By Marta E. Altisent
This choice of reviews through eighteen well-known theorists and critics deals a various landscape of the trendy Spanish novel visible in the course of the prism of Spain's contemporary political, cultural and ideological background. It considers the improvement of the unconventional as a social reflect and as a altering literary shape, torn among the culture of stern realism and the aesthetics of rupture affecting all Western literature from the Avant-Garde to the Postmodern age. whereas a few essays emphasise the Spanish cultural context and canonical writers, others are of a broader nature, grouping lesser-known writers below yes literary developments: the metaphysical novel, the city novel, recuperative money owed of the Civil warfare, female first-person narrations, and the increase of the preferred detective, historic, and erotic novels. 3 reviews tackle the resurgence of the Catalan, Basque and Galician novel and their departure from a poetics of id to 1 of worldwide issues. Interdisciplinary techniques deal with the reciprocal affects of literature and cinema, and the consequences of at the intake of fiction aren't forgotten. The spouse offers plentiful bibliographies and a priceless chronology, whereas all titles and quotations are translated into English.
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Extra resources for A Companion to the Twentieth-Century Spanish Novel (MonografÃas A) (Monografías A)
Instead, the text concentrates on Unamuno’s thinking about the perpetuation of the self once the latter has abandoned the secure anchorage of metaphysical and religious truth. The book’s protagonist, the agnostic priest San Manuel, is an emblem for the author’s self, as are his parishioners, split between a fervent faith and the denial of that faith by reason. The epistemological change that Unamuno triggered in the novel is both extensive and profound. He even coined a new term to describe his fictions, nivola, because both their conceptual framework and their language and structure were fundamentally new.
While at the level of plot the story has its own internal logic, it is also clear that the two friends are to be seen as different facets of a single personality and that Unamuno is exploring the formidable question of whether we can ever get to know our internal self (Round 1974: 33–47), whether indeed such a self exists, and whether our self is anything more than our perception of others’ views of us, an idea already raised in *Niebla. *Abel Sánchez is Unamuno’s most profound and disturbing work of fiction and one which demonstrates that the novel was for him not a medium for passing away the hours of idleness but a instrument of self-knowledge and a way of shaking the reader from the complacency of conventional thinking.
Valle-Inclán’s position was more diverse and complex. The *Sonatas (1902– 05), consisting of four separate segments, revel in the power of aesthetics to soften and embellish the coarseness of a degraded national culture. These are ambiguous narratives that some see as frivolous, influenced as they were by the principles of modernismo, the movement that permeated Spanish and Latin American poetry and literature at the beginning of the century. They may represent only a brief phase in Valle-Inclán’s fiction, but they show the lure for him at this time of beautiful language and brilliant rhetorical effects that overshadow the rest of the work.