{"title":"Historia de la literatura ilustrada española del siglo XIX ed. by Raquel Gutiérrez Sebastián, José María Ferri Coll, Borja Rodríguez Gutiérrez (review)","authors":"Lieve Behiels","doi":"10.1353/ang.2019.0005","DOIUrl":"https://doi.org/10.1353/ang.2019.0005","url":null,"abstract":"","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":"54 1","pages":"76 - 79"},"PeriodicalIF":0.3,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ang.2019.0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44433569","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}
Resumen:El descubrimiento por el autor del presente ensayo, en la biblioteca de J. M. de Pereda, de un ejemplar de los libros de Cristino Martos y un escritor anónimo que firma con el seudónimo de Un Hijo del Pueblo (e impresos entre 1854 y 1855) ofrece nueva luz sobre la gestación de Pedro Sánchez, en especial gracias a las marcas autógrafas de Pereda existentes en ese ejemplar, que facilitan una aproximación "genética" a la novela—aunque, por desgracia, no esté disponible su manuscrito para los investigadores—. Numerosas marcas indicativas de aquellos pasajes de ambas crónicas sobre los sucesos revolucionarios de julio de 1854 pasarán, en efecto, a Pedro Sánchez, de manera abierta u oblicua, constituyendo siempre un sugestivo juego de transtextualidades. Debiera, pues, revisarse la clásica hipótesis de que esta obra es solo reflejo autobiográfico del periodo juvenil de Pereda transcurrido en Madrid y coincidente con unos días de gran inquietud política. Tras el hallazgo de tales crónicas aflora la exacta entidad de Pedro Sánchez: una apasionante mezcla de autobiografía, ficción y documento histórico, hasta el punto que estas tres categorías pueden intercambiarse sin gran dificultad. Una novela, por ello, rica en ambigüedades y claroscuros.Abstract:The discovery by the author of this essay, in M. de Pereda's library, of a copy of the books written by Cristino Martos and an anonymous author who signs with the pseudonym of Un Hijo del Pueblo (and printed between 1854 and 1855) offers new light on the creative process of Pedro Sánchez, especially thanks to Pereda's autograph marks existing in that copy, which facilitate a "genetic" approach to that novel—although, unfortunately, the manuscript is not available to researchers—. Numerous marks indicative of those passages from both accounts of the revolutionary events of July 1854 will pass to Pedro Sánchez, and, in an open or oblique manner, constitute a suggestive game of transtextualities. Therefore, we should rethink the classic hypothesis that this book is only an autobiographical reflection of Pereda's youthful period in Madrid, coinciding with an environment of great political unrest. After the discovery of such chronicles, the exact nature of Pedro Sánchez emerges: an exciting mixture of autobiography, fiction and historical document, to the point that these three categories can be interchanged without great difficulty. A novel, consequently, rich in ambiguities and chiaroscuros.
{"title":"Martos, Un Hijo del Pueblo y J. M. de Pereda en diálogo: El caso Pedro Sánchez / Martos, Un Hijo del Pueblo and J. M. de Pereda in Dialogue: the Case of Pedro Sánchez","authors":"L. Bonet","doi":"10.1353/ang.2019.0000","DOIUrl":"https://doi.org/10.1353/ang.2019.0000","url":null,"abstract":"Resumen:El descubrimiento por el autor del presente ensayo, en la biblioteca de J. M. de Pereda, de un ejemplar de los libros de Cristino Martos y un escritor anónimo que firma con el seudónimo de Un Hijo del Pueblo (e impresos entre 1854 y 1855) ofrece nueva luz sobre la gestación de Pedro Sánchez, en especial gracias a las marcas autógrafas de Pereda existentes en ese ejemplar, que facilitan una aproximación \"genética\" a la novela—aunque, por desgracia, no esté disponible su manuscrito para los investigadores—. Numerosas marcas indicativas de aquellos pasajes de ambas crónicas sobre los sucesos revolucionarios de julio de 1854 pasarán, en efecto, a Pedro Sánchez, de manera abierta u oblicua, constituyendo siempre un sugestivo juego de transtextualidades. Debiera, pues, revisarse la clásica hipótesis de que esta obra es solo reflejo autobiográfico del periodo juvenil de Pereda transcurrido en Madrid y coincidente con unos días de gran inquietud política. Tras el hallazgo de tales crónicas aflora la exacta entidad de Pedro Sánchez: una apasionante mezcla de autobiografía, ficción y documento histórico, hasta el punto que estas tres categorías pueden intercambiarse sin gran dificultad. Una novela, por ello, rica en ambigüedades y claroscuros.Abstract:The discovery by the author of this essay, in M. de Pereda's library, of a copy of the books written by Cristino Martos and an anonymous author who signs with the pseudonym of Un Hijo del Pueblo (and printed between 1854 and 1855) offers new light on the creative process of Pedro Sánchez, especially thanks to Pereda's autograph marks existing in that copy, which facilitate a \"genetic\" approach to that novel—although, unfortunately, the manuscript is not available to researchers—. Numerous marks indicative of those passages from both accounts of the revolutionary events of July 1854 will pass to Pedro Sánchez, and, in an open or oblique manner, constitute a suggestive game of transtextualities. Therefore, we should rethink the classic hypothesis that this book is only an autobiographical reflection of Pereda's youthful period in Madrid, coinciding with an environment of great political unrest. After the discovery of such chronicles, the exact nature of Pedro Sánchez emerges: an exciting mixture of autobiography, fiction and historical document, to the point that these three categories can be interchanged without great difficulty. A novel, consequently, rich in ambiguities and chiaroscuros.","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":"54 1","pages":"11 - 30"},"PeriodicalIF":0.3,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ang.2019.0000","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49563638","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}
