La triple tentación de Melibea

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Ramon Llull i l’obscuritat que il·lumina. Apunts sobre l’origen i la rendibilitat literària d’un recurs exegètic

In different passages of his works, Ramon Llull makes reference to expressive obscurity –sometimes he uses the term subtlety– as a difficulty the reader should overcome to have access to the book’s signifi cation. Succeeding in this trial will give him knowledge and intellectual pleasure. The subject of the obscurity is mentioned in latin treatises on rhetorics; scholars on Llull also put it in contact with the troubadouresque tradition of trobar clus. There are evidences of a special relation between expressive obscurity and biblical exegesis. Llull gives to this motif a particular signification, close to the doctrine of the two intentions.[ct] En diversos passatges de la seva obra, Ramon Llull fa referència a l’obscuritat expressiva –en altres casos parla de subtilitat– com una dificultat que el lector ha de superar per accedir a la significació del text; aquesta superació li reportarà coneixement i plaer intel·lectual. El motiu de l’obscuritat és present en la tractadística retòrica llatina, per bé que en el cas de Llull s’ha vinculat amb la tradició trobadoresca del trobar clus. Diversos indicis apunten que el motiu s’ha de relacionar igualment, i sobretot, amb l’exegesi bíblica. Llull se’n serveix dotant- lo d’una significació pròpia, lligada a la doctrina de les dues intencions

Post-Franco Theatre

In the multiple realms and layers that comprise the contemporary Spanish theatrical landscape, “crisis” would seem to be the word that most often lingers in the air, as though it were a common mantra, ready to roll off the tongue of so many theatre professionals with such enormous ease, and even enthusiasm, that one is prompted to wonder whether it might indeed be a miracle that the contemporary technological revolution – coupled with perpetual quandaries concerning public and private funding for the arts – had not by now brought an end to the evolution of the oldest of live arts, or, at the very least, an end to drama as we know it

Benito Pérez Galdós

In Galdós\u27 time, the tensions between such diverse phenomena as coins and credit, free trade and protectionist tariffs, factory work and domestic economy, masculine and feminine, and private and public exacerbated friction among peoples—those of pueblo and rural origins, whose voices rasped and whose bright colors raked the eye, and a nascent, insecure bourgeosie who, fearful of the masses, strove to imitate the aristocracy. Old and new converged also with the question of suffrage and citizenship to aggravate social malaise and political upheavals—Carlist wars, palace intrigues, the Revolution of 1868 and overthrow of Queen Isabel, the brief reign of Amadeo of Savoy, the aborted First Republic and the Bourbon Restoration (1875-1885), which reached Spain from England in the imported person of Alfonso XII. These turbulent events undergird the cultural, historical, and political events of the novels by Benito Pérez Galdós (1843–1920) to be discussed in this chapter. Galdós is the author of seventy-seven novels, twenty-six original plays, and numerous occasional pieces, written between 1867 and 1920. These divide into two main categories: the historical and the contemporary social novels, now more appropriately described as novels of modernity The forty-six historical novels, called Episodios nacionales, make up five series, each consisting of ten interconnected novels, except the fifth series, left unfinished. The thirty-one novels of modernity, published between 1870 and 1915, also divide into two groups: Novelas de la primera época ( Novels of the Early Period, 1870–1879) and Las novelas de la serie contemporánea ( The Contemporary Social Novels, 1881–1915). The novels of the early period comprise Galdós\u27 first attempts at novel writing, as well as four so-called thesis novels : Doña Perfecta (1876), the sequel Gloria (1876–1877), Marianela (1878), and La familia de León Roch ( The Family of León Roch, 1878–1879). The next group of novels represents what Galdós called his segunda manera —his second style, a different kind of writing ... a more sophisticated and varied mode of narrative presentation