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This article spotlights an experimental form of early moving-image storytelling by examining the formal novelty and generic creativity of Pio Baroja's novela film. Thus subtitled, his short novel El poeta y la princesa o el Cabaret de la Cotorra Verde (1929) incorporates cinema's narrative strategies and engages cinema's associated print cultural form of the novelized film plot. As a different kind of 'cinematographic novel,' Baroja's novela film launches an inquiry into notions of genre, narration, audience, and medium, revealing a unique insight into the ways in which the modernist novel was being redefined in response to cinema's methodological challenge to traditional modes of writing. Through its exploration of what it means to fuse literature and film-and, hence, its interrogation of what it means to write for a different kind of reading-Baroja's novela film adapts and speaks to an expanding body of cinema-literate readers. As it elicits an enhanced awareness and sophisticated critical attention on the part of a reader-viewer through metafictional disclosing, intertextuality, and parodic content, it may be considered that its formal innovation advances a new manner of intellectualized consumer reading. Ultimately, as a response to entertainment industries such as film and cinema print culture, the novela film rethinks the very notion of what is literature.

In the interval between 2001 and 2014, at least 20 novels set in the Philippines were written and published in Spain. They come after a period of time with barely no cultural production on this topic, which lasted for almost a century. The first part of this article approaches the reasons leading Spanish literature to forget the Philippines after 1898. To explain this phenomenon, it will establish a parallelism between the process of oblivion of contemporary Spanish history carried out during the Spanish Democratic Transition according to María Teresa Vilarós, and the forgetting of the Philippines after 1898. The second part of the article proposes two possible reasons for the small boom of novels set in the Philippines lately: on the one hand, the recent visibility of the country thanks to institutional efforts to rescue Spanish-Philippine cultural links, and on the other hand, the editorial success of novels dealing with forgotten episodes of Spanish history ( Memoria histórica ). To draw the connection with Spanish novels dealing with historical memory, the paper will also attempt a general characterization of them.

Este ensayo explora la estética de lo grotesco en la novela La romería (1910) de Manuel Ciges Aparicio como mecanismo de denuncia del sistema de la Restauración (1874-1931). Como tal, anticipa muchas de las temáticas presentes en las mejores obras esperpénticas de Ramón del Valle-Inclán. De hecho, La romería, por un lado, y el esperpento valleinclaniano, por el otro, reflejan el mismo clima de hipocresía, farsa y mediocridad prevalente durante el régimen ideado por Antonio Cánovas del Castillo.

This article is based on the methodological distinction between places, spheres of action and spaces in the respective narrative levels of the story, the plot and the discourse. It analyses briefly but thoroughly the functioning of space in Tirano Banderas by Valle-Inclán. Its main contributions are: the definition of its chronotope and syntopia, the topographical but also ideological and cultural role of the places and their link with the reader’s spatial cognitive map, the axes of the actors’ interscenic itineraries and the spatial form as a technique of textual design, as well as the narrative strategies of spatial configuration, the different types of descriptions and the function of space in this esperpento’s novel. Este artículo se basa en la distinción metodológica entre lugares, ámbitos de actuación y espacios en los respectivos estratos narrativos de la fábula, trama y discurso. Analiza de forma breve pero integral el funcionamiento del espacio en Tirano Banderas de Valle-Inclán. Sus principales aportaciones son: la definición de su cronotopo y la sintopía, el papel topográfico pero también ideológico y cultural de los lugares y su vinculación con el mapa cognitivo espacial del lector, los ejes de los itinerarios interescénicos de los actores y la forma espacial como técnica de diseño textual, así como las estrategias narrativas de configuración espacial, los distintos tipos de descripciones y la función del espacio dentro de esta novela esperpéntica.

Este ha sido el título elegido por el Catedrático Emérito de Literatura Española de la Facultad de Letras de la Universidad de Murcia, Francisco Javier Díez de Revenga,1 para presentar nuevas aportaciones y explicaciones sobre el que fuera uno de los baluartes más trascendentes de la literaria Generación del 98, José Martínez Ruiz, Azorín. También es el título un juego de palabras, otro juego con el tiempo – coordenada básica en la obra azoriniana– y un honroso gesto literario al Clásicos y modernos de 1913.

En 1924 tuvo lugar en Vera de Bidasoa y sus aledaños un intento de levantar una revolución en manos de un grupo de anarcosindicalistas refugiados en Francia. En la segunda parte de La familia de Errotacho (1932), Pío Baroja recoge estos acontecimientos en una «novela reportaje». Una lectura atenta de algunos aspectos formales del texto y el cotejo del relato con los hechos históricos invitan a reflexionar sobre la naturaleza problemática de este subgénero híbrido, las motivaciones personales e ideológicas del autor y su recepción en el contexto de la Segunda República.

El caballero de Erlaiz is one of the novels by Pío Baroja that have been most neglected. Written after his return from exile in Paris during the Spanish war, it contains an embarrassing incursion in the 18th century and the War of the Pyrenees, that is, in events more distant than the ones he had usually written about in trilogies like La selva oscura, pieces such as Zalacaín el aventurero or the series Memorias de un hombre de acción, which deal with the 19th and the 20th centuries. In this paper I suggest that below this journey in History Baroja was not only praising the spirit of the Enlightenment but also developing a criticism of the present, through a reconsideration of History and the genre of historical novel. El caballero de Erlaiz es una de las novelas más desapercibidas de la larga trayectoria de su autor, Pío Baroja. Escrita al regreso de su exilio en París, supone una desconcertante incursión en el siglo XVIII y la guerra de la Convención, es decir, en unos acontecimientos más lejanos que los que el autor trató en trilogías como La selva oscura, piezas como Zalacaín el aventurero o la serie Memorias de un hombre de acción, que estudiaban los siglos XIX y XX. En este artículo sostengo que bajo el ropaje histórico Baroja realizaba no solo una vindicación y una loa del espíritu ilustrado sino una enésima crítica del presente, desde una reflexión sobre la Historia y el género de la novela histórica.

La vinculación entre desarraigo y cosmopolitismo fue desarrollada con especial clarividencia por Ventura García Calderón en un ensayo que dedicó a Rubén Darío en el prólogo que escribió para el libro Pages Choisies, con textos del nicaragüense y publicado en 1918. Ese desarraigo es también revisitado por el peruano en sus crónicas sobre los escritores del 98 y, especialmente, en las dedicadas a Miguel de Unamuno. Gracias a los textos dedicados a uno y a otro, la figura de Darío y la de Unamuno quedan unidas bajo la mirada de García Calderón

The weekly Vida Nueva (1898-1900) was the last journal in which Angel Ganivet wrote before committing suicide in November 1898. This article studies the relation of this magazine with the Granada's writer. The difficult access to Vida Nueva has meant that little attention has been paid to his contributions to it, the public image they helped create and that some mistakes around them were generalized. Vida Nueva was the largest magazine distribution and fame in which collaborated Ganivet. Because of this recognition was higher as a result of this collaboration and also as a result, was remembered years later as a writer in Vida Nueva and therefore as a Regenerationist intellectual.

Critics have long avoided any serious consideration of the intellectual atmosphere in Spain during the waning years of the nineteenth century and the beginning of the twentieth. The Generation of 1898, essentially an ideological movement, has been studied with no more than passing mention of the social and philosophical currents of the times. Only Luis Granjel has attempted to analyse the period, and his effort is a superficial recounting of political and social history. What remains to be done is a careful study of the newspapers and reviews published at the turn of the century in order to reconstruct the possible cultural environment which determined the literary works of 1898.