Benito Perez Galdos (1843-1920) occupies a position in Spanish literature surpassed only by Cervantes, and, like him, made a major contribution to the European novel that is now becoming widely recognized. In a semiological approach to the second period of Episodios Nacionales, Diane Urey demonstrates the relevance of these twenty-six novels, the least studied of Galdos's works, to fundamental issues such as the relationship between history and fiction, and between mimesis and creation. Her findings of ambiguity, irony, and allegory in this writer's highly self-conscious historical novels will revise our views of Galdos's place in European letters while offering new insights into a general theory of historical fiction. Diane Urey offers an alternative to referential or ideological interpretations of the Episodios by stressing the indeterminate textuality of historical incidents and the fictionality of historical discourse. Drawing on Derrida, De Man, Foucault, and Hayden White, she applies a wide range of narrative theory to these texts and concludes that novel and history are interchangeable modes of discourse because they rely necessarily on the same narrative strategies. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Benito Perez Galdos (1843-1920) was one of Spain's outstanding novelists and the author of two vast cycles of novels and a number of plays. In this critical study of Galdos in English, Stephen Gilman relates the writer and his work to the nineteenth century novel as a genre and traces his artistic growth during a twenty-year period, from his initial historical fable, La Fontana de Oro, to his masterpiece, Fortunata y Jacinta. Originally published in 1981. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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

Maximo Manso, the narrator, gradually realizes that the characters in his story no longer have any use for him.

Father Nazario Zajarín leads a life of uncompromised humility, loving others and living among the poorest citizens. Life changes for the pious protagonist when his forgiveness extends to sinners that pull Nazarín over to the other side of the law in the eyes of society. Scorned, mocked, and spurned by others, his faith is tested and his bond with the Catholic Church is broken when he rejects political dogma. A tightly written story about living in the trenches of society's shortcomings, the book is an insightful challenge of religion under late 19th-century Spanish rule worthy of inclusion in moral discussions still today.

A SPANISH GIRL IN 1890'S SPAIN ATTEMPTS TO DEFY THE CONVENTIONS OF HER TIMES.