Resumen:El estreno de Electra (1901) fue un éxito resonante acompañado de escándalos callejeros. Encendió polémicas en una sociedad altamente polarizada entre la tradición y el progreso, la Iglesia y la ciencia, el conservadurismo y el liberalismo. Este ensayo difiere de los acercamientos críticos existentes en que aborda Electra como un testimonio de que Galdós estaba al día en los descubrimientos científicos del momento, de los que se sirve para dramatizar esta obra. Así, Galdós construye su Electra en términos de potencial eléctrico o voltaje según la conductividad de los metales que Máximo y Electra ensayan en el Acto III. El resultado de este experimento explica que Galdós deba recurrir a un catalítico para generar un verdadero cambio de energía que regenere la nación.Abstract:Electra's premier (1901) was a resounding success, accompanied by street disturbances. It sparked controversy in an extremely polarized society, torn between tradition and progress, the Catholic Church and science, conservatism and liberalism. This essay differs from other critical approaches in that it addresses Electra as evidence of Galdós's familiarity with the scientific discoveries of his time, which he uses to dramatize this play. Thus, Galdós builds his Electra in terms of the electric potential or voltage according to the conductivity of the metals that Máximo and Electra test in the Act III. The result of this experiment explains why Galdós needs to resort to a catalyst to generate a true change of energy that will regenerate the nation.
{"title":"La Electra de Galdós y sus redes de conducción eléctrica / Galdós’s Electra and its Network of Electrical Conduction","authors":"A. Rueda","doi":"10.1353/ang.2019.0003","DOIUrl":"https://doi.org/10.1353/ang.2019.0003","url":null,"abstract":"Resumen:El estreno de Electra (1901) fue un éxito resonante acompañado de escándalos callejeros. Encendió polémicas en una sociedad altamente polarizada entre la tradición y el progreso, la Iglesia y la ciencia, el conservadurismo y el liberalismo. Este ensayo difiere de los acercamientos críticos existentes en que aborda Electra como un testimonio de que Galdós estaba al día en los descubrimientos científicos del momento, de los que se sirve para dramatizar esta obra. Así, Galdós construye su Electra en términos de potencial eléctrico o voltaje según la conductividad de los metales que Máximo y Electra ensayan en el Acto III. El resultado de este experimento explica que Galdós deba recurrir a un catalítico para generar un verdadero cambio de energía que regenere la nación.Abstract:Electra's premier (1901) was a resounding success, accompanied by street disturbances. It sparked controversy in an extremely polarized society, torn between tradition and progress, the Catholic Church and science, conservatism and liberalism. This essay differs from other critical approaches in that it addresses Electra as evidence of Galdós's familiarity with the scientific discoveries of his time, which he uses to dramatize this play. Thus, Galdós builds his Electra in terms of the electric potential or voltage according to the conductivity of the metals that Máximo and Electra test in the Act III. The result of this experiment explains why Galdós needs to resort to a catalyst to generate a true change of energy that will regenerate the nation.","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":"54 1","pages":"59 - 72"},"PeriodicalIF":0.3,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ang.2019.0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47001053","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}
Resumen:Este artículo explora cómo Galdós representa la experiencia del tiempo por medio de imágenes dinámicas de piedra. La representación compleja de la piedra en Marianela (1878) refleja la teoría del "presentevivo" de Edmund Husserl en la que el presente no se percibe aisladamente, sino como parte de un continuo del pasado al futuro. Los sillares que se usan para la construcción en Fortunata y Jacinta (1887) y Miau (1888) son inidentificables como "restos o preparativos", reafirmando una percepción multilateral del tiempo que engloba el pasado y el futuro. La escalera de piedra en la Cava Baja, un espacio fundamental en la trayectoria de Fortunata, indica la durabilidad del pasado en el futuro, mientras a la vez significa la temporalidad del presente.Abstract:This article explores the ways in which Galdós represents the experience of time through dynamic imagery of stone. The complex representations of stone in Marianela (1878) reflect Edmund Husserl's theory of the "living-present," in which the present is not perceived in isolation but on a continuum from past to future. The ashlar stones used for construction in Fortunata y Jacinta (1887) and Miau (1888) are unidentifiable as "restos o preparativos," reinforcing a multilateral perception of time that encompasses the past and the future. The stone staircase in the Cava Baja, a crucial space in Fortunata's trajectory, gestures the durability of the past into the future while also signifying the temporality of the present.
