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The Writer in the Landscape: Authorial Self-Representation and Literary Form in the Landscape Writings of Unamuno and Azorín

:	Mary Ruth Strzeszewski
:	The Writer in the Landscape: Authorial Self-Representation and Literary Form in the Landscape Writings of Unamuno and Azorín
:	Digitalia
:	9781882528479
:	1
:	CHF 63.30
:

:	Kunst, Literatur
:	English

:	161
:	DRM
:	PC/MAC/eReader/Tablet
:	PDF

The figure of the intellectual emerged in Spain in the second half of the nineteenth century, and Azorín (José Martínez Ruiz) and Miguel de Unamuno explored the critical and creative possibilities of this new role in their writings. This comparative study of these authors’ prose writings on landscape focuses on the literary personae of the artist-intellectual that both Azorín and Unamuno cultivated and on their innovative use of the article form. The principal body of the study is dedicated to each author’s extension of the narrative of literary self-creation beyond the boundaries of the novel in the flexible, literary form of the article, Strzeszewski’s reading of these sui generis writings should contribute to a greater appreciation of their innovative character.

Chapter One Landscape and the Intellectual in the Early Novels of Unamuno and J. Martinez Ruiz: From Margin to Center (p. 12)

Novel Landscapes: Paz en la guerra, La voluntad and Antonio Azorin

Unamuno`s Paz en la guerra (1897) and Martínez Ruiz`s La voluntad (1902) are the first major novels of each writer`s career, and in both the landscape plays an important role. Each is set primarily in its author`s native region, with interludes in Madrid and other, secondary settings.

Lain Entralgo was among the first to point out the importance of the fact that almost all the writers and artists associated with the Generation of `98 were immigrants to the capital: Salvo Benavente, madrileño de nación y de vida, todos los del 98 ven la primera luz en la franja más excéntrica de nuestro suelo.

Unamuno, Baroja, Maeztu, Bueno y Zuloaga son vascos, Ganivet, granadino, los Machado, sevillanos, Azorín, levantino, Valle- Inclán y Menéndez Pidal, gallegos. Los cantores del paisaje castellano son auténticos descubridores de Castilla, y acaso por eso pueden ser inventores de una Castilla. (30)

Furthermore, each novel was composed during a period when the author was engaged with forms of progressive social thought. Carlos Blanco Aguinaga has described the Generation of `98 as the first intellectuals of the highest rank who tried to cross over to the enemy, fluctuating between anarchism and socialism (38).

Although the respective publication dates roughly correspond to the waning of the authors` most radical attitudes, their engagement with progressive ideas informs these works.1 In this section I will consider the way in which each writer`s representation of landscape in his first novel is informed by his ideological attitudes and also by his concern with his relationship to society as an intellectual and writer.

To this end, I will focus on each novel`s representation of landscape and rural society, and the intellectual character`s relationship to these. My third concern in this section is that of novelistic form.

Paz en la guerra and La voluntad share elements of two novelistic traditions: the novela de costumbres and the closely related regional novel. While both Paz en la guerra and La voluntad are often studied in terms of their digression from realist conventions, their relationship to these other genres is also revealing of their aesthetic intentions.

While both authors largely rejected the conservative premises that frequently underlie both the novel of customs and the regional novel, they share with these several key elements: a reaction against prevailing literary modes, the theme of city versus country, extensive descriptive passages of rural scenes, and a structure whose units resemble cuadros costumbristas.

At the moments in which they wrote their first novels, it would seem that the city is not novelizable material for either Unamuno or Azorin. It is telling that while some of Martinez Ruiz`s early short stories are located in urban settings, and Diario de un enfermo, which Inman Fox considers a pre-text of La voluntad, is principally set in Madrid, La voluntad begins and ends in the Levantine areas—Monóvar and Yecla—of Azorin`s youth.

	Contents	6
	Acknowledgments	9
	Introduction	11
	Chapter One: Landscape and the Intellectual in the Early Novels of Unamuno and J. Martinez Ruiz: From Margin to Center	22
	Novel Landscapes: Paz en la guerra, La voluntad, and Antonio Azorín	22
	The Intellectual and Society in Paz en la guerra and La voluntad	33
	Unamuno's intrahistoric landscape	33
	Martínez Ruiz and the elusive	33
	Martínez Ruiz and the elusive	33
	40	33
	Narrative subversions in Antonio Azorín	52
	Chapter Two: First contact: Landscape as Formative Influence	58
	Chapter Three: The Intellectual as Orphan	69
	Clemencia	71
	La Regenta	75
	Miau	80
	The orphaned self in Unamuno and Azorín	85
	La voluntad	85
	Antonio Azorín	87
	Las confesiones de un pequeño filósofo	88
	Paz en la guerra	90
	Nuevo mundo	92
	Recuerdos de niñez y de mocedad	94
	Chapter Four: The Artist-Intellectual on the Road	96
	Los pueblos: towards a national prose poetry	96
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	100	96
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	101	96
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	104	96
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	106	96
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	108	96
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	110	96
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	111	96
	La ruta de don Quijote	113
	Unamuno's paisajes sueltos: a new mode of writing	119
	Paisajes	119
	Por tierras de Portugal y de España: Portugal	124
	Por tierras de Portugal y de España: Spain	128
	Andanzas y visiones españolas	134
	San Manuel Bueno, mártir	149
	Conclusion	152
	Bibliography	155