In Transcending Textuality, Ariadna Garcia-Bryce provides a fresh look at post-Trent political culture and Francisco de Quevedo's place within it by examining his works in relation to two potentially rival means of transmitting authority: spectacle and print. Quevedo's highly theatrical conceptions of power are identified with court ceremony, devotional ritual, monarchical and spiritual imagery, and religious and classical oratory. At the same time, his investment in physical and emotional display is shown to be fraught with concern about the decline of body-centered modes of propagating authority in the increasingly impersonalized world of print. Transcending Textuality shows that Quevedo's poetics are, in great measure, defined by the attempt to retain in writing the qualities of live physical display.

As they trudged over the Pyrenees, the Spanish republicans became one of the most iconoclastic groups of refugees to have sought refuge in twentieth-century France. This book explores the array of opportunities, constraints, choices and motivations that characterised their lives. Using a wide range of empirical material, it presents a compelling case for rethinking exile in relation to refugees' lived experiences and memory activities. The major historical events of the period are covered: the development of refugees' rights and the 'concentration' camps of the Third Republic, the para-military labour formations of the Second World War, the dynamics shaping resistance activities, and the role of memory in the campaign to return to Spain. This study additionally analyses how these experiences have shaped homes and France's memorial landscape, thereby offering an unparalleled exploration of the long-term effects of exile from the mass exodus of 1939 through to the seventieth-anniversary commemorations in 2009. -- .

Mosaic Fictions is the first book-length critical analysis of Canadian Spanish Civil War literature. Exploring published and archival writings, the book focuses on the extensive contributions of Jewish Canadian authors as they articulate the stakes of the Spanish Civil War (1936-9) in the language of a nascent North American multiculturalism. Placing Jewish Canadian writers within overlapping North American networks of Jewish, Black, immigrant, female, and queer writers challenges the national distinctions that dominate current critical approaches to Anglophone Spanish Civil War literature. Reframing the narrative of Spain's noble but tragic struggle against fascism in the Spanish Civil War, the book demonstrates how marginalized North American supporters of the Spanish Republic crafted narratives of inclusive citizenship amidst a national crisis not entirely their own. Mosaic Fictions examines texts composed between the war's outbreak and the present to illuminate the integral connections between Canada's developing national identity and global leftist action.

The history of the Moroccan troops in the Spanish Civil War (1936-1939) is the story of an encounter between two culturally and ethnically different people, and the attempts by both sides, Moroccan and Spanish, to take control of this contact. This book shows to what extent colonials could participate in negotiating limits and taboos rather than being only on the receiving end of them. The examination of this encounter, in its military, religious, as well as sexual aspects, sheds new light on colonial relations, and on how unique or typical the Spanish colonial case is in comparison to other European ones.

Visual Propaganda, Exhibitions, and the Spanish Civil War is a history of art during wartime that analyzes images in various media that circulated widely and were encountered daily by Spaniards on city walls, in print, and in exhibitions. Tangible elements of the nation's past"monuments, cultural property, and art-historical icons"were displayed in temporary exhibitions and museums, as well as reproduced on posters and in print media, to rally the population, define national identity, and reinvent distant and recent history. Artists, political-party propagandists, and government administrators believed that images on the street, in print, and in exhibitions would create a community of viewers, brought together during the staging of public exhibitions to understand their own roles as Spaniards. This book draws on extensive archival research, brings to light unpublished documents, and examines visual propaganda, exhibitions, and texts unavailable in English. It engages with questions of national self-definition and historical memory at their intersections with the fine arts, visual culture, exhibition history, tourism, and propaganda during the Spanish Civil War and immediate post-war period, as well as contemporary responses to the contested legacy of the Spanish Civil War. It will be of interest to scholars in art history, visual and cultural history, history, and museum studies.

The Spanish Civil War (1936-1939) pitted conservative forces including the army, the Church, the Falange (fascist party), landowners, and industrial capitalists against the Republic, installed in 1931 and supported by intellectuals, the petite bourgeoisie, many campesinos (farm laborers), and the urban proletariat. Provoking heated passions on both sides, the Civil War soon became an international phenomenon that inspired a number of literary works reflecting the impact of the war on foreign and national writers. While the literature of the period has been the subject of scholarship, women's literary production has not been studied as a body of work in the same way that literature by men has been, and its unique features have not been examined. Addressing this lacuna in literary studies, this volume provides fresh perspectives on well-known women writers, as well as less studied ones, whose works take the Spanish Civil War as a theme. The authors represented in this collection reflect a wide range of political positions. Writers such as Maria Zambrano, Merce Rodoreda, and Josefina Aldecoa were clearly aligned with the Republic, whereas others, including Mercedes Salisachs and Liberata Masoliver, sympathized with the Nationalists. Most, however, are situated in a more ambiguous political space, although the ethics and character portraits that emerge in their works might suggest Republican sympathies. Taken together, the essays are an important contribution to scholarship on literature inspired by this pivotal point in Spanish history.

