Mother Nature is certainly Emilia Pardo Bazan's greatest contribution to the Realistic/ Naturalistic Spanish novel of her time, and represents her literary powers at the very height of her career as a writer. It has been said that this novel presents the keenest challenges and the most compelling rewards, offering the reader the purposefully overgrown ecological, social, and moral background for a poignant central narrative of human frailty that pits the desire for personal happiness against the necessity of meeting moral standards.
The twenty-one stories selected for this volume exemplify the thematic variety, stylistic richness, and depth of characterization contained in the short fiction of one of Spain's most renowned writers. Her well-crafted depictions of 19th- and early 20th-century society reflect and examine a wide spectrum of social classes in settings both urban and rural. This volume includes Pardo Bazan's best-known stories, as well as others not previously seen in classroom anthologies.
Set against the background of civil unrest in the late 1860s after the overthrow of the monarchy - a period of turmoil, brief restoration, and the eventual triumph of the republicans in 1873 - the novel portrays the life of a young girl, Amparo, growing up in the streets of La Corufia, the city Dona Emilia knew so well from her own wanderings there some years earlier.
Although written a century ago, the sixteen stories by Emilia Pardo Bazan collected in this volume are strikingly relevant to contemporary concerns. Noted for narrative complexity, stylistic variety, and feminist themes, Pardo Bazan's stories explore many aspects of the relationships between men and women. Both outspoken and witty, melancholy and humorous, these stories will interest general readers as well as students and scholars of Spanish literature.
Emilia Pardo Bazan (1852-1921) stands as perhaps the Spanish speaking world's greatest woman novelist. Along with Galdos and Clarmn she was one of the three most important writers of late 19th century Spain. An intellectual of astounding breadth, she was the leading exponent of the Naturalist literary school in her country - as attested by her numerous theoretical writings on the subject - and was an outspoken feminist. Her many novels introduced Naturalism into Spanish literature. The Swan of Vilamorta (originally published in 1891) was among those about social decay in her native Galicia.
Emilia Pardo Bazán was born in the Galician town of A Coruña into a noble family who nurtured her lifelong thirst for knowledge. She is undoubtedly the most controversial, influential and prolific Spanish female writer of the nineteenth century, publishing a vast number of essays, social commentaries, articles, reviews, poems, plays, novels, novellas and short stories. Her third novel, La Tribuna, heralds a new age in Spanish literature, a naturalist work of fiction that examines the situation of contemporary women workers. The author's preparation for the novel involved reading and consulting contemporary pamphlets and newspapers, as well as spending two months in a Galician tobacco factory observing and listening to conversations. This method, common in English writers like Dickens and frequently adopted in France by the masters of Realism, was almost unprecedented in Spain. Set against a background of turmoil and civil unrest, La Tribuna reflects the author's interest in the position of women in Spanish society. The working-class heroine, Amparo, develops from a shapeless, apolitical street urchin into a masterpiece of femininity, a charismatic orator who becomes a 'tribune' of the people. At the same time, however, she allows herself to be seduced by a prosperous middle-class youth whose promises prove to be just as empty as the revolutionary slogans in which she believes so fervently.
This rich and unforgettable story of sexual intrigue and political scheming, written by the Spanish feminist and intellectual Emilia Pardo Bazan, deserves recognition as one of the great nineteenth-century novels. The House of Ulloa follows pure and pious Father Julián Alvarez, who is sent to a remote country estate to put the affairs of the marquis, an irresponsible libertine, in order. When he discovers moral decadence, cruelty and corruption at his new home, Julián's well-meaning but ineffectual attempts to prevent the fall of the House of Ulloa end in tragedy. The House of Ulloa is the finest achievement of Emilia Pardo Bazán, a prolific writer, feminist, traveller and intellectual, and one of the most dynamic figures of her time. Fans of Zola or Hardy will enjoy the novel's rich naturalism, which combines gothic elements with evocative descriptions of Spanish customs and the countryside. At the same time, the novel evokes the social comedy of a Dickens or Thackeray with its biting social satire, frank exposure of sexual mores, and gentle mockery of its innocent hero-priest.
