This study of the "prosaics" of allegory in Perez Galdos's novels examines the relationship between allegory at its most formally elemental and prose realism at its most complex. The first chapter introduces the major lines of philosophical, rhetorical, hermeneutic, and deconstructionist thinking in modern approaches to allegory, from the Romantics to Paul de Man, and illustrates various ways in which allegory's formal structures serve as the figural and morphological underwriters of Galdos's narrative fictions. Chapter II uses a single tropological occasion in Galdos's Miau to develop a realist's revisionistic equation, in which the authoritative and morphologically deterministic structures of typology are compounded by modern intertextuality and the figural structures of metonymy and metaphor. Dante's Inferno supplies the allegorical subtext for the tropological occasion in question, and in that fashion is introduced the master allegorist whose authoritative traces will serve as allegorical tracking points in each of the study's subsequent chapters. Nicolai Gogol and Charles Dickens provide control texts by which to gauge the innovative subtlety with which Galdos articulates his stylistic equation. Chapter III explores the role of personification allegory in construing a metaphysics of fictional character. Galdos's dialogue novel Realidad, Laclos's Les Liaisons dangereuses, Prudentius's Psychomachia, and Dante's Inferno provide opportunities for speculation about about reductivity and complexity in realistic characterization. The fourth chapter takes Galdos's Torquemada tetralogy as the basis for comment upon realistic fictions as allegories of epochal thinking. Michel Foucault's concept of the "episteme" opens the way for a discussion of the epochal disjunction in that novel series between Comtian positivism and Dantean allegory--a disjunction between system and synthesis. The fifth and final chapter draws upon allegory to propose a theory of the management of narrative time in realism. The theory suggests allegory as the underwriter of several narrative time codes that work against the impulse of chronology in prose narrative. Galdos's short novel Tristana is considered as an allegory of time--historical time, time detained, and time passing. Dante's tale of Paolo and Francesca, in the fifth canto of the Inferno, offers examples of Galdos's deployment of the time codes under consideration.
| Identifer | oai:union.ndltd.org:UMASS/oai:scholarworks.umass.edu:dissertations-7830 |
| Date | 01 January 1990 |
| Creators | Brownlow, Jeanne P |
| Publisher | ScholarWorks@UMass Amherst |
| Source Sets | University of Massachusetts, Amherst |
| Language | English |
| Detected Language | English |
| Type | text |
| Source | Doctoral Dissertations Available from Proquest |
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