The Spanish Republican exile of 1939 impacted music as much as it did literature and academia, with well-known figures such as Adolfo Salazar and Roberto Gerhard forced to leave Spain. Exile is typically regarded as a discontinuity - an irreparable dissociation between the home country and the host country. Spanish exiled composers, however, were never totally cut off from the musical life of Francoist Spain (1939-1975), be it through private correspondence, public performances of their work, honorary appointments and invitations from Francoist institutions, or a physical return to Spanish soil. Music and Exile in Francoist Spain analyses the connections of Spanish exiled composers with their homeland throughout 1939-1975. Taking the diversity and heterogeneity of the Spanish Republican exile as its starting point, the volume presents extended comparative case studies in order to broaden and advance current conceptions of, and debates surrounding, exile in musicology and Spanish studies. In doing so, it significantly furthers academic research on individual composers including Salvador Bacarisse, Julian Bautista, Roberto Gerhard, Rodolfo Halffter, Julian Orbon and Adolfo Salazar. As the first English-language monograph to explore the exiled composers from the perspectives of historiography, music criticism, performance and correspondence, Eva Moreda Rodriguez's vivid reconception of the role of place and nation in twentieth-century music history will be of particular interest for scholars of Spanish music, Spanish Republican history, and exile and displacement more broadly.

The war that won't die charts the changing nature of cinematic depictions of the Spanish Civil War. In 1936, a significant number of artists, filmmakers and writers - from George Orwell and Pablo Picasso to Joris Ivens and Joan Miro - rallied to support the country's democratically-elected Republican government. The arts have played an important role in shaping popular understandings of the Spanish Civil War and this book examines the specific role cinema has played in this process. The book's focus is on fictional feature films produced within Spain and beyond its borders between the 1940s and the early years of the twenty-first century - including Hollywood blockbusters, East European films, the work of the avant garde in Paris and films produced under Franco's censorial dictatorship. The book will appeal to scholars and students of Film, Media and Hispanic Studies, but also to historians and, indeed, anyone interested in why the Spanish Civil War remains such a contested political topic. -- .

With a focus on the relationship between Orwell and Kopp during the Spanish Civil War, 'George Orwell's Commander in Spain: The is a biography of a fascinating figure: double spy, fraud, brilliant inventor and stout-hearted commander.

This book examines the contested representations of those murdered during the Spanish Civil War of the 1930s in two small rural communities as they undergo the experience of exhumation, identification, and reburial from nearby mass graves. Based on interviews with relatives of the dead, community members and forensic archaeologists, it pays close attention to the role of excavated objects and images in breaking the pact of silence that surrounded the memory of these painful events for decades afterward. It also assesses the significance of archaeological and forensic practices in changing relationships between the living and dead. The exposure of graves has opened up a discursive space in Spanish society for multiple representations to be made of the war dead and of Spain's traumatic past.

This revised and enlarged edition brings the successful original volume of 1984 right up to date, taking into account the most recent developments. Each section begins with an introduction that provides the context for the following documents. There is no comparable volume of its kind available in English, and most documents have not previously been translated.

"The Struggle for Madrid" is a study of the battles that were waged between the armies of the Spanish Republic and the armies of General Francisco Franco for the city of Madrid. It was this struggle, beginning with the collapse of Republican arms at Toledo in September, 1936, and ending with the victory of the Madrid armies at Guadalajara in March, 1937, that determined the duration and characteristics of the rest of the conflict. It was the central episode of the Spanish War.

Due to international intervention, the Spanish struggle lost its purely national character and became at once a civil war of a profoundly Spanish type, a war of independence waged by a section of the Spanish people against German, Italian, and Moroccan armies, and a clash of supra national ideologies that aroused the deepest passions of peoples far removed from the immediate Spanish interests at stake.

