https://www.um.edu.mt/library/oar/handle/123456789/16172 Wed, 08 Jul 2026 22:17:55 GMT 2026-07-08T22:17:55Z https://www.um.edu.mt/library/oar/handle/123456789/147887 Title: Unamuno ante la crítica feminista : el caso de La tía Tula Authors: Garrido Ardila, John A. Abstract: La tía Tula de Unamuno ha dado pie a interpretaciones diversas, amén de incompatibles. Si bien una parte de sus exégetas la ha presentado como obra de evidente feminismo, otros han argüido justo lo contrario. Las proclamaciones de su supuesto feminismo se han basado en la apreciación de elementos feministas puntuales hallados en pasajes desperdigados por todo lo largo de la novela. Este artículo procura zanjar la disputa sometiendo La tía Tula a una teoría del feminismo en toda su extensión. A tal fin hemos recurrido a la definición del feminismo elaborada por Deborah Cameron y publicada en 2018. Nuestro análisis deja demostrada la improcedencia de calificar de feministas La tía Tula y a su personaje principal. A ello añadimos una nueva lectura de esta novela: al igual que otras obras de su autor -como Amor y pedagogía, Niebla y San Manuel-, en La tía Tula se trata la naturaleza del amor y en especial del amor spiritual. La protagonista encarna dos modelos humanos: 1) El modelo de castidad mariano que la convierte en una virgen madre a semejanza de Santa María. 2) El modelo de amor espiritual y eterno ajeno al «imperio del deseo [carnal]».; Unamuno scholars have advanced a host of different and oft incompatible constructions of his novel La tía Tula. In particular, critics have held opposite views regarding its hypothetical feminism. The feminist camp has based its claims in a small number of feminist elements they have identified in some passages of the novel. This article seeks to settle the question by reading La tía Tula against a comprehensive theory of feminism, considering all the central elements of feminism rather than a small number of circumstantial features likely to be interpreted as feminist. To that effect, I have deployed Deborah Cameron's theory of feminism published in 2018. My conclusions confirm that neither La tía Tula nor its main character reflect any of the defining characteristics of feminism. This article also advances a new reading of La tía Tula - like in other novels, such as Amor y pedagogía, Niebla and San Manuel, in La tía Tula Unamuno delves into and undertakes an examination of the subject of love and particularly of spiritual love. Further to the previous interpretations of Tula as a religious figure, this article discusses her psychological duality: (1) Tula as a model of chastity inspired by the Virgin Mary - the protagonist is a mother and a virgin. (2) Tula as a woman who feels spiritual love, a form of love that is eternal and averts «the empire of [sexual] desire». Sat, 01 Jan 2022 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/147887 2022-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/147886 Title: El lugar de publicación de la prínceps del Lazarillo : Het Steen, Matías Gast y Amberes Authors: Garrido Ardila, John A. Abstract: Este artículo aporta nuevas pruebas y argumentos a la tesis de que la edición príncipe del Lazarillo se realizó en Amberes. Aceptando que la edición de Junta en Burgos en 1554 derivaría de la prínceps, este artículo sugiere la posibi lidad de que Matías Gast (colaborador de Junta) conociese la prínceps en uno de sus viajes a su Amberes natal; la sátira anticatólica de la novela le interesó y se la llevó a Burgos, donde la editó; al diseñar la imagen de la cubierta Gast recurrió a un taco de Junta con la imagen del castillo Het Steen en Amberes, que Gast esco gió por haber traído la obra de Amberes. Y aunque el grabado no pruebe la proce dencia antuerpiense de la príncipe, constituye, no obstante, otro elemento para la tesis de Amberes.; This article puts forward evidence and an argumentation supporting the thesis that the first edition of Lazarillo de Tormes was published in Antwerp. Accepting that the 1554 edition in Burgos by Juan de Junta press was based on the first edition, this paper suggests that in 1554 Junta’s associate Matías Gast came across a copy of Lazarillo in one of his trips to his hometown of Antwerp and was immediately interested by the book’s anti-Catholic satire; he took it with him back to Burgos and published it. When he designed the cover, he used some of the woodcuts available in Junta’s press, among which there was the one of Het Steen in Antwerp, which Gast chose because he had brought the work from Antwerp. Although the engraving is not at all conclusive that Lazarillo was first published in Antwerp, it is a further element to be added to the Antwerp thesis. Wed, 01 Jan 