Abstract How did the æsthetics of Realism adapt to the cultural changes that took place from the beginning of the 19th century? A comparative study of three novels produced during three key periods of the realistic Spanish novel —Benito Pérez Galdós' La de Bringas (1884), Alfonso Grosso's El capirote (1964) and Isaac Rosa's La mano invisible —offers some answers. This essay, centered on the concept of theatricality, deals successively with Galdos' grotesque theatricality, Grosso's pathetic theatricality and Rosa's reflexive theatricality. It highlights three corresponding pragmatic strategies based on irony, empathy and distanciation, respectively.
Dergi Türü : Uluslararası
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