... repeatedly thwarted: "Lo que me contraria no es la herencia, sino el no haber previsto y... more ... repeatedly thwarted: "Lo que me contraria no es la herencia, sino el no haber previsto yo sucesotan extraordi-nario ... Two other brief examples in Miau serve to illustrate how literature can stage the often frustrating search for simple or universal forms of understand-ing. ...
... repeatedly thwarted: "Lo que me contraria no es la herencia, sino el no haber previsto y... more ... repeatedly thwarted: "Lo que me contraria no es la herencia, sino el no haber previsto yo sucesotan extraordi-nario ... Two other brief examples in Miau serve to illustrate how literature can stage the often frustrating search for simple or universal forms of understand-ing. ...
... repeatedly thwarted: "Lo que me contraria no es la herencia, sino el no haber previsto y... more ... repeatedly thwarted: "Lo que me contraria no es la herencia, sino el no haber previsto yo sucesotan extraordi-nario ... Two other brief examples in Miau serve to illustrate how literature can stage the often frustrating search for simple or universal forms of understand-ing. ...
This article addresses an issue that scholars have yet to develop: why Benito Pérez Galdós offers... more This article addresses an issue that scholars have yet to develop: why Benito Pérez Galdós offers the reader multiple and conflicting versions of the physical appearance of Rosario, the heroine of Doña Perfecta (1876). Some perspectives ascribe to her a physical ordinariness that stands out in an otherwise crowded field of extreme physical types (beautiful and quite unsightly); other voices in the novel hold her to be irreproachably beautiful. My argument is that the stubbornly unstable physical depiction of Rosario constitutes another significant way in which the novel plays with meaning and confounds our attempts to understand it-whether ethically or aesthetically-in any definitive way. Resumen Este artículo aborda un tema que los estudiosos todavía tienen que desarrollar: por qué Benito Pérez Galdós ofrece al lector versiones múltiples e incompatibles respecto a la apariencia física de Rosario, la heroina de Doña Perfecta (1876). Algunas perspectivas le atribuyen un físico ordinario que se destaca en un campo atestado de tipos físicos extremos (tanto hermosos como desagradables); otras voces en la novela la representan como por encima de cualquier reproche. Mi argumento es que la inestable representación física de Rosario constituye otra manera significativa en la cual la novela juega con el significado y confunde de manera definitiva nuestros intentos de entenderla ética o estéticamente. Whether tacitly or explicitly, critics have long acknowledged that the novels of Benito Pérez Galdós (1843-1930) return repeatedly, even obsessively, to the themes of body imagery, outward appearance, and physical beauty and its 'others'. In so doing, Galdós's works arguably register preoccupations we have thought primarily our own. More often than not (as many scholars have stressed), the difficulty of arriving at a comprehensive understanding of the meaning of Doña Perfecta is due largely to the unreliability of the novel's speakers (both characters and narrator) and to the meaning of their expressed utterances-a challenge rendered all the more complex by Galdós's endless linguistic sleights
... repeatedly thwarted: "Lo que me contraria no es la herencia, sino el no haber previsto y... more ... repeatedly thwarted: "Lo que me contraria no es la herencia, sino el no haber previsto yo sucesotan extraordi-nario ... Two other brief examples in Miau serve to illustrate how literature can stage the often frustrating search for simple or universal forms of understand-ing. ...
... repeatedly thwarted: "Lo que me contraria no es la herencia, sino el no haber previsto y... more ... repeatedly thwarted: "Lo que me contraria no es la herencia, sino el no haber previsto yo sucesotan extraordi-nario ... Two other brief examples in Miau serve to illustrate how literature can stage the often frustrating search for simple or universal forms of understand-ing. ...
... repeatedly thwarted: "Lo que me contraria no es la herencia, sino el no haber previsto y... more ... repeatedly thwarted: "Lo que me contraria no es la herencia, sino el no haber previsto yo sucesotan extraordi-nario ... Two other brief examples in Miau serve to illustrate how literature can stage the often frustrating search for simple or universal forms of understand-ing. ...
This article addresses an issue that scholars have yet to develop: why Benito Pérez Galdós offers... more This article addresses an issue that scholars have yet to develop: why Benito Pérez Galdós offers the reader multiple and conflicting versions of the physical appearance of Rosario, the heroine of Doña Perfecta (1876). Some perspectives ascribe to her a physical ordinariness that stands out in an otherwise crowded field of extreme physical types (beautiful and quite unsightly); other voices in the novel hold her to be irreproachably beautiful. My argument is that the stubbornly unstable physical depiction of Rosario constitutes another significant way in which the novel plays with meaning and confounds our attempts to understand it-whether ethically or aesthetically-in any definitive way. Resumen Este artículo aborda un tema que los estudiosos todavía tienen que desarrollar: por qué Benito Pérez Galdós ofrece al lector versiones múltiples e incompatibles respecto a la apariencia física de Rosario, la heroina de Doña Perfecta (1876). Algunas perspectivas le atribuyen un físico ordinario que se destaca en un campo atestado de tipos físicos extremos (tanto hermosos como desagradables); otras voces en la novela la representan como por encima de cualquier reproche. Mi argumento es que la inestable representación física de Rosario constituye otra manera significativa en la cual la novela juega con el significado y confunde de manera definitiva nuestros intentos de entenderla ética o estéticamente. Whether tacitly or explicitly, critics have long acknowledged that the novels of Benito Pérez Galdós (1843-1930) return repeatedly, even obsessively, to the themes of body imagery, outward appearance, and physical beauty and its 'others'. In so doing, Galdós's works arguably register preoccupations we have thought primarily our own. More often than not (as many scholars have stressed), the difficulty of arriving at a comprehensive understanding of the meaning of Doña Perfecta is due largely to the unreliability of the novel's speakers (both characters and narrator) and to the meaning of their expressed utterances-a challenge rendered all the more complex by Galdós's endless linguistic sleights
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