Masculine Figures

Nicholas Wolters

Description

Based on years of archival research in Madrid and Barcelona, this interdisciplinary study offers a fresh approach to understanding how men visualized themselves and their place in a nation that struggled to modernize after nearly a century of civil war, colonial entanglement, and imperial loss. Masculine Figures is the first study to provide a comprehensive overview of competing models of masculinity in nineteenth-century Spain, and it is particularly novel in its treatment of Catalan texts and previously unstudied evidence (e.g., department store catalogs, commercial advertisements, fashion plates, and men’s tailoring journals).

Fictional masculinity performs a symbolic role in representing and negotiating the contradictions male novelists often encountered in their attempts to professionalize not only as writers, but also as businessmen, professors, lawyers, and politicians. Through specific and recurring figures like the student, the priest, the businessman, and the heir, male novelists portray and represent an increasingly middle-class world at odds with the values and virtues it inherited from an imperial Spanish past, and those it imported from more industrialized nations like England and France. The visual culture of the time and place marks the material turn in middle-class masculinity and sets the stage for discussions of race and sexuality.
Introduction
Chapter 1: The Student
Chapter 2: The Priest
Chapter 3: The Businessman
Chapter 4: The Heir
Coda
Notes
Bibliography
Index

Sujets

• Histoire
• Cataluña
• Victorian era
• Spain
• Catalonia
• History
• Barcelona
• Catalogne
• Madrid
• Europe

Informations

• Publié par: Vanderbilt University Press
• Date de parution: 25 janvier 2023
• Nombre de lectures: 0
• EAN13: 9780826505194
• Langue: English
• Poids de l'ouvrage: 30 Mo

Extrait

MASCULINE FIGURES
MASCULINE FIGURES
Fashioning Men and the Novel in Nineteenth-Century Spain
NICHOLAS WOLTERS
VANDERBILT UNIVERSITY PRESS
Nashville, Tennessee
Copyright 2022 Vanderbilt University Press
All rights reserved
First printing 2022
Library of Congress Cataloging-in-Publication Data
Names: Wolters, Nicholas Alexander, 1986– author.
Title: Masculine figures : fashioning men and the novel in nineteenth-century Spain / Nicholas Wolters.
Description: Nashville, Tennessee : Vanderbilt University Press, [2022] | Includes bibliographical references and index.
Identifiers: LCCN 2022011170 (print) | LCCN 2022011171 (ebook) | ISBN 9780826505170 (paperback) | ISBN 9780826505187 (hardcover) | ISBN 9780826505194 (epub) | ISBN 9780826505200 (pdf)
Subjects: LCSH: Men—Spain—History—19th century. | Masculinity—Spain—History—19th century. | Spain—Social life and customs—19th century. | Men—Spain—Fiction.
Classification: LCC HQ1090.7.S7 W65 2022 (print) | LCC HQ1090.7.S7 (ebook) | DDC 305.310946—dc23/eng/20220406
LC record available at https://lccn.loc.gov/2022011170
LC ebook record available at https://lccn.loc.gov/2022011171
I dedicate this book to the memory of my brother, Jared “Jay” Wolters (1995–2019): one of the coolest guys I have ever known.
CONTENTS
Acknowledgments
Introduction
1. The Student
2. The Priest
3. The Businessman
4. The Heir
Coda
Notes
Bibliography
Index
Acknowledgments
I owe thanks to so many folks who have supported me and this project over the years, and I will try my best to acknowledge them all here in one way or another.
First, my manuscript would not have become a book without the steadfast work of Vanderbilt University Press. I owe special thanks to Zack Gresham, Joell Smith-Borne, and Gianna Moser, as well as the Press’s anonymous reviewers, whose feedback undoubtedly helped to improve the manuscript.
The research undertaken to write Masculine Figures would have been impossible without the resources available to me at Wake Forest University. My yearly research trips to Madrid and Barcelona, as well as to conferences in the US and abroad, were made possible by generous funding from the Archie Fund for the Humanities, the Humanities Institute, the Offices of the Dean and Provost, and the Department of Spanish at Wake Forest University.
In the Departments of Spanish and Italian, I am especially thankful for the collegiality, generosity, and kindness of Jane Albrecht, Alison Atkins, Corey Cantaluppi, Margaret Ewalt, Luis González, Anne Hardcastle, Linda Howe, Kathy Mayers, Carmen Pérez Muñoz, Irene Picconi, Sol Miguel-Prendes, Silvia Tiboni-Craft, José Luis Venegas, and John Welsh. Throughout the writing process I was also constantly inspired by colleagues from other departments at Wake Forest University. Dean Franco, Claudia Kairoff, Stephanie Koscak, Morna O’Neill, Jessica Richard, and Mary Wayne-Thomas have been amazing colleagues whose encouragement of interdisciplinarity has enriched my own work and made for wonderful conversations over the years. I also have to thank my seminar and honors thesis students, especially Lydia Milhoun, whose astute observations about and engagement with topics related to gender and dress provided regular encouragement to me as I finished writing Masculine Figures .
I owe a special debt to those who graciously volunteered their time to read and comment on so many drafts of chapters and translations from Spanish and Catalan to English. Laureano Bonet, Carlos Ferando Valero, Leslie Harkema, Toni Maestre Brotons, Sarah Sierra, Jennifer Smith, and José Luis Venegas gave careful and thoughtful feedback during critical stages of the writing process. If a “thank you” in this category was measurable, though, the biggest one I could offer would undoubtedly go to Gaby Miller. Her abilities as reader and editor are only equaled—if not exceeded—by her compassion and generosity as a pal and a confidant. I also offer a heartfelt merci/gràcies to Montse Prats and Laura Masforell, who taught me to speak, read, listen, and write in Catalan and who inspired me to continue studying it.
Several colleagues in modern Spanish and Iberian studies (including some already named above) also assisted with various stages of the book-writing process and have continued to instill in me an appreciation for and enriched understanding of Spanish cultural studies and literature. Masculine Figures would not be what it is without their generosity and feedback during (and in between!) conferences and research trips in the US and abroad. Those scholars include Elena Cueto-Asín, Julia Chang, Stacy Davis, Toni Dorca, Fran Fernández de Alba, Marcela Garcés, David George, Hazel Gold, María Luisa Guardiola, Cathy Jaffe, Colin McKinney, Leigh Mercer, Gaby Miller, Sara Muñoz, Lisa Nalbone, Wadda Ríos-Font, Erika Rodríguez, Ana Rueda, Alan Smith, Wan Sonya Tang, Erika Sutherland, Sarah Thomas, Akiko Tsuchiya, Aurélie Vialette, and Linda Willem. Many thanks, as well, go to Irene Gómez-Castellano and Isaac García-Guerrero, who invited me to give book-related talks to their generous students and colleagues at the University of North Carolina at Chapel Hill and Virginia Military Institute, respectively.
The archival component of this project was facilitated by the expertise and kindness of dozens of archivists and librarians in Madrid and Barcelona. Artifacts and texts that I studied with assistance provided by Elisa Regeiro of the Arxiu Històric in Barcelona, as well as Cristina Jiménez of the Museo Cerralbo and Juan Gutiérrez of the Museo del Traje in Madrid, are this book’s warp and weft.
Though Chapter 2 of this book is the only section related in any significant way to the work I did at the University of Virginia, I am grateful to several mentors, peers, and friends I met there. Randolph Pope and David Gies read early drafts of essays that would later become or inspire chapters in this book, and they buoyed me in my professional endeavors in ways that exceeded the duties of an adviser or reader; I can only hope to aspire to the scholarly model they first set for me in graduate school. I would also like to thank Andrew Anderson, Allison Bigelow, Eli Carter, Shawn Harris, Stephanie Knecht Gates, Cheryl Krueger, Gaby Miller, Carmen Moreno Díaz, Elena Neacsu, Tally Sanford, Paula Sprague, Jennifer Tsien, and Miguel Valladares for their friendship and generous support during my time in Charlottesville. Huge thanks also go to Nora Benedict, who constantly shared her experience and expertise on all things book-related (and who only made fun of me a little bit for my absurd orders during our coffee dates).
I owe so much to my parents, John and Brenda, and to my younger siblings, Kait, Jay, Rachel, and Tommy. My family and friends have showered me with a seemingly endless supply of love and laughter over the years, reminding me that there is much more to life than deadlines and the ticking tenure clock. I thank my barber, Tim Parker, for making me look cooler than I am and for his insightful comments (and for listening to me ramble more than once about the contents of this book). I am thankful to my closest friends in Winston-Salem, especially Andrew Johnson; they all celebrated, hugged, and uplifted me when I needed it the most.
An earlier version of Chapter 1 appeared as “Secondhand: The Used Clothing Trade and Narrative Ragpicking in Galdós’s El Doctor Centeno ” in Anales Galdosianos , no. 53 (2018), 55–75; an earlier version of Chapter 2 appeared as “ ‘Debajo de la sotana’: (Re)Dressing Clerical Masculinity in La Regenta ” in Revista de Estudios Hispánicos , 53, no. 1 (2019), 329–52.
INTRODUCTION

