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Performing Parenthood reveals different enactments of motherhood and fatherhood in twentieth- and twenty-first-century Spain, showing how the family has adapted, or at times failed to do so, within the context of Spain's changing socioeconomic reality. Through an examination of examples of non-normative parenthood in contemporary Spanish literature and film – including gay literary father figures, subversive physical touch between mother and child, fathers who cross-dress, lesbian maternal community building, non-biological parenting, and disabled bodies – the book argues that current conceptualizations of parenthood should be amplified to reflect the various existing identities and performances of motherhoods and fatherhoods. Connecting canonical works to recent works, the book establishes a unique dialogue that will expand the conversation about the Spanish family beyond the traditional view, bringing visibility to alternative family models. It argues that parental identities exist on a spectrum, enabling many parental figures to disregard heteronormative standards imposed upon the role and allowing them to experience parenthood in meaningful ways. Bringing visibility to literary and cinematic examples of alternative Spanish families, Performing Parenthood provides a glimpse into an evolving society influenced by national and global changes.

Este libro responde a la pregunta de cómo nos acercamos al estudio de la correspondencia inédita de escritores, intelectuales y personajes representativos de la cultura española desde 1936. El principio medular que lo fundamenta reside en la evidencia de que la carta es una poderosa herramienta de comprensión de la cultura. El carácter interactivo de la correspondencia epistolar ayuda a iluminar los lenguajes de la historia cultural española.No existía aún un monográfico dedicado al estudio sobre epistolarios inéditos en la cultura española tras la Guerra Civil. Tal objetivo reúne en este volumen a un grupo de investigación en el que se incluyen filólogos e historiadores. El resultado es una miscelánea fuertemente cohesionada por una idéntica creencia en que la historia puede revalidarse a través de la escritura autobiográfica (particularmente la epistolar y su capacidad de actualizar presencias); por un mismo disfrute en la búsqueda del detalle para reconstruir lo extenso; por semejantes caminos, obstáculos y azares que supone la investigación en archivos; e incluso, por una misma convicción del valor de las cartas en el tiempo.

The Pan-Hispanic short story anthology “McOndo” (Grijalbo Mondadori Barcelona, 1996), edited by the Chileans Alberto Fuguet and Sergio Gómez, was envisaged as a forceful contestation of local and global horizons of expectation in Latin American literature, still fixated with exoticized and politicized narratives most especially in the magical realist style.By drawing on as well as developing a range of theoretical and methodological approaches from World Literature scholarship, McOndo Revisited reconsiders the literary, political, and publishing ecologies which gave rise to this anthology. This rich context, as well as numerous author interviews, informs a holistic analysis of its controversial prologue, short stories, authors, and reception.As the first comprehensive monograph dedicated to the “McOndo” anthology, McOndo Revisited rectifies numerous misreadings and reclaims its primarily artistic intentions. Its analysis zooms back and forth from the macro to the micro perspective, analyzing the artistic trajectories of the authors involved through a complex evaluation of the Latin American literature-world as well as individual authors'habitus. Considered by many a commercial and critical failure, McOndo Revisited sheds light on this controversial anthology and demonstrates its role in historicizing the Latin American Literature-World and indeed becoming a generation defining anthology, even if through a most paradoxical fashion.

Asentir o desestabilizar reúne por primera vez los trabajos de crítica literaria y opinión que Chirbes escribió para publicaciones como Ozono, Saida, Reseña o La Calle entre 1975 y 1980. Una recopilación que recoge desde reseñas y artículos hasta entrevistas a grandes personalidades de la literatura española que el joven Chirbes realizó antes de debutar como novelista y que restituyen, en su conjunto, una imagen precisa y a contracorriente de los que fueron los hitos y los protagonistas de la vida cultural de la Transición. De Camilo José Cela, por ejemplo, Chirbes dice que se dedica solo a «sus enciclopedias del erotismo», mientras que a Vargas Llosa lo define como «un escritor en vías de bajar la guardia, dejándose sorprender por el aburrimiento». «Rafa» Chirbes arremete duramente contra los premios literarios, la industria cultural («un año más, el señor Lara, dueño de Planeta, se permite engañar y trampear al lector español») y los políticos, que quieren que «la inmensa mayoría aceptemos las reglas de un juego que acaban de inventarse»; dispara sin temores reverenciales, demostrando una puntería fina e innata y la lucidez propia de quien sabe erguirse por encima de la opinión común. Estos textos, aquí recogidos en una exhaustiva edición crítica, componen una crónica implacable de un periodo crucial en la historia reciente de España desde una perspectiva orgullosamente contracultural.

The ways in which women have historically authorized themselves to write on war has blurred conventionally gendered lines, intertwining the personal with the political. Women on War in Spain's Long Nineteenth Century explores, through feminist lenses, the cultural representations of late nineteenth- and early twentieth-century Spanish women's texts on war. Reshaping the current knowledge and understanding of key female authors in Spain's fin de siècle, this book examines works by notable writers – including Rosario de Acuña, Blanca de los Rios, Concepción Arenal, and Carmen de Burgos – as they engage with the War of Independence, the Third Carlist War, Spain's colonial wars, and World War I. The selected works foreground how women's representations of war can challenge masculine conceptualizations of public and domestic spheres. Christine Arkinstall analyses the works'overarching themes and symbols, such as honour, blood, the Virgin and the Mother, and the intersecting sexual, social, and racial contracts. In doing so, Arkinstall highlights how these texts imagine outcomes that deviate from established norms of femininity, offer new models to Spanish women, and interrogate the militaristic foundations of patriarchal societies.

Since the 19th century, Arab migration from the Ottoman Empire to Latin America and Latin American travel to the Arab world has created transcontinental routes – and in the late 20th century, the translation of Latin American classics into Arabic flourished in the Arab world. Drawing on Latin American and Arabic novels, travelogues, memoirs, short stories and chronicles from Cuba, Colombia, Mexico, Guatemala, Egypt, Lebanon and Iraq, Tahia Abdel Nasser shows how cultural exchange between Latin America and the Arab world cemented historical and diplomatic ties. She also explores how a new cadre of men of letters – poets, writers and intellectuals – shaped Arab Latin American encounters in the late 20th century.

An Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library as part of the Opening the Future project with COPIM. Fables of Development: Capitalism and Social Imaginaries in Spain (1950-1967) focuses on a basic paradox: why is it that the so-called “Spanish economic miracle” —a purportedly secular, rational, and technocratic process— was fictionally portrayed through providential narratives in which supernatural and extraordinary elements were often involved? In order to answer this question, this book examines cultural fictions and social life at the time when Spain turned from autarchy to the project of industrial and tourist development. Beyond the narratives about progress, modernity, and consumer satisfaction on a global and national level, the cultural archives of the period offer intellectual findings about the expectations of a social majority who lived in the precariousness and who did not have sufficient income to acquire the consumer goods that were advertised. Through the scrutiny of interdisciplinary archives (literary texts, cinema, newsreels, comics, and journalistic sources, among other cultural artifacts), each chapter offers an analysis of the social imaginaries about the circulation and distribution of capital and resources in the period from 1950, when General Franco's government began to integrate into international markets and institutions following its agreements with the United States, to 1967, when the implementation of the First Development Plan (1964-1967) was completed.

«Figures of Exile is an excellent volume of essays carefully curated by Daniela Omlor and Eduardo Tasis that pays a long overdue homage to the late Nigel Dennis, one of the most important Hispanists of his generation. It does so brilliantly by bringing together a group of talented international scholars – the majority of whom can be considered as Professor Dennis's disciples – who each offer original and illuminating perspectives on a variety of topics and authors related to the Spanish Republican exile, a field for which Nigel Dennis was an inescapable point of reference.» (Javier Letrán, University of St Andrews) Figures of Exile contributes to the ongoing dialogue in the field of exile studies and aims to refamiliarise a wider readership with the Spanish exile of 1939. It provides new perspectives on the work of canonical figures of this exile, such as Rafael Alberti, Luís Cernuda, José Bergamín, Pedro Salinas, Francisco Ayala, Emilio Prados, Federico García Lorca or María Zambrano, and brings to the fore the work of less-studied figures like José Díaz Fernández, Juan David García Baca, Ernesto Guerra da Cal, Nuria Parés, María Luisa Elío, María Teresa León and Tomás Segovia. Rather than being disparate, this broad scope, which ranges from first generation to second generation exiles, from Galicia to Andalusia, from philosophers to poets, is testament to the wide-ranging impact of the Spanish Republican exile.

This book explores a key historical moment for literary and cultural relations between Spain and Portugal. Focusing on the period between 1870 and 1930, it analyses the contacts between Portuguese and Spanish writers and artists of this period, showing that, at least among the cultural elites, there were intense and fruitful dialogues across political and linguistic borders. The book presents the Iberian Peninsula as a complex and multilingual cultural polysystem in which diverse literary cultures coexist and are mutually dependent upon each other. It offers a panoramic view of Iberian literary and cultural history, encompassing not just Portuguese and Spanish literary productions, but also Catalan, Galician and Basque works. Combining a clear theoretical foundation with deep historical knowledge and references to specific texts and works, the book offers a thorough introduction to Iberian literature in the late nineteenth and early twentieth century.

This transcultural study of cultural production brings to light the ways Spanish literature imagined China by relying on English- and French-language sources. Carles Prado-Fonts examines how the simultaneous dependence on and obscuring of translation in these cross-cultural representations created the illusion of a homogeneous West. He argues that Orientalism became an instrument of hegemony not only between “the West and the rest” but also within the West itself, where Spanish writers used representations of China to connect themselves to Europe, hone a national voice, or forward ideas of political and cultural modernity. Uncovering an eclectic and surprising archive, Prado-Fonts draws on diverse cultural artifacts from popular literature, journalism, and early cinema to offer a rich account of how China was seen across the West between 1880 and 1930. Enrique Gaspar, Luis de Oteyza, Vicente Blasco Ibáñez, and lesser-known authors writing in Spanish and Catalan put themselves in dialogue with Leo Tolstoy, John Dewey, W. Somerset Maugham, Bertrand Russell, Pearl Buck, and André Malraux, as well as stereotypical figures from popular culture like Fu Manchu and Charlie Chan. Throughout, Prado-Fonts exposes translation as a technology of cultural hegemony and China as an appealing object for representation. A timely contribution to our understanding of how we create and consume knowledge about the world, Secondhand China is essential reading for scholars and students of Orientalism, postcolonial studies, translation studies, comparative literature, and cultural studies.

The word'bibliophilia'indicates a love of books, both as texts to be read and objects to be cherished for their physical qualities. Throughout the history of Iberian print culture, bibliophiles have attempted to explain the psychological experiences of reading and collecting books, as well as the social and economic conditions of book production. Bibliophiles, Murderous Bookmen, and Mad Librarians analyses Spanish bibliophiles who catalogue, organize, and archive books, as well as the publishers, artists, and writers who create them. Robert Richmond Ellis examines how books are represented in modern Spanish writing and how Spanish bibliophiles reflect on the role of books in their lives and in the histories and cultures of modern Spain. Through the combined approaches of literary studies, book history, and the book arts, Ellis argues that two strains of Spanish bibliophilia coalesce in the modern period: one that envisions books as a means of achieving personal fulfilment, and another that engages with politics and uses books to affirm linguistic, cultural, and regional and national identities.

Bilingual Legacies examines fatherhood in the work of four canonical Spanish authors born in Barcelona and raised during the dictatorship of Francisco Franco. Drawing on the autobiographical texts of Juan Goytisolo, Carlos Barral, Terenci Moix, and Clara Janés, the book explores how these authors understood gender roles and paternal figures as well as how they positioned themselves in relation to Spanish and Catalan literary traditions. Anna Casas Aguilar contends that through their presentation of father figures, these authors subvert static ideas surrounding fatherhood. She argues that this diversity was crucial in opening the door to revised gender models in Spain during the democratic period. Moving beyond the shadow of the dictator, Casas Aguilar shows how these writers distinguished between the patriarchal'father of the nation'and their own paternal figures. In doing so, Bilingual Legacies sheds light on the complexity of Spanish conceptions of gender, language, and family and illustrates how notions of masculinity, authorship, and canon are interrelated.

This book explores, through a multidisciplinary approach, the immense influence exerted by Bernard Shaw on the Spanish-speaking world on both sides of the Atlantic. This collection of essays encompasses the reception and dissemination of his ideas; the translation of his works into Spanish; the performance history of his plays in Spain and Latin America; and Shaw's influence on many key figures of literature in Spanish. It begins by delving into Shaw's knowledge of Spanish literature and gauging his acquaintance with the Spanish cultural milieu throughout his tenure as an art, music, and theatre critic. His early exposure to Spanish-speaking culture later made the return trip in the form of profuse critical reception and theatrical success in countries like Spain, Argentina, Mexico, and Uruguay. This allows for a more detailed investigation into the unmistakable mark that Bernard Shaw left in the oeuvre of leading Spanish-speaking authors like Ramiro de Maeztu, Jorge Luis Borges or Nemesio Canales. This volume also assesses the translations of Shaw's works into Spanish—while also providing a detailed publication history of these translations.

