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ENCHANTING STORIES and SECULAR SCRIPTS: RELIGION and SECULARIZATION in SELECTED WORKS by MIGUEL DE UNAMUNO Keith E. Schaefer

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ENCHANTING STORIES and SECULAR SCRIPTS: RELIGION and SECULARIZATION in SELECTED WORKS by MIGUEL DE UNAMUNO Keith E. Schaefer ENCHANTING STORIES AND SECULAR SCRIPTS: RELIGION AND SECULARIZATION IN SELECTED WORKS BY MIGUEL DE UNAMUNO Keith E. Schaefer A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies. Chapel Hill 2017 Approved by: Samuel Amago Cristina Casado Presa Irene Gómez Castellano Juan Carlos González Espitia Randall Styers © 2017 Keith E. Schaefer ALL RIGHTS RESERVED ii ABSTRACT Keith E. Schaefer: Enchanting Stories and Secular Scripts: Religion and Secularization in Selected Works by Miguel de Unamuno (Under the direction of Samuel Amago) This dissertation examines religious and secular stories, their intersections, and the possibilities of enchantment that these stories and their intersections might offer modern man in four works by Miguel de Unamuno (1864-1936): Amor y pedagogía (1902), Del sentimiento trágico de la vida en los hombres y en los pueblos (1913), Niebla (1914), and San Manuel Bueno, mártir (1930). These works, by combining, twisting, and distorting religious and secular stories, underscore the literary quality and tropes of both kinds of narratives and question the supposed break between the modern and the pre-modern and the distinction between “enchanted” and “disenchanted.” I argue that there are four interrelated narratives of enchantment within these works: the story of losing religion, the story of learning religion, the story of experience, and the story of uncertainty. The story of losing religion traces the changes to and decline of Christianity in Spain and Europe and offers a possibility of the continuance of the religious tradition through modifications and distortions of Christian myth and secular explanations of the world. In the story of learning I explore what Unamuno and his characters deem “religious” and how el hombre de carne y hueso of Del sentimiento trágico and Unamuno’s fictional characters acquire beliefs in spirits and god through experiences that the body and the embodied mind have with their surroundings and others. The story of experience reveals how experiences that violate the physical properties of the body connect transcendent and immanent realms by breaking down the dichotomies of nature/society, primitive/modern, and iii religious/secular and advances a counternarrative to secular accounts of compartmentalized social life and privatized religion. The story of uncertainty, a story about stories and how they are related, by exposing the fictionality of any claim to truth, subverts both secular and religious narratives and offers that uncertainty might constitute a modern enchantment. iv PREFACE Víctor Goti, in his prologue to Niebla , imagines Miguel de Unamuno’s response to his critics. He writes, “Si ha habido quien se ha burlado de Dios, ¿por qué no hemos de burlarnos de la Razón, de la Ciencia y hasta de la Verdad? Y si nos han arrebatado nuestra más cara y más íntima esperanza vital, ¿por qué no hemos de confundirlo todo para matar el tiempo y la eternidad y para vengarnos?” (“If there have been men who made a jest of God, why may we not just as well make a jest of Reason, of Science, or even of Truth? If they have taken away the dearest and innermost hope of our lives why should we not go on to make confusion of everything, so as to kill time and eternity and get our vengeance?”; 103; Fite 12-13). Although Unamuno wrote about such serious topics as our own mortality, he did not write without humor. It is with this humor in mind that I want to begin this dissertation, an exploration of religion in Unamuno’s works, with a joke that my father told me: After days of rain in west-central Illinois, the Mississippi River began to breach its banks. The people living along the river began to evacuate their towns except for one devout man. As he stood in his front yard watching the water rise, his neighbors passed by in their car and said to him, “The water’s just going to keep rising. We have room in the car. Why don’t you get in?” The man responded, “I’ll be fine. My god will save me.” The waters indeed continued to rise as the man, now on his porch, saw a boat coming toward his home. The woman in the boat yelled out to him, “The water’s continuing to rise. Get in the boat.” The man responded, “I’ll be fine. My god will save me.” The waters rose even higher. The man, now forced into the second floor of his home, saw yet another boat coming toward him. The men in the boat pleaded, “Hop in! v The water’s continuing to rise!” The man again replied, “I’ll be fine. My god will save me.” But the water continued to rise. The man, now on his roof, saw a helicopter hover over head. A woman dropped a ladder for him and screamed, “Climb up! The water’s continuing to rise.” Yet again, the man replied, “I’ll be fine. My god will save me.” The water continued to rise and the man drowned. The good man made it to heaven after his death and, a little dismayed, stood before his god. He said, “I