This is a collection of stories by Emilia Pardo Bazan (1851-1921), a Spanish author who often found the subject matter of her stories in the mysteries and vicissitudes of life. Some of her tales are fictional accounts of actual occurrences or people ("The Pardon," "A Galician Mother," and "The Lady Bandit"); others are a defense of women subjugated by a double standard ("The Guilty Woman" and "The Faithful Fiancee"); a number focus on the figure of the rural priest ("A Descendant of the Cid" and "Don Carmelo's Salvation," for example). One highly symbolic story - "The White Horse" - qualifies Pardo Bazan as the godmother of the Generation of 98, the group of writers who exhorted Spain to begin anew, ridding itself of inertia, apathy, and fixation on past glories. Several of the collected tales are like contemporary suspense thrillers (such as "The Cuff Link" and "The White Hair"), while many others reveal a keen psychological insight ("The Torn Lace," "The Substitute," "Scissors," "The Nurse," and "Rescue"). Pardo Bazan's themes are fear, love, hatred, forgiveness, cruelty, poverty, necrophilia, repentance, homesickness, and madness - that is, naked reality, bitter reality, and often an ugly, vicious reality." "One of the indisputable giants of the nineteenth-century short story is Guy de Maupassant. Pardo Bazan met him (along with Daudet and Zola) in France and considered him - author of "The Horla" - to be the master of short story writers. However, although Maupassant influenced her (most notably in psychological inquiry and careful attention to realistic detail), Pardo Bazan put her own stamp on her stories and developed a style sui generis, the most striking feature of which is brevity." "The essence of Pardo Bazan's approach is to engage the reader as quickly as possible, certainly in the first paragraph, frequently in the first few sentences. Some aspect of a character or an episode is brought to light and the story unfolds rapidly. There are third-person narratives in which the author occasionally injects herself or her point of view. Other narratives are presented wholly in the first person - some by an omniscient narrator, some by the "players"; and, from time to time, Pardo Bazan has someone else tell the story to her, and then as narrator she becomes the audience." "It is entirely plausible that some of her graphic descriptions were intended to blunt accusations of softness (i.e., femininity) that in her era would - foolishly, but automatically - have been associated with a woman writer. Still, when the time came to represent the plight of women - in terms of natural, understandable sexual needs and intellectual acceptance - Pardo Bazan captured the anguish and inferior status of her Spanish sisters."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Emilia Pardo Bazán publica "Insolación" cuando ya había sido reconocida como gran novelista tras el éxito de las narraciones de "Los Pazos de Ulloa" y "La Madre Naturaleza". Sus conocimientos sobre la novela europea la llevan entonces a la tribuna del Ateneo y comienza a enviar crónicas de su viaje a Italia a "El Imparcial". "Insolación" es, según su autora, un "estudio episódico". La inexorable premisa naturalista está ausente en esta novela, la presencia del mundo exterior es mas relevante y está subordinada al mundo íntimo de las criaturas literarias. Esto se plasmará en el empleo de una inusitada y más compleja técnica narrativa, de la que el episodio de la Marquesa de Andrade será el inicio de una fase de narración más espiritualista en el sostenido realismo de Emilia Pardo Bazán.
Emilia Pardo Bazan (1852-1921) stands as perhaps the Spanish speaking world's greatest woman novelist. Along with Galdos and Clarin she was one of the three most important writers of late 19th century Spain. An intellectual of astounding breadth, she was the leading exponent of the Naturalist literary school in her country-as attested by her numerous theoretical writings on the subject-and was an outspoken feminist. Her many novels introduced Naturalism into Spanish literature. The Swan of Vilamorta (originally published in 1891) was among those about social decay in her native Galicia.
Emilia Pardo Bazan (1851-1921) was a Spanish novelist, journalist, poet, critic, editor and professor known both for introducing realism to Spanish literature and as a standard bearer for women's rights. This novel was first published in 1885.
Emilia Pardo Bazan (1851-1921) was a Spanish novelist, journalist, poet, critic, editor and professor known both for introducing realism to Spanish literature and as a standard bearer for women's rights. This novel was first published in 1890.
Emilia Pardo Bazan (1851-1921) was a Spanish novelist, journalist, poet, critic, editor and professor known both for introducing realism to Spanish literature and as a standard bearer for women's rights. This novel was first published in the original Spanish in 1889 and is reprinted from an English translation of 1891 which is illustrated throughout.
