Showing papers in "Hispanic Review in 1983"

"Los infortunios de Alonso Ramírez": picaresca e historia

Abstract: L'A. se refuse a definir Los infortunos... comme un texte ou historique ou fictionnel. Il veut montrer qu'il s'agit d'un texte qui englobe ces deux categories, fiction et histoire, a l'interieur du contexte de la litterature espagnole et coloniale du XVII siecle.

Writing and scripture in the "Libro de Apolonio": the conflation of hagiography and romance

Abstract: H ANS-ROBERT Jauss, in his study of medieval genre theory, has observed that: "la litterature medievale romane n'est pas simplement une somme arbitraire, mais un ordre latent ou une suite d'ordres de genres litteraires. Cet ordre nous est donne dans quelques temoignages d'auteurs medievaux et par le choix et l'ordonnance des textes dans des collections de manuscrits encore inexploites en ce sens."1 The Libro de Apolonio (=LA)2 is a particularly intriguing text in this regard, for it involves a highly innovative "suite d'ordres de genres" which remains to be studied. Investigations of this thirteenth-century romance have been confined largely to: (1) aspects of its linguistic function as part of the mester de clerecia corpus-in an attempt to define the semantic field of clerecia and the poetry to which it gave rise;3 and (2) its literary "reception"4-

El rito de la iniciacion en el cuento hispanoamericano

Abstract: Le rite de l'initiation dans la nouvelle latino-americaine| Gaspard de la nuit et Ana Maria de J. Donoso, la increible y triste historia de la candida Erendira y suabuela desalmada de G. Garcia Marquez et Carpincheros de A. Roa Bastos.

Carnival in "Don Juan Tenorio"

Abstract: Interpretation de cette piece de J. Zorrilla dans laquelle la lettre ecrite par Don Juan a Ines se revele etre l'embleme des distorsions spatiale et temporelle de l'action dramatique, distorsions qui sont celles du carnaval. La circulation de cette lettre structure de plus l'action dramatique.

Family ties and tyrannies: a reassessment of Jacinta

Abstract: F ORTUNATA Y JACINTA is structured basically upon the dialectical opposition of two social spheres: the netherworld of the poor and the realm of the high bourgeoisie-mercantile families like the Santa Cruz's and Moreno-Islas who sit atop the pyramid of power The two spheres shade reciprocally into a third, that of the petty bourgeoisie made up of disgruntled office-seekers-Juan Pablo Rubin, Don Basilio Andres de la Cania, the tragic Villamil, households like Dofia Lupe's and las Samaniegas, the druggist Ballester, and the usurer Torquemada Each sphere is connected by plot: Juanito Santa Cruz's liaison with Fortunata, the orphaned working-class girl who eventually marries Maximiliano Rubin, Donia Lupe's nephew The spheres are also connected by people who because of family ties, profession, or temperament, move freely from one level to another: Estupiina, Guillermina, Mauricia la Dura, Feijoo The main structural element underpinning the plot is that "tan dilatado y laberintico arbol" (p 66)-the Santa Cruz family tree1 Like the tree or madrono emblematic of Madrid, its trunk and branches reach out to every sector of the city, stemming, ever so remotely, from an obscure harness-maker on Toledo street, to crest at the top in the exquisite refinement of Don Manuel Moreno-Isla,

Epics and Chronicles: a reply to armistead

Abstract: IN several recent publications, my admired friend Professor Samuel G. Armistead has launched, in terms strongly but courteously polemical, attacks on what he sees as weak points of the modestly new approach which some of us have been making to the medieval Spanish epic. "Some of us" are to be identified by labels which others have pasted upon us-"neo-individualist," "the British school"-even though such labelling suggests a collective and even programmatic attitude which certainly does not hold good. Professor Armistead's words have constituted an invitation, even a challenge, to reply. The most trenchant of his studies, in this respect, is "The Mocedades de Rodrigo and Neo-Individualist Theory."' Since I am named several times in this, after some hesitation I pick up Professor Armistead's vigorously thrown gauntlet while shaking-if the mixture of metaphor be allowed-the hand that it enclosed, in sign of affectionate greeting. In Professor Armistead's brief pages, cogently reasoned and amply supported by references, there is much that stimulates thought and might produce response. Here I limit myself to one of his main themes: that successive versions of the Spanish chronicles demonstrate (as Menendez Pidal held but as can now be seen more clearly thanks to the work of Armistead and others) a dependence upon successive variations of epic poems which have gone on evolving, que han vivido en variantes, over very long periods. In his Appendix and for the Mocedades only, Professor Armistead details seven major variations of the Mocedades theme, adding (p. 320) that these seven are merely those we happen to know about, and that the true number is very much larger, indeed vast. For