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El Otro Romanticismo Ingles.Pdf Universidad de Huelva Departamento de Filología Inglesa El otro Romanticismo inglés: Parodia y crítica en The Anti-Jacobin, Warreniana y Rejected Articles Memoria para optar al grado de doctora presentada por: María del Rocío Ramos Ramos Fecha de lectura: 26 de junio de 2020 Bajo la dirección de la doctora: María Losada Friend Huelva, 2020 El otro Romanticismo inglés: Parodia y crítica en The Anti-Jacobin, Warreniana y Rejected Articles Tesis doctoral Programa de Doctorado Lenguas y Culturas Universidad de Huelva Curso académico 2019-2020 Mª del Rocío Ramos Ramos Directora: Dra. María Losada Friend AGRADECIMIENTOS La elaboración de la presente tesis doctoral no habría sido posible sin la valiosa colaboración de una serie de instituciones y personas que me han asesorado y apoyado desde el comienzo, partiendo del Ministerio de Educación, Cultura y Deporte que me concedió una beca FPU para dicha finalidad. En el contexto académico es ineludible agradecer a numerosas bibliotecas como la Biblioteca de la Universidad de Glasgow, la Biblioteca de la Universidad de Edimburgo, la de la Universidad de Cambridge, la de la Universidad de Bristol o la British Library, en las que pude realizar diversas estancias de investigación, sin olvidarme de la Biblioteca de la Universidad de Huelva y su personal, especialmente a Aurora Romero y Esther Lorenzo, cuya ayuda en los últimos años ha sido inestimable. Me gustaría agradecer también al Departamento de Filología Inglesa y a mis compañeros, por el interés que han mostrado y por el ánimo que me han transmitido. He de hacer mención especial a la profesora Mercedes Guinea Ulecia, por haber confiado siempre tanto en mí, así como a Edurne Garrido Anes, María José Carrillo Linares, Gladys Méndez Naylor, Juan Gabriel Vázquez González y un largo etc., sería injusto seguir enumerando a compañeros, pues olvidaría a muchos. También he de agradecer a Zenón Luis Martínez, el director del programa de doctorado Lenguas y Culturas por tantas dudas y gestiones resueltas. Especial agradecimiento merece María Losada Friend, la directora de este trabajo, sin cuya dedicación, supervisión y apoyo tanto académico como personal no habría sido posible. Gracias por haberme enseñado tanto. En el ámbito personal tengo que agradecer a mi familia, especialmente a mis padres, por toda una vida de trabajo y esfuerzo y por tratar de entender este mundo al que no pertenecen. Su apoyo ha sido fundamental para poder acabar esta investigación. Gracias también a mi tía Manuela, siempre preocupada por mí, y sobre todo a mi marido y a mi hijo, a quienes más he privado de pasar tiempo juntos. 2 ÍNDICE 1. INTRODUCCIÓN: Objetivos y metodología ……………………………….……. 6 2. MARCO TEÓRICO …………………………………………………………..…... 17 2.1. Romanticismo: problematización del término y temática ………...……….…. 17 2.2. Parodia: Contribuciones históricas y nuevas tendencias de la crítica…….…... 30 2.2.a. Inicios y desarrollo. Contribuciones de la parodia clásica …….............. 30 2.2.b. Aportaciones a la parodia en la Edad Media ……………...………....… 36 2.2.c. Parodia y modernidad: Renacimiento, Restauración y siglo XVIII ….... 43 2.2.d. Aportaciones de las nuevas tendencias …………………………..……. 56 2.3. Parodia literaria romántica ……………………….......………………..….…… 77 2.3.a. La búsqueda de una tradición ……….………...…………………..….... 77 2.3.b. Los rasgos de la parodia romántica ………...……………………..…… 80 2.3.c. Parodia y prensa …………………………………………...………..…. 86 a. Parodia literaria y mercado editorial en el Romanticismo ……....…... 87 2.3.d. Legado de la parodia romántica: La parodia victoriana ……………….. 94 3. CRÍTICA PARÓDICA …………………………………..……….…………….… 97 3.1. The Anti-Jacobin (1797-98): Parodia literaria y propaganda política ………... 97 3.1.a. Introducción: Jacobinismo en Inglaterra …………………..……...…… 97 3.1.b. Editor, autores y contribuyentes ………………………………………. 99 3.1.c. Precursores, impacto y secuelas …………………………...…...…..… 102 3.1.d. Valoración crítica de The Anti-Jacobin ………………………...….…. 104 3.1.e. Inicios y naturaleza de The Anti-Jacobin ……………….......……...…. 106 3.1.f. Prospectus, editoriales y números en The Anti-Jacobin …….……..…. 111 3.1.g. Estrategias paródicas en The Anti-Jacobin …………….……...…...…. 124 a. Parodia a las ideas de igualdad: Rich vs. poor ………………......….. 125 b. Parodia de reuniones jacobinas ………………………………….… 129 c. Parodias ad hominem: Anti-jacobinos vs. Fox ………………...….... 134 d. Sham letters …………………………………………………...…… 136 e. Parodia a discursos filosóficos y científicos ………………..……… 139 f. Parodia a las novedades de la ola sentimental ………………....…… 147 3.1.h. Conclusión ……………………………………………………...……. 150 3.2. Warreniana (1824): Parodia literaria y campañas publicitarias …………...... 154 3.2.a. Introducción: Marketing y literatura romántica …………………….... 