Studies that connect the Spanish 17th and 20th centuries usually do so through a conservative lens, assuming that the blunt imperialism of the early modern age, endlessly glorified by Franco's dictatorship, was a constant in the Spanish imaginary. This book, by contrast, recuperates the thriving, humanistic vision of the Golden Age celebrated by Spanish progressive thinkers, writers, and artists in the decades prior to 1939 and the Francoist Regime. The hybrid, modern stance of the country in the 1920s and early 1930s would uniquely incorporate the literary and political legacies of the Spanish Renaissance into the ambitious design of a forward, democratic future. In exploring the complex understanding of the multifaceted event that is modernity, the life story and literary opus of Miguel de Cervantes (1547-1616) acquires a new significance, given the weight of the author in the poetic and political endeavors of those Spanish left-wing reformists who believed they could shape a new Spanish society. By recovering their progressive dream, buried for almost a century, of incipient and full Spanish modernities, Ana María G. Laguna establishes a more balanced understanding of both the modern and early modern periods and casts doubt on the idea of a persistent conservatism in Golden Age literature and studies. This book ultimately serves as a vigorous defense of the canonical as well as the neglected critical traditions that promoted Cervantes's humanism in the 20th century.

Los estudios literarios, alineados con la necesidad social de reevaluar el franquismo, han venido haciendo lo propio en las últimas décadas. Son, en este sentido, abundantes los trabajos que tratan de desentrañar las implicaciones de la dictadura sobre el hecho literario, fundamentalmente a través de estudios de caso de obras escritas durante aquel periodo. Este volumen nace con la vocación de pluralizar epistemológicamente este ámbito proponiendo un episodio nuevo en la reconstrucción de la historiografía literaria, que aborda la literatura de ese periodo en su dimensión de práctica cultural inserta en un sistema más amplio regido por una serie de instituciones, prácticas y relaciones de poder. De este modo, los capítulos del proponen una reflexión transversal sobre los condicionamientos que la dictadura impuso en la producción, la configuración estética, la difusión, la recepción y la canonización de la literatura entre 1939 y 1975. Para ello, se le presta especial atención a las estructuras, instituciones y agentes de producción literaria (mundo editorial, prensa, empresa teatral, círculos poéticos); a los mecanismos que vigilaron, condicionaron y cercenaron esa producción literaria (censura); y a las respuestas literarias frente a esas agresiones (lenguajes estéticos). En resumen, el volumen pretende trazar una visión global sobre la configuración del campo literario franquista: cómo la dictadura crea un lugar de enunciación literaria y cómo los discursos literarios reaccionan a ese marco enunciativo.

Transatlantic, Transcultural, and Transnational Dialogues on Identity, Culture, and Migration analyzes the diasporic experiences of migratory and postcolonial subjects through the lenses of cultural studies, critical race theory, narrative theory, and border studies. These narratives cover the United States, the U.S.-Mexico border, the Hispanophone Caribbean, and the Iberian Peninsula and illustrate a shared diasporic experience across the Atlantic. Through a transatlantic, transcultural, and transnational lens, this volume brings together essays on literature, film, and music from disparate geographic areas: Spain, Cuba and Jamaica, the U.S.-Mexico border, and Colombia. Throughout the volume, the contributors explore intertextual transatlantic dialogues, and migratory experiences of diasporic subjects and queer subjectivities. The chapters also examine the use of language to preserve Latinx culture, colonial and Spanish cultural exchanges, border identities, and race, gender, identity, and cultural production. In turn, these diasporic experiences result from transatlantic, transcultural, and transnational phenomena that converge in a globalized society and aid in questioning the artificial boundaries of nation states.

El presente volumen se imbrica dentro del proyecto de investigación La historia de la literatura española y el exilio republicano de 1939. La finalidad de este proyecto supone una relectura crítica e integradora de un legado de importancia tanto nacional como internacional. De este modo, implica a la historia literaria tanto de España como del resto de países en que fueron acogidos nuestros exiliados, una diáspora que generó un corpus cuantitativa y cualitativamente relevante en algunos de los sistemas culturales más importantes de Europa y de América. Por eso, este proyecto asume como parte de su finalidad una mejor comprensión de la literatura española en un ámbito internacional y comparatista de primer orden.

How were Moroccan Muslim and Jewish cultures depicted in Spanish literature, journalism, and photography during the Rif War and what did this portrayal reveal about conflicting visions of Spanish identity?Runner-up for the 2017-18 AHGBI-Spanish Embassy Publication Prize This book examines how anxieties about colonial power and national identity are reflected in Spanish literature, journalism, and photography of Moroccan Muslim and Jewish cultures during the Spanish colonisation of Northern Morocco from 1909 to 1927. This understudied period, known as the Rif War, is highly significant because of its role in shaping the identities that came into conflict in the Spanish Civil War (1936-39). Furthermore, the book makes a key contribution to Spanish colonial studies by offering a comparative analysis of Spanish representations of the Iberian Peninsula's cultural and historical relationship with Moroccan Muslims and Jews in this context, showing how conflicting visions of Spanish identity are portrayed through and in relation to them.

Más de ochenta años transcurrieron desde que la sublevación militar de julio de 1936 y los tres años de la guerra civil consecuentes interrumpieron el proceso de construcción de la democracia española y descarriaron hacia otra vía, la historia de España. El conflicto se propagó por Europa y el mundo como una onda de choque máxima, con crisis y violencias que involucrarían al resto del mundo y durarían hasta 1945. Como ningún otro acontecimiento, la guerra civil y la dictadura afectaron a la totalidad de la sociedad española y en particular a su vida intelectual, cultural y artística con la desaparición trágica de algunas figuras emblemáticas y el destierro masivo de numerosos intelectuales. Si la crítica ha estudiado en profundidad la amplia producción artística e intelectual de ese momento así como los procesos de transculturación, aculturación y transferencia que se verifican en relación con ella, nuestro libro propone completar este corpus literario y crítico internacional investigando la producción menos conocida de autores que no lograron un reconocimiento tan importante, de figuras y actores inexplorados de la cultura por ubicarse en la'segunda fila'. Nos parece esencial rescatarlos para comprender, desde el punto de vista de los eslabones, la trama de redes y relaciones que se han formado entre Europa y las Américas y su peso en la mutación del paisaje cultural de los dos continentes.

