Spanish Golden Age Literature Research Articles

El muerto disimulado/Presumed Dead

El muerto disimulado/Presumed Dead

The Nature of Hate and the Hatred of Nature in Hispanic Literatures by Beatriz Rivera-Barnes

Reviewed by: The Nature of Hate and the Hatred of Nature in Hispanic Literatures by Beatriz Rivera-Barnes William Flores Rivera-Barnes, Beatriz. The Nature of Hate and the Hatred of Nature in Hispanic Literatures. Lexington Books, 2021. Pp. 235. ISBN 978-1-498-59648-0. The Nature of Hate and the Hatred of Nature in Hispanic Literatures is an impressive multidisciplinary collection of eleven insightful chapters that converge on the unifying themes of hate and ecophobia in major literary and cinematic works produced in the Spanish-speaking world. The first part of the book contains three chapters related to the Iberian world, while the second part encompasses eight chapters referring to Latin American film and literature. The introduction provides a rich discussion on ecocritical theory that includes Simon C. Estok’s view on ecophobia and a synthesis of Timothy Morton’s theory of dark ecology, to help the reader understand the ecocritical approximation of the book. Furthermore, the introduction provides a valuable academic discussion on what hate and the hatred of nature are, while using a historiographical approach that includes an examination of biblical narratives, medieval events and literature, and current ecocatastrophes. For those interested in Spanish Golden Age literature, the first chapter investigates psycho-philosophical elements in Fernando de Roja’s La Celestina. The chapter presents hate as an intrinsic component of the characters’ self, being generated by love in the form of an excessively manifested passion. Concurrently, the second chapter explores the hate that comes from intimacy as portrayed in Lope de Vega’s La creación del Mundo, El robo de Dina, Fuenteovejuna, and El castigo sin venganza. The chapter highlights how these adaptations of the stories of Cain and Abel, Jacob and Esau, Amnon raping Tamar, or the rape of Dinah exemplify the propagation of hate through generations. The third chapter studies Miguel de Unamuno’s Abel Sánchez, a work based on the biblical story of Cain and Abel. This chapter provides a reading of that book as a representation of the hate that comes from the God of the Old Testament, human hate, and the resulting curse of nature. By examining narrative techniques that include stream of consciousness and introspective mono-dialogues, chapter three highlights that hate results from intimacy and is catalyzed by an envy that consumes, devours, and destroys humans and their natural environment. Utilizing an eclectic approach, the fourth chapter studies a variety of cinematic and literary texts that describe Lope de Aguirre’s search for El Dorado and Cabeza de Vaca’s foundering in the Florida Everglades. The chapter examines films including Werner Herzog’s Aguirre, Wrath of God, Carlos Saura’s El Dorado, Roland Joffe’s The Mission, Nicolás Echevarría’s Cabeza de Vaca, Icíar Bollaín’s También la Lluvia, and Francis Ford Coppola’s Apocalypse Now, in addition to literary works such as Conrad’s Heart of Darkness, Cabeza de Vaca’s Chronicle of the Narvaez Expedition, Rivera’s La vorágine, and a selection of jungle tales written by Horacio Quiroga. This chapter successfully examines and portrays these works as “doomed expeditions” that reflect hatred for nature in an existing, created, or re-created form. The fifth chapter explores hate while examining Alonso Carrió’s Lazarillo de ciegos caminantes, and Ernesto Guevara’s Diarios de motocicleta and Otra vez. This chapter is a pleasure to read as it presents, in rich narrative style, how these literary works can be juxtaposed while analyzing journeys that explore the Latin American reality of corruption and abuse. Rivera-Barnes connects the corruption and exploitation from colonial times as presented in Carrió’s Lazarillo with the abuses of neocolonialism exposed in Che Guevara’s narratives to provide a canvas of the continuity of colonialism and its foundational hatred of indigenous peoples and their natural environment. Furthermore, in the case of Che Guevara’s accounts, hatred is also examined as a tool to fight oppression. [End Page 149] Using a historical approach, the sixth chapter studies twentieth-century narratives written by Alejo Carpentier, Manuel Zapata Olivella, and Enrique Buenaventura, to explore literary representations of hatred that portray the 1791 rebellion in Haiti and the making of Haiti...

