The purpose of this investigation is to determine the change in characterization that takes place in the works of Emilia Pardo Bazán. Source material include the writings of such critics of Spanish literature as Richard Chandler, Kessel Schwartz, Emiliano Díez-Echarri, José M. Roca Franquesa, Federico C. Saínz de Robles, and José A. Balseiro. Emilia Pardo Bazán wrote a total of twenty novels. From this collection ten were selected which best exemplify the change in characterization in her writings.

Made available in DSpace on 2016-08-29T14:11:06Z (GMT). No. of bitstreams: 1 tese_9014_KARINA FLEURYtese2015.docUFES.docpara copiadora.doc24set1.pdf: 18254723 bytes, checksum: 16c079271f8b7b2029c1db97b5b23131 (MD5) Previous issue date: 2015-07-24 / Sobre modos e moda: a escritura de Emilia Pardo Bazán e Ilza Etienne Dessaune é um trabalho de pesquisa que traz o olhar focado num possível diálogo entre textos escritos por essas duas escritoras, à luz da teoria e crítica da literatura comparada. Como objetivo analisa os aspectos intertextuais, no que se refere às reflexões sobre a moda e sobre o modo de pensar e de expressar a mulher na sociedade de meados do século XIX ao início do século XX, tema presente tanto nas crônicas de Pardo Bazán como nas de Dessaune, corpus dessa pesquisa. Emilia Pardo Bazán (1851- 1921), espanhola, galega, nascida em La Coruña, tem profícua produção literária e, neste estudo, destacam-se as publicações na seção La Vida Contemporánea, do periódico La Ilustración Artística. Ela é conhecida por liderar a luta na Espanha pelos direitos da mulher à educação e do trabalho remunerado. Ilza Etienne Dessaune (1900 - 1988), brasileira, capixaba, nascida na Vila do Itapemirim, no interior do Espírito Santo, foi cronista de modos e moda da coluna Feminea, da Revista Vida Capichaba, que obteve grande repercussão em terras capixabas. A imprensa foi grande aliada da mulher, que se tornou leitora, mas também colaboradora diretora e proprietária de jornais e revistas. A moda foi a mola propulsora que sustentou e autorizou a voz feminina impressa. Os capítulos deste trabalho dão notícia da investigação histórica feita em fontes primárias e secundárias, bem como da investigação exploratória feita por meio do levantamento bibliográfico e da análise de textos que culminaram na compreensão de nosso objeto de estudo. Serviram de aportes teóricos e críticos autores como Dulcília Helena Buitoni, Ana Maria Díaz Marcos, Guilles Lipovetsky, Hans Robert Jauss, June Edith Hahner, Ana Maria Freire López, Eduardo Ruiz-Ocaña Dueñas, Maria Mirtis Caser e Michelle Perrot.

Dans ce travail, nous analysons les contes d’Emilia Pardo Bazán parus dans le journal, d’obédience monarchique, Blanco y Negro entre 1895 et 1910. Femme de Lettres très féconde, elle n’en demeure pas moins une journaliste très engagée dans un siècle finissant et en pleine mutation. Ainsi, nous étudions ses activités journalistiques et littéraires en relation avec ses engagements socio- politiques et décortiquons sa collaboration avec le journal. Nous examinons aussi comment son statut de femme journaliste influence son œuvre littéraire. L’interférence entre les deux modes d’écriture est analysée à partir de l’édition de texte et de la structuration du récit. Nous déterminons les relations entre les deux discours étant donné qu’ils s’abreuvent des deux modalités d’écriture. / In this essay, we have analysed the tales of Emilia Pardo Bazán published in the newspaper, of monarchical obedience, Blanco y Negro between 1895 and 1910. A very fertile woman of letters, she is nonetheless a journalist very committed to a century ending and changing. Thus, we have studied her journalistic and literary activities in relation to her socio-political commitments and let's dissect her collaboration with the newspaper. We have also examined how her status as a female journalist has influenced her literary work. The interference between the two writing modes is analysed from the text editing and structuring of the story. We have determined the relationship between the two discourses as they have drunk from both writing methods.

The purpose of this investigation is to show the relationship between the autobiographical information evidenced by the principal female characters in Emilia Pardo Bazan's major novels and her influence on nineteenth-century feminism in Spain. The changing nature of Pardo Bazan's feminism is studied through an analysis of two literary phases in her work. In the first, classified as naturalistic, Pardo Bazan concentrates on the nineteenth century woman and her limited role within society. The second phase reveals a change of perspective as the author creates a character type: this "new woman" is an expression of her feminist beliefs. As Pardo Bazan sought support for feminist goals, diverse intellectual activities characterized her life and became an integral aspect of her art.

