This book explores the change that occurred in the writings of Spanish novelist Benito Perez Galdos when he entered his segunda manera in 1881 with the publication of La desheredada, his first contemporary novel. Critical work on this important phase of Galdos's career has tended to concentrate on the content of his novels, with little attention given to the way in which Galdos conveys that content to the reader. By studying these works in light of how their stories are told, Linda Willem shows that La desheredada marks the beginning of a more sophisticated and varied mode of narrative in Galdos's novels. Through close readings of his first seven contemporary works, Willem shows how the affective response associated with various narrative devices plays a role in the rhetorical strategies of each text.

The master of the realist novel of nineteenth-century Spain, Benito Pérez Galdós, is the subject of these new studies. The master of the realist novel of nineteenth-century Spain, Benito Pérez Galdós, is the subject of New Galdós Studies, offered in memory of John Varey, author of Galdós Studies, the foundational text for contemporary Galdosian scholarship. Eamonn Rodgers describes Galdós's early readership and reception; James Whiston illustrates Galdós's creativity in Lo prohibido; Rhian Davies explores the enrichment of the novelist's language in Torquemada en la Cruz; Teresa Fuentes Peris demonstrates Galdós's radical critique of dominant social assumptions in Fortunata y Jacinta; Alex Longhurst deals with the representation of poverty in Misericordia while Lisa Condé detects a feminist intention in Tristana; Eric Southworth finds rich cultural and spiritual allusion in the same work; Nichols Round relates the deaths of children in the Torquemada novels and Angel Guerra to end-of-century ideological concerns.

A study of Galdós' Jewish characters and what they tell us about the place of Jews in C19th Spanish society and culture. Few Spanish novelists have dealt with the problem of religion and religious commitment more comprehensively than Benito Pérez Galdós. His lifelong preoccupation with man in search of transendence repeatedly led him to evaluate andcriticize the religious institutions that stifled rather than helped man in his search. In the Jews, Galdós saw a people who, though victimized by religious intolerance, managed to survive persecution and affirm an abiding faithin God. He created Jewish characters throughout his long literary career and therefore presents the most comprehensive portrait of Jews as they existed in the culture, the religion and fabric of C19th Spanish society.

Darwinian theory - the big idea of the nineteenth century - and its impact on the writing of Benito Pérez Galdós. Despite the fact that Darwinian theory was perhaps the big idea of the nineteenth century, most critics in the past have assumed that Benito Pérez Galdós would have remained unaffected by this scientific and philosophical revolution. This work contends otherwise, charting the influence of evolutionary theories on Galdós throughout his literary career. From his adaptation of the early nineteenth-century costumbristas' depiction of social species into a more sophisticated portrayal of Madrid society to his treatment of shifting social forces at a time of major socio-economic change, Galdós's outlook is shown to be deeply enmeshed in the Darwinian debate. Attention is paid not only to the hypotheses of Darwin himself, but also for instance to Ernst Haeckel's evolutionary thought, to Herbert Spencer's social Darwinism, and to the radical histology of Santiago Ramón y Cajal. Galdós and Darwin discusses how Spain's greatest novelist since Cervantes imaginatively reworked these epoch-making theories and investigates the impact of science on culture as the Spanish nation approached the twentieth century. T. E. BELL completed his Ph.D. under the supervision of Professor Nicholas Round at Sheffield University.

A new critical introduction to Galdos' four-part masterpiece set in Madrid in the 1870s.

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.