Avatares de lo invisible: Espacio y subjetividad en los siglos de oro by Luis F. Avilés

Reviewed by: Avatares de lo invisible: Espacio y subjetividad en los siglos de oro by Luis F. Avilés Aliza Levenson (bio) and Ana Laguna (bio) Luis F. Avilés. Avatares de lo invisible: Espacio y subjetividad en los siglos de oro. Frankfurt am Main: Vervuert, 2017. 228 pp. ISBN: 978-84-16922-04-8. Luis Avilés's title, Avatares de lo invisible, alludes to the wide range of figurative and literal spaces that manifest their weight in the fluid subjectivities (racial, ethnic, and gendered) portrayed by Spanish Golden Age literature. If some loci are unsurprising in this spatial inquiry—the house, the court, the battlefield—the nuanced analysis of how selected texts position their subjects existentially, socially, and politically results in new and refreshing revelations. Avilés illustrates the experiential consequences of these spatial appropriations, demonstrating how both physical spaces and invisible liminalities shape literary characters and topoi in the early modern cultural tradition. The interwoven relationship between self and space is revealed in the idea of "amor distante y de oídas," explored in the first chapter. Avilés reads texts like Ibn Hazm de Córdoba's El Collar de la paloma, Razón de Amor, and Don Quijote, highlighting a spatially mediated concept of love that recalls classical referents like Cicero's De amicitia. In the second chapter, Avilés leaves love behind to focus on the view of the court presented by Antonio Guevara in his Menosprecio de corte y alabanza de aldea (1539). Here, he deconstructs the idea of self-fashioning through a granular exploration of how the court's public and private spaces determine the internal and external selves of courtly subjects, who are painfully aware of the official processes and "invisible" machinations that might approve of, support, or betray them. For Avilés, the weight of this pressured awareness is akin to a yoke, un yugo, that severely limits the subject's freedom of movement. Avilés reads a similar environment in Guevara's idea of aldea: an external space almost as threatening to one's internal self as the court, despite the apparently greater liberties that this rural escape affords. In his third chapter, Avilés complicates the idea of an external and "prescriptive" space of conflict by focusing on the Christian and Moorish frontier of Granada, which he reads as a hybrid space shaped as much by dialogue and exchange as by conflict and warfare. In El Abencerraje, those opposing forces are manifested in the warring antagonists, Abencerraje and Abindarráez, who, despite being formidable opponents, are able to craft—thanks to the erosion of war and the vulnerability of exile—an intimate space conducive to mutual understanding, and even kinship. Contrary to historical reality, and to Covarrubias's view of the borderland as a site of clear division between lands [End Page 206] and political jurisdictions (107), Avilés sees the frontier as a porous, liminal space full of varying possibilities for dialogue and cooperation. The last chapter explores, through Lazarillo de Tormes, a much different space: the domestic environment that signifies both a shelter and a social achievement (un buen puerto). Avilés insists on the shelter dimension, since the domestic space allows the early modern subject a place to hide, to remain invisible from the social pressures or external expectations that surround him. This notion that the subject is an aspiring, autonomous entity shaped in relation to others is supported by critics like Judith Butler and Nietzsche and correlated, on a purely literary level, to the anonymity of the novel. For Avilés, such anonymity is not coincidental, as it provides the author a larger narrative autonomy, and even shelter from social and moral constraints (157). Specialists and students of the Spanish Golden Age will appreciate the wide array of literary sources and theoretical approaches employed in Avilés analysis, which includes—besides Cicero, Butler, and Nietzsche, critics like Foucault and Claudio Guillén. Through this eclectic framework, the author provides an intriguing view of early modern subjectivity in constant dialogue with its surrounding spatial demarcation. Rather than presenting a world turned into a stage, Avilés uncovers the disparate worlds of separate stages that determine...

Sobre la aproximación a la obra dramática de Calderón de la Barca en la Educación Secundaria: del currículo al libro de texto

El objetivo del presente artículo consiste en proponer una aproximación crítica a la perspectiva desde la cual se estudia la obra del dramaturgo Calderón de la Barca en la Educación Secundaria. Para ello partiremos de las indicaciones que nos ofrece el currículo estatal, publicado en el Real Decreto 1105/2014 por el que se establece el currículo básico de la Educación Secundaria Obligatoria y del Bachillerato, a través de los contenidos de la materia Lengua Castellana y Literatura. Desde este punto examinaremos un corpus de veinticinco libros de texto de diferentes editoriales españolas publicados entre 2015 y 2016, con la finalidad de analizar cómo se enfoca el proceso de enseñanza-aprendizaje de la obra de este autor en el primer ciclo de la ESO y en el primer curso de Bachillerato, la etapa y curso a las que se asocia la didáctica de la literatura española del Siglo de Oro.

