Mike Schnepf

Michael A. Schnepf

Professor of Spanish | Co-Director, Center for Cuba Collaboration and Scholarship


Office Hours

By appointment

Education

PhD, Indiana University (Bloomington, Indiana), 1985. Spanish with a Minor in English.
MA, University of Northern Iowa (Cedar Falls, Iowa and Spain), 1977. Spanish.
BS, Indiana University (Bloomington, Indiana), 1974. Spanish and English.

Research Interests

  • 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).
  • “A Detailed Study of the Complete Manuscript and the Unseen Sketches of Galdós’s La desheredada.” (Monograph, 100-150 pages). 85% completed.
  • “Las entregas de la primera edición de La desheredada: divisiones, fechas, y estrategias.”
  • “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.

REVIEWS

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).