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Creation, Publishing, and Criticism

The Advance of Women’s Writing

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Edited By Maria Xesus Nogueira, Laura Lojo Rodriguez and Manuela Palacios

Since the 1980s, there has been an unprecedented and unremitting rise in the number of women writers in Galicia and Ireland. Publishers, critics, journals, and women’s groups have played a decisive role in this phenomenon. Creation, Publishing, and Criticism provides a plurality of perspectives on the strategies deployed by the various cultural agents in the face of the advance of women authors and brings together a selection of articles by writers, publishers, critics, and theatre professionals who delve into their experiences during this process of cultural change. This collection of essays sets out to show how, departing from comparable circumstances, the Galician and the Irish literary systems explore their respective new paths in ways that are pertinent to each other. This book will be of particular interest to students of Galician and Irish studies, comparative literature, women’s studies, and literary criticism. Both specialists in cultural analysis and the common reader will find this an enlightening book.

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Preface by Luz Pozo Garza xi

Extract

Preface For María Xesús Nogueira A Passion for Celticism It all started when I devoured Murguía’s Galicia and his Historia, both beautiful works of scholarship, honest works, true gifts of patriotic love. Manuel Murguía, husband to the sublime poet Rosalía de Castro, had devoted himself to the historical sciences, and based his work in a regionally-oriented Celticism and in a romantic ideology, both currents that were of capital literary and cultural importance. An indisputable beacon in his own time, Murguía nourished deep friendships between Rosalía, Curros and Pondal, all central figures in Galician literature. His detractors were unable to unseat him, and his Celticist ideals were contagious. In A Coruña a group sprung up called, ironically, “A Cova Céltica” [The Celtic Lair], and became a famed centre of radical Celticism. Eduardo Pondal, Murguía’s poet par excellence, was hailed as “O Bardo de Bergantiños” [the Bard of Bergantiños]. Fuelled by my readings of Murguía, I plunged into the enthusiasms of Eduardo Pondal, whose step graced hallowed ground: from his “all in this Land is Celtic,” to his heroic transposition of Macpherson’s tales into his own tales of Breogán, Pondal was revered in the Cova Céltica and in the hearts of all who penned and pored over poetry. Readers know the remote district of Bergantiños “through Pondal,” just as “Morven is known through Macpherson” (Carballo Calero 1975). Murguía preached news of our fundamental ethnic Celticism,...

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