiography. In the centuries before the genre was defined, authors often patterned their personal narratives after prestigious discourses, such as hagiography, historiography, and the literary miscellany. Caballero noble desbaratado: Autobiografía e invención en el siglo XVI [Noble Knight Disrupted: Autobiography and Invention in the Sixteenth Century] analyzes several first-person narratives from Spain and the conditions of their writing and reception. It focuses on the sixteenth-century Libro de la vida y costumbres [Book of life and customs] by Alonso Enríquez de Guzmán (1499-1547), the knight of the title. One chapter looks at antecedents to the central work: the late fourteenth-century Memorial by Leonor López de Córdoba, who narrates difficult passages of her life; the Breve suma de la vida y hechos [Brief Summary of the Life and Deeds] by Diego García de Paredes, who speaks of duels and battles as an object lesson in honor and courage for his son; and Cautiverio y trabajos [Captivity and Travails] by Diego Galán, a tale of captivity and flight in Muslim lands that constitutes an early example of fictionalized autobiography. The study also examines the influence of writers like Bartolomé de Torres Naharro, Antonio de Guevara, and Pedro Mexía and the vitality of lyric poetry on both sides of the Atlantic. Although the Biblioteca de Autores Españoles has devoted a volume to Enríquez de Guzmán, there has never been a book-length study dedicated to this author. This book fills that gap and constitutes a valuable contribution to the study of autobiography in Spanish.
The Secular Plays
Although Pedro Calderón de la Barca was one of the greatest and most prolific playwrights of Spain's Golden Age, most of his nonallegorical comedias -- 118 in all -- have remained unknown. Robert ter Horst presents here the first full-length study of these works, a sustained, meditative analysis dealing with more than 80 plays, conveying a sense of the whole of Calderón's secular theater.
To approach so vast a body of literature, Mr. ter Horst examines the meaning and function in Calderón of three broad subjects -- myth, honor, and history -- the warp threads across which the playwright weaves a subtle tapestry of contrasts, dualities, and conflicts: the private person versus the public person, the inner realm versus the outer, masculine against feminine, poet against prince.
The Calderón who emerges is a consciously consummate artist whose lifelong study was the passions of the human mind and body. In addition, he is seen as a synthesizer of his Spanish literary heritage and especially as a brilliant adapter of Cervantes' insights to the stage. Robert ter Horst's profound and far-ranging analysis sheds light on many fine works previously neglected and finds new depths in such supreme achievements as No hay cosa como callar, El segundo Escipión, and La vida es suefio.
Three Comedies by Pedro Calderón de la Barca
This volume is a sequel to Four Comedies of Calderón (1980), which was hailed by reviewers as superb, faithful, and actable. The three comedies in the present volume are generally counted among Calderón's masterpieces: Casa con dos puertas mala es de guardar (A House with Two Doors Is Difficult to Guard); No hay burlas con el amor (No Trifling with Love); Mañanas de abril y mayo (Mornings of April and May). For the first time theaters will have the opportunity of staging these three masterpieces of the Golden Age drama of Spain in accurate and charming English versions. The verse used is flexible and musical, preserving the atmosphere and much of the poetic quality of the originals. An introduction deals with the characteristics of the plays and with the problems they pose for the translator. Concise explanatory notes clarify Golden Age dramatic practices.
Alegoría, seducción y resistencia en cinco autos sacramentales
Pedro Calderon de la Barca (1600-1681) is generally acknowledged to be the master author of autos sacramentales, one-act pageant plays that usually dramatize the myths of the Fall and Redemption. Since the auto was supervised by both the church and the state, it is typically held to be an art form that serves theology and the dominant powers of the time. Basing her examination of Calderon's autos on modern theories of allegory, Viviana Diaz Balsera focuses on the seductive power of the dramatic, visible level of the allegorical auto and questions the widely held assumption that Calderon's autos harmonize the dramatic and religious discourses that constitute them. In her readings of Los encantos de la Culpa, Eljardin de Falerina, La nave del Mercador, La vida es sueflo, and Lo que va del Hombre a Dios, she instead finds a disjunction between the literal, poetic level and the religious, theological meaning. With its splendid scenes, poetic fables, and elaborate music, the auto ironically has the potential to reproduce the seductive function it frequently attributes to the Devil and/or the forces of evil. Rather than the dogmatic champion of the Catholic Church, the auto emerges as conflictive, ambivalent, and moving, participating in the very dangers of sensual pleasures it seeks to warn against.