<p>What does it mean in Spain to talk about national cuisine? This dissertation examines how three of Spain's most prominent intellectuals of the early twentieth century&mdash;Emilia Pardo Bazán, Carmen de Burgos, and Gregorio Marañón&mdash;confronted that question in their writing in cookbooks at a pivotal moment in Spain's history. Pardo Bazán, a feminist writer and novelist, authored two cookbooks, <italic>La cocina española antigua</italic> (1913) and <italic>La cocina española moderna</italic> (1914). Burgos, a teacher, newspaper columnist, and novelist, authored <italic>La cocina moderna</italic> (1906), <italic>¿Quiere usted comer bien?</italic> (1916), and <italic>Nueva cocina práctica</italic> (1925). Marañón, a physician and statesman as well as a writer, penned the prologue to Basque chef and restaurant-owner Nicolasa Pradera's 1933 cookbook <italic>La cocina de Nicolasa</italic>. These authors were active during a period that saw enormous changes in Spain's political structure and demographics, and in social and gender roles, and each of them engaged with the debates about Spain and the modern nation that consumed intellectual thinkers of the time. And yet each of these authors chose to write about cooking and food in a genre intended for the use of middle-class women in their homes.</p><p>Their writing in cookbooks, I posit, offered Pardo Bazán, Burgos, and Marañón the opportunity to address directly the middle-class female readers who stood at the nexus of their anxieties regarding Spain's modernization. These anxieties were generated by shifting social structures as women gained access to education and to paid employment outside of the home, and as a newly mobilizing working class threatened the social order through political and labor organization, as well as with violence and unrest. By teasing out the contradictions in their cookbook prologues, I show how these intellectuals use Spanish cuisine to promote a vision of Spain's modernization that corrects for the instabilities generated by those same modernization processes. </p><p>In Chapter One, I demonstrate how Pardo Bazán uses Spain's <italic>cocina antigua</italic>, catalogued in <italic>La cocina española antigua</italic> (1913), to "write the nation into existence" (Labanyi). By positioning cooking and cuisine in parallel to the dominant masculine nation-building discourses of the period, Pardo Bazán maps a role for her women readers, and for herself as a woman writer, in the task of building a modern Spanish nation. In Chapter Two, I focus on Pardo Bazán's second cookbook, <italic>La cocina española moderna</italic> (1914), and show how she uses Spain's modern cuisine to inculcate her female readers with the middle-class values that she believes will serve as a bulwark against the increasing unrest of the working class. In contrast to Pardo Bazán, who designates a conventional role for middle-class women in return for protection against the working class, Carmen de Burgos argues that there is no contradiction between women's domestic roles and having a public role and an intellectual life. Chapter Three analyzes how she uses a strategy of "double writing" (Zubiaurre) to show the importance of cuisine to the public sphere and to criticize the still extant obstacles to women's public activity. Chapter Four focuses on Gregorio Marañón's construction of Basque chef and restaurateur Nicolasa Pradera in his prologue to her cookbook. Marañón uses the prologue to promote a palatable version of Spain and its modernity to outsiders. Yet his version of Spain's modernity depends on reinscribing figures like Pradera into traditional, anti-modern gender and class roles. </p><p>At a moment in which the international media identify in Spanish cuisine "the new source of Europe's most exciting wine and food" (Lubow 1), this project historicizes the notion of "Spanish cuisine" at the center of Spanish haute cuisine. It also represents a foundational study in food cultural studies in Spain, offering a critical examination of cookbooks as a genre and as crucial texts in the <italic>oeuvres</italic> of Emilia Pardo Bazán, Carmen de Burgos, and Gregorio Marañón.</p> / Dissertation

