Struggling with the ‘Rosalian myth’

2020 ◽  
Vol 20 (3) ◽  
pp. 409-435
Author(s):  
Carmen Pereira-Muro
Keyword(s):  
Nineteenth Century ◽  
The Novel ◽  
Emilia Pardo Bazan ◽  
Rosalia De Castro ◽  
Emilia Pardo Bazán

The theme of emigration is present in the work of two of the most prominent nineteenth-century Galician authors, Emilia Pardo Bazán and Rosalía de Castro. They had very different approaches: the topic of displacement in several naturalist stories by Pardo Bazán is far removed from the discourse of affect that characterizes de Castro’s work. But in the novel Morriña [‘Homesickness’] (1889), Pardo Bazán displays an uneasy mixture of both discourses (sentimentalism and naturalist determinism) which is, I will argue, a result of the unresolved tension between her Spanish nationalism and her feminist agenda. This tension will lead her to both accept and challenge the ‘Rosalian myth’ created by Galician migrants and embodied in Esclavitud, the migrant protagonist of Morriña.

scholarly journals “Un estado de la conciencia contemporánea”: género y moral en La sirena negra de Emilia Pardo Bazán

Neophilologus ◽  
2021 ◽  
Author(s):  
Susana Bardavío Estevan
Keyword(s):  
Gender Studies ◽  
Gender Performance ◽  
Fin De Siecle ◽  
The Novel ◽  
Emilia Pardo Bazan ◽  
Sexuality And Gender ◽  
Fin De Siècle ◽  
And Gender ◽  
Emilia Pardo Bazán ◽  
Decadent Aesthetics

AbstractDespite Emilia Pardo Bazán’s prominent feminism, La sirena negra has been strangely overlooked by gender studies. When the novel was published in 1908, Gómez de Baquero judged it “non feminist” due to its superficial heroines and the centrality of its complex masculine characters. Academic studies of La sirena negra have not refuted this idea, since they have elided gender approaches to focus on its decadent aesthetics. This article argues, on the contrary, that the novel’s androcentrism can be read as a Pardo Bazan’s strategy to appropriate the patriarchal discourse and hold it responsible for national degeneration. Emilia Pardo Bazán was harshly affected by the fin-de-siècle crisis. In her opinion, Spanish decay came from a lack of solid morality. Thus, Catholic principles should be restored because they would provide the autoregulation mechanisms to regenerate and reassemble the country. Literature should show the new reality, and the French roman psychologique provided her with an appropriate model. La sirena negra sets out the problem of the moral anomie through its protagonist, Gaspar de Montenegro. The analysis of his sexuality and gender performance reveals the danger of this amoral behavior for the degeneration of society, attributed ultimately to the patriarchal order and the androcentric discourse.

paisaxes identitarias na literatura de Manuel María

2016 ◽  
pp. 245-264
Author(s):  
Xosé Lois García
Keyword(s):  
Emilia Pardo Bazan ◽  
Rosalia De Castro ◽  
Emilia Pardo Bazán

Neste traballo analízanse varios elementos das paisaxes que están presentes na obra literaria de Manuel María, que se inscribe no contexto da tradición poética galega desde os trobadores medievais. Esas paisaxes que a finais do século XIX transcenderon na poesía de Rosalía de Castro, no seu libro En las Orillas del Sar, e na novela La Madre Naturaleza de Emilia Pardo Bazán. E máis tarde O Bosque Animado de Wenceslao Fernández Flórez. Na década de 1950 apareceron os primeiros libros poéticos de Manuel María que naturalizan as paisaxes máis íntimas coas que se relaciona o poeta de Outeiro de Rei. Neste estudo sobre as paisaxes na poesía de Manuel María poñemos énfase ao panteísmo, como resultado das observacións e diálogos de silencio que mantén cos diversos espazos paisaxísticos. Outro dos elementos vitais que se analiza deste traballo é a casa, como centro de convivencia, relato de vida común que se converte na primeira nación para Manuel María. No que se recollen varias expresións e matices de espazos paisaxísticos moi ben definidos sobre a Terra Chá e a Ribeira Sacra. Paisaxe, cultura e tradición son elementos esenciais no pensamento de labregancia de Manuel María, na súa máis ampla dimensión.

