Generation of 1898 Short Fiction Criticism: Major Short Story Writers Of The Generation Of 1898 - Essay

Mirella d'Ambrosio Servodidio (essay date April 1968)

(Short Story Criticism)

SOURCE: Servodidio, Mirella d'Ambrosio. “Azorín and the Modern Short Story.” The Romanic Review 59, no. 2 (April 1968): 88-92.

[In the following essay, Servodidio contends “the modern short story was to prove an ideal vehicle of expression for Azorín.”]

A careful appraisal of Azorín's work indicates that the short story genre is singularly suited to his talents. As suggested by Salvador de Madariaga,1 Azorín suffers from a natural shortness of breath which prevents him from attempting long literary excursions. Although he does write sixteen novels, they are held in check and are reduced in scope and dimension. Yet, despite this deliberate...

(The entire section is 2241 words.)

Renée Sieburth (essay date spring 1979)

(Short Story Criticism)

SOURCE: Sieburth, Renée. “Commentary on Azorín's ‘La casa cerrada’.” Revista Canadiense de Estudios Hispánicos 3, no. 3 (spring 1979): 291-96.

[In the following essay, Sieburth provides a reading of “La casa cerrada” in order to gain insight into Azorín's central thematic concerns.]

Azorín's Castilla (Madrid, 1912) is a collection of short texts in which the particular concerns of the author find consummate expression. Both subtlety and intensity of emotion inform its pages as story after story tells of the fleeting quality of time, indulges in the sentimental evocation of the past, and even proposes the idea that time may well be cyclical,...

(The entire section is 2635 words.)

Walter T. Pattison (essay date 1971)

(Short Story Criticism)

SOURCE: Pattison, Walter T. “Short Stories and Criticism.” In Emilia Pardo Bazán, pp. 92-7. New York: Twayne Publishers, 1971.

[In the following essay, Pattison offers an overview of Pardo Bazán's short fiction, asserting that “it was she who acclimated the short story and made it an important part of the Spanish literary scene.”]


Pardo Bazán is the outstanding short story writer of Spain in the nineteenth century. Before her, only Pedro de Alarcón attained mastery over the genre; during her prime only Clarín had some of her competence, and in her later years Blasco Ibáñez was her only rival. Yet none of these...

(The entire section is 2725 words.)

Lou Charnon-Deutsch (essay date fall 1981)

(Short Story Criticism)

SOURCE: Charnon-Deutsch, Lou. “Naturalism in the Short Fiction of Emilia Pardo Bazán.” Hispanic Journal 3, no. 1 (fall 1981): 73-85.

[In the following essay, Charnon-Deutsch explores the naturalistic tendency found in several of Pardo Bazán's short stories.]

Naturalism was debated in Spain even before translation of Zola's works appeared, but it was not until Emilia Pardo Bazán published her controversial La cuestión palpitante (1882-83) that critics began lining up in earnest on either side of the issue which bore so many sociological and ethical overtones.1 The series of articles that make up La cuestión failed to convince the...

(The entire section is 6101 words.)

Janet Pérez (essay date winter 1992-93)

(Short Story Criticism)

SOURCE: Pérez, Janet. “Winners, Losers and Casualities in Pardo Bazán's Battle of the Sexes.” Letras Peninsulares 5, no. 3 (winter 1992-93): 347-56.

[In the following essay, Pérez elucidates the male-female relationships—especially courtship and matrimony—in Pardo Bazán's short fiction.]

In the 1990 four-volume edition of Pardo Bazán's complete tales by Juan Paredes Núñez, more than 400 short stories originally published in collections by the author appear in association with almost 200 more, previously published only in periodicals. The vast majority of these are unstudied, and given the cannonical view of the short story as a minor genre, critical...

(The entire section is 4148 words.)

Joyce Tolliver (essay date 1996)

(Short Story Criticism)

SOURCE: Tolliver, Joyce. Introduction to Torn Lace and Other Stories, by Emilia Pardo Bazán, Translated by María Christina Urruela, pp. ix-xxiv. New York: The Modern Language Association of America, 1996.

[In the following essay, Tolliver provides a biographical sketch of Pardo Bazán and a thematic and stylistic analysis of her short stories.]


Emilia Pardo Bazán (1851-1921) is one of the most important literary figures of nineteenth-century Spain. She is without doubt the most influential Spanish woman writer of that century, instrumental in promoting an awareness of French naturalism and Russian...

(The entire section is 4109 words.)

Henry A. Linares (essay date August 2000)

(Short Story Criticism)

SOURCE: Linares, Henry A. “Individual Status Versus Community Interest in ‘La cencerrada’ by Vincente Blasco Ibáñez.” Journal of Evolutionary Psychology 20, nos. 3-4 (August 2000): 203-05.

[In the following essay, Linares finds Ibáñez's “La cencerrada” to be an example of naturalism.]

