This essay aims at highlighting some of the modernist features that Ramón Pérez de Ayala's first novel, "Trece dioses" (1902), shares with the most famous novelas de 1902: José Martínez Ruiz's "La voluntad", Miguel de Unamuno's "Amor y pedagogía", Ramón María del Valle-Inclán's "Sonata de otoño" and Pío Baroja's "Camino de perfección". To reach this purpose, I proceed with a formal and a content analysis of Pérez de Ayala's novel. From a formal point of view, I take into account the use of the first person narration (developed to the detriment of the omniscient narrator of Realism) and the disintegration of the plot combined with a propensity for autobiography and the character's introspection. As for the content, I mainly focus on the echoes of the Spanish 'mal de España', heritage of the so-called 'Generación del 98'.
"Trece dioses" (1902): Pérez de Ayala’s first approach to Modernism
Matteo Mancinelli
2019-01-01
Abstract
This essay aims at highlighting some of the modernist features that Ramón Pérez de Ayala's first novel, "Trece dioses" (1902), shares with the most famous novelas de 1902: José Martínez Ruiz's "La voluntad", Miguel de Unamuno's "Amor y pedagogía", Ramón María del Valle-Inclán's "Sonata de otoño" and Pío Baroja's "Camino de perfección". To reach this purpose, I proceed with a formal and a content analysis of Pérez de Ayala's novel. From a formal point of view, I take into account the use of the first person narration (developed to the detriment of the omniscient narrator of Realism) and the disintegration of the plot combined with a propensity for autobiography and the character's introspection. As for the content, I mainly focus on the echoes of the Spanish 'mal de España', heritage of the so-called 'Generación del 98'.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
