In the following essay, Resina contextualizes Unamuno's evolving political philosophy as a member of La Generacion del 98, paying close attention to the ways in which Unamuno's Basque heritage influenced his theories of linguistic and national identity.

In the following essay, Olson explores the Hegelian conceit of the ontological equivalence of Pure Being and Pure Nothingness in Unamuno's novels as represented by a set of nesting boxes each containing another laquered box and argues that over a period of forty years, Unamuno's use of the nesting-box motif provided a structural and topological guiding principle that informed his work.

In the following essay, Round argues that Paz en la Guerra is both one of the last works of nineteenth-century Spanish realism as well as postrealism—using a metanarrative to unite documentary, historical fact with novelesque, imaginative vision.

In the following essay, Earle provides readings of Unamuno's En torno al casticismo, Abel Sanchez, San Manuel Bueno, mártir, and Paz en la guerra, among others, to suggest that in Unamuno's conceptualization of history, the destiny of peoples is inextricably linked to the destiny of individuals.

In the following essay, Baker explores the themes of faith and uncertainty in Unamuno's works, including Diario íntimio, Del sentimiento trágico de la vida, La agonía de Cristianismo, Vida de Don Quijote y Sancho, and Cristo de Velázquez.

In the following essay, Glannon provides a close reading of Unamuno's 1931 novel, San Manuel Bueno, mártir, to explore the ways in which the novel addresses the possibilities of meaning in a world that appears godless and pointless.

In the following essay, Lowe explores how Unamuno uses the epistolary form as a narrative method in La novela de Don Sandalio.

In the following essay, Jimenez-Fajardo provides an extended close reading of Unamuno's Abel Sanchez to examine the manifestations of envy, arguing that in Abel Sanchez, it is Joaquin's envy, and the resulting obsession, that makes his art triumph over Abel's.

In the following essay, Shaw uses three plays by Unamuno—La esfinge, Fedra, and El otro—to trace the development of Unamuno's “narrative concept of drama,” noting that while Unamuno's early work was influenced by Ibsen, his later plays imitated Pirandello; the author concludes that the very qualities that made Unamuno a “distinguished innovator” in fiction undermine his success as a playwright.

In the following essay, Balseiro comments on the works and life of Unamuno, arguing that Unamuno himself was a quixotic thinker.

In the following essay, Valdes argues that Unamuno's late works of literature, from Paz en la Guerra to San Manuel Bueno, mártir and La novella de don Sandalio, jugador de ajedrez, demonstrate a well-developed metaphysics and that Unamuno's literary works metaphorically express a dialectical method and a fundamental dualism.

In the following essay, Varey discusses how Unamumo utilizes images of puppets and puppetry as a recurring thematic motif throughout his body of work.

In the following essay, Speck argues that Como se hace una novella is a series of metanarratives constructed like a maze of mirrors in a carnival, suggesting that the novel tells the story of Unamuno's search for this narrative “way out” of the labyrinth of reflection.

In the following essay, Summerhill reads Unamuno's Diario íntimio as religious allegory, arguing that for Unamuno the “road to reality is through imitation of books; and sincerity of religious belief is a learned behavior.”

In the following essay, Del Rio provides an overview of contemporary American responses to Unamuno and demonstrates that Three Exemplary Novels “are highly representative of Unamuno's conception of the tragic character,” noting that “the central idea in all [Unamuno's fiction is the struggle to create faith from doubt and ethics from inner life.”]

In the following essay, Gertz suggests that in Nada menos que todo un hombre Unamuno subverts readers' understandings of archetypes through the fusion of the Self with the Other and the Other into the Mother.