Dissertations / Theses on the topic 'Emilia Pardo Bazán'

Dans ce travail, nous analysons l’œuvre journalistique d’Emilia Pardo Bazán, une facette peu étudiée de son activité littéraire. Sa renommée de créatrice de fictions a laissé dans l’ombre cette carrière de journaliste à laquelle elle s’est consacrée pendant quarante-cinq en collaborant à différents journaux, À partir de l’examen des écrits journalistiques nous examinons la place qu’occupe la presse dans l’ensemble de son œuvre et, plus largement, le rôle que cette femme joue dans le journalisme espagnol à la charnière des XIXème et XXème siècles. Nous apprécions dans quelle mesure son identité d’écrivaine se construit en relation avec son expérience journalistique, comment son discours se nourrit de ces deux modalités d’écriture et par conséquent, quels sont les rapports entre sa création littéraire et sa production journalistique
In this essay, we analyse the journalistic work of Emilia Pardo Bazán, a facet of her intense literary activity which has been scarcely studied. Her reputation as an author of fiction has overshadowed this journalistic career to which she has devoted herself for forty-five years, contributing to different newspapers, as a magazine director, correspondent or founder and only editor of the Nuevo Teatro Crítico… Through the study of these activities and of her journalistic writings we analyse the place that the press occupies in her work and, more generally, the role which this woman plays in Spanish journalism at the passage from the 19th to the 20th centuries. We appreciate to what extent her identity as a writer is built up in relation to her journalistic experience, how her discourse feeds on these two writing modalities and, consequently, which is the connection between her literary creation and her journalistic production

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Propõe-se a leitura e tradução dos contos El amor asesinado, El dominó verde, La novia fiel, El encaje roto e Sangre del brazo, de Emilia Pardo Bazán, escritora espanhola da segunda metade do século XIX e começo do século XX. Com essa tradução, busca-se aprofundar a leitura da obra da autora, atentando em particular para a organização sintático-semântica do texto. Com uma visão pessimista do amor, Pardo Bazán faz de seus contos espelhos que refletem a situação da mulher e dos que a cercam. O relacionamento de casal é o tema central, destacando-se, de forma especial, o fracasso amoroso e a não realização dos sonhos de conquista da felicidade ao lado do ser amado. Apoiam-nos neste trabalho os escritos de Pilar Folguera Crespo (1997) em Historia de las mujeres en España, para a observação dos papéis de gênero registrados nos escritos de Pardo Bazán, de Ángeles Quesada Novás (2005), para o estudo do amor nos contos analisados, de Michaël Oustinoff (2011), para a discussão do traduzir como operação fundamental da linguagem, e de Antoine Berman (2007), para a questão da eticidade na tradução. Palavras-chave: Emilia Pardo Bazán- Cuentos de amor. Questões de gênero. Tradução do texto literário.

El trabajo se ocupa del cambio de actitud literaria que en las últimas décadas del siglo XIX se advierte en la producción literaria de Emilia Pardo Bazán, desde una afinidad mitigada a los postulados del naturalismo hacia un enfoque en el que prima los derroteros marcados por un nuevo enfoque “espiritualista”. El cambio se advierte especialmente en la producción crítica de la autora, en la que se avanza en la reflexión sobre el cambio necesario de una a otra actitud. Emilia Pardo Bazán publica a finales del siglo XIX en La España Moderna un trabajo sobre la figura de Rod, representante de la nueva tendencia, que editamos.
The work deals with the literary change in the last decades of the nineteenth century (in the literary production of Emilia Pardo Bazán) from the Naturalism to the Spiritualism. Emilia Pardo Bazán published several works about Rod, representing the new trend. We publish “Escritores franceses contemporáneos: Rod”.