Emilia Pardo Bazán and the Phenomenon of French Decadentism

PMLA ◽  
1966 ◽  
Vol 81 (5) ◽  
pp. 418-427
Author(s):  
John W. Kronik
Keyword(s):  
Nineteenth Century ◽  
Emilia Pardo Bazan ◽  
Literary Process ◽  
Fourth Volume ◽  
New Ideas ◽  
Emilia Pardo Bazán ◽  
Critical Writings

The fourth volume in the series of studies that Emilia Pardo Bazán had entitled La literatura francesa moderna was to bear the caption of La decadencia. In the three previous volumes the Countess had followed the evolution of the French literary process of the nineteenth century from romanticism to naturalism, and in the last she planned to gather old notes and new ideas into an analysis of end-of-the-century trends. She never brought this project to fruition, but she did leave dispersed among her many other critical writings her ideas and interpretations touching on this phenomenon that she labeled variously “la decadencia” or “el decadentismo.”

scholarly journals A educación das mulleres no século XIX

2014 ◽  
Vol 17 ◽  
pp. 7-36
Author(s):  
Narciso De Gabriel Fernández
Keyword(s):  
Emilia Pardo Bazan ◽  
Rosalia De Castro ◽  
Emilia Pardo Bazán

As mulleres quedaron excluídas inicialmente do sistema de instrución pública ideado polo liberalismo español. A exclusión inicial dará paso a unha inclusión parcial, orientada a formar as nenas para o desempeño das funcións de esposa e de nai. Os debates que se produciron en 1859 no Ateneo da Coruña e en 1892 no Congreso Pedagóxico Hispano-Portugués-Americano poñen de manifesto a hexemonía dun modelo educativo que pretendía consolidar o status de dependencia do sexo feminino. Pero nun e noutro escenario tamén se ouviron voces, como as de Antonio García Fuertes, Concepción Arenal e Emilia Pardo Bazán, que reclamaban con máis ou menos radicalidade unha educación para a autonomía. A figura de Rosalía de Castro, pola súa parte, constitúe un bo exemplo dos atrancos aos que se tiveron que enfrontar as mulleres que decidían converterse en escritoras.

scholarly journals La deixis personal en algunas cartas de Rosalía de Castro y Emilia Pardo Bazán desde la gramática funcional del discurso

2019 ◽  
Vol 22 ◽  
pp. 135-159
Author(s):  
Patricia Fernández Martín
Keyword(s):  
Benito Perez Galdos ◽  
Emilia Pardo Bazan ◽  
Rosalia De Castro ◽  
Emilia Pardo Bazán ◽  
Benito Pérez Galdós

El objetivo del artículo es comparar la deixis personal de las cartas escritas por Rosalía de Castro a Manuel Murguía, por un lado, con las escritas por Emilia Pardo Bazán dirigidas a Benito Pérez Galdós, por otro. Para ello, se utiliza la gramática funcional del discurso (GFD) para analizar la deixis personal que alude a los interlocutores en la comunicación misiva, tomando como punto de partida el concepto de referencia exofórica. Así, en la primera parte, se presenta el marco teórico que atiende a tres pilares: la historia del corpus lingüístico seleccionado, las premisas metodológicas de la GFD y la descripción de los fenómenos lingüísticos analizados (elementos deícticos de persona que aparecen en las firmas, en las direcciones y en el cuerpo del texto, siempre que aludan a los interlocutores del intercambio epistolar). En la segunda parte, se ofrece el análisis de los textos en el nivel interpersonal, en el nivel representacional y en el nivel morfosintáctico, de acuerdo con los primordiales parámetros de la GFD. La principal conclusión defiende que la relación De Castro-Murguía denota un profundo cariño y una amplia confianza que, con constantes fluctuaciones, toma la forma de pasión amorosa y amistad en la relación Pardo Bazán-Pérez Galdós.