don’t get it. I’ve been a devout man all my life, believed in you, and believed that you would save me.” God, perplexed, looked at the man and said, “What are you talking about? I sent a car, two boats, and a helicopter and you didn’t get in any of them.” This joke illustrates much of what is to follow in this dissertation. First, it is a story and one in which the boundaries between transcendence and immanence are confused. The man, despite his devotion, cannot conceive of his god active in earthly existence, perhaps without the sign of something miraculous. He has relegated a sense of the divine to transcendence and misses the possibility that the help offered to him might be the divine intervening and enchanting his world through fellow men and women. Second, it is a story that has been passed down and, in its re-telling has been changed and reformulated. The joke, like the religious myths and secular discourses I explore in this dissertation, gets distorted through interpretation and the interpreter’s spatial and historical situatedness. vi TABLE OF CONTENTS LIST OF ABBREVIATIONS…………………………………………………………………….ix INTRODUCTION………………………………………………………………………………...1 Scholarship on Religion in Unamuno’s Works…………………………………………...5 Modernity, Modernism, Modernismo , and Generation of 98……………………………14 Where Is Spain? When Was Spain? …………………………………………………….21 An Approach……………………………………………………………………………..28 Summary of Chapters……………………………………………………………………34 CHAPTER 1: LOSING RELIGION: PROBLEMS AND POSSIBILITIES……………………37 Problems…………………………………………………………………………………37 Possibilities………………………………………………………………………………61 CHAPTER 2: LEARNING RELIGION: EL HOMBRE DE CARNE Y HUESO ES TAMBIEN HOMBRE DE CARNE Y SESO …………………………………...73 Reading Minds and Bodies………………………………………………………………79 Counterintuitive Experiences and Agents………………………………………………..94 Gods Almost Like Us…………………………………………………………………….99 Counterintuitive Experiences and Agents in Fiction…………………………………...106 CHAPTER 3: LOCATING RELIGION: NOW AND THEN, HERE AND THERE………….120 Now and Then…………………………………………………………………………..126 Here and There………………………………………………………………………….129 Alienation and Alternatives…………………………………………………………….138 vii Chapter 4: RELATING RELIGION: READING RELIGION…………………………………152 Paradox and Stories about Stories………………………………………………………153 Name Games……………………………………………………………………………163 Abasement of the Author………………………………………………………….……172 A Partial Kenosis……………………………………………………………………….181 Slippery Symbols……………………………………………………………………….190 Living Religion…………………………………………………………………………197 CONCLUSION…………………………………………………………………………………208 WORKS CITED………………………………………………………………………………..217 viii LIST OF ABBREVIATIONS AC La agonía del cristianismo (The Agony of Christianity ) AP Amor y pedagogía (Love and Pedagogy ) DST Del sentimiento trágico de la vida (On the Tragic Sense of Life ) SMBM San Manuel Bueno, mártir (Saint Manuel Good, Martyr ) ix INTRODUCTION “Only from afar, by metaphors and analogies, do we come to comprehend what it is in itself, and even so our notion is but inadequate and confused.” Rudolf Otto, The Idea of the Holy (1917) “Vamos, pues, a mitologizar.”(“Let us, then, mythologize.”) Miguel de Unamuno, Del sentimiento trágico de la vida (1913) In 1917 at the Ludwig Maximilian University of Munich, German economist and sociologist Max Weber (1864-1920) gave a lecture entitled “Science as a Vocation” in which he declared, “The fate of our times is characterized by rationalization and intellectualization and, above all, by the ‘disenchantment of the world’” ( Essays 155). He later elaborates on this concept in Sociology of Religion (1922): “As intellectualism suppresses belief in magic, the world’s processes become disenchanted, lose their magical significance, and henceforth simply ‘are’ and ‘happen’ but no longer signify anything” (125). Weber succinctly summarizes the secular script through which the western world has viewed itself for much of the modern era, but only partially. In addition to the narrative of “the disenchantment of the world,” other changes came to characterize this script. Vincent P. Pecora (2006) writes that “…the core of the secularization idea, which takes various forms, is the claim that overt belief and participation in religion are abandoned as Enlightenment science, technological modernization, and the fragmentation of social life into separate and autonomous spheres of endeavor are embraced” 1 (26). 1 Religion, according to this script, occupied a sphere of its own and was no longer to be lived out in public life but rather through private piety. 2 This way of viewing the world posed a number of problems for the modern subject. Richard Jenkins (2000) writes that the privatization of religion and the compartmentalization of social life has signified that “[m]eaning no longer resides in the axiomatically shared and publicly inscribed beliefs and understandings which constitute an epistemic and moral community” (15). 3 This crisis of meaning, in turn, presented challenges to the modern writer: “a crisis in what could be represented and a crisis in how it should be represented, or in other words a crisis in both the content and the form of artistic representation” (Lewis Cambridge 2).
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