<p>The late-nineteenth-century realist canon in Spain is filled with male characters who are physically weak, effeminate, ineffectual, infantilized, or impotent, and, thus, decidedly "unmanly," which indicates a collective societal anxiety about masculinity in Spain at the end of the nineteenth century. I argue that this anxiety about masculinity stems from another societal worry about Spain's backwardness with respect to its more modern European neighbors and the uneven rate of modernization with its own borders. I explore these issues in four novels by Galician-born realist author Emilia Pardo Bazán: <italic>La Tribuna</italic> (1882), <italic>Los Pazos de Ulloa</italic> (1886), <italic>La Madre Naturaleza</italic> (1887), and <italic>Memorias de un solterón</italic> (1896). I analyze these texts in light of historical and theoretical work on post-Enlightenment masculinity by scholars, such as George Mosse, John Tosh, Christopher Forth, and R. W. Connell. </p><p>In the first chapter, I trace the development of the post-Enlightenment, Western, model of manliness, a primarily urban, bourgeois phenomenon, which privileged rational intellect and individual hard work. I then compare the pace and extent of modernization in Spain and England to show how Spain lacked the material conditions that would allow most Spanish men to embody modern masculinity in the late nineteenth century. For the remaining chapters, I turn my attention to <italic>Los Pazos de Ulloa</italic>, <italic>La Madre Naturaleza</italic>, and <italic>Memorias de un solterón</italic>. Each of these novels shows, in different ways, how the modern masculine ideal coexists and conflicts with other pre-Enlightenment models of manliness--based on aristocratic leisure, military prowess, or brute force. I argue that the problems faced by the male characters in these novels are a direct result of this clash of masculinities, which in turn reflects Spain's economic stagnation in the nineteenth century. In Chapter II, I show how the refusal of the rural, Galician aristocracy to embrace certain hallmarks of the modern masculine ideal, such as hard work and Enlightenment thought, leads to a destabilization of feudal hierarchies in <italic>Los Pazos de Ulloa</italic>. I then argue that this destabilization results in the pervasiveness of violence in the novel. Chapter III focuses on <italic>La Madre Naturaleza</italic>. I contend that its narrator recognizes that change must come to rural Galicia and, thus, makes a gesture toward reconciling traditional and modern values, as well as pre-Enlightenment and post-Enlightenment models of masculinity. I then show how this reconciliation ultimately fails because the narrator condemns the social mobility upon which modernization and modern masculinity depend. In Chapter IV, I discuss the importance of marriage and fatherhood to the enactment of modern masculinity in <italic>Memorias de un solterón</italic>. I then illustrate how, in the Galician provincial capital in which the novel is set, social and economic conditions make life as a bourgeois husband and father undesirable at best, and ruinous at worst.</p> / Dissertation

In the portrayal of the Galician people Pardo Bazán's naturalistic pessimism is more evident than in her descriptions of customs or landscape. Her characters are stifled and often shattered by living conditions. The environment weighs heavily upon them, bringing forth the more despicable aspects of human behavior. In spite of this, she succeeds in probing the soul of her countrymen and giving them life in her short stories.

This research project discusses the construction of human nature in the medical-scientific discourse of the second half of the nineteenth century in three different works from the Naturalism movement: O Homem (1887), by the Brazilian author Aluísio Azevedo; Sin Rumbo (1885), by the Argentinian Eugenio Cambacérès Alaias; Los pazos de Ulloa (1886), by the Galician author Emilia Pardo Bazán. My arrival at this topic -the human condition in medical-scientific discourse- developed from reading The Political Technology of Individuals (1982), where Michel Foucault affirmed that the art of governing people at the turn of the nineteenth century is based on the observation of the nature of governed subjects (149). Thus, my endeavor is to answer some of the questions raised by Foucault’s claim such as: how is the human subject portrayed in the medical-scientific discourse, and what status is it given? Hence, I begin my analysis with La Psychologie comme science naturelle: son présent & son avenir (1876), a theoretical text developed within the medical-scientific framework, and whose author Joseph Delboeuf was a member of the Nancy School, founded in 1882. This text was cited in La cuestión palpitante by Emilia Pardo Bazán, a work in which the notion of being is depicted as a split into two dimensions: the physical and the subjective. Many authors, like Charles Taylor in Source of the self. The making of the modern identity (1989), for example, have observed this historical and uniquely modern phenomenon, I attempt to focus on the consequences of this process of the division of human nature, such as the institutionalization of a diseased state of self, as well as the death of God and being, and finally, the restoration of Catholic tradition contra medical-scientific discourse. / Este trabalho problematiza a construção da natureza humana no discurso médico-científico da segunda metade do século XIX em quatro diferentes obras: O Homem (1887), do escritor brasileiro Aluísio Azevedo, Sin Rumbo (1885), do argentino Eugenio Cambaceres, La cuestión palpitante (1883) e Los pazos de Ulloa (1886), ambas da escritora espanhola Emilia Pardo Bazán. O tema em questão surgiu da leitura de The Political Technology of Individuals (1982), no qual Michel Foucault afirma que o fundamento da arte de governar, que surge no final do século XVIII, seria a observação da natureza daqueles que são governados (149). A partir desta sentença, procuramos responder algumas questões, por exemplo: como o discurso médico-científico tratou o indivíduo no nível da linguagem e qual passou a ser seu status. Nesse sentido, inciamos nosso trabalho com um texto teórico desenvolvido no âmbito das ciências médicas, de Joseph Delboeuf (1831-1896), membro da escola de Nancy fundada em 1882: La Psychologie comme science naturelle: son présent & son avenir (1876), citado por Emilia Pardo Bazán em La cuestión palpitante, no qual o ser é dividido em duas diferentes dimensões, a física e a subjetiva. Muitos autores, como Charles Taylor em Source of the self. The making of the modern identity, tem observado este histórico e singular fenômeno moderno. Entretanto, dedicamo-nos às consequências deste evento, como a instituição de uma natureza doentia do ser, a morte de Deus e a do próprio homem, bem como o resgate da tradição sagrada contra o discurso médico-científico. / text