Los viajes a Tierra Santa en los Siglos de Oro: entidad y fortuna de un género olvidado

Los libros de peregrinación a Tierra Santa, como libros de viajes y a la vez obras de devoción, constituyen un género editorial bien delimitado en los Siglos de Oro, al que pertenece una treintena de obras. En general fueron reeditadas y tres de ellas —las de Antonio de Aranda, Francisco Guerrero y Antonio del Castillo— alcanzaron más de una docena de ediciones cada una. Sin embargo, no tienen la mínima presencia en las historias de la literatura, a pesar de ser obras narrativas que compitieron en el favor del público con las ficciones sentimentales, las pastoriles y las de caballerías. Por esto y otras muchas razones, este género merece ser estudiado e incorporado al canon de nuestra literatura áurea.

The Black Legend in the Spanish Golden Age Literature

espanolUna nota a proposito de dos libros recientes sobre la Leyenda Negra en la literatura del Siglo de Oro. EnglishA note about two recent books on the Black Legend in the Spanish Golden Age literature.

Ego contra mundum: Sobre Don Juan y Don Quijote

AbstractThis article analyses two figures of the Spanish Golden Age Literature, Don Juan and Don Quixote, which involve a series of questions or problems typical of philosophy. They don´t expose a theoretical problem rather they represent it, they stage it; they are characters closed in themselves, in their madness, in their dream or solitude. This brief paper attempts to establish the relationship and the differences between Don Juan and the Quixote, as well as to expose the question of the self, and the theme of melancholy represented in these characters.Keywords: Melancholy, baroque, Spanish Literature, Don Juan, Don Quixote.

Pomadas y ungüentos de bruja en la literatura del siglo de oro

Pomadas y ungüentos de bruja en la literatura del siglo de oro

Hacia una didáctica de la literatura áurea en el siglo XXI

<p>En el presente artículo se traza una panorámica general de la didáctica de la literatura áurea para ofrecer, a continuación, una aproximación al uso de herramientas que faciliten la enseñanza de la producción literaria del Siglo de Oro en el siglo XXI en las enseñanzas no universitarias, si bien pueden ser aplicadas a cualquier periodo literario.</p>

«Tiempos hay de acometer y tiempos de retirar»: literatura áurea y edición digital

Any state of the art on textual criticism entails a deep reflection on the digital medium. Many national traditions have already faced the transformation of the editorial model: a model that implies, above all, a different method of execution and a new presentation of the materials. We are currently at a crucial moment in which – calling to mind Sancho’s words before the imminent participation of Don Quixote in a joust – we must decide whether or not to undertake the “new” practices within the field of digital editing. In studies of Renaissance and Spanish Golden Age literature, several projects of a high philological level and digital value have been carried out. This article intends to review some of the most emblematic and committed projects to digital humanities, and to evaluate to what extent they fit with the good practices of digital scholarly edition.

El portal BIDISO: pasado, presente y futuro inmediato. Un ejemplo de evolución en aplicaciones de las HD

The BIDISO portal (Spanish Golden Age Digital Library), created by the Interdisciplinary Seminar for the Study of Spanish Golden Age Literature (SIELAE) of the University of A Coruna, Spain, provides research sources in the fields of literature, history, history of printing and libraries of the sixteenth and seventeenth centuries. BIDISO provides access to databases and digitized editions (facsimile and transcribed texts) of Spanish emblem books, news pamphlets, polyantheae (Golden Age encyclopedias) and library inventories. This paper presents an overview of the evolution of the BIDISO research lines, a description of the resources currently offered at our sites and a preview of the new tools we are developing. They are considered as a example of the importance of combining technological and humanistic research for the development of knowledge.

La base de datos «Symbola» de divisas o empreses históricas. Planteamiento y diseño conceptual

The Interdisciplinary Seminar for the Study of Spanish Golden Age Literature (SIELAE) of the University of A Coruña, Spain, faces a new challenge among its research projects that will expand the resources offered until now in its BIDISO portal (Spanish Golden Age Digital Library). The new project involves the creation of a database on historical devices or imprese (emblematic badges) used by kings, gentlemen, ecclesiastics, academics and printers, among others, from the beginning of the genre in the late Middle Ages to their manifestations at their height of splendor during the fifteenth and sixteen centuries and their decline at the end of the seventeenth century. This paper outlines the approach and objectives, justification for the need to create an open access database on the Internet, specifications for the conceptual design of the database and details on development technologies.

