{"?xml":{"@version":"1.0"},"edm:RDF":{"@xmlns:dc":"http://purl.org/dc/elements/1.1/","@xmlns:edm":"http://www.europeana.eu/schemas/edm/","@xmlns:wgs84_pos":"http://www.w3.org/2003/01/geo/wgs84_pos","@xmlns:foaf":"http://xmlns.com/foaf/0.1/","@xmlns:rdaGr2":"http://rdvocab.info/ElementsGr2","@xmlns:oai":"http://www.openarchives.org/OAI/2.0/","@xmlns:owl":"http://www.w3.org/2002/07/owl#","@xmlns:rdf":"http://www.w3.org/1999/02/22-rdf-syntax-ns#","@xmlns:ore":"http://www.openarchives.org/ore/terms/","@xmlns:skos":"http://www.w3.org/2004/02/skos/core#","@xmlns:dcterms":"http://purl.org/dc/terms/","edm:WebResource":[{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-NDJAD9CA/204df789-0055-46ac-baeb-ad2509936bb9/PDF","dcterms:extent":"161 KB"},{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-NDJAD9CA/048e7a97-d891-4fb7-8660-3d82358a68ac/TEXT","dcterms:extent":"0 KB"}],"edm:TimeSpan":{"@rdf:about":"1991-2025","edm:begin":{"@xml:lang":"en","#text":"1991"},"edm:end":{"@xml:lang":"en","#text":"2025"}},"edm:ProvidedCHO":{"@rdf:about":"URN:NBN:SI:doc-NDJAD9CA","dcterms:isPartOf":[{"@rdf:resource":"https://www.dlib.si/details/URN:NBN:SI:spr-U0OAUONZ"},{"@xml:lang":"sl","#text":"Verba hispanica"}],"dcterms:issued":"2020","dc:creator":"Escalera Cordero, Matías","dc:format":[{"@xml:lang":"sl","#text":"številka:letn. 28"},{"@xml:lang":"sl","#text":"str. 117-131"}],"dc:identifier":["ISSN:0353-9660","DOI:10.4312/vh.28.1.117-131","COBISSID_HOST:46592259","URN:URN:NBN:SI:doc-NDJAD9CA"],"dc:language":"es","dc:publisher":[{"@xml:lang":"sl","#text":"Editorial Científica de la Facultad de Filosofía y Letras"},{"@xml:lang":"sl","#text":"Znanstvena založba Filozofske fakultete"}],"dc:subject":[{"@xml:lang":"en","#text":"fantasy"},{"@xml:lang":"sl","#text":"fantazija"},{"@xml:lang":"sl","#text":"kratke zgodbe"},{"@xml:lang":"sl","#text":"Pérez Galdós, Benito"},{"@xml:lang":"en","#text":"realistic novel"},{"@xml:lang":"sl","#text":"realistični roman"},{"@xml:lang":"sl","#text":"simbolizem"},{"@xml:lang":"en","#text":"Spanish literature"},{"@xml:lang":"en","#text":"symbolism"},{"@xml:lang":"sl","#text":"španska književnost"}],"dcterms:temporal":{"@rdf:resource":"1991-2025"},"dc:title":{"@xml:lang":"sl","#text":"\"La novela en el tranvía\"| los orígenes del realismo dinámico, crítico y cervantino de Galdós|"},"dc:description":[{"@xml:lang":"sl","#text":"Starting from the analysis of the short story \"La novela en el tranvía\", a reflection is proposed - not so much from the point of view of academic criticism, but, rather, from the point of view of the novelist (author) who lays claim to the Galdosian project in order to novelize the historical present as their own - around an observation that is rarely taken into account or has been undervalued. This is the observation that in Galdós's narrative work, the tools and narrative approaches did not always fit the reductive model of the realist bourgeois novel of the 19th century, which modernist contemporaries, the Generation of 98 and later authors like Juan Benet in the 1970s, wanted to see or make us believe. This observation holds not only for Galdos' late work such as El caballero encantado, but also to earlier novels such as El amigo manso or, from his earliest works such as the short story \"La novela en el tranvía\". In fact Galdós very early incor-porated non-realistic, fantastic or symbolic features into his writing"},{"@xml:lang":"sl","#text":"Po bežni analizi kratke zgodbe La novela en el tranvía (Roman v tramvaju) članek ponuja razmislek - ne gre toliko za stališče akademske kritike, temveč bolj za stališče romanopisca (avtorja) - o argumentih v prid Galdósovega načrta, da v romanih zgodovinsko sedanjost prikaže kot lastno. Gre za dejstvo, ki ga malokrat upoštevamo ali je sploh zanemarjeno, in sicer da se v Galdósovem pripovednem delu narativna orodja in pristopi niso vedno prilagajali omejevalnemu modelu meščanskega realističnega romana 19. stoletja, kot so želeli videti ali v kar so nas prepričevali modernistični sodobniki, predstavniki Generacije 98 in pozneje avtorji v sedemdesetih letih prejšnjega stoletja, kot je bil Juan Benet. In ne gre samo za njegovo zadnje obdobje iz časa romana El caballero encantado (Začarani vitez), temveč že za prejšnje romane, kot je El amigo Manso (Prijatelj Manso), ali dela na samem začetku, kot je ta kratka zgodba. Dejstvo je, da Galdós svoje ustvarjanje že zelo zgodaj odpira nerealističnim, se pravi fantastičnim in simboličnim elementom"}],"edm:type":"TEXT","dc:type":[{"@xml:lang":"sl","#text":"znanstveno časopisje"},{"@xml:lang":"en","#text":"journals"},{"@rdf:resource":"http://www.wikidata.org/entity/Q361785"}]},"ore:Aggregation":{"@rdf:about":"http://www.dlib.si/?URN=URN:NBN:SI:doc-NDJAD9CA","edm:aggregatedCHO":{"@rdf:resource":"URN:NBN:SI:doc-NDJAD9CA"},"edm:isShownBy":{"@rdf:resource":"http://www.dlib.si/stream/URN:NBN:SI:doc-NDJAD9CA/204df789-0055-46ac-baeb-ad2509936bb9/PDF"},"edm:rights":{"@rdf:resource":"http://creativecommons.org/licenses/by-sa/4.0/"},"edm:provider":"Slovenian National E-content Aggregator","edm:intermediateProvider":{"@xml:lang":"en","#text":"National and University Library of Slovenia"},"edm:dataProvider":{"@xml:lang":"sl","#text":"Univerza v Ljubljani, Filozofska fakulteta"},"edm:object":{"@rdf:resource":"http://www.dlib.si/streamdb/URN:NBN:SI:doc-NDJAD9CA/maxi/edm"},"edm:isShownAt":{"@rdf:resource":"http://www.dlib.si/details/URN:NBN:SI:doc-NDJAD9CA"}}}}