{"title":"Restos o Preparativos: Inscrutable Stone and the Living-Present in the Works of Benito Pérez Galdós / Restos o Preparativos: Piedra inescrutable y el presente-vivo en las obras de Benito Pérez Galdós","authors":"Megan L. Kelly","doi":"10.1353/ang.2019.0002","DOIUrl":"https://doi.org/10.1353/ang.2019.0002","url":null,"abstract":"Resumen:Este artículo explora cómo Galdós representa la experiencia del tiempo por medio de imágenes dinámicas de piedra. La representación compleja de la piedra en Marianela (1878) refleja la teoría del \"presentevivo\" de Edmund Husserl en la que el presente no se percibe aisladamente, sino como parte de un continuo del pasado al futuro. Los sillares que se usan para la construcción en Fortunata y Jacinta (1887) y Miau (1888) son inidentificables como \"restos o preparativos\", reafirmando una percepción multilateral del tiempo que engloba el pasado y el futuro. La escalera de piedra en la Cava Baja, un espacio fundamental en la trayectoria de Fortunata, indica la durabilidad del pasado en el futuro, mientras a la vez significa la temporalidad del presente.Abstract:This article explores the ways in which Galdós represents the experience of time through dynamic imagery of stone. The complex representations of stone in Marianela (1878) reflect Edmund Husserl's theory of the \"living-present,\" in which the present is not perceived in isolation but on a continuum from past to future. The ashlar stones used for construction in Fortunata y Jacinta (1887) and Miau (1888) are unidentifiable as \"restos o preparativos,\" reinforcing a multilateral perception of time that encompasses the past and the future. The stone staircase in the Cava Baja, a crucial space in Fortunata's trajectory, gestures the durability of the past into the future while also signifying the temporality of the present.","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":"54 1","pages":"49 - 58"},"PeriodicalIF":0.3,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ang.2019.0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43650744","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 encaje roto: Antología de cuentos de violencia contra las mujeres by Emilia Pardo Bazán (review)","authors":"S. Sierra","doi":"10.1353/ang.2019.0011","DOIUrl":"https://doi.org/10.1353/ang.2019.0011","url":null,"abstract":"","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":"54 1","pages":"90 - 91"},"PeriodicalIF":0.3,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ang.2019.0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43676482","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":"María Lorenza de los Ríos, marquesa de Fuerte-Híjar. Vida y obra de una escritora del Siglo de las Luces by Elisa Martín-Valdepeñas Y Catherine M. Jafee (review)","authors":"Manuel Amador González Fuertes","doi":"10.1353/ang.2019.0008","DOIUrl":"https://doi.org/10.1353/ang.2019.0008","url":null,"abstract":"","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":"54 1","pages":"84 - 85"},"PeriodicalIF":0.3,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ang.2019.0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42814301","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":"Pérez Galdós en el vértice. Veinticuatro miradas (Prólogos de Arte, Naturaleza y Verdad) ed. by Yolanda Arencibia y José Miguel Pérez (review)","authors":"Álvaro A. Ayo","doi":"10.1353/ang.2019.0004","DOIUrl":"https://doi.org/10.1353/ang.2019.0004","url":null,"abstract":"","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":"54 1","pages":"74 - 75"},"PeriodicalIF":0.3,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ang.2019.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43790624","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":"Entresiglos: Del siglo XVIII al XIX. Estudios en homenaje al profesor Joan Oleza by Javier Lluch-Prats (review)","authors":"L. Harkema","doi":"10.1353/ang.2019.0009","DOIUrl":"https://doi.org/10.1353/ang.2019.0009","url":null,"abstract":"","PeriodicalId":40152,"journal":{"name":"Anales Galdosianos","volume":"54 1","pages":"86 - 87"},"PeriodicalIF":0.3,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ang.2019.0009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49499990","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：