Emilia Pardo Bazán est à l’origine de plusieurs œuvres ayant une grande influence spirituelle et catholique. Cette recherche étudie trois de ses contes du XIXème siècle qui mettent en évidence le personnage d’un pèlerin: El Peregrino, La danza del peregrino et La Borgoñona. Selon nous, ces contes ont la particularité d’être didactiques et ont une intention moralisatrice. Nous croyons que les points de vue des différents narrateurs incitent à un changement d’idéologie dans la société espagnole du XIXème siècle. L’étude du contexte historique et social de l’Espagne durant cette époque, ce qui inclut aussi la bibliographie de l’auteure, nous permettra de vérifier notre hypothèse. De plus, une analyse détaillée des différents narrateurs de chacun des contes, en utilisant la méthode proposée par Lintvelt, semble impérative. Ensuite, nous appliquons quelques concepts de sociocritique dans le but d’analyser les classes sociales et les luttes qui y sont représentées. Finalement, la définition de Goldmann nous est primordiale pour nous permettre de trouver la vision du monde qui ressort de chacune de ces histoires. L’ensemble de ce travail permet de démontrer l’intention derrière ces trois contes et de vérifier s’ils révèlent une grande influence catholique comme plusieurs autres œuvres de la même auteure.

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Sobre modos e moda: a escritura de Emilia Pardo Bazán e Ilza Etienne Dessaune é um trabalho de pesquisa que traz o olhar focado num possível diálogo entre textos escritos por essas duas escritoras, à luz da teoria e crítica da literatura comparada. Como objetivo analisa os aspectos intertextuais, no que se refere às reflexões sobre a moda e sobre o modo de pensar e de expressar a mulher na sociedade de meados do século XIX ao início do século XX, tema presente tanto nas crônicas de Pardo Bazán como nas de Dessaune, corpus dessa pesquisa. Emilia Pardo Bazán (1851- 1921), espanhola, galega, nascida em La Coruña, tem profícua produção literária e, neste estudo, destacam-se as publicações na seção La Vida Contemporánea, do periódico La Ilustración Artística. Ela é conhecida por liderar a luta na Espanha pelos direitos da mulher à educação e do trabalho remunerado. Ilza Etienne Dessaune (1900 - 1988), brasileira, capixaba, nascida na Vila do Itapemirim, no interior do Espírito Santo, foi cronista de modos e moda da coluna Feminea, da Revista Vida Capichaba, que obteve grande repercussão em terras capixabas. A imprensa foi grande aliada da mulher, que se tornou leitora, mas também colaboradora diretora e proprietária de jornais e revistas. A moda foi a mola propulsora que sustentou e autorizou a voz feminina impressa. Os capítulos deste trabalho dão notícia da investigação histórica feita em fontes primárias e secundárias, bem como da investigação exploratória feita por meio do levantamento bibliográfico e da análise de textos que culminaram na compreensão de nosso objeto de estudo. Serviram de aportes teóricos e críticos autores como Dulcília Helena Buitoni, Ana Maria Díaz Marcos, Guilles Lipovetsky, Hans Robert Jauss, June Edith Hahner, Ana Maria Freire López, Eduardo Ruiz-Ocaña Dueñas, Maria Mirtis Caser e Michelle Perrot.

Dans ce travail, nous analysons les contes d’Emilia Pardo Bazán parus dans le journal, d’obédience monarchique, Blanco y Negro entre 1895 et 1910. Femme de Lettres très féconde, elle n’en demeure pas moins une journaliste très engagée dans un siècle finissant et en pleine mutation. Ainsi, nous étudions ses activités journalistiques et littéraires en relation avec ses engagements socio- politiques et décortiquons sa collaboration avec le journal. Nous examinons aussi comment son statut de femme journaliste influence son œuvre littéraire. L’interférence entre les deux modes d’écriture est analysée à partir de l’édition de texte et de la structuration du récit. Nous déterminons les relations entre les deux discours étant donné qu’ils s’abreuvent des deux modalités d’écriture
In this essay, we have analysed the tales of Emilia Pardo Bazán published in the newspaper, of monarchical obedience, Blanco y Negro between 1895 and 1910. A very fertile woman of letters, she is nonetheless a journalist very committed to a century ending and changing. Thus, we have studied her journalistic and literary activities in relation to her socio-political commitments and let's dissect her collaboration with the newspaper. We have also examined how her status as a female journalist has influenced her literary work. The interference between the two writing modes is analysed from the text editing and structuring of the story. We have determined the relationship between the two discourses as they have drunk from both writing methods

