This is the first in-depth analysis of the works of the Galician-Spanish expatriate writer Sofía Casanova (1861-1958), a transnational poet, novelist, journalist, playwright, campaigner, translator, historian and intellectual, and one of the first Spanish women to support herself as a professional writer. Casanova, born in Galicia in rural northwest Spain, married a Pole and spent over seventy years traveling between Spain and Poland. A challenging writer and thinker who witnessed the First World War, the Russian Revolution and the rise of Franco at first hand, moved in the highest political and intellectual circles on both sides of Europe and blazed a trail as one of Spain's first female foreign correspondents, her remarkable achievements were gradually sidelined at home in increasingly reactionary Spain until, by the time of her death, she was remembered only as a perfectly patriotic wife and mother and icon of Francoist femininity.
This study addresses the scandalous disappearance of Casanova and her female contemporaries from accounts of the emergence of the modern Spanish nation. Arguing that women's perceived silence during this critical period in the formation of modern Iberian identities has significant repercussions even today, it takes her works as a case study for modeling a radical rethinking of the way we teach and research the crucial years around the turn of the twentieth century. The first study of Casanova's radical and compelling, but now forgotten, early narrative, it explores the Galician, Polish and Spanish context of her work, arguing that her transnational career demonstrates the inadequacies of existing models of national literary history. At the same time, recognizing Casanova's innovative and strategic use of literary genres and techniques traditionally denominated as "feminine" (and therefore excluded from discussions of "serious" national literature), it provides a model for re-evaluating the vast cultural store of popular and sentimental literature as a key part of the debates about the transition to modernity, in Spain and beyond.
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Extrait
A STRANGER IN MY OWN LAND
Kirsty Hooper
Sofía Casanova, a Spanish Writer in the European Fin de Siècle
his book is printed on acid-free paper made from % post-consumer recycled paper. Manufactured in te United States of America
Publication of tis book as been supported by a generous subsidy from te Program for Cultural Cooperation between Spain’s Ministry of Culture and United States Universities.
Library of Congress Cataloging-in-Publication Data
Hooper, Kirsty. A stranger in my own land : Sofía Casanova, a Spanis writer in te European fin de siècle / Kirsty Hooper. p. cm. Includes bibliograpical references and index. ISBN ---- (clot : alk. paper) ISBN ---- (pbk. : alk. paper) . Casanova, Sofía, –—Criticism and interpretation. I. Title. PQ.AZ ’.—dc
In memory of Dr. G. Clive Jones,wo started it all
Contents
Acknowledgments ix
“Like Atlantis Swallowed Up by te Sea”: he Vanising of Spain’s Early Twentiet-Century Women Writers
Poland–Russia–Lituania:El doctor Wolski: Páginas de Polonia y Rusia()
Andalusia–Madrid–Africa:Lo eterno()
Poland–Madrid–Poland:Más que amor: Cartas()
Madrid–Galicia:Princesa del amor ermoso()
Madrid–London–St. Petersburg–Galicia–America: El pecado() andEl crimen de Beira-mar()
Conclusion
Appendix I: Complete Bibliograpy of Sofía Casanova’s Publised Works
Appendix II:Más que amor(): Index of Letters
Notes
Works Cited
Index
Acknowledgments
I tank te many people and organizations tat ave elped me in various ways during te writing of tis book: he Arts and Humanities Researc Board, te Newby Trust, Oxford University (troug te Laboucere and de Osma Funds), te government of Poland, te Xunta de Galicia, Hertford College Oxford (including te Starun Fund), te Queen’s College Oxford (including te Laming Fund), Merton College Oxford, and te University of Liverpool all provided financial and material support. Gerald Stone, my master’s supervisor, introduced me to Polis studies and started me down te long road in searc of Casanova. Jon Ruterford, my doctoral supervisor, not only elped me reac te end of tat road but also introduced me to Gali-cia and Galician studies—I could not ave asked for a more inspiring guide. Caterine Davies and Jacqueline Rattray constructively and encouragingly examined te doctoral tesis on wic tis book is based. For teir love and teir confidence, I tank my usband, Steven Barge, and my parents, An-gela and Keit Hooper, wo listened to, read, and lived wit tis proect for nearly a decade. Friends and colleagues in Oxford, Liverpool, and elsewere wo contributed moral and intellectual support include Nina Taylor-Terlecki, Manolo Puga Moruxa, Núria Martí i Girbau, Nuria Capdevila Argüelles, Lourdes Lorenzo García, Claire Williams, Katy Bacon, and Ana Louis. I am grateful to Ofelia Alayeto, Casanova’s first biograper, for er generosity; to te Vanderbilt University Press reviewers for teir constructive readings of te manuscript; and to Betsy Pillips at Vanderbilt University Press for bring-ing te proect to life. Sections of Capter first appeared as “Las Autoras de unas Novelitas? Spanis Women Writers, –,” inMaking Waves Anniversary Volume: Women in Spanis, Portuguese and Latin American Studies,by Ann edited Davies,ParKumaraswami,andClaireWilliams([Newcastle:Cambridge