El ser y la palabra en Gabriel Miro

Larsen, Kevin S.; Johnson, Roberta L.

doi:10.2307/343411

Cited by 2 publications

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The Cambridge Companion to the Spanish Novel

Turner¹,

Martínez²

2003

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The Cambridge Companion to the Spanish Novel presents the development of the modern Spanish novel from 1600 to the present. Drawing on the combined legacies of Don Quijote and the traditions of the picaresque novel, these essays focus on the question of invention and experiment, on what constitutes the singular features of evolving fictional forms. It examines how the novel articulates the relationships between history and fiction, high and popular culture, art and ideology, and gender and society. Contributors highlight the role played by historical events and cultural contexts in the elaboration of the Spanish novel, which often takes a self-conscious stance toward literary tradition. Topics covered include the regional novel, women writers, and film and literature. This companionable survey, which includes a chronology and guide to further reading, conveys a vivid sense of the innovative techniques of the Spanish novel and of the debates surrounding it.

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The Cambridge Companion to the Spanish Novel

Turner¹,

Martínez²

2003

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De cómo Ortega malentendió a Gabriel Miró

Corona¹

2015

Epos : Revista De Filología

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ResumenA Gabriel Miró se le ha leído tradicionalmente como estilista, lírico o poeta en prosa, ya fuera para alabarle por el virtuosismo de su prosa, ya para criticarle como mal novelista sin nada que decir. Cada vez más puesta en entredicho, aquí se propone que esta manera de leer a Miró parte en gran medida del feroz ataque que le hizo José Ortega y Gasset en una reseña sobre su novela cumbre: El obispo leproso (1926). Se analizará aquí esta reseña, poniendo de manifiesto los errores de interpretación en que cayó Ortega y cómo, en su ataque a Miró, llegó incluso a caer en contradicción con sus propias teorías estéticas, particularmente de La deshumanición del arte e ideas sobre la novela (1925).Palabras clave: Gabriel Miró; Ortega y Gasset; recepción literaria; estética de vanguardia Abstract Gabriel Miró has traditionally been considered a stylist, a lyricist or a poet in prose, either as a means to praise the refinement of his prose or else to undervalue him as a lame novelist who had nothing to say. With more and more critics disagreeing with it, this article will argue that this inaccurate view relies on the violent attack Ortega y Gasset offers in his review of Miró's most important novel: El obispo leproso (1926). This review will be examined here in order to show that Ortega misunderstood Miró, highlighting that in his attack he contradicted his own aesthetics, particularly La deshumanización del arte e ideas sobre la novela (1925).

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El ser y la palabra en Gabriel Miro

Cited by 2 publications

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The Cambridge Companion to the Spanish Novel

The Cambridge Companion to the Spanish Novel

De cómo Ortega malentendió a Gabriel Miró

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