Les nombreux récits courts publiés par la comtesse de Pardo Bazán offrent un vivant témoignage des préoccupations littéraires et sociétales d’un auteur toujours soucieux de connaître les courants littéraires européens. La cruauté est au centre de ce travail : le constat d’une insistance pour les descriptions de corps meurtris et ensanglantés, la prédilection de doña Emilia pour les tonalités dramatiques et tragiques engagent une réflexion autour du pouvoir tout à la fois réformateur et fascinant de l’écriture de la souffrance. Le premier temps de cette étude vise à situer l’écrivain au sein des lettres cruelles : le naturalisme, le roman russe, le genre policier, la tradition du conte fantastique et des faits-divers constituent un terreau littéraire cruel dont s’est nourri l’auteur. Notre intérêt se portera ensuite sur la poétique de la cruauté dans les récits courts : les recensements lexicaux, la mise en évidence de répétitions et d’invariants mettront en lumière la création d’un « effet cruel » au pouvoir parfois prophylactique. C’est enfin par le prisme d’une étude psychanalytique que nous étudierons notre corpus : le sang et les souffrances sont le témoignage d’images obsédantes et de fantasmes révélateurs d’un matériel psychique enfoui d’une grande éloquence pour appréhender une écriture de l’excès. et fascinant de l’écriture de la souffrance. Le premier temps de cette étude vise à situer l’écrivain au sein des lettres cruelles : le naturalisme, le roman russe, le genre policier, la tradition du conte fantastique et des faits-divers constituent un terreau littéraire cruel dont s’est nourri l’auteur. Notre intérêt se portera ensuite sur la poétique de la cruauté dans les récits courts : les recensements lexicaux, la mise en évidence de répétitions et d’invariants mettront en lumière la création d’un « effet cruel » au pouvoir parfois prophylactique. C’est enfin par le prisme d’une étude psychanalytique que nous étudierons notre corpus : le sang et les souffrances sont le témoignage d’images obsédantes et de fantasmes révélateurs d’un matériel psychique enfoui d’une grande éloquence pour appréhender une écriture de l’excès
The numerous short narratives published by Countess Pardo Bazán present us with a vivid testimony of the literary and societal considerations of an author who took great care at being aware of the European literary trends. Cruelty lies at the core of this work, with an emphasis laid on the description of bruised and bloody bodies and Doña Emilia’s partiality for dramatic and tragic tones. This triggers a reflection revolving around the writing of suffering, with both its reformative and mesmerizing power. The first part of this study aims at positioning the writer amidst cruel humanities- id est, naturalism, the Russian novel, the detective genre, the tradition of fantasy tales and of new-items. They constitute the literary roots on which the author drew.The focus will then be laid on the poetic devices of cruelty in short narratives. The semantic fields, the unraveling of repetitions and permanent features will highlight the creation of “a cruel effect”, the apex of which sometimes ends up being prophylactic. Last but not least, the corpus will be studied through the spectrum of psychoanalysis. Blood and suffering indeed testify to the pregnance of obsessive images and fantasies. Their presence unravels a psychic web intertwined with great eloquence, so as to convey the writing of excess

