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Editor: Editorial de la Universidad de Granada
Autor: Sara Toro Ballesteros
D.L.: GR 123-2014
ISBN: 978-84-9028-685-2
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La doctoranda Sara Toro Ballesteros y los directores de la tesis, los Profesores Dres. Ame-
lina Correa Ramón (Universidad de Granada) y Rafael Bonilla Cerezo (Universidad de
Córdoba), garantizamos, al firmar esta tesis doctoral, que el trabajo ha sido realizado
por la doctoranda bajo la dirección de los directores. Hasta donde nuestro conocimiento
alcanza, en su realización se han respetado los derechos de otros autores a ser citados
cuando se han utilizado sus resultados o publicaciones.
Granada, 18 de abril de 2013
Director/es de la Tesis Doctoranda
Fdo.: Amelina Correa Ramón Fdo.: Sara Toro Ballesteros
Fdo.: Rafael Bonilla Cerezo
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A mi familia
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a
BSTracT
Viaje al Mundo de las Almas covers both the life and works of Ángeles Vicente García (Mur-
cia, 29th January 1878- ?). Murcia, Buenos Aires, Milan and Madrid will be decisive loca-
tions for her journey. The first of them ended up being her second hometown since 1878,
while the second turned out to be not only her residence but also the capital of her new
country, since she received the Argentinian citizenship. Milan simbolized for Vicente
her comeback to Europe, as well as the start of an epistolary relationship with Miguel
de Unamuno. This connection will help us to shed light on some biographical issues and
know better her taste in literature. It also will allow us to establish the reasons for her
connection to Il Rinnovamento magazine.
Having learnt from some brand-new modernist Christian ideas in Italy, Vicente wrote
Teresilla (1907), her first book. The main aspect to consider of this book was the prologue,
written by Felipe Trigo. That text, which became an important resource for this inves-
tigation, provides us with information about the activities our author accomplished in
Argentina, such as the foundation of feminine masonic lodges, riding horses in Pampa in
her spare time, reading Kardec’s books, auditions of Wagner or Puccini works or even
the attendance to piano and lute lessons. The text also provides information of her inten-
tion of going back to Spain, in order to develop her novelist style.
After going to Madrid, she published her novels Teresilla (1907) and Zezé (1909), her
compilations of short stories Los buitres (1908) and Sombras: cuentos psíquicos (1910), a series
of American legends which she had already published in the newspapers Blanco y Negro
and El Imparcial, between 1912 and 1915. The main point of these texts did not only lay on
their ethnological and geographical details, but on the historical matters she mixed with
fiction. As a result, we found how Vicente and her husband, Cándido Elormendi, took
part in some expeditions over the region of Chaco. Those journeys were promoted by
José María Uriburu during the periods he governed in Formosa.
In October 1915, Madrid also held the premiere of La Déserteuse, an adaptation of an
Eugène Brieux and Jean Sigaux work, written now by Vicente and Luis Linares Becerra.
It was sadly not too popular neither among the critics nor the public.
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After the failed release of the play, Vicente came back to Buenos Aires, where we could
not keep on following her tracks. Nevertheless, some versions of her short stories (from
those compiled in Los buitres and Sombras) were still published. Some other new stories
were never collected in a new book.
«La sombra que llora» is her latest book known to date. It is dated in August of 1929
and was published in Reflejos, a magazine from Granada. However, her most important
texts date from the 10s of the last century. Apart from those legends already mentio-
ned, she wrote «De tejas hacia arriba», a column about Occultism included in the daily
newspaper Excelsior. Ángeles Vicente interviewed Mario Roso de Luna for it. Both shared
similar points of view regarding Spiritualism or Theosophy, ideas from which Vicente’s
works were developed.
A trip to the heart of everything is only possible if one has first known his inside, this
is to say, to reach the World of Souls one needs to have walked through a personal uni-
verse. Love and our eyes, if not both at the same time, were the favourite motifs for our
author. Vicente’s characters can read souls through their eyes, and this comes to be as
necessary as the readings of Trigo’s El amor en la literatura y en los libros or some handbooks
on Hypnotism she read. It is also crucial the process of reading itself. Trigo, like Vicente,
thought that society could progress in favour of life by altering some values from the
middle-class society, such as honour or identity, in favour of love and culture.
Most part of this thesis is dedicated to analyze the connection between medicine
and literature in those days. After having collected several different Vicente’s short sto-
ries, and having studied Los buitres y Sombras in depth, we found that the diagnoses and
scientific experiments of her characters were nearly hideous. There is a simple reason:
spiritual matters tried to be studied by using the same parameters as those used for the
body. That is why we find it difficult to differentiate laugh / horror, life / death, as well as
darkness and knowledge.
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V M a :
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0. Abstract 9
1. Introducción 15
1. 1. Antecedentes y objetivos 15
1. 2. Metodología 19
1. 3. Guía de ruta 23
1. 4. Criterios de edición de los cuentos 26
1. 5. Centros visitados en España 27
1. 6. Centros visitados en Buenos Aires, Milán y Reino Unido 28
1. 7. Agradecimientos 29
2. Luz a las sombras de una biografía 31
2. 1. Infancia murciana (1878-1888) 39
2. 2. Buenos Aires - Milán - Madrid - Cartagena 49
2. 2. 1. Juventud y formación americana (1888-1893) 49
2. 2. 2. La oportunidad de las Américas: la inmigración española 54
2. 2. 3. La familia Elormendi y las aventuras del Chaco (1893-1901) 58
2. 2. 4. El hampa madrileña: Vaamonde, Trigo y López de Haro (1906) 65
2. 2. 4. 1. Polémicas de papel. Los casos de Tartarín y Gloria de la Prada 78
2. 2. 4. 1. 2. Tartarín 81
2. 2. 4. 1. 3. «Fiel y verídica historia de la Ángeles y de la Gloria» 88
3. Argentina desde Madrid: Los cuadros y leyendas de El Imparcial y Blanco y Negro
(1912-1915) 97
3. 1. Cuadro, leyenda y costumbre 97
3. 2. Crónica de viajes 108
3. 3. «Esto se lo hemos oído contar a su autor». La voz de la ficción 109
3. 4. De gauchos y malones 112
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