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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.
Rosa Montero : metafiction, literary cannibalism, and the construction of personal identity -- Mapping the storied self : consciousness and cartography in the fiction of Juan Jose Millas -- Narrative schizophrenia and the anxiety of influence in the novels of Nuria Amat -- Indeterminacy for indeterminacy's sake : textual narcissism and the fiction of Javier Marías -- Narrative truth and historical truth in Javier Cercas's Soldados de Salamina -- Carlos Caneque turns metafiction against Itself
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.
The Spanish Golden Age novelist Miguel de Cervantes has long cast a shadow over the writers who have followed in his wake. This book explores the great novelist's influence on contemporary Spanish writers. The links between the Golden Age tradition and contemporary writing are examined by leading academics in the field of the Spanish contemporary novel. The collection focuses on aspects of literary technique and metafiction, particularly the role of the narrator, the mixing of fictional and real characters, and self-reflection and literary criticism within the novel. These are all techniques that have recognisable Cervantine traits. Other parallels with Cervantes's writing are explored such as the portrayal of a hero with quixotic characteristics and the imitation of specific episodes from Cervantes's works.
The codes of conduct imposed on females by Spain's dictator Francisco Franco after the Spanish Civil War (1936-39) created a stifling environment for women until his death in 1975. Beginning with Carmen Laforet's 1944 Nadal Prize-winning novel Nada, novels by women - many of which explore female identity - began to proliferate in Spain. The works examined in this study - Nada, Primera memoria (1960) by Ana Maria Matute, La placa del Diamant (1962) by Merce Rodoreda, Julia (1969) by Ana Maria Moix, El cuarto de atras (1978) by Carmen Martin Gaite, El amor es un juego solitario (1979) by Esther Tusquets, and Questio d'amor propi (1987) by Carme Riera - feature female protagonists struggling for self-realization and, by extension, for change in a restrictive Spanish society. Schumm's analysis of the seven novels demonstrates how examination of metaphoric tropes and mirror images provides insight into the protagonists' development.
"Exposing two general perspectives, both manifestations of an authoritarian past that still holds a relationship with the present, this collection reveals the ideological legacy of the past and its experience as a distressing conditioner of the present. The dissonant elements of post-Franco discourse critically analyzed by our contributors challenge the seamless narrative that tells the successful story of the Spanish transition to democracy."--BOOK JACKET.
A central figure of Spanish culture and an author in many genres, Miguel de Unamuno (1864-1936) is less well known outside Spain. He was a surprising writer and thinker: a professor of Greek who embraced metafiction and modernist methods, a proponent of Castilian Spanish although born in the Basque Country and influenced by many international writers, and an early existentialist who was yet religious. He found himself in opposition to both King Alfonso XIII and the military dictatorship of Miguel Primo de Rivera and then became involved in the political upheaval that led to the Spanish Civil War. Part 1 of this volume, "Materials," gives information on different editions and translations of Unamuno's works, on scholarly and critical secondary sources, and on Web resources. The essays in part 2, "Approaches," offer suggestions for introducing students to the range of his works--novels, essays, poetry, and drama--in Spanish language and literature, comparative literature, religion, and philosophy classrooms.
The Op-Ed Novel follows a clutch of globally renowned Spanish novelists who swept into the political sphere via the pages of El País. Their literary sensibility transformed opinion journalism, and their weekly columns changed their novels, which became venues for speculative historical claims, partisan political projects, and intellectual argument.
The relationship between fiction and historiography in Francoist Spain (1939–1975) is a contentious one. The intricacies of this relationship, in which fiction works to subvert the regime’s authority to write the past, are the focus of David K. Herzberger’s book. The narrative and rhetorical strategies of historical discourse figure in both the fiction and historiography of postwar Spain. Herzberger analyzes these strategies, identifying the structures and vocabularies they use to frame the past and endow it with particular meanings. He shows how Francoist historians sought to affirm the historical necessity of Franco by linking the regime to a heroic and Christian past, while several types of postwar fiction—such as social realism, the novel of memory, and postmodern novels—created a voice of opposition to this practice. Focusing on the concept of writing history that these opposing strategies convey, Herzberger discloses the layering of truth and meaning that lies at the heart of postwar Spanish narrative from the early 1940s to the fall of Franco. His study clearly reveals how the novel in postwar Spain became a crucial form of dissent from the past as it was conceived and used by the State. Making a decisive intervention in the debate about the ways in which narration determines both the meaning and truth of history and fiction, Narrating the Past will be of special interest to students and scholars of the politics, history, and literature of twentieth-century Spain.
Now available in a single volume paperback, this advanced reference resource for the novel and novel theory offers authoritative accounts of the history, terminology, and genre of the novel, in over 140 articles of 500-7,000 words. Entries explore the history and tradition of the novel in different areas of the world; formal elements of the novel (story, plot, character, narrator); technical aspects of the genre (such as realism, narrative structure and style); subgenres, including the bildungsroman and the graphic novel; theoretical problems, such as definitions of the novel; book history; and the novel's relationship to other arts and disciplines. The Encyclopedia is arranged in A-Z format and features entries from an international cast of over 140 scholars, overseen by an advisory board of 37 leading specialists in the field, making this the most authoritative reference resource available on the novel. This essential reference, now available in an easy-to-use, fully indexed single volume paperback, will be a vital addition to the libraries of literature students and scholars everywhere.