Los convulsos años treinta en el espejo del tiempo: La rehabilitación de la responsabilidad social del escritor

In the 21st century field of culture, the economic crisis (and its consequences) has fomented a debate on the social responsibility of the writer. In particular quite a few works of Spanish literature account for a marked responsible, interventionist and dissident discourse. Thus, from the present day and aware of historicity, this article pauses at a key episode in the trajectory of the said debate: the rehumanization of art during the 1930s, the passing from autonomy to commitment in art. A crucial aspect in the Edad de Plata is addressed with the aim of precisely showing how a milestone in the attitude of the creator before society and its disruptions arose, how an exemplary case developed for exploring aspects specific to this positioning of the author, which is itself being reconsidered today.

Nombre, imagen, cuerpo, voz. Apariciones del pueblo como grupo social diferenciado en textos del siglo XIX español: proclamas de la guerra contra Napoleón, Mariano José de Larra, Rosalía de Castro

This paper analyzes the emergence of the term 'pueble', or 'people', in Spanish literature of the nineteenth century with the meaning of differentiated social subject in a corpus composed of texts of the War of Independence by Mariano José de Larra and Rosalia de Castro. The texts and authors selected are representative of their cultural and historical contexts and together they form a part of the Spanish Romanticism.

Historia en voz baja: la oralidad y el rumor para la narración de la Guerra Civil española en la ‘Primera derrota’ de Alberto Méndez

The first of the four paths that structure the book "Los girasoles ciegos", by Alberto Méndez – with its theory about the delayed end of the Spanish Civil War as a longing for destruction outside of any kind of strategy based on military logic – presents the construction of a memory based on certain oral marks, facts provided quietly by apparently non-central characters, the distrust of written documents, and the use of speech patterns mostly associated with spontaneity in order to set up a level of verisimilitude which makes the memory emerge in parallel pathways considered relatively reliable (for example, the case of a report), forged speech on the basis of indirect references, testimonials and letters. The aim of the paper is to consider an example of contemporary Spanish narrative in which a journey, perhaps weak in terms of the material, support to the channels through which the narrator comes in the story through the voice of the people – but functional as an approach to a search of the recent past – contributes to a certain conception of memory.