El intenso dinamismo de las literaturas hispánicas durante el último siglo tiene su epicentro en la vanguardia histórica, cuyas conquistas se proyectan en la posvanguardia y también en el siglo XXI. El ímpetu de ese legado se extiende así a nuestra era digital, y confirma la vigencia y calidad de la voz literaria en los veinte países que hablan la lengua de Cervantes.Este volumen colectivo aborda la fecundidad y legado de las propuestas de las vanguardias históricas, con su pluralidad híbrida, ecléctica y sin fronteras. Los nuevos paradigmas incluirán la recodificación de géneros, lo fragmentario y lo intermedial, y estarán atentos al espacio urbano y al ciberespacio, y también a lo periférico y a las voces olvidadas en los tiempos del canon y su dogma.La vanguardia y su huella, junto con los títulos En pie de prosa y Diálogo de las artes —todos en Iberoamericana—, completa un tríptico dedicado a la realidad y permanencia de la vanguardia en las literaturas hispánicas de las dos orillas.

En España el tránsito del siglo xix al xx fue convulso. La humillante derrota de 1898 y las desastrosas campañas marroquíes vinieron a coincidir con la gradual eclosión de una masa obrera creciente. Con la inestabilidad de fondo y el deseo de la clase popular de participación política, un grupo de jóvenes burgueses, llamados a constituir la elite intelectual del país, comenzó a cuestionar un régimen corrupto y obsoleto. Esta prometedora generación se propuso como objetivo formar políticamente a la sociedad española, pero ¿era posible que la elite cuidara de los intereses de los desfavorecidos? ¿Qué relación cabía esperar entre esta y las masas? ¿No podían las clases populares participar en la política sin supervisión? En La educación política de las masas. Capital cultural y clases sociales en la Generación del 14, Jorge Costa Delgado analiza la relación entre la elite intelectual y las clases populares. Este debate, cerrado en falso a lo largo de la historia, resurge cada vez que se reabre la batalla por la educación política de las masas, sin ellas, a pesar de ellas.

Paradoxes of Stasis examines the literary and intellectual production of the Francoist period by focusing on Spanish writers following the Spanish Civil War: the regime's supporters and its opponents, the victors and the vanquished. Concentrating on the tropes of immobility and movement, Tatjana Gajić analyzes the internal politics of the Francoist regime and concurrent cultural manifestations within a broad theoretical and historical framework in light of the Greek notion of stasis and its contemporary interpretations. In Paradoxes of Stasis, Gajić argues that the combination of Francoism's long duration and the uncertainty surrounding its ending generated an undercurrent of restlessness in the regime's politics and culture. Engaging with a variety of genres—legal treatises, poetry, novels, essays, and memoir—Gajić examines the different responses to the underlying tensions of the Francoist era in the context of the regime's attempts at reform and consolidation and in relation to oppositional writers'critiques of Francoism's endurance. By elucidating different manifestations of stasis in the politics, literature, and thought of the Francoist period, Paradoxes of Stasis reveals the contradictions of the era and offers new critical tools for understanding their relevance.

El estudio abre una nueva perspectiva en los estudios de intermedialidad explorando las relaciones entre la escritura y el arte dramático. Desde un enfoque comparatista ofrece una primera categorización de los distintos tipos actorales que encontramos en la narrativa española de los siglos XX y XXI.

Aunque pudiera parecer sorprendente, teniendo en cuenta su actitud inicial durante la Guerra Civil española, la obra de Miguel de Unamuno está constantemente presente en los escritores del exilio republicano. Pero no se trata en este libro de lo que los exiliados dijeron de Unamuno, sino de lo que él les hizo decir a ellos: desde su función seminal en la germinación de una filosofía de lo trágico en María Zambrano a su ejemplo como intelectual total para Max Aub o la ansiedad de su influencia sentida por Antonio Sánchez Barbudo; desde el efecto que su poesía causará en Luis Cernuda o José Bergamín a su consagración como filósofo por Juan David García Bacca o Segundo Serrano Poncela, su ejemplo, el de quien se les adelantó más de una década en el triste destino del destierro, será semilla fértil y conflictiva. Incluso desde un punto de vista político, el exilio liberal, comunista o nacionalista vasco, tomará posición de cara a su obra.XVIII Premio de Ensayo Miguel de Unamuno 2017 del Ayuntamiento de Bilbao.

La necesidad de una exploración biográfica para formular desde otra perspectiva la narración de la historia es el punto de partida de este libro. El futuro historiador de la cultura española de la segunda mitad del siglo XX debe tener presente que durante y pese al franquismo hubo también en el escenario de la intimidad un lugar para la manifestación de la rebeldía, del disentimiento y de la libertad, aunque estas tuvieran que relativizarse hasta el oxímoron con las restricciones: rebeldía controlada, disentimiento circunspecto y libertad interior. Distinguir el ámbito asfixiante de la cultura oficial frente a las escapatorias y los respiraderos que tuvieron como escenario la intimidad y el lenguaje es el propósito que unifica las distintas colaboraciones de este volumen.La disposición secuencial de los capítulos permite captar un devenir y un cambio en los modos de convivir y de comunicarse: desde el estudio de la correspondencia entre las mujeres de la vanguardia y el primer franquismo hasta las cartas de Carmen Martín Gaite con otra mujer once años más joven, Esther Tusquets, y con ella la aparición de una nueva forma de comunicación, en la que la emoción de esperar cartas es sustituida por la inmediatez del correo electrónico.

