Schnepf, Michael A.

Name: Michael A. Schnepf
Title: Professor of Spanish, Director of Alabama in Cuba
Phone:(205) 348-4238

The Galdós Manuscript Drawings

Degree Information

1985 Ph. D. Indiana University (Bloomington, Indiana). Spanish with a Minor in English.
1977 M.A. University of Northern Iowa (Cedar Falls, Iowa and Spain). Spanish.
1974 B.S. Indiana University (Bloomington, Indiana). Spanish and English.

Current Projects

  1. A critical edition of La desheredada. I already own a hard copy of the original manuscript of this 1881 novel, and I recently purchased a first edition, one that has not been bound, thus allowing us to see for the first time the actual signatures (installments).
  2. “A Detailed Study of the Complete Manuscript and the Unseen Sketches of Galdós’s La desheredada.” (Monograph, 100-150 pages). 85% completed.
  3. “Las entregas de la primera edición de La desheredada: divisiones, fechas, y estrategias.”
  4. “Drawings and Sketches by Galdós from all the Original Manuscripts Housed in the Biblioteca Nacional in Madrid.” Over the past five years I have been slowly sifting through the 63 manuscripts and I have come up with some fascinating dibujos that deal with politics, politicians, architecture, and even pornography. I have included in the packet some of the more “curious” drawings for your perusal.

Selected Publications


“Scandal and La Cárcel Modelo: Intertextual ‘Bouncing’ in Galdós’s La desheredada.” Romance Quarterly 49 (2002): 36-49.
“Background Information for Two Political References in Clarín’s La Regenta.” Romance Notes 41 (2001): 319-324.
“X-rated Galdós: Manuscript Nudes.” Anales Galdosianos 37 (2002): 137-140.
“Why the Teachers?: Galdós’s Dedication in La desheredada.” Romance Quarterly 47 (2000): 35-40.
“La Beneficencia: Romero Robledo Versus Pérez Galdós in La desheredada.” South Atlantic Review 66 (2001): 23-49.
“A Different View of Isidora Rufete as the Symbol of Spain and a Brief Comment on Reader Sympathy.” Romance Notes 40 (2000): 325-333.
“The Political Significance of the Title of Galdós’s La desheredada.” Anales Galdosianos 34 (1999): 69-73.
“On the Creation and Execution of Pecado in Galdós’s La desheredada.” Anales Galdosianos 34 (1999): 61-68.
“The Significance of El Cencerro in Galdós’s La desheredada.” Romance Notes. 39 (1999): 325-30.
“A Note on Galdós, Ortega Munilla, and La desheredada.” Romance Notes 39 (1999): 3-8.
“The Galdós Manuscripts: An Initial Collective View.” South Atlantic Review 62 (1997): 1-17.
“(Re)-discovering Galdós’s Casandra Manuscript.” Anales Galdosianos 29-30 (1995): 121-27.
“Galdós’s El doctor Centeno Manuscript: Pedro Polo and Other Curiosities.” Romance Quarterly 44 (1994): 36-44.
“The Manuscript of Galdós’s Napoleón en Chamartín: An Initial Study.” South Atlantic Review 58 (1993): 1-16.
“From Galdós’s La desheredada Manuscript: Male Characters in Transition.” Romance Quarterly 39 (1992): 53-60.
“The Manuscript of Galdós’s Tormento.” Anales Galdosianos 26 (1991): 43-49.
“A Guide to the Manuscripts of the Second Series of episodios nacionales.” Anales Galdosianos 26 (1991): 35-42.
“History into Fiction: The Political Background to Galdós’s La desheredada.” Letras Peninsulares 4.2. (1991): 295-306.
“From the Manuscripts of Galdós’s Second Series of episodios nacionales: On the Creation of Juan Bragas de Pipaón.” Crítica Hispánica XII (1991): 21-29.
“Galdós’s La desheredada Manuscript: A Note on the Creation of Isidora Rufete.” Romance Notes 31 (1991): 245-50.
“From the Tristana Manuscript: Don Lope Garrido.” Romance Notes 31 (1990): 11-17.
“From the Tristana Manuscript: Background Information to Galdós’s Realidad.” Anales Galdosianos 25 (1990): 91-94.
“Galdós’s La desheredada Manuscript: José Relimpio y Sastre.” Hispanófila 100 (1990): 7-14.
“Galdós’s La desheredada Manuscript: Isidora in the Prado Museum.” Romance Notes 37 (1990): 321-29.
“The Naturalistic Content of La desheredada Manuscript.” Anales Galdosianos 24 (1989): 53-59.
“The Significance of the petardos in Galdós’s La desheredada.” Romance Notes 30 (1989): 107-14.
“Mirror, Mirror on the Wall: A Study of Narcissism in Galdós’s La desheredada.” La Revista Canadiense de Estudios Hispánicos. 3 (1989): 231-40.
“El Espejo Galdosiano: Warnings, Patterns, and Meanings.” South Atlantic Review 53 (1988): 59-66.


Review of Galdós’s tercera manera by Linda Willem. Anales Galdosianos 35 (2000): 133-36.
Review of Leopoldo Alas y el fin de siglo by Adolfo Sotelo Vázquez. Letras Peninsulares Spring (1992): 192.
Review of Realismo y ficción: La desheredada de Galdós by Ignacio-Javier López. Romance Quarterly 38 (1991): 119-22.
Review of Cervantes y cuatro autores del siglo XIX (Alarcón, Pereda, Valera, y Clarín) by Ana L. Baquero Escudero. Romance Notes 38 (1991): 192-3.
Review of Vision and the Visual Arts in Galdós by Peter Bly. Revista de Estudios Hispánicos 22 (1988): 139-40.
Review of Galdós: The Early Historical Novels by Brian Dendle. South Atlantic Review 52 (1987): 126-28.
Review of Imagery and Theme in the Poetry of Cecilia Meireles: A Study of ‘Mar Absoluto’ by Darlene Sadlier. Revista de Estudios Hispánicos 19 (1985): 147-8.SUBMISSIONS
“Shakespeare and Defoe Under the Influence, a Naked Englishman, and Other Curiosities from Galdós’s Cádiz Manuscript.” Submitted to Confluencia (9-23-03).
“The Galdós Sketches: Quantity, Quality, and Frequency Plus Examples from the Original Manuscripts and The Galley Proofs” Submitted to Romance Quarterly (9-8-2003).
“The Manuscript of Galdós’s Mariucha: A Case of Post-Electra Caution.” Submitted to Anales Galdosianos (Oct. 2002).