FIGURE 0.1. Advertisement for tailor services from the last third of the nineteenth century. The caption reads, “Latest novelties in boys’ suits in all shapes, sizes, and tastes with an eye to elegance and economy. Special made-to-measure section for gentlemen.” Image courtesy of the Arxiu Històric de la Ciutat de Barcelona, Barcelona, Spain.
In a late-nineteenth-century advertising card (see fig. 0.1 ), a father appears to oversee his son while a tailor or journeyman kneels to take the boy’s measurements. Depicting one of many steps in crafting a made-to-measure suit, the illustration’s iconography demarcates a clear hierarchy. 1 Whereas the father’s broad shoulders, dark suit, top hat, cane, and solid stance bespeak his status as an affluent and gentlemanly client, the tailor’s crouched position, worker’s cap, and tape measure signal the deferential respect of a trustworthy craftsman. Stationed between the father’s walking stick and the tailor’s tape, the boy submits obediently to the measure of paternal and societal expectations. An ephemeral reminder of nineteenth-century advertising and commerce, the all-male scene focuses on both fashionable production and consumption while also illustrating a common transaction between men who represent different but complementary spectrums of the middle class. It also hints at a male homosocial rite of passage in the shepherding of young boys to adulthood. Perhaps indirectly, the promotional illustration reflects the existence of multiple configurations of middle-class masculinity produced and made visible by interactions between men in nineteenth-century Spain’s culture of consumption. Like many other advertisements of its kind, the card promises “Economy, Elegance, and Careful Tailoring” to the faithful clients of Pantaleoni Hermanos (see fig. 0.2 ), values and virtues that were capitalized upon by advertisers, tailors, and department store owners alike in order to appeal to aspirants to, or members of, Spain’s bourgeoisie or “dominant groups.” 2
Not unlike the images used in advertising cards and other commercial ephemera, memoirs and realist literature commemorate and fictionalize the role of sartorial craftsmen in ferrying young men to adulthood during the final decades of the nineteenth century in Spain. While domes