La diversidad es un tema clave del siglo XXI perfilado ya en las grandes transformaciones del siglo XX, sean filosóficas, político-económicas o sociales. En el siglo XXI la diversidad adopta una nueva forma debido a las nuevas redes comunicacionales y la pluralidad de sistemas de valores que entran en contacto en la era de la globalización. En las últimas décadas, los estudios culturales participan activamente en el debate sobre la representación y el tratamiento de la diversidad y ponen énfasis en el reconocimiento y la configuración de la diversidad cultural. En este sentido, el presente volumen se propone analizar de qué manera los textos ficcionales (en un amplio sentido de la palabra, que incluye también el teatro, el cine y otros medios audiovisuales y escénicos) contribuyen a formar, reflejar y perfilar la diversidad cultural y su compromiso moral. Los trabajos incluidos analizan textos clave en lengua española a partir de la hipótesis de que la literatura ficcional ocupa una posición clave en la representación y el tratamiento de la diversidad cultural, sea de género, de etnia, de orientación sexual o de funcionalidad. Por otro lado, también reflexionan sobre el potencial crítico y ético de los textos literarios en las prácticas culturales, o sea, la relevancia pragmática y epistémica de lo ficcional para tratar las cuestiones éticas actuales a través de narraciones ficcionales.

Conozca la generación literaria que representa la modernidad a comienzos del siglo XX. Antonio Machado, Juan Ramón Jiménez, García Lorca, Jardiel Poncela, las SinSombrero, Alberti, María Zambrano, Salinas, Guillén, Rosa Chacel, Cernuda, Dalí, Buñuel, Falla… Un grupo de artistas, intelectuales, poetas, novelistas y dramaturgos que supuso un nuevo Siglo de Oro para las letras españolas Descubra la generación que representa la modernidad de comienzos del siglo XX, la generación del 27. Valedores de una poesía caracterizada por la mezcla de lo clásico y lo popular o la maestría en el uso de la metáfora, así como del paso de un arte deshumanizado a otro preocupado por los temas sociales y políticos.

La recepción de Nietzsche en España. Nuevas aportaciones desde la literatura y el pensamiento reúne dieciséis trabajos ¿originales?, realizados por investigadores especializados en la influencia de Nietzsche en la cultura española. La obra se divide en dos bloques: el primero está dedicado a la influencia del pensamiento de Nietzsche en la literatura española a lo largo del siglo xx, y el segundo aborda la recepción ensayística y filosófica de Nietzsche, desde la obra de intelectuales pioneros en atender al pensamiento del filósofo de Röcken, hasta las recepciones académicas desarrolladas en los últimos años, que han supuesto una nueva perspectiva sobre este autor gracias a la labor de traducción y comentario de sus obras completas. Los trabajos que presentamos están escritos por los siguientes autores: Sergio Antoranz, Arno Gimber, Carlos Andrés Gil, Sergio Santiago, Encarnación Alonso, Violeta Catalina Badea, Lucía Cotarelo, Eduardo Valls, Ana María Leyra, Mariano Rodríguez, Diego Sánchez Meca, Francisco Vázquez, Sandra Santana, Marco Parmeggiani, Kilian Lavernia y Teresa Oñate.

This book explores multilingualism as an imaginative articulation of the experience of modernity in twentieth-century Spanish and American literature. It argues that while individual multilingual practices are highly singular, literary multilingualism exceeds the conventional bounds of modernism to become emblematic of the modern age. The book explores the confluence of multilingualism and modernity in the theme of barbarism, examining the significance of this theme to the relationship between language and modernity in the Spanish-speaking world, and the work of five authors in particular. These authors – Ramón del Valle-Inclán, Ernest Hemingway, José María Arguedas, Jorge Semprún and Juan Goytisolo – explore the stylistic and conceptual potential of the interaction between languages, including Spanish, French, English, Galician, Quechua and Arabic, their work reflecting the eclecticism of literary multilingualism while revealing its significance as a mode of response to modernity.

Las escritoras españolas han recorrido un largo camino desde los inicios del siglo XX, cuando eran solo una minoría, hasta hoy día, que están logrando relevantes éxitos de público y crítica. Sin duda, como consecuencia a su capacidad para reaccionar ante los cambios sociopolíticos. Entre estos, ante las transformaciones derivadas de la integración de las mujeres en la Esfera pública. Sus textos denuncian la vigencia de los roles de género tradicionales, plantean modelos trasgresores, y permiten entender la definición de la identidad femenina en cada período. Desde la vanguardia, sus propuestas igualitarias se expresan con lenguajes y técnicas renovadoras en la línea de los movimientos artísticos internacionales más destacados.

Esta obra se propone no sólo reavivar el interés por un aspecto de la investigación literaria que no siempre ha estado presente en las actividades de las universidades, sino también, y sobre todo, invitar a cotejar la suerte corrida por las revistas modernas y de vanguardia editadas en un mismo periodo, los años veinte, en cuatro países distintos: México, Argentina, Uruguay y España. El enfoque comparativo enriquece los estrechos marcos nacionales en que han sido por lo general analizadas y permite explorar los múltiples diálogos que se entablaron en sus páginas. Además de ser un material fascinante en sí para el lector actual, estas revistas ofrecen un venero, una mina para todo investigador de la época. Constituyen la memoria plural de un mundo en el cual todavía podemos reconocernos.

Hombres en movimiento: Masculinidades españolas en los exilios y emigraciones, 1939-1999, de Iker González-Allende, es el primer estudio detallado de cómo el exilio y la emigración influyen en la masculinidad de los hombres españoles, tanto heterosexuales como homosexuales, que se ven obligados a abandonar su país. En el libro, González-Allende analiza la literatura producida por escritores españoles que desde 1939 hasta finales del siglo XX han experimentado el exilio o la emigración, cubriendo tres momentos históricos: el largo exilio republicano como consecuencia de la Guerra Civil Española (1936-1939), la emigración a Europa durante la década de 1960 debido a la crisis económica en España y la reciente emigración de intelectuales a los Estados Unidos a finales del siglo XX. Revelando experiencias recurrentes de aislamiento, inseguridad, discriminación y feminización en el país de acogida, González-Allende sostiene que el exilio y la emigración causan un sentido de crisis, impotencia e inestabilidad en la masculinidad de los hombres desplazados. El autor también examina como tendencia compensatoria que el exilio y la emigración pueden ofrecer a estos hombres una mayor sensación delibertad y una mejora de su situación económica. Cada uno de los siete capítulos analiza una variedad diferente de las masculinidades en el exilio o la emigración: el adolescente, el hombre en crisis, el hombre ocioso, el hombreque retorna a España, el hombre trabajador, el hombre onanista y el hombre académico. Los autores estudiados son asimismo diversos: Luis de Castresana, Juan José Domenchina, Juan Gil-Albert, Max Aub, Francisco Ayala, Patricio Chamizo, Víctor Canicio, Terenci Moix, Antonio Muñoz Molina y Javier Cercas.Men in Motion: Spanish Masculinities in Exiles and Emigrations, 1939-1999 by Iker González-Allende delivers the first sustained study of how the Spanish masculine identity, of both homosexual and heterosexual men, is impacted when men are compelled to leave their country. In it, González-Allende examines the literary output of Spanish male authors over three periods of emigration and exile: the long Republican exile from Spanish Civil War (1936-1939), the emigration to Europe during the Spanish economic crisis of the 1960s, and the recent period of emigration of intellectuals to the United States through the end of the twentieth century. Revealing and unpacking recurring patterns of isolation, insecurity, discrimination, and feminization in the host country, González-Allende argues that exile and emigration cause a crisis of powerlessness that can have a destabilizing effect on one's masculinity. González-Allende also examines a countervailing trend among Spanish exiles and émigrés of these periods; that from the same crisis some achieve a greater sense of freedom and improve their socioeconomic standing. Each of the seven chapters analyzes a different Spanish male exile or émigré: the adolescent, the man at a crossroad, the idle man, the returning man, the working man, the onanist, and the academician. Works studied are likewise from a range of authors: Luis de Castresana, Juan José Domenchina, Juan Gil-Albert, Max Aub, Francisco Ayala, Patricio Chamizo, Víctor Canicio, Terenci Moix, Antonio Muñoz Molina, and Javier Cercas.