The Poetics of Piracy: Emulating Spain in English Literature by Barbara Fuchs (review)

fuchs, barbara. The Poetics of Piracy: Emulating Spain in English Literature. Philadelphia: U of Pennsylvania P, 2013. 186 pp.More than a generation has passed since Walter Cohen's Drama of a Nation: Public Theater in Renaissance England and Spain (1985) began inspiring us to challenge the truisms of Anglo-Spanish literary history by viewing national canons commonly regarded as ''rival'' in relationship rather than primarily in isolation. The subsequent accumulation of monographs, journal articles, edited volumes, institutes, conference panels, and dissertations suggests that ''Anglo-Hispanists'' now comprise a growing subfield within early modern studies. Among those who have energized this ''Spanish Connection,'' Barbara Fuchs has been the most prolific and visible, and so the arrival of her work on the occlusion of Spain in English literary history, The Poetics of Piracy: Emulating Spain in English Literature, has been eagerly awaited.Fuchs's introduction immediately brings the project into material focus. To my mind, the point that the English drew inspiration from Spanish literature-''even at the times of greatest rivalry between the two nations'' (1)-could not be made more effectively than with the accompanying reproduction of the Spanish reading list of Gabriel Harvey, the Cambridge-educated Latinist, Hispanophile, and improver of the English language, who has been most often remembered as a promoter of Edmund Spenser's poetry. As Fuchs observes, the titles Harvey jotted down on the flyleaf of his personal copy of Antonio de Corro's The Spanish Grammar (1590)-including Lazarillo de Tormes, Juan Huarte de San Juan's Examen de ingenios para las ciencias, Jorge Montemayor's Diana, the Petrarchan poetry of Juan Boscan and Garcilaso de la Vega, as well as ''other legends of chivalry and errant knights''-''would still belong on a master's exam in Spanish Golden Age literature'' (3).Harvey's interest in Spanish language and letters should not seem especially surprising. If England and Spain were often at odds in the early modern period, they also shared a long history of dynastic alliance, commercial exchange, and cultural connection. However, largely due to the ensuing institutionalization of literary study around our modern vernaculars, the transnational nature of the Anglo-Spanish literary relationship has often gone unrecognized. By demonstrating that ''the often vociferous rhetorical denunciation of Spain in the period and beyond did not impede literary traffic'' (4), Fuchs sets out to offer a corrective to modes of analysis emphasizing native traditions at the expense of broader patterns of interchange.The book's first chapter, ''Forcible Translation,'' observes how humanist notions of copia, imitatio, and translatio could take on a martial tenor during the highly nationalistic Elizabethan years, so that its second, ''Knights and Merchants,'' can demonstrate how these processes worked, especially in relation to the drama, during the more openly Hispanophilic reign of James I. English literature's extensive debt to Cervantes comes early to the stage via Francis Beaumont's The Knight of the Burning Pestle (1607), which one contemporary observed as ''a sort of Quixot [sic] on the Stage'' (39). Long a staple of Renaissance drama surveys, the play's allusiveness to Don Quixote has often seemed apparent to readers acquainted with Cervantes's masterwork. And yet, generations of English scholars have downplayed the possibility of a Spanish connection by insisting that Beaumont's play had been an independent development ''satirizing the same chivalric romances'' (43). As Fuchs rightly observes, even if there were no Cervantine intertextual presence within The Knight of the Burning Pestle-and I wholeheartedly believe that she is right to insist that there is-the romances the play satirizes themselves demonstrate Spanish influence. And yet, Fuchs argues, patterns of critical denial have indicated an attempt ''to contain Spanish influence in an effort to promote a national English canon that seems to depend on a refusal of influence, or its transmutation into a triumphant appropriation'' (42). …

Las historias personales perdidas: «lo húngaro» y el teatro del Siglo de Oro (interpretación y cercanía de la lejanía física)