En 1948, à Paris, La Déclaration des Droits de l'homme a été déclarée « universelle » par l'Assemblée générale des Nations unies. Najm-oud-Dine Bammate, Délégué plénipotentiaire de l'Afghanistan, a joué un rôle important dans cet acte qui reconnaissait le droit de toutes les femmes d'apprendre à lire et à écrire malgré les réticences de certains pays musulmans. En 1855, des Anglaises connues comme Harriet Barret Browning et Lady Caroline Norton avaient déjà ouvert ce débat « féministe ». Nous nous sommes proposé de savoir quel avait été l'apport réel de George Sand (1804-1876) et d'Emilia Pardo Bazán (1852-1921), romancières célèbres en France et en Espagne, à la cause des femmes en sélectionnant un corpus de leurs romans. Puis, nous avons remonté le cours du temps en comparant les parcours de ces deux femmes exceptionnelles de l'enfance à l'adolescence. Ensuite, ce sont des types de femmes, de la paysanne à la femme du monde présentes dans leurs ouvrages qui ont été comparées. Les deux romancières ont évolué hors de l'espace privé de vies conjugales brisées pour devenir des femmes de lettres et affronter le milieu fermé des hommes de lettres. Quelle a été leur contribution réelle à une amélioration de la condition féminine ? Telle était notre problématique initiale. Il semblerait que la célébrité les ait isolées, tandis qu'elles se refusaient toutes deux à s'engager plus avant dans l'action politique militante pour défendre les droits des plus défavorisées
In Paris, in 1948, the Declaration of Human Rights became « universal » and officially acknowledged by the General Assembly of the United Nations. Najm-oud-Dine Bammate, Plenipotentiary Delegate of Afghanistan played an important part in the recognition of the rights of all women to learn to read and write in spite of objections raised by the representatives of some Muslim countries. In 1855, some well-known English women such as Elizabeth Barret Browning had already raised officially this « feminist » debate. We decided to select some of George Sand's and Emilia Pardo Bazán's novels, to find out how if these two famous novelists of the XIXnth century had improved the social status of women in France and in Spain. These two young girls became « femmes de lettres » after their broken mariages. Then a rich and varied gallery of portraits of types of women is presented to the reader and compared. The rate of illeteracy was very high and the readers were few. False images in France and in Spain were commonly admitted. Both novelists also had to face the close circle of the « hommes de lettres » reluctant to admit these new comers. What was their real contribution to the improval of the social status of all women ? was the problematic question posed at the beginning of this thesis. The answer is not straightforward, because, although well intentioned, for many reasons, they were reluctant to involve themselves in politics when the rights of all women could have been improved on a legal basis

L'étude intitulée : " La société comme matière romanesque ". Convergences naturalistes dans les romans de Zola, Clarín, Pérez Galdós et Emilia Pardo Bazán se propose d'analyser l'influence de l'auteur des Rougon-Macquart sur ses confrères espagnols. Le Second Empire français et la société espagnole de la Restauration seront amenés au premier plan de la scène littéraire. Dans les œuvres de Zola ou des naturalistes espagnols, la bourgeoisie et le peuple exprimeront les changements sociaux et économiques de chaque pays et de l'époque moderne. Grâce à la description naturaliste, au discours indirect libre et au registre de langue familier, Zola et les naturalistes espagnols vont recréer dans leurs textes la société contemporaine. Le déterminisme, physiologique ou social, interviendra dans la composition des personnages de Zola et des naturalistes espagnols. Toutefois, Galdós, Clarín et doña Emilia ne pousseront jamais leurs protagonistes jusqu'aux abîmes de l'animalité comme le fit Zola. Enfin, le naturalisme espagnol s'orientera très tôt vers une forme de spiritualisme, qu'on peut replacer par rapport à l'évolution de la littérature française de la seconde moitié du XIXème siècle annonçant le Décadentisme
This study entitled, "Society as a subject for a novel". The convergence of elements of Naturalism in the novels of Zola, Clarín, Pérez Galdós and Emilia Pardo Bazán, endeavours to analyze the influence of the author of the Rougon-Macquart series on his fellow spanish authors. The Second Empire and the Spanish Restoration period will be shown to have been at the forefront of the literary scene. In Zola's works and those of the spanish naturalist writers, the middle class and the working class will express the economic and social changes in each country and in modern society. In their novels, Zola and the spanish naturalists manage to depict the society in which they lived from a literary point of view through the use of naturalist description, free indirect speech and everyday language. Both physiological or sociological determinism will play their part in the creation of Zola's Characters and those of the Spanish naturalists. However Galdós, Clarín and doña Emilia Pardo Bazán will never portray their characters in the same primitive way as Zola. Finally, spanish naturalism will soon develop into a form of spiritualism that is more characteristic of the French literature of the second half of the nineteenth century, the period which heralded the Decadent movement