The book explores novels, essays and poetry published by Spanish writers in response to the global economic crisis that began in 2008. Spain has been experiencing the crisis in a particularly painful way, and the artistic response to these traumatic events has been powerful and abundant. The literature of the crisis is pointing to the probability that the crisis is not a temporary problem that will be resolved once and for all if correct economic measures are taken. To the contrary, there is every reason to believe that the losses in long-term employment, the growing precariousness of work, the increased economic insecurity, the citizens'disillusionment with the capacity of democratic governments to withstand the pressures of global capital, the erosion of the welfare state, and the explosive growth in inequality that we associate with the crisis are not likely to be reversed. Spanish artists are exploring the reasons behind Spain's particularly painful experience of the crisis and, at the same time, are placing the suffering that the crisis is causing in Spain within the context of global developments that are ensuring its durability. Essays by Antonio Muñoz Molina and Lucía Etxebarria, novels by Rafael Chirbes, Luis García Montero, Benjamín Prado, and Belén Gopegui, and poetry by the artists who contributed to the collections titled En legítima defensa. Poetas en tiempos de crisis and Marca(da) España. Retrato poético de una sociedad en crisis point to the necessity of expanding our vision of the crisis from the purely financial to a broader definition that will include the changes the crisis augurs for the areas of human existence that lie outside the strictly economic realm.

This volume focuses on intersections of race, class, gender, and nation in the formation of the fin-de-siècle Spanish and Spanish colonial subject. Despite the wealth of research produced on gender, social class, race, and national identity few studies have focused on how these categories interacted, frequently operating simultaneously to reveal contexts in which dominated groups were dominating and vice versa. Such revelations call into question metanarratives about the exploitation of one group by another and bring to light interlocking systems of identity formation, and consequently oppression, that are difficult to disentangle. The authors included here study this dynamic in a variety of genres and venues, namely the essay, the novel, the short story, theater, and zarzuelas. These essays cover canonical authors such as Benito Pérez Galdós and Emilia Pardo Bazán, and understudied female authors such as Rosario de Acuña and Belén Sárraga. The authors included here study this dynamic in a variety of genres and venues, namely the essay, the novel, the short story, theater, and zarzuelas. The volume builds on recent scholarship on race, class, gender, and nation by focusing specifically on the intersections of these categories, and by studying this dynamic in popular culture, visual culture, and in the works of both canonical and lesser-known authors.

Around the globe, concerns about interfaith relations have led to efforts to find earlier models in Muslim Iberia (al-Andalus). This book examines how Muslim Iberia operates as an icon or symbol of identity in twentieth and twenty-first century narrative, drama, television, and film from the Arab world, Spain, and Argentina. Christina Civantos demonstrates how cultural agents in the present ascribe importance to the past and how dominant accounts of this importance are contested. Civantos's analysis reveals that, alongside established narratives that use al-Andalus to create exclusionary, imperial identities, there are alternate discourses about the legacy of al-Andalus that rewrite the traditional narratives. In the process, these discourses critique their imperial and gendered dimensions and pursue intercultural translation.

Tracks the emergence and vicissitudes of attitudes to wrongdoing in Spain from the 19th century through the decades before the Civil War.The international contributors to this volume explore the rich diversity of cultures and representations of wrongdoing in Spain through the 19th century and the decades up to the Civil War. Their line of enquiry is predicated on the belief that cultural constructions of wrongdoing are far from simple reflections of historical or social realities, and that they reveal not a line of historical development, but rather variation and movement. Voices and discourses arise in response to the social phenomena associated with wrongdoing. They set out to persuade, to shock, to entice, and in so doing provide complex windows on to social aspiration and desire. The book's three sections (Realities, Representations, and Reactions) offer distinct points of focus, and move between areas where control is paramount and on the agenda from above and those where the subtleties of emotional response take pride of place. Alison Sinclair was Professor of Modern Spanish Literature and Intellectual History at the University of Cambridge until retirement in 2014. Samuel Llano is a Lecturer in Spanish Cultural Studies at the Universityof Manchester.

In Spanish Modernism and the Poetics of Youth: From Miguel de Unamuno to La Joven Literatura, Leslie J. Harkema analyzes the literature of the modernist period in Spain in light of the emergence of youth culture in the late nineteenth and early twentieth century. Harkema argues for the prominent role played by Miguel de Unamuno—as a poet, essayist, and public figure—in Spanish writers'response to this phenomenon. She demonstrates how early twentieth-century Spanish literature participated in the glorification of adolescence and questioning of Bildung seen elsewhere in European modernism, in ways that were not only aesthetic but also political. Harkema critically re-examines the relationship between Unamuno and several Spanish writers associated with the so-called Generation of 1927 (known as at the time as “la joven literatura” or “the young literature”). By situating this period within the wider framework of European modernism, Spanish Modernism and the Poetics of Youth brings to light the central role that the early twentieth century's re-imagining of adolescence and youth played in the development of literary modernism in Spain.

