20th Century Spanish Novel: From Pessimism to Experimentation
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Novelistic innovations that occur in the early twentieth century are due to the pessimistic view of Western culture at this time, it was impossible to find meaning to existence, the message is frustration and despair. The century begins with the generation of 98, among its characteristics highlights the dominance of the philosophical and intellectual interest, on the purely aesthetic, seeking authenticity and essentialism, there is the discovery of the national landscape, particularly the Castilian, closely linked to human and moral landscape, and also seek historical significance in the fact of life (intrahistory) have a keen spirit of individualism and a need to deepen the knowledge of Spain at all levels. The authors are leadingInclude Miguel de Unamuno, Azorín, Pío Baroja, … Another characteristic movement of the first part of the century is Noucentisme or Generation of 14, which represents a change of direction on the orientations of the Modernist 98 and preferring an approach to the problem more serene and intellectual Spanish. They write novels different structural and stylistically. Said Perez de Ayala, Gabriel Miró. In the 20s came a production linked to the avant-garde fiction. Its initiator was Ramon Gomez de la Serna as most original creation is the ‘outcry’, an ingenious association of ideas. The fiction of the time diversity is remarkable and, next to the novelistic trends already seen, there are many stories that continue past as aesthetic guidelines Traditional The postwar novel environment of cultural disorientation of the First World War is very pronounced in the novel. The 40s will be a search stage, a test of narrative formulas used to allow the road stopped. Two dates mark the resurrection of the genre: 1942, The Family of Pascual Duarte, Cela, and 1944, with Nada by Carmen Laforet. The Family of Pascual Duarte is a short novel, tight, sober and dramatic style whose violence began consistently alarmist an unflinching description of the tremendous squalor of existence, but the undoubted greatness of this novel lies also in the heavy moral message ambiguity.
Nothing has a sordid environment of failed dreams, for the first time since the war, the sad fact of life was reflected in a direct tone.
Many authors follow this path to reflect the bitterness of life, along with other roads from the imaginative creation conformity. Some important authors are Zunzunegui, Torrente Ballester, and above all, Miguel Delibes whose career narrative is a summary of trends from the postwar narrative to the present, his first work, The shade of the cypress is long, shows a narrator still inexperienced narrative follows the model of traditional realism and yielding to the temptation to insert moralizing digressions, there are also certain details such alarmist. In addition to the novel situation of post-war Spain, one must take account of the author who went into exile after the conflict and to develop their work differently from traditional realism to modernism. Content themes abound fundamentally social and recovering Spanish reality. The production that develop outside the country took place without contact with the Spanish world that did not occur until much later dates. Authors major exiles are Ramon J. Sender, Rosa Chacel, Max Aub
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The training environment to mislead the prime cultural d e r e rra posgue mu s and a c l a novel used. The decade of the 40 is a stage of search, a ‘trial narratives FORMULA used to allow the road stopped. Two dates mark the resurrection of the genre: 1942, with the family dand Pa s cua l Duarte de Cela, which initiates tremendously, and 1944, with Nada by Carmen Laforet. Many authors follow the path to reflect the bitterness of life, June t c a minos or other ranging from the imaginative creation to conformism. Some s author ands imp or rtante s are Zunzunegui, Torrente Ballester, bre s or all, Delibes Migu e l t c u and ria rayect or narrative is aUMMARY s narrative trends from posgu e rra l to even today.
It consolidates the 50 literature 40 and the call comes Gen e r a tion of half a century, the dominant literary perspective is social realism. This t e ndenci Cela to again stress to the hive and Delibes with the road, both novels are intended to reflect specific social environments: the postwar Madrid or a Castilian village. Especially between 1954 and 1962, there will most outstanding representatives of l c ados social novel: Aldecoa, Sanchez Ferlosio orCaballero Bonald. .. For all ell or s, e l novelist must have a role of testimony or complaint of my e rials and social injustices. Therefore, the most common themes and environments are the hard life of the field, the world of work, lack of solidarity and the bourgeoisie the evocation of war. With regard to the narrative techniques and,preferred the simple and the dir e ct, From 19 6 0, are voices that show fatigue and carried s mo n aq writer uses of redundancy r eocupación by language, called a Henry and artistic foundation. In 1962 Time ncio sil and Martin – Santos breaks new ground, the social and s patent claim, but the author also proposes a p r ofunda renewal of the narrative techniques and style. The novel begins to take into account to major European and American innovators, a strong impact because the boomof the American novel and rehabilitates certain social novelists but imaginative and creative. The novel will grow complex j ness and wealth in the treatment of the topics (with the entrance of the imagination, etc.) in the structure (eg chronological disorder), in the forms of narration, description, monologue (it’s important to do the call internal monologue)… and style Receipt of many varieties and daring. Since the late ’60s, there was a stream known as experimentalism that showed a total rejection by the anecdote; points, especially with John BenetReturn to Region. From the 70, the Spanish novel is characterized by the coexistence of dist i lank previous trends and styles. Despite this variety, certain commonalities can be detected as a return to i NTEREST by history and variety estil í stica, the variety of subjects and interest in literature within the literatura.