Pendant la seconde moitié du XIXe siècle, Lima était une ville en train de se moderniser grâce à la richesse du guano. Dans les années 1870 émerge un groupe de femmes de lettres qui s'appuient sur la presse et les institutions littéraires. Elles trouvent des espaces ouverts à leur expression artistique et à leurs idées comme les Veladas Literarias. Après la Guerre du Pacifique (1879-1883), après l'occupation de la ville de Lima par l'armée chilienne, quelques intellectuels ont évolué vers une écriture plus critique de la société. Mercedes Cabello de Carbonera (1842-1909) est la première romancière au Pérou avec une production très importante. Elle construit ses romans à partir d'un regard sociologique sur la condition de la femme, car elle croit que de cela dépend la transformation morale de la société, et par conséquent le progrès.Nous développons notre recherche en trois parties. Dans la première, nous nous occupons du contexte politique, social et culturel et de l'éducation en particulier des femmes de lettres comme Cabello. Dans la deuxième partie, nous analysons les articles et les six romans de Cabello divisés en trois périodes (les romans traditionnels, les romans de la réécriture et les romans de la transgression) ; finalement, dans la dernière partie, nous établissons une comparaison avec d'autres femmes de lettres de l'époque : Soledad Acosta, Colombienne, et Emilia Pardo Bazán, pour distinguer la singularité du réalisme péruvien, et la représentation de la femme, par rapport à la production littéraire d'autres pays hispanophones.

碩士
淡江大學
西班牙語文學系碩士班
105
In 1868, the glorious revolution in Spain, led to large-scale changes in domestic politics. Bazán was sixteen, and she with her parents traveled to the European countries. During the trip, she absorbed many ideas and doctrines. After returning to Spain, she showed the results of absorbing the literature of various countries, her excellent writing skill. However, at that time, patriarchism prevailed in society, women had little chance to show their abilities, but Bazán was lucky, her position in the literature world could be side by side with men. “Los Pazos de Ulloa” was Bazán’s representative work, it was a novel about the decline of the feudalism. The topics include: emotion, culture, morality, power, status, economy, politics, etc. In such a complex relationship between the charactes, we can find out the reason for the decline of feudalismo. Inaddition, This novel is the epitome of the Spanish nineteenth century feudal society. Bazán also joined the real historical events to increase the authenticity of the story and she revealed many social problems to make readers introspect and took those issues seriously. This tesis is based on Theory of Field from Pierre Bourdieu. The social space is divided into two main areas: urban and rural. The field is also divided into three categories: Cultural, Economic, Power. By observing the protagonist Pedro, it will let us know what role he played and what position he occupied in the social space. The cause of space changes and the reasons for the transfer is field, habit, capital. Habit is a person's character and personality, it will affect the winning capital of characters, and thus affect the location in the field.

The late-nineteenth-century realist canon in Spain is filled with male characters who are physically weak, effeminate, ineffectual, infantilized, or impotent, and, thus, decidedly "unmanly," which indicates a collective societal anxiety about masculinity in Spain at the end of the nineteenth century. I argue that this anxiety about masculinity stems from another societal worry about Spain's backwardness with respect to its more modern European neighbors and the uneven rate of modernization with its own borders. I explore these issues in four novels by Galician-born realist author Emilia Pardo Bazán: La Tribuna (1882), Los Pazos de Ulloa (1886), La Madre Naturaleza (1887), and Memorias de un solterón (1896). I analyze these texts in light of historical and theoretical work on post-Enlightenment masculinity by scholars, such as George Mosse, John Tosh, Christopher Forth, and R. W. Connell.