Although the passions aroused by the war distort contemporary accounts of the fighting, the totalities of these obstacles present no insurmountable barrier to a preliminary investigation of the Madrid battles. Such a study is best undertaken while many of the principal actors in the Madrid tragedy still live. If truth has been affronted the witnesses may yet speak, and from the debate margin of error will be reduced. Robert Colodny's groundbreaking cross of military history and political ambitions helps reduce the gap between fiction and fact.

In Spain between 1936-1945, the Franco regime carried out one Europe 's more brutal but less remembered programs of mass repression. Many were murdered by the regime 's death squads, and in some areas Francoists also subjected up to 15% of the population to summary military trials. Here many suffered the death sentence or jail terms up to thirty years. Although historians have recognised the staggering scale of the trials, they have tended to overlook the mass participation that underpinned them. In contrast to the discussion in other European countries, little attention has been paid to the wide scale collusion in the killings and incarcerations in Spain.

Exploring mass complicity in the trials of hundreds of thousands of defeated Republicans following the end of the Spanish Civil War, The Francoist Military Trials probes local Francoists accusations whereby victims were selected for prosecution in military courts. It also shows how insubstantial and hostile testimony formed the bedrock of investigations, secured convictions, and shaped the harsh sentencing practices of Franco 's military judges. Using civil court records, it also documents how grassroots Francoists continued harassing Republicans for many years after they emerged from prison. Challenging the popularly prevalent view that the Franco regime imposed a police state upon a passive Spanish society, the evidence Anderson uncovers here illustrates that local state officials and members of the regime 's support base together forged a powerful repressive system that allowed them to wage war on elements of their own society to a greater extent than perhaps even the Nazis managed against their own population.

Between 1936 and 1938, some 3,000 young Americans sailed to France and crossed the Pyrenees to take part in the brutal civil war raging in Spain. Virtually all joined the International Brigades, formed under the auspices of the Soviet-led Comintern and largely directed by Communists. Yet a large number were not Communists; their activism was inspired by domestic and international crises of the 1930s, and colored by idealism.

The men who went to Spain came out of a radical subculture that emerged from the Depression and the New Deal. Th is radicalism was a native plant, but it was nourished from abroad. In the thirties the menace of fascism seemed to be spreading like cancer across Europe, giving an international aspect to many domestic problems in the United States. To intellectuals, students, unionists, liberals, and leftists, the threat of fascism was so real that many came to believe that if it was not stopped in Spain, eventually they would have to take up arms against fascism at home.

To understand the Americans who fought in the Spanish Civil War it is necessary to bury some of the shibboleths of cold war years. Dissidence in the United States occurs in response to perceptions of reality on this side of the Atlantic, not because of the wishes of men in the Soviet Union. Th e members of the Lincoln Battalion were genuine products of America, and their story is properly a page in American military and political history. From them, one can learn much about the world of the 1930s and perhaps even something about the potential of modern man for thought and action in time of crisis.

During the last decade of Franco's repressive rule, the Spanish outlook on sex, drugs, and fashion shifted dramatically, creating a favourable cultural environment for the return of democracy. Exploring changes in urban planning, narratives of sexual and gender identity, recreational drug use, and fashion design during the seventies, Sex, Drugs, and Fashion in 1970s Madrid argues that it was during this decade that the material and emotional conditions for the groundbreaking transition to democracy first began to develop. Thanks in part to a mass media saturated with international trends, citizens of Madrid began to adopt practices, behaviours, and attitudes that would ultimately render Franco's military dictatorship obsolete. This cultural history examines these modest but irreversible changes in the way people lived and thought about their lives during the last decade of the regime's creed. Not a revolution necessarily, but transformational nevertheless, these changes in collective sensibility eased the political transition to democracy and the emergence of the 1980s' cultural movement la Movida.