scholarly journals Emilia Pardo Bazán, an Ethical Writer

2018 ◽  
Vol 23 (1) ◽  
pp. 75-81
Author(s):  
Dolores Thion Soriano-Mollá
Keyword(s):  
Nineteenth Century ◽  
Public Opinion ◽  
Death Penalty ◽  
Capital Punishment ◽  
Cultural Context ◽  
Public Awareness ◽  
Moral Legitimacy ◽  
Emilia Pardo Bazan ◽  
Emilia Pardo Bazán

Within the cultural context of nineteenth-century Spain, Emilia Pardo Bazán uses literature to raise public awareness on the death penalty. Considering the seriousness of the issue, she thought that emotions – not reason – could allow people to have a better understanding and to form their own opinion. Thus, in La piedra angular, through the fictional word of Marineda, she examines the controversies linked to the legal, human, and moral legitimacy of capital punishment and to the figures of both the criminal and the executioner, but also to the nature of truth and public opinion.

scholarly journals La metáfora del viaje en Un viaje de novios de Emilia Pardo Bazán

2015 ◽  
Vol 20 ◽  
pp. 7-19
Author(s):  
Antoine Bouba Kidakou
Keyword(s):  
Nineteenth Century ◽  
Emilia Pardo Bazan ◽  
Travel Writings ◽  
Emilia Pardo Bazán ◽  
Main Protagonist ◽  
The Way

Within the vast corpus of the nineteenth century Spanish narrative, Emilia Pardo Bazán’s Un viaje de novio, deserve a different consideration due to a particular style adopted by the author and the consideration of travel as an allegory of life. The author departs, hence fore, from the way how travel was understood in the nineteenth century when writers based their travel writings or novels on the scientific and educational aspects. Pardo Bazan explores the transcendental aspect of travel fact and this paper studies the different techniques used by the writer to develop the metaphor of travel considering the geographical movement as an internal trip. The subjective and progressive transformation of the main protagonist, according to the itinerary of the trip, is studied as that internal journey.

Hurry Up and Wait: The Nigger of the ‘Narcissus’ and the Maritime in Modernism

2017 ◽  
Vol 12 (2) ◽  
pp. 173-197 ◽  
Author(s):  
Maxwell Uphaus
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Modernist Literature ◽  
Left Behind ◽  
Late Nineteenth ◽  
Cultural Role

The burgeoning subfield of literary oceanic studies has largely neglected modernist literature, maintaining that the end of the age of sail in the late nineteenth century also marks an end to maritime literature's substantive cultural role. This essay outlines a way of reading the maritime in modernism through an analysis of the engagement with history and temporality in Joseph Conrad's sea novel The Nigger of the ‘Narcissus’ (1897). The novel depicts the sea as variously an anachronistic sphere left behind by history, an integral foundation to history, an element that eclipses history, and an archive of history's repressed violence. This article traces the interactions of these various views of the sea's relationship to history, highlighting how they are shaped and inflected by the novel's treatment of race. Based on this analysis, it proposes an approach to the sea in modernist literature that focuses on its historiographical rather than social import.

Epic and Novel

2013 ◽  
Vol 68 (3) ◽  
pp. 396-422 ◽  
Author(s):  
Natasha Moore
Keyword(s):  
Nineteenth Century ◽  
Everyday Life ◽  
Economic Life ◽  
Modern World ◽  
The Novel ◽  
Aurora Leigh ◽  
Big Picture

This essay explores a peculiarly Victorian solution to what was perceived, in the middle of the nineteenth century, as a peculiarly Victorian problem: the fragmentation and miscellaneousness of the modern world. Seeking to apprehend the multiplicity and chaos of contemporary social, intellectual, political, and economic life, and to furnish it with a coherence that was threatened by encroaching religious uncertainty, Victorian poets turned to the resources of genre as a means of accommodating the heterogeneity of the age. In particular, by devising ways of fusing the conventions of the traditional epic with those of the newly ascendant novel, poets hoped to appropriate for the novelistic complexity of modern, everyday life the dignifying and totalizing tendencies of the epic. The essay reevaluates the generic hybridity of Elizabeth Barrett Browning’s Aurora Leigh (1856) as an attempt to unite two distinct kinds of length—the microscopic, cumulative detail of the novel and the big-picture sweep of the epic—in order to capture the miscellaneousness of the age and, at the same time, to restore order and meaning to the disjointed experience of modernity.

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