María L. Pérez Bernardo provides a comprehensive introduction to the journalism of Emilia Pardo Bazán (1851-1921), one of the most remarkable Spanish intellectuals of the nineteenth century. The book is divided into six chapters, followed by a collection of Emilia's journalistic articles. This book contains detailed information of her biography, her role as a journalist and influences as a literary author. The primary topics of her articles reflect on feminism and women's suffrages and religion at the turn of the 19th century. Bazan's well-crafted depictions of 19th- and early 20th-century society reflects and examines a wide spectrum of social classes and social conflicts in both urban and rural of Spain which caused the rise of crime in society. In retrospect of political writings she expresses her opinion about the Spanish government foreign policy including the 1898 War between Spain and the United States
Joaquina García Balmaseda (1837–1911) is a writer who is well known for her contributions to 19th century literature and journalism. Balmaseda was an intellectual who manifested, from a young age, a double artistic vocation: literature and translation. She initiated herself into the literary world through local magazines and also through her translations. While there are many references to Balmaseda's literary production, especially her contributions to women's magazines, her work as a translator has not been thoroughly studied. The immense number of Balmaseda's renderings shows not only that translation had a great impact on her work, but also that she popularized many important writers of her time (George Sand, Paul Féval, Alexandre Dumas, Wilkie Collins, Charles Dickens, and Mary Elizabeth Braddon, among others). García Balmaseda exercised a very important role as a translator in La Correspondencia de España (1860–1925), a magazine with which she frequently collaborated. The immediacy of the works' translations stands out, as well as the difficulty that resulted from transferring and shortening long works to accommodate them to the press. In these translations, García Balmaseda included her ideological convictions that revealed longstanding traditional views. By omitting passages and modifying the plot of her translations, Balmaseda accommodated these novels and short stories to the "edifying literature" so typical of the age of Isabella II. In most cases, the deletions or changes affect political, moral, and religious issues, as well as expressions contrary to tradition, marriage, family, and national values. ; Joaquina García Balmaseda (1837-1911) es hoy en día una escritora conocida por sus contribuciones a la literatura y el periodismo de mediados del siglo XIX. Existen muchas referencias a su producción literaria y a sus colaboraciones en revistas femeninas de la época, diseminadas en artículos y capítulos de libros; sin embargo, su labor como traductora no ha sido tan estudiada. El inmenso catálogo de traducciones de Balmaseda pone de relieve la importancia que tuvo esta parcela en su propia obra y, a la vez, muestra cómo contribuyó a divulgar los escritores europeos más importantes de su tiempo (George Sand, Paul Féval, Alexandre Dumas y Wilkie Collins, Charles Dickens y Mary Elizabeth Braddon entre otros). García Balmaseda ejerció un papel muy importante como mediadora cultural, sobre todo, en La Correspondencia de España (1860-1925), revista en la que colaboró asiduamente con sus traducciones. Destaca la inmediatez con la que tradujo las obras, lo dificultoso que resultaba trasladar y acortar novelas de grandes dimensiones para acomodarlas a la prensa. Ahora bien, sus convicciones ideológicas se hallan en el germen de sus producciones literarias y de traducción. En estas, suprime partes que no considera apropiadas para el lector de la época; modifica el argumento y lo acomoda para que forme parte de esa «literatura edificante» tan propia de la época isabelina. En la mayoría de los casos, las supresiones o cambios afectan a cuestiones políticas, morales y religiosas, a expresiones contrarias a la tradición, matrimonio, familia o valores de la patria. ; Joaquina García Balmaseda (1837–1911) is a writer who is well known for her contributions to 19th century literature and journalism. Balmaseda was an intellectual who manifested, from a young age, a double artistic vocation: literature and translation. She initiated herself into the literary world through local magazines and also through her translations. While there are many references to Balmaseda's literary production, especially her contributions to women's magazines, her work as a translator has not been thoroughly studied. The immense number of Balmaseda's renderings shows not only that translation had a great impact on her work, but also that