These two novels, generally considered his finest, treat in his usual impressionistic manner his formative years in the Jesuit schools. What the novels lack in structure they make up for in sensitive presentation of the boy's emotional formation. After Miro lived in Madrid and worked in the Ministry of Education. He continued to write and publish until almost the time of his death on May 27, Although Miro was not, like Miguel de Unamuno, an overt critic of the Roman Catholic Church, his criticism of its religious teaching is subtle but nevertheless effective.
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In Miro married Clemencia Maignon, daughter of the French consul in Alicante, and later two daughters, Olympia and Clemencia, were born to them. Back to Profile. Photos Works. Main Photo. Gabriel Ferrer. School period Add photo.
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Awards Add photo. Other Photos Add photo. Connections Add photo. It was also famous nationally in the nineteenth century for the events of July when, in the midst of federal republican and cantonalist rebellions, it was the scene of an uprising with a genuinely socialist content. A strike for higher pay and shorter hours turned into a bloody affair with some 35 dead or injured, including the alcalde. In Alcoy there was thus a deep memory of that special terror of the bourgeoisie, the revolutionary mob. The abuelo 's abuelo finds his new tannery burned down. But this must clearly be read as an act of Luddism rather than a revolutionary response -Spanish industrialists in more recent times, surely, rarely escaped the mob disguised as a priest as the first Arcadio does!
The terror of is displaced to more harmless times.
So, displacing, as in a Freudian dreamwork, the possibility of violent and radical social change, the text treats both the old, Arcadio, and the new, Llanos, with scorn. Instead there arises in the gap between them a favourite Mironian Romantic motif, the alienated artist. Dreams of empire of a monarchical old order have turned to irrelevant failure or miserable bureaucracy.
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It is often articulated in terms of space, of decisions about staying or going, of the impossibility of being both here and there, of reaching the horizon Such spatial decisions play a vital part in the plot of El abuelo with its endless goings and comings as alternatives to the stasis of Serosca. But more generally they express a sense of insoluble dilemma built into social as well as individual existence. The novel, then, rejects the decrepit old social structures, but also laments what is taking their place.
The watch that does not work captures this melancholy emptiness: the grandfather's faith in the spiritual value of this Kempis of watches is a pathetic and childish sham, the grandson's 'grown-up' inability to give credit to anything but measurement is a sign of the break-up of older values [ OC , ]. The novel also proposes the well-worn but deeply-felt solutions of art and love -with a special emphasis on the silent suffering of women- only to reveal them blocked by profoundly repressive societies.
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The terror of the mob expressed in support for Maura and Canalejas and in the displacement of the violence in the novel on this view produces a vision of a society that can neither advance nor receive the love, art and leadership that might save it. This blockage in turn tends to deflect all hope into a sense of an unchanging human condition, an original flaw, ' aquel hecho ciego ', that conflicts with the sense of history that seemed at first to be the project of the novel.
But such a conclusion by itself would be too reductive. We saw that he needed modernist fiction. All three are born into a world of instrumentality and quantity -at the end of El abuelo the municipio cut down the roadside trees on the Murta road because the road width has to be increased from 7 to 7. It is a world where value itself is disappearing. Jameson argues that:. The very activity of sense perception has nowhere to go in a world in which science deals with ideal quantities, and comes to have little enough exchange value in a money economy dominated by considerations of calculation, measurement, profit, and the like.
This unused surplus capacity of sense perception can only reorganize itself in a new and semi-autonomous activity, one which produces its own specific objects, new objects that are themselves the result of a process of abstraction and reification, such that older concrete unities are now sundered into measurable dimensions on one side, say, and pure color or the experience of purely abstract color on the other Impressionism, for instance, is plainly one example of the aestheticizing strategies typical of the later nineteenth century that correspond to the process described.
Such phenomena, Jameson suggests, are not simply negative, but have both negative and positive features for which he proposes the terms 'ideological' and 'Utopian'. As Jameson puts it:. Yet modernism can at one and the same time be read as a Utopian compensation for everything They pay more attention to the expression of feelings and sensations than the simple act of listing events. Impermanence is the essential theme of the author, who incorporates the past into a continuing present, through sensations, evocation, and memory.
From Wikipedia, the free encyclopedia. Random House Webster's Unabridged Dictionary. London: Tamesis Books.
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