Despite of the geographical distances between the two kingdoms, both Hungary and the hungarians seem to be topics widely spreaded in the Spanish literature of the Golden Age. The study tracks the intercultural reasons which might have caused this vast representation of the Hungarians among the literature topics of those centuries. Besides the more or less evidents paralelisms –like the fact of being ruled by the same dynasty, the big challenge represented by the Ottoman expansion both for the Catholic Monarchy and Kingdom of Hungary or being part of the same «Universitas Christiana»— the study shows the very thin nets of the less known personal histories of the thousands of Spaniards fighting against the Ottomans in Hungary. They were there taking part in diplomatic missions or being members of the imperial Court as well as of the Eastern Habsburgs.The presentation of personal histories demonstrates the magnitude of the attention of the Spanish public towards the happenings in Hungary and it shows the fundamental roots both of this specific interest in Hungarian topics and the perception and interpretation the genius of the Spanish Golden Age literature have of it.

Las historias personales perdidas: «lo húngaro» y el teatro del Siglo de Oro (interpretación y cercanía de la lejanía física)

Despite of the geographical distances between the two kingdoms, both Hungary and the hungarians seem to be topics widely spreaded in the Spanish literature of the Golden Age. The study tracks the intercultural reasons which might have caused this vast representation of the Hungarians among the literature topics of those centuries. Besides the more or less evidents paralelisms –like the fact of being ruled by the same dynasty, the big challenge represented by the Ottoman expansion both for the Catholic Monarchy and Kingdom of Hungary or being part of the same «Universitas Christiana»— the study shows the very thin nets of the less known personal histories of the thousands of Spaniards fighting against the Ottomans in Hungary. They were there taking part in diplomatic missions or being members of the imperial Court as well as of the Eastern Habsburgs.The presentation of personal histories demonstrates the magnitude of the attention of the Spanish public towards the happenings in Hungary and it shows the fundamental roots both of this specific interest in Hungarian topics and the perception and interpretation the genius of the Spanish Golden Age literature have of it.

The Justice of Forgiveness in La fuerza de la sangre

The question of justice in its many ramifications runs throughout Cervantes's fiction and most emphatically in the Novelas ejemplares. In some cases, the issues seem relatively straightforward, but in many of the Novelas the problem of justice is explored in unexpected ways. The most extreme case of an unconventional and disturbing resolution of a problem of injustice is found in La fuerza de la sangre; here the recuperation of a balance and the fortunate outcome of what began as an egregious crime replaces the rigors of conventional justice with an improbable and almost miraculous forgiveness. The reunion and new beginning for Leocadia and Rodolfo, along with the redemption of the latter, offers a model in which an implicit spirit of forgiveness transcends or replaces the expectations of the kind of justice seen in revenge or in civilly sanctioned acts of punishment. While the particulars of La fuerza de la sangre are unique, the deeper concept of “forgiveness” as an agency of resolution underlies some of the other Novelas ejemplares. In this light, La fuerza de la sangre offers a critical perspective that helps make sense of those other novelas in which the issues of love, honor, transgression, and resolution also seem to depart from the norms of Spanish Golden Age literature.

Love poetry in the Spanish Golden Age: eros, eris and empire

This work engages with a broader evaluation of early modern poetics that foregrounds the processes rather than the products of thinking. The locus of the study is the Imperial 'home' space, where love poetry meets early modern empire at the inception of a very conflicted national consciousness, and where the vernacular language, Castilian, emerges in the encounter as a strategic site of national and imperial identity. The political is, therefore, a pervasive presence, teased out where relevant in recognition of the poet's sensitivity to the ideologies within which writing comes into being. But the primary commitment of the book is to lyric poetry, and to poets, individually and in their dynamic interconnectedness. Moving beyond a re-evaluation of critical responses to four major poets of the period (Garcilaso de la Vega, Herrera, Gongora and Quevedo), this study disengages respectfully with the substantial body of biographical research that continues to impact upon our understanding of the genre, and renegotiates the Foucauldian concept of the 'epistemic break', often associated with the anti-mimetic impulses of the Baroque. This more flexible model accommodates the multiperspectivism that interrogated Imperial ideology even in the earliest sixteenth-century poetry, and allows for the exploration of new horizons in interpretation. Isabel Torres is Professor of Spanish Golden Age Literature and Head of Spanish and Portuguese Studies at Queen's University, Belfast.

Victoriano Roncero LópezDe bufones y pícaros: La risa en la novela picarescaDe bufones y pícaros: La risa en la novela picaresca. Victoriano Roncero López. Madrid: Iberoamericana, 2010. Pp. 325.