The Spanish Republican exile of 1939 impacted music as much as it did literature and academia, with well-known figures such as Adolfo Salazar and Roberto Gerhard forced to leave Spain. Exile is typically regarded as a discontinuity - an irreparable dissociation between the home country and the host country. Spanish exiled composers, however, were never totally cut off from the musical life of Francoist Spain (1939-1975), be it through private correspondence, public performances of their work, honorary appointments and invitations from Francoist institutions, or a physical return to Spanish soil. Music and Exile in Francoist Spain analyses the connections of Spanish exiled composers with their homeland throughout 1939-1975. Taking the diversity and heterogeneity of the Spanish Republican exile as its starting point, the volume presents extended comparative case studies in order to broaden and advance current conceptions of, and debates surrounding, exile in musicology and Spanish studies. In doing so, it significantly furthers academic research on individual composers including Salvador Bacarisse, Julian Bautista, Roberto Gerhard, Rodolfo Halffter, Julian Orbon and Adolfo Salazar. As the first English-language monograph to explore the exiled composers from the perspectives of historiography, music criticism, performance and correspondence, Eva Moreda Rodriguez's vivid reconception of the role of place and nation in twentieth-century music history will be of particular interest for scholars of Spanish music, Spanish Republican history, and exile and displacement more broadly.

On October 1, 2017, the Spanish police assault on Catalans voting in a peaceful referendum shot Catalonia's struggle for independence onto the world's front pages. Today, those two million-plus voters have neither forgiven nor forgotten: the struggle continues. Catalonia's national consciousness has deep roots. A People's History of Catalonia tells this small country's history, from below, in all its richness and complexity. Catalonia's struggles for freedom have, for centuries, been violently resisted; and its language and rights, suppressed. Since the nineteenth century, the fight for national sovereignty has often intertwined with working-class mobilisation for social justice. Barcelona became known as the Rose of Fire. In 1936 Catalonia saw one of history's most profound workers' revolutions. From the peasant revolts of the 15th century and the siege of Barcelona in 1714, through the explosive workers' movement led by anarchists, the defeat in the Spanish Civil War, to the anti-Franco resistance in the grim years that followed, the author tells a compelling story whose ending has yet to be written.

How does society deal with a serial killer in its midst? What if the murderer is a Catholic priest living among native villagers in colonial Peru? In The Chankas and the Priest, Sabine Hyland chronicles the horrifying story of Father Juan Bautista de Albadan, a Spanish priest to the Chanka people of Pampachiri in Peru from 1601 to 1611. During his reign of terror over his Andean parish, Albadan was guilty of murder, sexual abuse, sadistic torture, and theft from his parishioners, amassing a personal fortune at their expense. For ten years, he escaped punishment for these crimes by deceiving and outwitting his superiors in the colonial government and church administration. Drawing on a remarkable collection of documents found in archives in the Americas and Europe, including a rare cache of Albadan's candid family letters, Hyland reveals what life was like for the Chankas under this corrupt and brutal priest, and how his actions sparked the instability that would characterize Chanka political and social history for the next 123 years. Through this tale, she vividly portrays the colonial church and state of Peru as well as the history of Chanka ethnicity, the nature of Spanish colonialism, and the changing nature of Chanka politics and kinship from the fifteenth to the eighteenth century.

From the outbreak of the Spanish Civil War until the end of World War II, many poets around the world felt an obligation to write about the wars of their time. Famed poets like Wilfred Owen, Siegfried Sassoon, Isaac Rosenberg, and Ivor Gurney had earned their literary authority because of their experience fighting in the trenches during World War I, but civilian poets who wished to write about warfare doubted their own authority to write about the battles from afar. In News of War, Professor Rachel Galvin argues that this standard is a strongly gendered norm that is problematic for women writers, who were much less likely to have firsthand experience with war. Galvin indicates that the predicament of writing war without witnessing war is exemplified by six of the most prominent poets of the time: a Spanish-language poet, Cesar Vallejo; a French-language poet, Raymond Queneau; and four English-language poets, W. H. Auden, Wallace Stevens, Marianne Moore, and Gertrude Stein. Although scholars have previously observed the anxieties of civilian poets writing about war, especially in the literature of World War I, Galvin gives the topic a new emphasis by developing the idea that the poets are in dialogue with journalism of the time and developing a framework within which to see their formal patterns for grappling with war at a distance. Expanding on the work of previous scholars who have written on poetry's relation to the news, News of War develops the idea of a strong tendency toward aesthetic self-reflexivity and ethical self-scrutiny in the poetry of the war.