This collection of essays explores cultural phenomena that are shaping masculine identities in contemporary Spain, asking and striving to answer these compelling questions: what does it mean to be a man in present-day Spain? How has masculinity evolved since Franco's dictatorship? What are the dynamics of masculinity in contemporary Spanish culture? How has hegemonic masculinity been contested in cultural productions? This volume is comprised of sixteen essays that address these very questions by examining literary, cultural and film representations of the configurations of masculinities in contemporary Spain. Divided into three thematic units, starting with the undermining of the monolithic Francoist archetype of masculinity, continuing with the reformulation of hegemonic masculinity and finishing with regional emergent masculinities, all of the volume´s essays focus on the redefinition of Spanish masculinities. Principal themes of the volume include alternative families, queer masculinities, performative masculinities, memory and resistance to hegemonic discourses of manliness, violence and emotions, public versus private masculinities, regional masculinities, and marginal masculinities. This exploration not only produces new insights into masculinity, but also yields nuanced insights into the recuperation of memory in contemporary Spain, the reconfiguration of the family, the status of women in Spanish society, and regional identities.

Drawing on feminist psychoanalysis and Greek mythology, La madre muerta explores how matricide and unconscious matricidal fantasies have been portrayed in Spanish narrative, drama, and film. The book examines individual and social perceptions regarding gendered subjectivity, the operation of power relations, gender violence, and the economies of desire. It provides a comparative study of different theoretical approaches to matricide and a close reading of five films--Furtivos (1975) by Jose Luis Borau, Sonambulos (1978) by Manuel Gutierrez Aragon, La madre muerta (1993) by Juanma Bajo Ulloa, La madre (1995) by Miguel Bardem, and Los ojos de Julia (2010) by Guillem Morales; three novels--La familia de Pascual Duarte (1942) by Camilo Jose Cela, Isabel and Maria (1992) by Merce Rodoreda, and La intimidad (1997) by Nuria Amat; and two plays--Clitemnestra (1986) by Maria Jose Rague i Arias, and La reivindicacio de la senyora Clito Mestres (1990) by Monserrat Roig. This study attempts to unveil the mechanisms by which the matricidal myth has been introduced and continues operative in twentieth and twenty-first century Spanish literature and film. It also explores the process of continuous reprojection of a phobic, monstrous mother figure associated with danger, persecution, and abjection, and suggests that the male fantasy of matricide does not necessarily reveal itself in the literal murder of the mother, but it is projected onto other women, thus leading to various acts of gender violence. In this study, Gomez claims that the absence of a positive symbolic mediation with the maternal body is detrimental for the configuration of gendered identities.

The Spanish-American War of 1898 seems to mark a turning point in both geopolitical and literary histories. The victorious American empire ascended and began its cultural domination of the globe in the twentieth century, while the once-mighty Spanish empire declined and became a minor state in the world republic of letters. But what if this narrative relies on several faulty assumptions, and what if key modernist figures in both America and Spain radically rewrote these histories at a foundational moment of modern literary studies?Following networks of American and Spanish writers, translators, and movements, Gayle Rogers uncovers the arguments that forged the politics and aesthetics of modernism. He revisits the role of empire—from its institutions to its cognitive effects—in shaping a nation's literature and culture. Ranging from universities to comparative practices, from Ezra Pound's failed ambitions as a Hispanist to Juan Ramón Jiménez's multilingual maps of modernismo, Rogers illuminates modernists'profound engagements with the formative dynamics of exceptionalist American and Spanish literary studies. He reads the provocative, often counterintuitive arguments of John Dos Passos, who held that'American literature'could only flourish if the expanding U.S. empire collapsed like Spain's did. And he also details both a controversial theorization of a Harlem–Havana–Madrid nexus for black modernist writing and Ernest Hemingway's unorthodox development of a version of cubist Spanglish in For Whom the Bell Tolls. Bringing together revisionary literary historiography and rich textual analyses, Rogers offers a striking account of why foreign literatures mattered so much to two dramatically changing countries at a pivotal moment in history.

El poder y la violencia forman un maridaje inquietante en cualquiera de los metagéneros narrativos que aquilatan la tradición literaria hispanoamericana desde comienzos del siglo XX, tal y como se estudia en el presente volumen. No hay tipología o ciclo narrativo que no suponga de alguna forma una inmersión en las zonas turbias del poder, desde la llamada “novela del banano” a las novelas de la Revolución mexicana, desde el indigenismo a las novelas de la tierra (o terrígenas), desde la narrativa de la dictadura a la literatura del exilio, desde la narcoliteratura a las novelas sin ficción de la frontera. Cualquier rastreo y cotejo por una determinada genealogía narrativa está jalonada de secuencias y episodios que revelan las claves del poder, recreando, de forma inevitable, los elementos más visibles de la violencia. Golpes de Estado, revoluciones fallidas, dictaduras matusalénicas, dictadores hiperbólicos o circenses, exilios en carne viva, fronteras con espinas, satrapías de toda condición y pelaje, la amnesia y la mentira frente a la verdad histórica forman parte del léxico de la vida política que se ha incorporado a la pulsión social de la literatura. A partir del análisis de un corpus de escritores que va de Miguel Ángel Asturias a Fernando Vallejo, pasando por García Márquez, Camacho Delgado realiza aquí un completo acercamiento y análisis del tema.

Tremendism is one of the most peculiar phenomena that appeared on the Spanish cultural scene in the 20th century. Its origin at the beginning of the 1940s had been accompanied with several polemics that have gradually faded out. Tremendism appeared along with a new literary group, the so called Generation of 36, whose literary works influenced the later development of the Spanish narrative. A greater revival of interest in this issue took place only much later, especially in the 1990s after Camilo Jose Cela, the leading representative of tremendism, was awarded the Nobel Prize for Literature. At the same time, new writers from the Generation X published their tremendist novels. This monograph is a contribution to the academic discussion on tremendism as a literary phenomenon.

Este libro ofrece una panorámica del exilio que padeció el pueblo vasco tras la Guerra Civil. El volumen, escrito en homenaje al profesor José Ángel Ascunce Arrieta, incluye una entrevista con él y quince colaboraciones de especialistas del ámbito nacional e internacional. Los ensayos recogen la pluralidad del exilio vasco al cubrir tanto a intelectuales nacionalistas vascos (Aguirre, Onaindía, Oñatibia, Zaitegui, Azpiazu, el grupo Antzerki, Monzón, Ametzaga, Martín de Ugalde) como a republicanos (Ugarte, López Miarnau, Mansilla, Álvarez Arregui, Guilarte, Champourcin, Elío, Blanco Aguinaga, Martín Elizondo, Imaz, Larrea y Olarte). Los estudios asimismo abarcan todos los géneros literarios y campos como la filosofía, pintura y publicaciones periódicas. Los temas abordados incluyen el recuerdo traumático de la guerra, la nostalgia por la tierra y el mantenimiento del euskera y de las costumbres nacionales, la adaptación al país de acogida, y la reflexión humanista y universal.