<i>Victoriano Roncero López</i>De bufones y pícaros: La risa en la novela picaresca<i>De bufones y pícaros: La risa en la novela picaresca</i>. Victoriano Roncero López. Madrid: Iberoamericana, 2010. Pp. 325.

Identidad y formación social en la primera novela moderna española, El lazarillo de tormes

This paper revisits one of the most outstanding works in the context of the so-called Spanish Golden Age literature of the 16th century, El Lazarillo de Tormes, and aims at analyzing it under the scope of the concept of identity and the processes of identitary and social formation of each individual.

The Lazarillo Phenomenon: Essays on the Adventures of a Classic Text (review)

Reviewed by: The Lazarillo Phenomenon: Essays on the Adventures of a Classic Text Charles Victor Ganelin Keywords picaresque, Lazarillo de Tormes, Early Modern Spain, Spanish Inquisition, index of prohibited books, cultural studies, food studies, feminist criticism, mythology Reyes Coll-Tellechea and Sean McDaniel, eds. The Lazarillo Phenomenon: Essays on the Adventures of a Classic Text. Lewisburg: Bucknell UP, 2010. 202 pp. Lazarillo de Tormes is alive and well, appearing in classrooms galore and populating research databases with entries that offer wide-ranging approaches to the "standard-bearer" "picaresque" "novel." I quote these words deliberately, as the focus of The Lazarillo Phenomenon is to agitate the "stagnant" (9, 15) state in which Lazarillo studies apparently find themselves. This volume of an introduction and eight essays seeks to reorient traditional approaches to question the very use of "picaresque," the novel's position "as a fundamental part of the cultural production of the so-called Spanish Golden Age" (11), and perennial authorship studies. It does so, albeit with mixed success. Though I learned much from each essay, the editors protest a bit much about "stagnation" given the 2008 Approaches to Teaching volume, an occasional dissertation (especially Carlos Fernando Tapia's on Lazarillo and filmic adaptations), and cultural-studies orientations. Granted, the authorship question recently has engaged print and listserv readers in more than one polemic, so it is a relief to find a volume whose focus is elsewhere. The introduction by the editors ("Our Knowledge of the Past: Reframing Lazarillo Studies") seeks a new historiography for Spain's Early Modern period as they question the "Golden Age" moniker. While it is smart to extend the dialogue on this issue—just as Margaret Greer and Alison Weber have done recently in the PMLA—it is mildly frustrating to have the argument presented as if it were new. Similarly, the editors argue that most criticism of the picaresque is predetermined by the very questions asked; they hold it better to lay aside questions of genre in favor of "more fruitful avenues" (13), such as the canon, and a prolongation of the "canon wars" of a previous generation. They state that "none of the various direct continuations of the novel . . . has come to form part of the tightly guarded canon of the so-called Spanish Golden Age literature" (13). I grant the political value of the continuations but at the risk of throwing my lot in with the "stagnators," a text can be a superb literary exemplum while it also engages a wider socio-politico-cultural arena. In the first essay, "La vida de Lazarillo de Tormes: Publicity and Fictionality," Óscar Pereira Zazo sets the theoretical tone by addressing issues of "publicity" and perception. "Publicity" refers to the act of making public Lazarillo's life both as pregonero and as writer/narrator of el caso, that is, of what it means by "signifying in the public realm" (23). I find Pereira's elaborations refreshing as he brings to bear the distinctness of "public," "private," and "particular" and their respective roles in Spanish culture of the wider period. His exploration of distance and immediacy, and the development of informational and cultural [End Page 219] capital leads to a consideration of "homines noui or new men" (27), those not of noble birth whose knowledge permitted entry to the court as well as adherence to codes of conduct based on outward appearances, thus serving the state and creating literary texts that serve as a "tool of the political sphere" (29). Two problems arise: first, does this not coincide with a more traditional view of the absolutist monarchy in how it controlled its "messaging" (as Maravall held)? And second, once public, does not the literary text take on a distinct life as distance between court and the public sector grows? There will always be literature ideologically in tune with the ruling class, just as good writers will also slip under the radar of censorship. For Pereira, Lazarillo becomes a realist novel that warns about the dangerous task of public dissension in an absolutist government. The word "picaresque" makes no appearance. Sean McDaniel's "Galateo español, destierro de ignorancia, and Lazarillo castigado: The Importance of Post-Publication History," admits to...