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- W2012079476 abstract "IT IS acknowledged fact that the eccentric and prototypical Bohemian, Alejandro Sawa, was the model for both Villasuis, a minor character of Baroja's El drbol de la ciencia and Max Estrella, the protagonist of Luces de Bohemia by Valle-Inclin. Both writers were personally acquainted with Sawa, and the circumstances of his death-his penury, blindness and madness-are recorded in their respective works. Yet, a comparison of the two versions reveals that they are more than discrete versions of art imitating life. In fact, idiosincratic elements of Baroja's text-the hypothesis of catalepsia, the burning of the cadaver's fingers with matches, the sodden and self-conscious proclamations of the old Bohemian (a clear model for don Latino), the impatience of the driver of the funeral coach who has other clients waiting, the implicit condemnation of a society where talent goes unrecognized--all find their way directly to Luces de Bohemia. Valle-Inclin's interpretation of Sawa's death is, in fact, a reelaboration of Baroja and, as such, appears to be a clear case of art imitating art. The question that continues to intrigue the reader, inviting endless speculation, is the motivational circumstance kindling Valle-Inclin's adaptation of Baroja. In the least benign interpretation, this is merely one of a string of plagiarisms attributed to Valle-Inclin and inscribed in the public annals of scholarship. Sloppiness? Arrogance? Ethical laxity? Scholars tend to be rather more indulgent in their appraisals. Alonso Zamora Vicente, for example, alludes to the literary weakness of ValleInclin while acknowledging the full extent of his appropriations: Approvecha multitud de veces elementos de obras ajenas (u obras enteras).' Anthony Zahareas's apologia of Valle-Inclan is even more direct: while conceding that was not afraid to ransack the work of his predecessors and contemporaries he nonetheless asserts that far from bordering on plagiarism as some critics have suggested, his adaptation of others reveals great resourcefulness in varying his methods of satirical writing.2 If one accepts, as these critics do, that the eccentric appropriation of source material was the writer's modus operandi, then the question of motivation can be swiftly set aside. Yet, certain questions persist, hinting at riddles yet to be solved. It can be cogently argued that, as a writers' writer and one who excelled at literary gamesmanship, Valle-Inclin imitated Baroja by deliberate design for the purpose of communicating a message that the conoscenti would decode. Two theories follow as to the possible nature of this process of citation: one which postulates the transmission of a message to signal dissent (a theory of polarization) and the other to signal affinity (a theory of commonality). It is the purpose of this paper to explore the implications of both and then to venture some conclusions." @default.
- W2012079476 created "2016-06-24" @default.
- W2012079476 creator A5070821561 @default.
- W2012079476 date "1983-03-01" @default.
- W2012079476 modified "2023-10-18" @default.
- W2012079476 title "Speculations on Intertextualities: Baroja and Valle-Inclan" @default.
- W2012079476 doi "https://doi.org/10.2307/341202" @default.
- W2012079476 hasPublicationYear "1983" @default.
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