Pendant la seconde moitié du XIXe siècle, Lima était une ville en train de se moderniser grâce à la richesse du guano. Dans les années 1870 émerge un groupe de femmes de lettres qui s'appuient sur la presse et les institutions littéraires. Elles trouvent des espaces ouverts à leur expression artistique et à leurs idées comme les Veladas Literarias. Après la Guerre du Pacifique (1879-1883), après l'occupation de la ville de Lima par l'armée chilienne, quelques intellectuels ont évolué vers une écriture plus critique de la société. Mercedes Cabello de Carbonera (1842-1909) est la première romancière au Pérou avec une production très importante. Elle construit ses romans à partir d'un regard sociologique sur la condition de la femme, car elle croit que de cela dépend la transformation morale de la société, et par conséquent le progrès.Nous développons notre recherche en trois parties. Dans la première, nous nous occupons du contexte politique, social et culturel et de l'éducation en particulier des femmes de lettres comme Cabello. Dans la deuxième partie, nous analysons les articles et les six romans de Cabello divisés en trois périodes (les romans traditionnels, les romans de la réécriture et les romans de la transgression) ; finalement, dans la dernière partie, nous établissons une comparaison avec d'autres femmes de lettres de l'époque : Soledad Acosta, Colombienne, et Emilia Pardo Bazán, pour distinguer la singularité du réalisme péruvien, et la représentation de la femme, par rapport à la production littéraire d'autres pays hispanophones. / During the second half of the 19th century, Lima was a city in the process of modernization thanks to the wealth proved from the exploitation of the guano. In this context, in the 1870's, emerges a group of women of letters, supported by the press and the principal literary institutions. They find receptive spaces to their ideas and artistic expressions as the Veladas Literarias. Nevertheless, after the War of the Pacific (1879-1883) and especially after the occupation of Lima city by the Chilean army, some intellectuals changed their literary proposal toward one more critical of the society. Among them, one of the most prolific and important was Mercedes Cabello de Carbonera (1842-1909). She constructed her novels with a sociological concern to the condition of women because she believes that they are responsible for the moral transformation of the society and, therefore, its own progress.This dissertation is structured in three parts. The first deals with the political, social and cultural context in which the women of Lima were formed, especially the women of letters such as Cabello. The second part will examine six novels and several articles by the author. With this purpose we have subdivided her work in three parts (traditional novels, novels of the rewriting and novels of the transgression). Finally, we have made a comparison with two contemporaneous female writers of the same period, Soledad Acosta de Samper (Colombian novel) and Emilia Pardo Bazán (Spanish novel), to attempt to distinguish the singularity of Peruvian realism and the representation of women in relation to the literary production of other Spanish-speaking countries.

Pendant la seconde moitié du XIXe siècle, Lima était une ville en train de se moderniser grâce à la richesse du guano. Dans les années 1870 émerge un groupe de femmes de lettres qui s'appuient sur la presse et les institutions littéraires. Elles trouvent des espaces ouverts à leur expression artistique et à leurs idées comme les Veladas Literarias. Après la Guerre du Pacifique (1879-1883), après l'occupation de la ville de Lima par l'armée chilienne, quelques intellectuels ont évolué vers une écriture plus critique de la société. Mercedes Cabello de Carbonera (1842-1909) est la première romancière au Pérou avec une production très importante. Elle construit ses romans à partir d'un regard sociologique sur la condition de la femme, car elle croit que de cela dépend la transformation morale de la société, et par conséquent le progrès.Nous développons notre recherche en trois parties. Dans la première, nous nous occupons du contexte politique, social et culturel et de l'éducation en particulier des femmes de lettres comme Cabello. Dans la deuxième partie, nous analysons les articles et les six romans de Cabello divisés en trois périodes (les romans traditionnels, les romans de la réécriture et les romans de la transgression) ; finalement, dans la dernière partie, nous établissons une comparaison avec d'autres femmes de lettres de l'époque : Soledad Acosta, Colombienne, et Emilia Pardo Bazán, pour distinguer la singularité du réalisme péruvien, et la représentation de la femme, par rapport à la production littéraire d'autres pays hispanophones.