In the first chapter, I trace the development of the post-Enlightenment, Western, model of manliness, a primarily urban, bourgeois phenomenon, which privileged rational intellect and individual hard work. I then compare the pace and extent of modernization in Spain and England to show how Spain lacked the material conditions that would allow most Spanish men to embody modern masculinity in the late nineteenth century. For the remaining chapters, I turn my attention to Los Pazos de Ulloa, La Madre Naturaleza, and Memorias de un solterón. Each of these novels shows, in different ways, how the modern masculine ideal coexists and conflicts with other pre-Enlightenment models of manliness--based on aristocratic leisure, military prowess, or brute force. I argue that the problems faced by the male characters in these novels are a direct result of this clash of masculinities, which in turn reflects Spain's economic stagnation in the nineteenth century. In Chapter II, I show how the refusal of the rural, Galician aristocracy to embrace certain hallmarks of the modern masculine ideal, such as hard work and Enlightenment thought, leads to a destabilization of feudal hierarchies in Los Pazos de Ulloa. I then argue that this destabilization results in the pervasiveness of violence in the novel. Chapter III focuses on La Madre Naturaleza. I contend that its narrator recognizes that change must come to rural Galicia and, thus, makes a gesture toward reconciling traditional and modern values, as well as pre-Enlightenment and post-Enlightenment models of masculinity. I then show how this reconciliation ultimately fails because the narrator condemns the social mobility upon which modernization and modern masculinity depend. In Chapter IV, I discuss the importance of marriage and fatherhood to the enactment of modern masculinity in Memorias de un solterón. I then illustrate how, in the Galician provincial capital in which the novel is set, social and economic conditions make life as a bourgeois husband and father undesirable at best, and ruinous at worst.

Dissertation

This research project discusses the construction of human nature in the medical-scientific discourse of the second half of the nineteenth century in three different works from the Naturalism movement: O Homem (1887), by the Brazilian author Aluísio Azevedo; Sin Rumbo (1885), by the Argentinian Eugenio Cambacérès Alaias; Los pazos de Ulloa (1886), by the Galician author Emilia Pardo Bazán. My arrival at this topic -the human condition in medical-scientific discourse- developed from reading The Political Technology of Individuals (1982), where Michel Foucault affirmed that the art of governing people at the turn of the nineteenth century is based on the observation of the nature of governed subjects (149). Thus, my endeavor is to answer some of the questions raised by Foucault’s claim such as: how is the human subject portrayed in the medical-scientific discourse, and what status is it given? Hence, I begin my analysis with La Psychologie comme science naturelle: son présent & son avenir (1876), a theoretical text developed within the medical-scientific framework, and whose author Joseph Delboeuf was a member of the Nancy School, founded in 1882. This text was cited in La cuestión palpitante by Emilia Pardo Bazán, a work in which the notion of being is depicted as a split into two dimensions: the physical and the subjective. Many authors, like Charles Taylor in Source of the self. The making of the modern identity (1989), for example, have observed this historical and uniquely modern phenomenon, I attempt to focus on the consequences of this process of the division of human nature, such as the institutionalization of a diseased state of self, as well as the death of God and being, and finally, the restoration of Catholic tradition contra medical-scientific discourse.
Este trabalho problematiza a construção da natureza humana no discurso médico-científico da segunda metade do século XIX em quatro diferentes obras: O Homem (1887), do escritor brasileiro Aluísio Azevedo, Sin Rumbo (1885), do argentino Eugenio Cambaceres, La cuestión palpitante (1883) e Los pazos de Ulloa (1886), ambas da escritora espanhola Emilia Pardo Bazán. O tema em questão surgiu da leitura de The Political Technology of Individuals (1982), no qual Michel Foucault afirma que o fundamento da arte de governar, que surge no final do século XVIII, seria a observação da natureza daqueles que são governados (149). A partir desta sentença, procuramos responder algumas questões, por exemplo: como o discurso médico-científico tratou o indivíduo no nível da linguagem e qual passou a ser seu status. Nesse sentido, inciamos nosso trabalho com um texto teórico desenvolvido no âmbito das ciências médicas, de Joseph Delboeuf (1831-1896), membro da escola de Nancy fundada em 1882: La Psychologie comme science naturelle: son présent & son avenir (1876), citado por Emilia Pardo Bazán em La cuestión palpitante, no qual o ser é dividido em duas diferentes dimensões, a física e a subjetiva. Muitos autores, como Charles Taylor em Source of the self. The making of the modern identity, tem observado este histórico e singular fenômeno moderno. Entretanto, dedicamo-nos às consequências deste evento, como a instituição de uma natureza doentia do ser, a morte de Deus e a do próprio homem, bem como o resgate da tradição sagrada contra o discurso médico-científico.
text

