| Abstract: | Traditionally, realism has been considered as a naive attempt to copy reality objectively. This article refutes this assertion by demonstrating that Benito Pérez Galdós's narrative aesthetics do not construct any reality organically; instead, his novels deconstruct it. Using the notion of the suppléer by Jacques Derrida and reflections on the emergence of modernity in Spain, the author proposes that the constant formal and thematic reconsiderations found in La incógnita and both versions of Realidad question the possibility of presenting a coherent and conclusive reality. Rather, they are symptoms of the crisis brought forth by the inauguration of modernity in Spain. |
