In case anyone should be interested, the joke in question is to be found on page 42 in the issue of November 17, 1975.
«I think not so much of the novel's use as a device for reform... as of its less obvious use as a device by which people might prepare themselves for novel contacts and novel life-situations-anticipatory socialization, that is, a preparation in imagination for playing roles that might emerge in one's later career... The novel of the 19th century doubtless disoriented many chambermaids and a few duchesses, but on many more occasions it helped prepare individuals for their careers in a disorienting world of rapid industrialization and urbanization -where fictional moves and actual ones were not so unlike, and life and art could almost imitate one another». «The Oral and Written Traditions», Explorations Six, 1956, p. 26. All of which amounts, I think, to a sociological definition of «novelistic consciousness».
In his introduction of his forthcoming serial translation of Pickwick Papers to the readers of La Nación (March 9, 1868). The young Galdós' acute awareness of Dickens' descriptive techniques results in one of the most acute pages of criticism that emerged from his pen. See W. H. Shoemaker, Los artículos de Galdós en «La Nación», Madrid, 1972, p. 452.
Cited from his Elogio y nostalgia de Toledo (Madrid, 1958, pág. 144) by J. C. Ullman and G. H. Allison, «Galdós as Psychiatrist in Forfunata y Jacinta», Anales galdosianos IX, 1974, p. 24.
Obras completas, Madrid, 1951 (Aguilar), vol. VI, p. 1656. Henceforth I shall refer only to the volume and page of this edition.
See the seminal introduction to The Intent of the Artist, Princeton, N. J., 1941.
In a forthcoming issue of. Sin nombre.
As I shall try to show in my forthcoming book, there is evidence which indicates that Vautrin-Herrera contributed to the creation of Fermín de Pas.
La Comédie humaine («La Pléiade»), ed. M. Bouteron, París, 1952, vol. V, p. 755.