What does it mean in Spain to talk about national cuisine? This dissertation examines how three of Spain's most prominent intellectuals of the early twentieth century—Emilia Pardo Bazán, Carmen de Burgos, and Gregorio Marañón—confronted that question in their writing in cookbooks at a pivotal moment in Spain's history. Pardo Bazán, a feminist writer and novelist, authored two cookbooks, La cocina española antigua (1913) and La cocina española moderna (1914). Burgos, a teacher, newspaper columnist, and novelist, authored La cocina moderna (1906), ¿Quiere usted comer bien? (1916), and Nueva cocina práctica (1925). Marañón, a physician and statesman as well as a writer, penned the prologue to Basque chef and restaurant-owner Nicolasa Pradera's 1933 cookbook La cocina de Nicolasa. These authors were active during a period that saw enormous changes in Spain's political structure and demographics, and in social and gender roles, and each of them engaged with the debates about Spain and the modern nation that consumed intellectual thinkers of the time. And yet each of these authors chose to write about cooking and food in a genre intended for the use of middle-class women in their homes.

Their writing in cookbooks, I posit, offered Pardo Bazán, Burgos, and Marañón the opportunity to address directly the middle-class female readers who stood at the nexus of their anxieties regarding Spain's modernization. These anxieties were generated by shifting social structures as women gained access to education and to paid employment outside of the home, and as a newly mobilizing working class threatened the social order through political and labor organization, as well as with violence and unrest. By teasing out the contradictions in their cookbook prologues, I show how these intellectuals use Spanish cuisine to promote a vision of Spain's modernization that corrects for the instabilities generated by those same modernization processes.

In Chapter One, I demonstrate how Pardo Bazán uses Spain's cocina antigua, catalogued in La cocina española antigua (1913), to "write the nation into existence" (Labanyi). By positioning cooking and cuisine in parallel to the dominant masculine nation-building discourses of the period, Pardo Bazán maps a role for her women readers, and for herself as a woman writer, in the task of building a modern Spanish nation. In Chapter Two, I focus on Pardo Bazán's second cookbook, La cocina española moderna (1914), and show how she uses Spain's modern cuisine to inculcate her female readers with the middle-class values that she believes will serve as a bulwark against the increasing unrest of the working class. In contrast to Pardo Bazán, who designates a conventional role for middle-class women in return for protection against the working class, Carmen de Burgos argues that there is no contradiction between women's domestic roles and having a public role and an intellectual life. Chapter Three analyzes how she uses a strategy of "double writing" (Zubiaurre) to show the importance of cuisine to the public sphere and to criticize the still extant obstacles to women's public activity. Chapter Four focuses on Gregorio Marañón's construction of Basque chef and restaurateur Nicolasa Pradera in his prologue to her cookbook. Marañón uses the prologue to promote a palatable version of Spain and its modernity to outsiders. Yet his version of Spain's modernity depends on reinscribing figures like Pradera into traditional, anti-modern gender and class roles.

At a moment in which the international media identify in Spanish cuisine "the new source of Europe's most exciting wine and food" (Lubow 1), this project historicizes the notion of "Spanish cuisine" at the center of Spanish haute cuisine. It also represents a foundational study in food cultural studies in Spain, offering a critical examination of cookbooks as a genre and as crucial texts in the oeuvres of Emilia Pardo Bazán, Carmen de Burgos, and Gregorio Marañón.

