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Relato que narra la historia de cierta condesa mezclada con noticias de periódico, conversaciones de viajeros, imágenes del tranvía, etc., hasta componer un divertido disparate.
Obra cuyo argumento se crea mediante los desv�os rutinarios y las travesuras mentales del narrador. Es el recuento de una larga y tortuosa serie de sucesos que pasaron al narrador mientras hac�a un mandado un d�a normal en Madrid. Su orginalidad en desarrolar el trama, la cual incorpora much�simos detalles frente a la compleja naturaleza de la acci�n capta al lector hasta el final.
This exciting collection celebrates the richness and variety of the Spanish short story, from the nineteenth century to the present day. Featuring over fifty stories selected by revered translator Margaret Jull Costa, it blends old favourites and hidden gems - many of which have never before been translated into English - and introduces readers to surprising new voices as well as giants of Spanish literary culture, from Emilia Pardo Bazán and Leopoldo Alas, through Mercè Rodoreda and Manuel Rivas, to Ana Maria Matute and Javier Marías. Brimming with romance, horror, history, farce, strangeness and beauty, and showcasing alluring hairdressers, war defectors, vampiric mothers, and talismanic mandrake roots, the daring and entertaining assortment of tales in The Penguin Book of Spanish Short Stories will be a treasure trove for readers.
Es una obra cuyo argumento se crea mediante los desvaríos rutinarios y las travesuras mentales por parte del narrador. A lo largo de la obra nos cuenta una larga y tortuosa serie de sucesos que pasaron al narrador mientras hacía un recado un día normal en Madrid. Estos sucesos, consiguen formar una historia inteligible y acogedora para el narrador que los cuenta. Pero más importante que esto es el hecho de que dentro de la obra, no existe un argumento en si, es decir en la realidad del narrador, sino la apariencia de uno en los extremos de su curiosidad y confusión. La novela del tranvía destaca por su originalidad en el desarrollo de la trama, que capta al lector hasta el final. La historia comenzó por un relato de verdad que le contó al narrador un conocido suyo, Dionisio Cascajares de la Vallina, quien era un hombre entremetido y amigo de todo el mundo. Aunque no le interesaba mucho la historia, que trataba de una condesa y su mayordomo, escuchó hasta que Cascajares tuvo que bajarse del coche. Después que pasó un tiempo el narrador notó en un trozo de periódico que servía como envoltorio para los libros que llevaba los nombres de unos tanto personajes, estando entre éstos una condesa y otros más que, por increíble suerte, parecían ser los mismos del relato recién contado de Cascajares. Aunque no le interesó la primera vez, la segunda le provocó bastante interés y leyó hasta donde se había desgarrado la página, fijándose en todos los detalles, el más notable de estos siendo el copiar la letra de la Condesa en una carta cuyo destino todavía no se reveló por el estado del periódico usado
This is a short story of a man who gets on a tram to return some books to a friend. He runs into a gossipy friend who starts telling him about what may or may not be a true story. The friend, a doctor, tells him about a stunning countess who has an imprudent admirer and a scheming butler. The narrator hardly listens to the tale until the doctor reveals the butler's mysterious hold over the countess. After his interest is aroused, the man is left hanging when the doctor leaves the tram without finishing the story. The narrator realizes the newspaper he has covered the books in has a feuilleton printed that seems to pick up the doctor's story. He reads it and, despite some variations with the doctor's tale, begins to imagine characters from it entering and exiting the tram. He overhears bits and pieces of stories on his return tram ride and assumes they are part of the countess' tale and several unexpected events follow. What happens later with the man unfolds later in this intriguing and unique story.
Bly's principal revelation is that Galdós deliberately and consistently used this secondary type to emphasize the significance of the major plot developments and to underline the strengths or weaknesses of principal characters. In filling these roles the eccentric old men develop from comic shallow types into more complex secondary characters, men of insight and wisdom, who occupy a pivotal position in the novels.
Ríos-Font re-reads nineteenth- and twentieth-century Spanish texts and authors that have tested the boundary between high and low, repositioning them within Spanish critical tradition. Through these self-reflexive readings, the book explores how the definition of literature has changed in more than two centuries of modernity in Spain, and the institutional and cultural negotiations behind this change."--Jacket.
Imagined Truths provides a twenty-first-century analysis of stylistic and philosophical manifestations of nineteenth- and twentieth-century Spanish literary realism. Bringing together the work of the foremost specialists in the field of contemporary Spanish letters, this collection offers new approaches to literary and cultural criticism and reveals how Spanish realism, far from imitative of other European movements, engaged in complex and modern concepts of representation and mimesis. Imagined Truths acknowledges the critical importance of women writers and contemporary approaches to questions of gender. The essays address the impact of economics on our perceptions of reality and our constructions of everyday life, and they argue for the importance of emotions in the social construction of individual identity. Most importantly, the essays acknowledge the post-imperial turn in literary studies. Addressing a broad range of authors, works, and topics, including the continued relevance of Cervantes's Don Quijote and the way Spanish realism moved beyond narrative to inhabit the spaces of both theatre and film, Imagined Truths comprises a series of meditations on new ways of understanding the unique place of realism in Spanish cultural history. Offering insights for specialists in a wide range of disciplines - literature, cultural studies, gender studies, history, philosophy - this collection is equally important for readers just becoming acquainted with realist narrative as a central component of Spanish literary history.
In virtually every aspect of human behavior, ritual, language, and art, perceptions are organized through the act of framing. In the writing of Benito Perez Galdós, Spain's most prolific and innovative nineteenth-century novelist, Hazel Gold finds this principle insistently at work. By exploring Galdós's methods of structuring and evaluating literary and historical experience, Gold illuminates the novelist's art and uncovers the far-reaching narratological, social, and epistemological implications of his framing strategies. A close look at Galdós's novels reveals the artist at pains to contain and interpret what he perceived to be the distinctive and often disheartening experience of bourgeois liberalism of his day. At the same time, he can be seen here undermining or negating the accepted conventions of realist fiction. Looking beyond text to context, Gold examines the ways in which Galdós's work itself has been framed by readers and critics in accordance with changing allegiances to contemporary literary theory and the canon. The highly ambiguous status of the frame in Galdós's fictions confirms the author's own signal position as a writer poised at the limits between realism and modernity. Gold's work will command the interest of students of Spanish and comparative literature, narrative theory, and the novel, as well as all those for whom realism and representation are at issue.