“La cencerrada” written by Vicente Blasco Ibáñez (known in the United States as the author of The Four Horsemen of the Apocalypse)1 is a short story which can be classified as a product of the literary movement known as Naturalism which flourished in Europe near the end of the 19th century. One of the principal tenants of this movement was to...

(The entire section is 1658 words.)

Ian R. MacDonald (essay date January 1990)

(Short Story Criticism)

SOURCE: MacDonald, Ian R. “The Gospels as Fiction: Gabriel Miró's Figuras and Biblical Scholarship.” Forum for Modern Language Studies 26, no. 1 (January 1990): 49-61.

[In the following essay, MacDonald outlines the critical controversy surrounding Miró's revision of Gospel texts, Figuras de la Pasión del Señor, and views the sketches in the volume as radical.]

Ah! si, dans la fraîcheur de sa beauté, avant les souillures du mariage et la désillusion de l'adultère, elle avait pu placer sa vie sur quelque grand coeur solide, alors la vertu, la tendresse, les voluptés et le devoir se confondant, jamais elle ne serait descendue...

(The entire section is 6254 words.)

José Ferrater Mora (essay date 1962)

(Short Story Criticism)

SOURCE: Mora, José Ferrater. “Unamuno and His Generation.” In Unamuno: A Philosophy of Tragedy, translated by Philip Silver, pp. 1-24. Berkeley: University of California Press, 1962.

[In the following essay, Mora underscores Unamuno's relationship with the Generation of 1898 and lists the defining characteristics of the literary movement.]


Miguel de Unamuno was born in Bilbao, the spiritual and industrial capital of the Spanish Basque country, on September 29, 1864. He spent his childhood and a part of his youth there, and it left an indelible mark on the whole of his life. Unamuno was always profoundly aware of...

(The entire section is 7817 words.)

Donald L. Shaw (essay date 1975)

(Short Story Criticism)

SOURCE: Shaw, Donald L. “Unamuno: The Giant of the Generation.” In The Generation of 1898 in Spain, pp. 41-74. London: Ernest Benn Ltd., 1975.

[In the following essay, Shaw examines Unamuno's vital role in the Generation of 1898 and provides an overview of his fiction and poetry.]

J. Herrero states categorically that Ganivet was ‘el primero entre los hombres de su generación en adoptar una actitud que caracterizará a los componentes de lo que llamamos la Generación del 98’.1 This is in one way strictly true. The key-year for Ganivet was 1888, the year of España filosófica contemporánea, from which so much of the rest of his work stems....

(The entire section is 15736 words.)

Catherine Nickel (essay date summer 1987)

(Short Story Criticism)

SOURCE: Nickel, Catherine. “Recasting the Image of the Fallen Woman in Valle-Inclán's ‘Eulalia’.” Studies in Short Fiction 24, no. 3 (summer 1987): 289-94.

[In the following essay, Nickel considers the image of the fallen woman in Valle-Inclán's “Eulalia.”]

In 1864 William Gayer Starbuck wrote that “When a woman falls from her purity there is no return for her as well may one attempt to wash the stain from the sullied snow. Men sin and are forgiven; but the memory of a woman's guilt cannot be removed on earth.”1 The ideological assumptions underlying these assertions remained popular for many years and late nineteenth-century fiction is...

(The entire section is 2575 words.)

Martha LaFollette Miller (essay date February 1992)

(Short Story Criticism)

SOURCE: Miller, Martha LaFollette. “The Feminization and Emasculation of Galicia in Valle-Inclán's Jardín umbrío.Romance Quarterly 39, no. 1 (February 1992): 87-92.

[In the following essay, Miller discusses the liminal status and feminization of the Galicia region of Spain as depicted in Valle-Inclán's “Juan Quinto” and “Mi bisabuelo,” two stories that stand out particularly for their portrayals of emasculation and impotence.”]

A feature of the literary text that has attracted increasing interest in recent years is liminality. Gustavo Pérez Firmat, recalling the etymological connections between liminality and such words as limit, limb,...

(The entire section is 2885 words.)

Catherine Davies (essay date 1994)

(Short Story Criticism)

SOURCE: Davies, Catherine. “‘Venus impera’? Women and Power in Femeninas and Epitalamio.” In Ramón María del Valle-Inclán: Questions of Gender, edited by Carol Maier and Roberta L. Salper, pp. 129-53. Cranbury, N.J.: Associated University Presses, 1994.

[In the following essay, Davies contends that Valle-Inclán's Femeninas and Epitalamio subvert the modernist aesthetic through their depiction of female sexuality.]

This essay explores how Valle-Inclán's early narrative subverts the modernist aesthetic through its representation of female sexuality. In this context, Rubén Darío's Prosas profanas [Profane hymns] provides a...

(The entire section is 10632 words.)