conviction, this point will have to be argued out more fully. She does not do that, and her choice of texts does not illustrate it either. In the last section of the book, that devoted to South Africa, Jean Sevry, the author of Le Roman et Les Races en Afrique du Sud (Novel and Races in South Africa, 1982), starts by giving a brief picture of the socioeconomic realities of the region without which, he says, "the literary production of the Republic will not be understood" (p. 367). He then traces the evolution of this literature from its origins in the twenties and situates its birthplace to the mission centers of Fort Hare and Lovedale. It was here that young African mission boys were asked to collect and transcribe in their language the praise songs, proverbs, and epics of their cultures. Indeed, one of the first historico-literary works by a black South African, Thomas Mofolo's Chaka (1925) was born out of this practice. Although the perspective from which these mission boys were expected to view their culture was Christian, the taste they had acquired for exploring their culture was to serve them in good stead in their quest, during their nationalist phase, for an identity and a heroic past. The writers, from whose works excerpts are chosen to illustrate the preoccupations of this early period include Mofolo's Chaka, Stanlake Samkange's Origins of Rhodesia (1968), and Sol Plaatje's Mhudi (1920). Jean Sevry situates the second period in South-African writing around the 1960s. What characterizes the works of this period is no longer the exhumation of a heroic past, but the brutal description of the cruelty of a segregationist and puritanical present. South-African society with its mines, Sowetos, passbooks, impossible and forbidden interracial relations and phantasms is described and denounced by the new wave of writers. A literature of shantytowns by angry young men has replaced the vague negritude-like musings of the mission-educated older generation. Peter Abraham, Alex La Guma, Mphalele, and Nkosi are some of the authors chosen by Sevry to exemplify this tendency.
El presente artículo repasa primero el trasfondo histórico del episodio y luego el momento histórico en que Galdós lo escribió para considerar su posición dentro de la producción novelística de nuestro autor. En este sentido, representa el final de una etapa y anuncia el comienzo de una nueva. El trasfondo histórico de este ultimo episodio de la Segunda Serie desemboca en el comienzo de la 1ª Guerra Carlista y, entonces, representa un comienzo y no un final. Al contrario de la 1ª Serie en la que lo histórico y lo personal encuentran un feliz desenlace, la 2ª Serie termina con una bifurcación en la que el asunto histórico termina mal y el ficticio tiene un feliz deselnace con el matrimonio de Salvador Monsalud y Sola. En el ámbito novelístico, Un faccioso más…, lejos de representar un final, anuncia una nueva modalidad narrativa en la que la influencia de Cervantes, tan presente en la 1ª Serie, es sustituida por la de Quevedo y casi anuncia una escritura esperpéntica que culminará en el ultimo episodio que Galdós escribió: Cánovas. Al final de Un faccioso más… Galdós asegura que ha llegado al final de una etapa y expresa su deseo de escribir novelas de tema actual. A partir de este episodio Galdós entra de lleno en el ámbito de los más destacados novelistas de su momento, no sólo en España sino en el mundo.
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