she popularized many important writers of her time (George Sand, Paul Féval, Alexandre Dumas, Wilkie Collins, Charles Dickens, and Mary Elizabeth Braddon, among others). García Balmaseda exercised a very important role as a translator in La Correspondencia de España (1860–1925), a magazine with which she frequently collaborated. The immediacy of the works' translations stands out, as well as the difficulty that resulted from transferring and shortening long works to accommodate them to the press. In these translations, García Balmaseda included her ideological convictions that revealed longstanding traditional views. By omitting passages and modifying the plot of her translations, Balmaseda accommodated these novels and short stories to the "edifying literature" so typical of the age of Isabella II. In most cases, the deletions or changes affect political, moral, and religious issues, as well as expressions contrary to tradition, marriage, family, and national values. ; Joaquina García Balmaseda (1837–1911) je pisateljica, znana po svojih prispevkih k literaturi in novinarstvu sredi 19. stoletja. Njeno književno ustvarjanje in sodelovanje v takratnih ženskih revijah, objavljeno v člankih in knjižnih poglavjih, je dobro poznano, medtem ko je njeno prevajalsko delo razmeroma slabše raziskano. Balmasedini res številni prevodi dokazujejo, da je prevajanje vplivalo na njeno pisateljsko delo, hkrati pa tudi, da je pripomogla k popularizaciji najpomembnejših evropskih pisateljev tedanjega časa (na primer George Sand, Paul Féval, Alexandre Dumas, Wilkie Collins, Charles Dickens in Mary Elizabeth Brandon). Pomembna je njena vloga medkulturne posrednice, zlasti pri reviji La Correspondencia de España (1860–1925), pri kateri je tvorno sodelovala z objavami svojih prevodov. Posebej sta jo odlikovali hitro prevajanje del in težavno delo prenašanja in krajšanja obsežnih romanov, da so bili primerni za objavo v tisku. Vendar pa je pisateljičino književno in prevajalsko ustvarjanje zaznamovano z njenimi ideološkimi prepričanji. Pri prevodih je izpuščala dele, ki se ji niso zdeli primerni za takratnega bralca; spremenila je zgodbo in jo prilagodila tako, da je ustrezala »poučni literaturi«, tako značilni za obdobje vladavine španske kraljice Izabele II. Spremenila je predvsem politične, moralne in verske vidike ter izraze, ki so bili v nasprotju s tradicijo, zakonsko zvezo, družino ali pa domovinskimi vrednotami.
In 1885, while still in Paris, Emilia Pardo Bazán discovered Russian literature through the French translation ofCrime and Punishment. From that moment, she read widely about Russia and its literature. In March and April 1887,she gave a series of three long lectures in the Atheneum in Madrid on The Revolution and the Novel in Russia. PardoBazán's book presents a number of significant issues: the decline of the aristocracy, the rise of the bourgeoisie, thepeasantry, and the connection between aesthetics and social and political issues. In this work, Pardo Bazán did makeSpaniards aware of the Russian novel and Dostoyevski, bringing a new type of literary current to their notice. Oneof the most significant results is that she adopted the Russian literary style, considering it more appropriate than theFrench naturalist novel. ; Emilia Pardo Bazán entró en contacto con la literatura rusa durante su estancia en París, a través de la lectura de una traducción francesa de Crimen y castigo. A partir de ese momento, comenzó a leer extensamente sobre la historia y literatura rusa. En marzo y abril de 1887, la ilustre escritora pronunció una serie de conferencias en el Ateneo de Madrid que más tarde publicó bajo el nombre La revolución y la novela en Rusia. Movida por el entusiasmo que el conocimiento de los escritores le habían producido, decidió ofrecer a los españoles un trabajo de divulgación similar al que le inspiró el conocimiento del naturalismo francés. Para ello, contó con la ayuda de varios exiliados y periodistas rusos, algunos amigos íntimos de la escritora. En La revolución y la novela en Rusia, Pardo Bazán analizó de forma detallada la vida y novelística de Fiodor Dostoievski; encontrando en la obra de este escritor un nuevo rumbo literario, unos principios e ideas mucho más afines a su estética literaria.
Benito Pérez Galdós es considerado, después de Cervantes, como el mejor escritor de la literatura española y el más eminente del siglo XIX. Las novelas galdosianas abordan una toma de posición frente a unas situaciones y problemas ideológicos determinados. En su novela Torquemada en la hoguera, Galdós revela la incapacidad del usurero para comprender la realidad, para elevarse por encima de la codicia y avidez. Personifica el eje materialista, el alma monetaria de la filosofía vital de la burguesía española de ese siglo
