Abstract

There is an obvious relation between the imitation and adaptation of literary works. The focus of the essay is the adaptation of early Spanish modern works —including Don Quijote and plays by Cervantes, Lope de Vega, and Juan Ruiz de Alarcón— and Miguel de Unamuno’s Niebla into dramatic texts in English. Adaptation becomes a method of reading, analysis, and interpretation, as well as a form of communication among authors.

Abstract

The reception of Jesús Moncada’s work at the beginning of his literary career was determined by the debate between «rural novel» and «urban novel», up to the point of directing its reading towards an elegiac dimension, at the expense of other distinctive traits of greater importance. In this sense, Moncada’s work has been understood, in an almost exclusive way, as a literary recording of the collective memory. The present article suggests a different reading of «Estremida memòria», in order to discover the essenciality of the irony in the author’s world, in this case, through the characteristic procedures of metafiction: metalepsi and metatextuality. The recreation of Mequinenza’s history is in the background, according to the reflection on the process of writing and on the mechanisms of capturing and reproducing this reality by means of Literature

Abstract

Abstract: This paper reexamines the different types of irony present in La Glòria del doctor Larén (1936), Pere Calders’s first novel. These include meta-fictional reflections by narrators and characters and other ironic means within reach of the narrator in the exercise of his functions, the author’s irony in the preface, irony of situation, verbal irony and parody. Through the diversity and recurrence of its ironies, the analysis shows that La Glòria del doctor Larén provides the basis for identifying the author’s poetic irony with the character, functions and style characteristic of Calder’s production of maturity..Key words: irony, metafiction, parody, Pere Calders, La Glòria del doctor Larén.