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Copyright by Jennifer Marie Powers 2009 Copyright by Jennifer Marie Powers 2009 The Dissertation (or Treatise) Committee for Jennifer Marie Powers Certifies that this is the approved version of the following dissertation (or treatise): Re-Appropriating the Catholic Imaginary: Discourse Strategies and the Struggle for Modernization in Late Nineteenth-Century Religious Fiction Committee: Katherine M. Arens, Co-Supervisor James M. Boyden, Co-Supervisor Madeline C. Sutherland-Meier Judith G. Coffin Orlando R. Kelm Sandra B. Straubhaar Re-Appropriating the Catholic Imaginary: Discourse Strategies and the Struggle for Modernization in Late Nineteenth-Century Religious Fiction by Jennifer Marie Powers, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2009 Dedication To my family Acknowledgements If every dissertation has a story, then mine has been one academically figured by my extraordinary professor and advisor Katherine Arens (University of Texas at Austin). She has guided this project from its inception through all its various phases. And she has lent it her time, her breadth of knowledge, and her drive. I owe her a great deal. To this gratitude, I know, she might say that she simply has the work ethic of a “post-war child.” But, I like to think of her in terms of the Catholic culture that interests us both: as Katherine of Alexandria, legendary patron saint of students and scholars. Apart from Professor Arens, I equally wish to acknowledge the contributions of and to express my sincerest gratitude to other members of my committee. Professor James Boyden (Tulane University) has been yet another source of inspiration for me: his classes and reading recommendations over the years have largely guided my study of Spanish history. His presence on the committee and in the Defense, particularly, made the process seem somehow less daunting, and even convivial. To (University of Texas) Professors Madeline Sutherland-Meier, Judith Coffin, Orlando Kelm, and Sandra Straubhaar I especially owe many thanks for extending themselves during the summer semester to offer good criticism and editorial comments in the Defense and on the dissertation draft. v Invaluable assistance with this project was also offered by associates, particularly during the time that I spent finishing it at a distance from my university (when aspects of university life, such as library access, became a coveted privilege). Professor Beatrice Pita (University of California, San Diego) made kind accommodations and provided me a source of continued scholarly connection. Wendy Nesmith, a supervisor of Inter Library Services at the University of Texas (and also an empathetic Ph. D.), served as a dependable contact for filling my often-obscure materials’ requests. Hugo Chapa- Guzmán, cataloguer for Ibero-American collections at the library, kindly assisted me in many instances to tap into special subject-area and more general library resources. I wish to acknowledge his comprehensive web-based guide to Iberian studies (<http://www.lib.utexas.edu/subject/iberian/>), to which I often referred. Special thanks goes to Professor Cameron Turner (Colorado School of Mines) who has been, at different times, a fellow dissertation writer, a creative / collaborative peer, a cyber co-worker, and an impromptu mentor on “all things dissertation.” I am grateful to my father for his strong belief in education, which has been influential, and for his particular understanding of finishing seemingly all-consuming projects and, also, to my mother for her ceaseless faithfulness and optimism and for her biased view that everything I write is worth saving. And I remain lovingly indebted to my husband, my steady ship, for his support in all manners throughout this endeavor, but above all for his patience in enduring the “lack of me” for so long. (Let’s go sailing!) vi Re-Appropriating the Catholic Imaginary: Discourse Strategies and the Struggle for Modernization in Late Nineteenth-Century Religious Fiction Publication No._____________ Jennifer Marie Powers, Ph.D. The University of Texas at Austin, 2009 Co-Supervisors: Katherine M. Arens and James M. Boyden This project explores how literary authors used religious discourses in the socio- intellectual climates of late nineteenth-century Catholic cultures. It takes its premise from a tacit paradox of Western European modernization: unlike other Western European nations, nations such as France and Spain modernized without adopting Protestantism or doctrines of anti-Catholicism or anticlericalism--and, thus, without a strict break into national secular discourses. Addressing how various religious discourses were used in modernizing France and Spain (respectively, from 1848 and from 1868 to the early twentieth century), I take a cultural-historical approach to representative religiously themed novels and short fiction of the periods. I contend that non-institutionalized traditional Catholic culture (a culture's “religious imaginary” or “Catholic imaginary”) offered authors a plural and, thus, strategic source for making cultural critiques. These critiques would have resonated widely with contemporaneous readerships, and often without overt confrontations (as vii anticlericalism has historically done). I point to the presence of such critiques specifically in canonical authors’ religious works--works often considered to be aberrational or “too Catholic” to be valued as modern vis-à-vis the landmarks of Western literature. Taking as my key example a novel by the “father of the modern Spanish novel,” Benito Pérez Galdós’s Misericordia or Compassion (1897), I unfold progressive readings of this text based on discourses borrowing historical, thematic, and stylistic elements from the archives of a Catholic imaginary. Thereafter, I broaden my argument by considering how comparable, but distinct, discourses inform social-critical readings of Victor Hugo’s Les Misérables or The Underclass (1862), Gustave Flaubert’s “Un Coeur simple” or “A Simple Heart” (1877), and Emilia Pardo Bazán’s “Un destripador de antaño” or “The Heart Lover” (1900). Overall, the project challenges a critical status quo that has chosen to identify canonical literature in reference to a secular aesthetic program, without allowing for the possibility that cultural-religious discourses might also carry weight for cultures that were modernizing. Additionally, it re-characterizes the modernizing intellectual, seen typically as spiritually cynical or atheist, as one acknowledging the populist force of the religious imaginary freed from church limits. viii Table of Contents Introduction: Re-Reading Nineteenth-Century “Religious Literature” ..................1 Project Structure and Chapter Sequence ......................................................7 A New Precedent for an Old Critical Trend ..............................................12 The “Catholic Imaginary” as Strategic Rhetorical Device .........................17 A Model: Benito Pérez Galdós’s Misericordia ..........................................27 Beginning the Task ...................................................................................35 Chapter One: The National Spaniard Behind New Criticism’s “Transcendent” Artist.........................................................................................................37 Misericordia’s Preface, or Galdós’s Word on Realism Suppressed.............39 The Bad Rap of “Galdós, el garbancero” ...................................................48 Rewriting Galdós as Christian ...................................................................54 The Advent of Misericordia as Galdós’s “Spiritual Good Child” ...............60 Towards Reclaiming the Realist and his Work...........................................69 Chapter Two: Almudena as Catholic Patron for a Syncretic Spain.....................71 The Critics’ Almudena, From Syncretic to Exclusionary ...........................72 Our Lady of the Almudena as the Myth of Catholic Spain .........................81 Galdós’s Almudena or a Counter-Narrative of Spanish Nationalism, Part I: Historical-Religious “Name Games” ......................................91 Galdós’s Almudena or a Counter-Narrative of Spanish Nationalism, Part II: “Ritualistic Play” ................................................................103 A Note on a Contemporaneous Institutional-Religious Shelter for “la morenita”........................................................................................113 Chapter Three: Benina’s Denial of the “Saint” in St. Rita.................................125 The Critical Persistence of Benina as Saintly...........................................126 A Problematic Signifier for a Catholic Signified......................................132 The Testimony of Three Non-Miracles....................................................141 “No soy santa” in Cultural-Historical Perspective....................................160 Social Saints, Social Critiques: Some Conclusions ..................................170 ix Chapter Four: St. Romuald, The Reformist Disguise of Benina and the “Good Child” ..........................................................................................174 The Critics’ Multiple Romualdos, or a Paucity of Vision on the Poorhouse Priest .............................................................................176 A Catholic Case of Mistaken Identity: Doña
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