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Pepita Jiménez depicts the gradual realization by a young seminarian of the empty vanity of his vocation, while he falls in love on the eve of his ordination. The novel gives a view of rural life in the Andalusian region of Spain. The story touches on themes of physical versus spiritual love and finding one's true path in life.
Content with her tertuha, or gathering of close friends, her devotions, her books, and her daily routine, Dona Luz is unmoved by the prospect of marriage, because of her illegitimacy and her extremely modest financial status." "But then two men enter her life: Father Enrique, the ailing missionary nephew of Don Acisclo who returns from the Philippines to rest, and Don Jaime Pimentel, the dashing young military man whom Don Acisclo has chosen to back as the district representative in an uncoming election. How Dona Luz responds to both men determines the direction her life will take and the manner in which her illegitimacy will be explained."--Jacket.
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Juan Valera y Alcala-Galiano (1824-1905), one of 19th-century Spain's most well known authors, had a career in the diplomatic service with postings in Europe and the Americas. A serious student of his own and foreign literatures, Valera wrote novels, short stories, essays and literary criticism. Fluent in a number of languages, he also translated Longus's Daphne and Chloe from Greek into Spanish. The unifying thread of his creative work is "art for art's sake," that is, beauty as the end and purpose of imaginative literature, an ideal epitomised by Pepita Jimenez, long considered one of the best half dozen novels of 19th-century Spain. When it was first published in 1874, Pepita Jimenez beca...
Juan Valera y Alcalá-Galiano (1824-1905), one of 19th-century Spain's most well known authors, had a career in the diplomatic service with postings in Europe and the Americas. A serious student of his own and foreign literatures, Valera wrote novels, short stories, essays and literary criticism.
Juan Valera (1824-1905) was Spain's only realist with a lifelong insistence that narrative privilege invention over testimony. Throughout Valera's lengthy career, his novels engaged in a running esthetic debate with those of his chief rivals, Galdós and Alas. This debate, chronicled in the present work, led to many compromises and ultimately produced, in the twentieth-century fiction of Valle-Inclán and Unamuno, a novelistic form, also detailed here, that exhibited clear debts to Valera's catalytic influence.
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