2025 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/147886 2025-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/146095 Title: Los tratamientos pronominales T/V en un contexto situacional de formalidad alta Authors: Garrido Ardila, John A. Abstract: This article analyses the usage of T/V forms of address in Peninsular Spanish in a context of high formality —four interviews on Spanish national television of ca. 40 minutes each to frontbench politicians by top political analysts. Whilst the interviewers used V consistently, from the different choices of T/V pronouns made by the interviewees a number of intriguing conclusions are inferred. Unlike previous research into the addressees’ social factors, this research shows that the addressees’ age, sex and power/authority did not necessarily have an impact on the speakers’ choice of T or V. Conversely, the factor common to those speakers who used T was their young age (not the addressees’). Additionally, the cases of variation within the same speaker’s speech, changing from V to T, were prompted by the speaker’s desire to implicate less solidarity in moments when they disagreed with their interlocutors. In sum, this research reveals that the choice of T or V, even in contexts of the highest formality, may depend on the speaker’s idiosyncrasy and will to express more or less distance with their addressee. Wed, 01 Jan 2020 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/146095 2020-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/145933 Title: The novel before Cervantes : Spanish fiction and «historical truth» from Montalvo (1508) to Alemán (1599) Authors: Garrido Ardila, John A. Abstract: This article presents diachronically the theories of fiction posited by Spanish writers before Cervantes’s Don Quixote (1605). Focusing on the concept of verisimilitude in relation to Cervantes’s term historical truth, and with reference to Aristotelian realism and to Ian Watt’s formal realism, we will firstly appraise the recent scholarship on the genre of Don Quixote. Thereupon, we will explicate the main Spanish metafictional discussions of verisimilitude and realism postulated in the preliminaries to some central literary works published before Don Quixote; namely Garci Rodríguez de Montalvo’s Amadís de Gaula (1508), Bartolomé de Torres Naharro’s Propalladia (1517), Francisco Delicado’s Retrato de la Lozana andaluza (1528), and Mateo Alemán’s Guzmán de Alfarache (Part I, 1599). By means of this analysis, we will provide new evidence to lay out the verisimilar / realist nature of Cervantes’s Don Quixote fundamentally as the result of more than one hundred years of conscientious theorisation and experimentation in Spanish literature. Moreover, we shall suggest that, alongside the rich Spanish romance tradition of the sixteenth century, the line of verisimilar fiction (including Lozana andaluza, Lazarillo de Tormes and Guzmán de Alfarache) stemmed essentially from aesthetical innovations originated in theatre, not solely from Celestina (1499) but also from Torres Naharro’s innovative definition of realism.; Dieser Artikel stellt Theorien zu Fiktion, die von spanischen Schriftstellern vor Cervantes’ Don Quijote (1605) postuliert wurden, diachronisch dar. Mit Verweis auf das Konzept der Wahrscheinlichkeit in Verbindung zu Cervantes’ Begriff der historischen Wahrheit und mit Bezug auf den Aristotelischen Realismus wie auch Ian Watts formalin Realismus wird in einem ersten Schritt die jüngste Forschung zum Genre Don Quijotes beleuchtet. Daraufhin werden in den einleitenden Überlegungen die wichtigsten spanischen metafiktionalen Diskurse zur Wahrscheinlichkeit und zum Realismus in Werken vor Don Quijote erläutert, und zwar Garci Rodríguez de Montalvos Amadís de Gaula (1508), Bartolomé de Torres Naharros Propalladia (1517), Francisco Delicados Retrato de la Lozana andaluza (1528), und Mateo Alemáns Guzmán de Alfarache (Teil I, 1599). Anhand dieser Analyse werden neue Belege zum wahrscheinlichen / realistischen Wesen von Cervantes’ Don Quijote geliefert, die im Grunde als das Ergebnis von mehr als hundert Jahren der gewissenhaften Theoretisierung und des Experimentierens in der spanischen Literatur verstanden werden. Darüber hinaus legt dieser Aufsatz nahe, dass neben der reichen Romantradition des sechzehnten Jahrhunderts die Ausrichtung der wahrscheinlichen Fiktion, unter die Lozana andaluza, Lazarillo de Tormes und Guzmán de Alfarache fallen, von ästhetischen Innovationen aus dem Theater der Zeit stammt – nicht nur aus Celestina (1499), sondern auch aus Torres Naharros neuartiger Definition des Realismus. Sat, 01 Jan 2022 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/145933 2022-01-01T00:00:00Z