CONTENTS First Love, by Emilia Pardo Bazan An Andalusian Duel, by Serafin Estebanez Calderon Mariquita the Bald, by Juan Eugenio Hartzenbusch The Love of Clotilde, by Armando Palacio Valdes Captain Veneno's Proposal of Marriage, by Pedro Antonio de Alarcon
When it was published in 1889, the perceived promiscuity of Emilia Pardo Bazán's Insolación scandalised the reading public as well as critics. Nowadays, this simple love story illustrating the double standards of a society that expects of men what it denigrates in women is recognised as a psychological masterpiece.
Gipsy. Emilia Pardo Bazán Fragmento de la obra Aquel día los laceros del Ayuntamiento de Madrid hicieron famosa presa. En el sucio carro donde se hacinan mustios o gruñidores los perros errantes, famélicos, extenuados de hambre y de calor, fue lanzada una perrita inglesa, de la raza más pura; una galga de ese gris que afrenta al raso, toda reflejos la piel, una monería; estrecho el hocico, delicadas como cañas las patitas, y ciñendo el pescuezo flexible un collarín original: imitado en esmalte blanco sobre oro un cuello de camisa planchado con las dos pajaritas dobladas graciosamente, y una minúscula corbata azul, cuyo lazo sujetaba un cuquísimo imperdible de rubíes calibrés; todo ello en miniatura, lo más gentil del mundo. Atónita, crispada de miedo, se apelotonó la galga en un rincón del hediondo carro, aislándose, a fuer de señorita que se respeta, de los tres o cuatro chuchos que lo ocupaban desde antes. El instinto de hallarse en poder de un enemigo superior impedía que aquellos canes armasen camorra, que se amenazasen enseñando los dientes fuertes y blancos. Ni aun les preocupaba que la galguita perteneciese a otro sexo, y menos que procediese de esferas sociales para ellos inaccesibles. Mohínos, zarandeados por el saltar de las ruedas del carrángano sobre el pavimento, los bordoneros se engurruminaban y encogían, esperando a ver qué giro iba a tomar la aventura. No sabían ellos, a pesar de su experiencia de golfos hambrones, que aventuras tales siempre terminan en el depósito, en aquel gran patio cercado de un muro de ladrillo, con sus tres corralillos separados, revestidos de cemento, de los cuales el tercero es ya antesala del suplico por asfixia...
Escritora y periodista española, Emilia Pardo Bazán (1851- 1921), es considerada como una de las novelistas clave en el realismo y el naturalismo español del siglo XIX y principios del XX. No solo fue un referente literario, sino que su defensa de los derechos de la mujer la convirtió en una de las primeras feministas españolas. Fue la lectura de Emile Zola uno de los impulsos decisivos para que Pardo Bazán desarrollase una fecundísima carrera literaria. Justamente de la mano del escritor francés, al que conocería personalmente en uno de los viajes que realizó por Europa, la escritora gallega trasladó a España la corriente literaria en boga en aquellos años, el naturalismo. Durante toda su vida recibirá el reconocimiento de personalidades de su época con los que mantendrá una larga correspondencia como es el caso de Benito Pérez Galdós, Lázaro Galdiano, Marcelino Menéndez Pelayo o Blanca de los Ríos. En sus obras analiza la sociedad española, su problemática política, religiosa y social. Aunque los ambientes rurales gallegos son los dominantes, también recrea ambientes urbanos, sobre todo ciudades como La Coruña. Estilísticamente, como autora naturalista, destacan sus descripciones extremadamente detalladas y los profundos retratos tanto biológicos como psicológicos, especialmente de las mujeres. Pero Emilia Pardo Bazán fue reconocida también por su lucha incansable por la emancipación de la mujer, introdujo en España el debate francés y británico sobre feminismo. Entre 1892 y 1914 dirigió y financió la Biblioteca de la mujer, un proyecto editorial cuyo objetivo principal era la difusión entre un público femenino de ideas progresistas relacionadas con los derechos de la mujer. Se autodefinió como feminista y protagonizó conferencias y discursos en un tono adelantado para su época. Una de las autoras españolas más prolíficas, en digital de la mano de Linkgua narrativa.
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