154 3 3.2.b. Genialidad de William F. Deacon (1799-1845) …………..……..…… 156 3.2.c. Precursores y secuelas de Warreniana …………………...….......…… 162 3.2.d. Naturaleza y estructura de Warreniana ………………….……...……. 163 3.2.e. Estrategias de parodia literaria en Warreniana …….……....………… 164 a. Parodia al proceso editorial: Gifford y la pomposidad académica …. 164 b. Parodia al estilo de los autores románticos ……………………...…. 168 Parodia al romántico americano: Irving y la recreación ensoñadora . 168 Parodia a los románticos británicos ……………….………….....… 169 Wordsworth y la ingenuidad del observador ……………....… 169 James Hogg y la balada …………………………………....…. 170 Leigh Hunt y las odas infantiles …….………………………… 172 Charles Mills y las crónicas de cruzadas ……………..……….. 172 Southey y la loa ………………………………...…………..… 173 Townshend y los premios académicos ……………………..… 175 Bryan Procter, el estilo Cockney y sus usos amorosos ………... 177 Byron y sus héroes ………………………………………….... 178 Coleridge y los sueños esotéricos ……………………..……… 180 Scott y las batallas épicas ………………………………...…... 182 c. Parodia a la prensa romántica ……….….……………….....………. 184 “Maga” y las escuelas poéticas románticas …….…………..… 185 The Times y los debates parlamentarios …………………....…. 186 New Monthly y las efemérides anuales………….…………...... 188 John Bull y la prensa ultra-conservadora ………………..….... 190 3.2.f. Conclusión ……………………………………………………….…... 192 3.3. Rejected Articles (1826): Parodia de ensayos y reseñas literarias ………...….. 194 3.3.a. Introducción: Patmore, revistas literarias y spoof reviews ………......... 194 3.3.b. Precursores de Rejected Articles …………………………..……..….. 197 3.3.c. Naturaleza y estructura de Rejected Articles …………………...…..… 200 3.3.d. Estrategias paródicas en Rejected Articles ……………...……....……. 202 a. Charles Lamb y su “familiar essay”……………………...….……… 202 b. Cobbett y el ensayo social ……………………………...…..…..….. 205 c. Horace Smith y el artículo meditativo ………………….……..……. 208 d. Blackwood’s Magazine y las reseñas sobre novelas …………..…… 209 e. John Wilson y sus reseñas de Shakespeare …………………......….. 211 4 f. James Smith y la literatura de viajes .…………………………..…… 211 g. Hazlitt y sus ensayos ………………………………………..….….. 215 h. Patmore y el estilo epistolar ………………………………...…........ 217 i. Jeffrey y las reseñas a novelas extranjeras …………………...……... 221 j. Hunt y la reescritura de la literatura italiana ……………..…….…… 222 k. Efecto paródico final: El apéndice …………………………...…..… 224 k.1. Byron y el tono lírico …………………………………..….. 225 k.2. Horace Smith y el ensayo de costumbres …………...……... 227 3.3.e. Conclusión …………………………………………………...…….… 231 4. CONCLUSIONES FINALES .…………………………………………...…….... 233 5. ANEXOS ……………………………...…………………………………..……… 240 6. BIBLIOGRAFÍA …………………………..…………………………….….…… 251 6.1. Fuentes primarias ……………………………...……………...………...….….. 251 6.2. Fuentes secundarias …………………………………...…………….…………. 256 5 1. INTRODUCCIÓN: OBJETIVOS Y METODOLOGÍA “And still the text will remain, if it is really cryptic and parodying (and I tell you that it is so through and through . .), still the text will remain indefinitely open, cryptic and parodying.” Jacques Derrida, Spurs: Nietezsche’s Styles (1978, 137) Las múltiples posibilidades de la parodia y su maleabilidad en el campo de la literatura obligan siempre a admirar el manejo y conocimiento de fuentes que usa su autor y a reconocer el resultado astuto y audaz de la obra resultante, un trabajo nuevo, original y creativo. Si tal producción se genera además en el periodo romántico inglés, la tarea multiplica su grado de dificultad, no solo por la complejidad del movimiento de donde surge, sino por la tradición crítica que ha intentado explicarla y por la variedad de textos que la ejemplifican, cuyo estudio afortunadamente se va ampliando progresivamente. La ingente producción crítica sobre el Romanticismo en general y el Romanticismo británico en concreto −tradicionalmente centrado en estudios sobre las grandes figuras poéticas de los denominados “the Big Six” por Moore y Strachan (2010, 1)− ha ido paulatinamente abriendo nuevos campos, rechanzado y resistiéndose a ser considerado un canon restrictivo. Sin duda con la ya aceptada expresión cronológica “the long eighteenth century”1 y la inclusión de obras literarias y culturales de discursos diferentes, el concepto de Romanticismo actualmente se ha expandido hasta límites insospechados en décadas anteriores y permite indagar en postulados que no solo revisan los conceptos clásicos de creatividad, libertad o imaginación romántica, sino que permiten sacar a la luz discursos paralelos que los revisan y cuestionan. Entre ellos, este 1 Una designación crítica que abarca en general un espacio inicial de 1660 a 1740 y que se extiende hacia 1830 como periodo de estudio defendido entre otros muchos por Thomas Keymer y Jon
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