This book offers a critical reinterpretation of the Spanish avant-garde, focusing on narrative, transculturality, and intermediality. Narrative, because it prioritizes the analysis of prose over poetry, against the traditional use of critical literature on the subject up to this point. Transculturality, because the Spanish avant-garde simply cannot be understood without the acknowledgement of its multi-linguistic reality and the transnational scope of the experience of Modernism in Europe – of which Spain was an integral yet underexposed component. And intermediality, because the interrelations of painting, photography, film, and literature articulate a correlation and mutual affect among different media, creating a rich cultural tapestry that needs to be addressed. Contributors: Rosa Berland, Jennifer Duprey, Marcos Eymar, Regina Galasso, Eduardo Gregori, Juan Herrero-Senés, John McCulloch, Andrés Pérez-Simón, Lynn Purkey, Domingo Ródenas de Moya, Evelyn Scaramella and Antonio Sáez Delgado.

Coincidiendo con el ochenta aniversario del comienzo de la Guerra Civil Española, la publicación La memoria transgeneracional se plantea observar la transmisión transgeneracional, en España, de la memoria del conflicto de 1936–1939, a través de la mirada proporcionada por la literatura de tercera generación. Su primera sección se centra alrededor de un acercamiento interdisciplinar a la «memoria» como objeto de estudio, y de la contextualización de la memoria traumatizada en España a partir del año 1939. Por medio de la observación de un corpus de novelas recién publicadas (entre las cuales se ha dedicado un análisis específico a La voz dormida de Dulce Chacón, El corazón helado de Almudena Grandes, ¡Otra maldita novela sobre la guerra civil! de Isaac Rosa, y Ayer no más de Andrés Trapiello), el objetivo principal de la investigación es la formulación de pautas interpretativas que ayuden a parcelar la rápida evolución del panorama literario de la España actual en lo que se refiere a la representación del pasado conflictivo de la nación.

In this volume, experts on the Spanish Golden Age from the United Kingdom, Ireland, and the United States offer analyses of contemporary works that have been influenced by the classics from the sixteenth and seventeenth centuries. Part of the formation of a sense of national identity, always a problematic concept in Spain, is founded in the recognition and appreciation of what has come beforehand, and no other era in the history of Spanish literature and drama represents the talent and fascination that Spaniards and non-Spaniards alike possess with the artistic legacy of this country. In order to establish properly a context for the study of literature or history, one cannot always study the works, writers, or era in isolation; rather, performing scholarly studies on these topics as a continuation of what has come before reveals that many thoughts, concepts, character types, criticisms, and social issues have been thoroughly explored by our literary ancestors. This era is referred to as the Golden Age not only because of the voluminous production of art, literature, drama and poetry, but also because writers such as Miguel de Cervantes, Lope de Vega, and Pedro Calderón de la Barca, influenced by the re-birth of the Classical masters, presented the reading and viewing public with genuine human emotions and experiences in a more comprehensive manner than in previous eras. In the twentieth century, Spain faced a series of political crises; the Spanish Civil War (1936-39) and the Franco Dictatorship (1939-75), followed by the Transition and the concept of historical memory, have provided contemporary Spanish writers with the impetus and freedom to express their views. A frequent source of inspiration has been the Golden Age, that epoch of history that produced such political and religious upheaval, and this book explores the manner in which contemporary Spaniards have reached into the past to connect with their present world.

Das Buch befasst sich mit der Repräsentation des Erinnerungsortes Gernika in der spanischsprachigen Literatur. Die Bombardierung der baskischen Kleinstadt im Jahre 1937 stellt ein herausragendes Ereignis des Spanischen Bürgerkriegs dar. Für die Künste lässt sich an Pablo Picassos Gemälde Guernica (1937) und dessen Rezeptionsgeschichte ablesen, zu welchem Politikum die Bombardierung mit der Zeit avancierte. Der Autor untersucht erstmalig und umfassend die Repräsentation des Ereignisses in spanischsprachigen Dramen- und Prosatexten. Seine Analysen machen weite kulturgeschichtliche Kontexte zugänglich und illustrieren, inwiefern die Zerstörung Gernikas für die Zeit von 1937 bis heute einen wirkungsvollen Erinnerungsort für baskische, spanische und transnationale Bezugsgruppen darstellt.

This volume represents a rereading of modernism and the modernist canon from a double distance: geographical and temporal. It is a revision not only from the periphery (Spain and Latin America), but from this new fin de si cle as well, a revisiting of modernity and its cultural artifacts from that same postmodernity. Modernism and Its Margins is an attempt at introducing different perspectives and examples in the theoretical debate, redefine dominant assumptions of what modernism-or margins-mean in our historical juncture.

The objective of Hispanic (LGT) Masculinities in Transition is to investigate the cultural representations/intersections of masculinity and sexual minorities (lesbians, gays, and transgenders) in Spain between the passing of the Law of Social Dangerousness and Social Rehabilitation (1970) and the reform of the Penal Code in 1995. In order to meet this aim, this volume analyzes the artistic production of a number of Spanish and Latin American male and female individuals who, first, were able to question the structures of control and domination in Spain in the last years of Franco's dictatorship; second, were able to open up new horizons of freedom in the context of the criminalization of the previous decades; and, third, were able to bring about new models of masculinity that were more egalitarian during the first years of the new democracy. More specifically, Hispanic (LGT) Masculinities in Transition will interlink the fields of political and historical change and artistic production in order to assess whether cultural representations can be understood as mere reflections of social and political change. In terms of the materials being examined, these are, in the first instance, literary, although other narratives are also addressed (filmic production and plastic arts). This volume is essential reading for professors and students of contemporary Spanish history and culture, as well as for those interested in lesbian, gay, transgender, and masculinity issues.

Tomando como hilo conductor la figura del'cura'Jesús Aguirre –quizá el más exitoso de los intelectuales de su generación, que no el más el brillante, ni mucho menos–, Gregorio Morán, uno de los últimos y más grandes representantes del periodismo crítico, presenta una implacable historia intelectual de la cultura española y sus protagonistas entre 1962 y 1996.