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 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.

The master of the realist novel of nineteenth-century Spain, Benito Perez Galdos, is the subject of these new studies. The master of the realist novel of nineteenth-century Spain, Benito Perez Galdos, is the subject of New Galdos Studies, offered in memory of John Varey, author of Galdos Studies, the foundational text for contemporary Galdosian scholarship. Eamonn Rodgers describes Galdos's early readership and reception; James Whiston illustrates Galdos's creativity in Lo prohibido; Rhian Davies explores the enrichment of the novelist's language in Torquemada en la Cruz; Teresa Fuentes Peris demonstrates Galdos's radical critique of dominant social assumptions in Fortunata y Jacinta; Alex Longhurst deals with the representation of poverty in Misericordia while Lisa Conde detects a feminist intention in Tristana; Eric Southworth finds rich cultural and spiritual allusion in the same work; Nichols Round relates the deaths of children in the Torquemada novels and Angel Guerra to end-of-century ideological concerns.

Juan Valera y Alcala-Galiano (1824-1905), one of 19th-century Spain's most well known authors, had a career in the diplomatic service with postings in Europe and the Americas. A serious student of his own and foreign literatures, Valera wrote novels, short stories, essays and literary criticism. Fluent in a number of languages, he also translated Longus's Daphne and Chloe from Greek into Spanish. The unifying thread of his creative work is "art for art's sake," that is, beauty as the end and purpose of imaginative literature, an ideal epitomised by Pepita Jimenez, long considered one of the best half dozen novels of 19th-century Spain. When it was first published in 1874, Pepita Jimenez became an instant success. Translations abound, as do the number of editions, upwards of fifteen, many of them annotated, some of them illustrated. It tells of Luis de Vargas, a devout twenty-two-year-old seminarian who has come home to visit with his father before entering the priesthood. The storyline unfolds when he meets a comely twenty-year-old widow named Pepita Jimenez and has his religious calling put to the test. On the heels of a fictitious prologue, Valera gives the reader multiple perspectives. The first part of the novel is epistolary in form, letters that Luis writes to the Dean, who is both his uncle and his mentor at the seminary, and everything - people, places, and activities - is filtered through his eyes. The second part reverts to the traditional all-seeing narrator of the realist novel, while the third consists of letters that Pedro de Vargas, Luis's father, writes to his brother the Dean.

Fortunata y Jacinta is the magnum opus of Benito Pérez Galdós, acknowledged in the field of Spanish letters as second only in importance to Cervantes. This study is an analysis of the different parts of the manuscript as "palimpsest," or layering of texts from the early manuscript drafts of the work to its printed edition, produced in successive stages to create a better version than the last. The analysis seeks to lay bare important aspects of the creative process of composition in the astounding cultural phenomenon that is the nineteenth-century realist novel, assessing in what ways any changes from earlier to later drafts may provide an understanding of the genius of creation in this particular literary form.