This volume brings together new interdisciplinary perspectives on the Spanish Civil War, its victims, its contentious ending, and its aftermath. In exploring the slow demise of the Spanish Republic and the course of the Civil War, the authors have chosen to range in turn over cinematic, literary and historical depictions of the era. In addition, reactions elsewhere in Europe to the Spanish conflict are examined; the role of the International Brigades is looked at afresh; the fate of children displaced during the Civil War is explored; and the Spanish anarcho-syndicalist movement is revisited. The volume shows that to be any kind of soldier in the armies of the Republic, or even to be seen as a Republican sympathiser, was to become a "non-person" in the new order in Spain under Franco, and sets what supporters of the Republic had to endure within the wider European and international context of the period. This book offers timely fresh insights into the failure of the Spanish Republic and into a society that tried in vain to unite its divided people during what was a seismic era in Spain's history. This book was originally published as a special issue of Bulletin of Spanish Studies.

This book brings together different and interdisciplinary perspectives on the Spanish Civil War, its victims, its contentious ending, and its aftermath. In exploring the slow demise of republican ideals, contributors range over many diverse historical and cultural topics - discussing, for instance, the attitudes of both Left and Right to the poet Federico Garcia Lorca and to his assassination, examining the documentary evidence offered in surviving memoirs of the Civil War, and assessing the major characteristics of the new order in Spain under Franco. Cinematic and literary depictions of the Civil War and its consequences are also studied. Other topics investigated include: contemporary French reactions to the Spanish conflict, Stalinist policies towards Spain, the activities and motives of the anarcho-syndicalists and the role of the International Brigades. This collection of essays published on the 75th anniversary of the end of the Civil War, not only places the events and experiences studied within the context of the 'new state' of Franco's Spain, but also offers timely fresh insights into wider European and international issues during what was a period of seismic change in world history. This book was originally published as a special issue of Bulletin of Spanish Studies.

Historians have only recently established the scale of the violence carried out by the supporters of General Franco during and after the Spanish Civil War of 1936-1939. An estimated 88,000 unidentified victims of Francoist violence remain to be exhumed from mass graves and given a dignified burial, and for decades, the history of these victims has also been buried. This volume brings together a range of Spanish and British specialists who offer an original and challenging overview of this violence. Contributors not only examine the mass killings and incarcerations, but also carefully consider how the repression carried out in the government zone during the Civil War - long misrepresented in Francoist accounts - seeped into everyday life. A final section explores ways of facing Spain's recent violent past.

This interdisciplinary collection of essays examines contemporary public history's engagement with the Spanish Civil War. The chapters discuss the history and mission of the main institutional archives of the war, contemporary and forensic archaeology of the conflict, burial sites, the affordances of digital culture in the sphere of war memory, the teaching of the conflict in Spanish school curricula, and the place of war memory within human rights initiatives. Adopting a strongly comparative focus, the authors argue for greater public visibility and more nuanced discussion of the Civil War's legacy, positing a virtual museum as one means to foster dialogue.

The ability to forget the violent twentieth-century past was long seen as a virtue in Spain, even a duty. But the common wisdom has shifted as increasing numbers of Spaniards want to know what happened, who suffered, and who is to blame. Memory Battles of the Spanish Civil War shows how historiography, fiction, and photography have shaped our views of the 1936-39 war and its long, painful aftermath. Faber traces the curious trajectories of iconic Spanish Civil War photographs by Robert Capa, Gerda Taro, and David Seymour; critically reads a dozen recent Spanish novels and essays; interrogates basic scholarly assumptions about history, memory, and literature; and interviews nine scholars, activists, and documentarians who in the past decade and a half have helped redefine Spain's relationship to its past. In this book Faber argues that recent political developments in Spain-from the grassroots call for the recovery of historical memory to the indignados movement and the foundation of Podemos-provide an opportunity for scholars in the humanities to engage in a more activist, public, and democratic practice.

This volume brings together new interdisciplinary perspectives on the Spanish Civil War, its victims, its contentious ending, and its aftermath. In exploring the slow demise of the Spanish Republic and the course of the Civil War, the authors have chosen to range in turn over cinematic, literary and historical depictions of the era. In addition, reactions elsewhere in Europe to the Spanish conflict are examined; the role of the International Brigades is looked at afresh; the fate of children displaced during the Civil War is explored; and the Spanish anarcho-syndicalist movement is revisited. The volume shows that to be any kind of soldier in the armies of the Republic, or even to be seen as a Republican sympathiser, was to become a "non-person" in the new order in Spain under Franco, and sets what supporters of the Republic had to endure within the wider European and international context of the period. This book offers timely fresh insights into the failure of the Spanish Republic and into a society that tried in vain to unite its divided people during what was a seismic era in Spain's history. This book was originally published as a special issue of Bulletin of Spanish Studies.