Dissertation

This project explores how literary authors used religious discourses in the sociointellectual climates of late nineteenth-century Catholic cultures. It takes its premise from a tacit paradox of Western European modernization: unlike other Western European nations, nations such as France and Spain modernized without adopting Protestantism or doctrines of anti-Catholicism or anticlericalism--and, thus, without a strict break into national secular discourses. Addressing how various religious discourses were used in modernizing France and Spain (respectively, from 1848 and from 1868 to the early twentieth century), I take a cultural-historical approach to representative religiously themed novels and short fiction of the periods. I contend that non-institutionalized traditional Catholic culture (a culture's “religious imaginary” or “Catholic imaginary”) offered authors a plural and, thus, strategic source for making cultural critiques. These critiques would have resonated widely with contemporaneous readerships, and often without overt confrontations (as anticlericalism has historically done). I point to the presence of such critiques specifically in canonical authors’ religious works--works often considered to be aberrational or “too Catholic” to be valued as modern vis-à-vis the landmarks of Western literature. Taking as my key example a novel by the “father of the modern Spanish novel,” Benito Pérez Galdós’s Misericordia or Compassion (1897), I unfold progressive readings of this text based on discourses borrowing historical, thematic, and stylistic elements from the archives of a Catholic imaginary. Thereafter, I broaden my argument by considering how comparable, but distinct, discourses inform social-critical readings of Victor Hugo’s Les Misérables or The Underclass (1862), Gustave Flaubert’s “Un Coeur simple” or “A Simple Heart” (1877), and Emilia Pardo Bazán’s “Un destripador de antaño” or “The Heart Lover” (1900). Overall, the project challenges a critical status quo that has chosen to identify canonical literature in reference to a secular aesthetic program, without allowing for the possibility that cultural-religious discourses might also carry weight for cultures that were modernizing. Additionally, it re-characterizes the modernizing intellectual, seen typically as spiritually cynical or atheist, as one acknowledging the populist force of the religious imaginary freed from church limits.
text

While critics have recognized the presence of naturalism and Zola's influence in Emilia Pardo Bazan's narrative, they have agreed on the limitation of naturalism in her work as a whole. The result has been twofold: the minimization of the presence of science and the radical division of Pardo Bazan's work. The identification of literary and scientific discourses which occurred in the nineteenth century makes a charting of the discourse of science especially important. This dissertation proposes such a charting through Pardo Bazan's narrative by means of a selection of novels in chronological order Because the literary text weaves an ensemble of discursive practices and participates in a complex social activity, by privileging the theme of disease as operative in the mind/body relationship of the human being and by tracing it through the 'body' of her work, it is possible to map the trajectory of the discourse of science. This approach highlights the active role that scientific methodology played in Pardo Bazan's studies of the dysfunctional human being and the assimilation of contemporary theories within the literary text In two of her early novels, Pascual Lopez and El cisne de Vilamorta, Pardo Bazan participates in a scientific tradition which emphasized the organic aetiology of mental pathology. Disease consists in the individual's identification with anachronistic fictional models. In her 'middle' period, she is concerned with the failure of science as a panacea for national problems. Her vivisection of patriarchy in Los pazos de Ulloa and in Insolacion 'reveals' the underlying mechanism responsible for the 'story' of national decline. La piedra angular represents a continuation of concerns with reform. In La sirena negra, disease becomes one of obsessive self-consciousness. This subjectivity has destabilizing potential for both the individual and for the novela experimental. The novel fragments, and reality is pluralized. In this trajectory, disease has shifted from serving as a cognitive instrument for social analysis to becoming an existential condition; however, the discourse of science is operative from beginning to end. It operates as one more of the discourses which configure the socio-cultural milieu woven into Pardo Bazan's text
acase@tulane.edu

Thesis (Ph. D.)--University of Wisconsin--Madison, 1998.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 244-262).