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Spanish Vampire Fiction since 1900: Blood Relations, as that
subtitle suggests, makes the case for considering Spanish vampire
fiction an index of the complex relationship between intercultural
phenomena and the specifics of a time, place, and author.
Supernatural beings that drink blood are found in folklore
worldwide, Spain included, and writers ranging from the most
canonical to the most marginal have written vampire stories,
Spanish ones included too. When they do, they choose between
various strategies of characterization or blend different ones
together. How much will they draw on conventions of the
transnational corpus? Are their vampires to be local or foreign;
alluring or repulsive; pitiable or pure evil, for instance?
Decisions like these determine the messages texts carry and, when
made by Spanish authors, may reveal aspects of their culture with
striking candidness, perhaps because the fantasy premise seems to
give the false sense of security that this is harmless escapism
and, since metaphorical meaning is implicit, it is open to argument
and, if necessary, denial. Part I gives a chronological
text-by-text appreciation of all the texts included in this volume,
many of them little known even to Hispanists and few if any to
non-Spanish Gothic scholars. It also provides a plot summary and
brief background on the author of each. These entries are
free-standing and designed to be consulted for reference or read
together to give a sense of the evolution of the paradigm since
1900. Part II considers the corpus comparatively, first with regard
to its relationship to folklore and religion and then contagion and
transmission. Spanish Vampire Fiction since 1900: Blood Relations
will be of interest to Anglophone Gothic scholars who want to
develop their knowledge of the Spanish dimension of the mode and to
Hispanists who want to look at some canonical texts and authors
from a new perspective but also gain an awareness of some
interesting and decidedly non-canonical material.
Motherhood remains a complex and contested issue in feminist
research as well as public discussion. This interdisciplinary
volume explores cultural representations of motherhood in various
contemporary European contexts, including France, Italy, Germany,
Portugal, Spain, and the UK, and it considers how such
representations affect the ways in which different individuals and
groups negotiate motherhood as both institution and lived
experience. It has a particular focus on literature, but it also
includes essays that examine representations of motherhood in
philosophy, art, social policy, and film. The book's driving
contention is that, through intersecting with other fields and
disciplines, literature and the study of literature have an
important role to play in nuancing dialogues around motherhood, by
offering challenging insights and imaginative responses to complex
problems and experiences. This is demonstrated throughout the
volume, which covers a range of topics including: discursive and
visual depictions of pregnancy and birth; the impact of new
reproductive technologies on changing family configurations; the
relationship between mothering and citizenship; the shaping of
policy imperatives regarding mothering and disability; and the
difficult realities of miscarriage, child death, violence, and
infanticide. The collection expands and complicates hegemonic
notions of motherhood, as the authors map and analyse shifting
conceptions of maternal subjectivity and embodiment, explore some
of the constraining and/or enabling contexts in which mothering
takes place, and ask searching questions about what it means to be
a 'mother' in Europe today. It will be of interest not only to
those working in gender, women's and feminist studies, but also to
scholars in literary and cultural studies, and those researching in
sociology, criminology, politics, psychology, medical ethics,
midwifery, and related fields.
Carmen de Burgos (1867-1932), an influential journalist,
socio-political activist, and a key literary figure in the cultural
ferment of pre-war Madrid, is currently being rediscovered, having
languished in a long and regrettable oblivion during the Franco
years. This scholarly edition of three stories by de Burgos
includes the unabridged texts, vocabulary, notes, chronology,
bibliography, 'temas de debate y discusion', and a critical
introduction. Confidencias is the fictional diary of a young woman,
describing her first adulterous relationship and exploiting the
narratological possibilities of the diary form. La mujer fria is a
vampire story featuring perhaps the very first pitiable vampire, or
at least one of the earliest examples of this type, whilst
ingeniously maintaining undecidability as to whether the
protagonist is supernatural. Punal de claveles narrates a
wedding-day elopement. Inspired by the real-life 'Crimen de Nijar',
Federico Garcia Lorca drew on both stories for his Bodas de sangre.
-- .
Motherhood remains a complex and contested issue in feminist
research as well as public discussion. This interdisciplinary
volume explores cultural representations of motherhood in various
contemporary European contexts, including France, Italy, Germany,
Portugal, Spain, and the UK, and it considers how such
representations affect the ways in which different individuals and
groups negotiate motherhood as both institution and lived
experience. It has a particular focus on literature, but it also
includes essays that examine representations of motherhood in
philosophy, art, social policy, and film. The book's driving
contention is that, through intersecting with other fields and
disciplines, literature and the study of literature have an
important role to play in nuancing dialogues around motherhood, by
offering challenging insights and imaginative responses to complex
problems and experiences. This is demonstrated throughout the
volume, which covers a range of topics including: discursive and
visual depictions of pregnancy and birth; the impact of new
reproductive technologies on changing family configurations; the
relationship between mothering and citizenship; the shaping of
policy imperatives regarding mothering and disability; and the
difficult realities of miscarriage, child death, violence, and
infanticide. The collection expands and complicates hegemonic
notions of motherhood, as the authors map and analyse shifting
conceptions of maternal subjectivity and embodiment, explore some
of the constraining and/or enabling contexts in which mothering
takes place, and ask searching questions about what it means to be
a 'mother' in Europe today. It will be of interest not only to
those working in gender, women's and feminist studies, but also to
scholars in literary and cultural studies, and those researching in
sociology, criminology, politics, psychology, medical ethics,
midwifery, and related fields.
Gothic Terrors brings together two discursive fields that have had
very little contact hitherto: gothic studies and Hispanism. Though
widely accepted in English studies, Hispanists seldom invoke the
concept of a Gothic mode existing beyond its first appearance in
the eighteenth century. Highlighting Gothic elements in mainstream
Spanish fiction from the nineteenth century until the present day,
Lee Six challenges the view that Spanish writers rejected what the
Gothic had to offer. Through close study of texts by Benito Perez
Galdos, Emilia Pardo Bazan, Miguel de Unamuno, Camilo Jose Cela,
Adelaida Garcia Morales, Espido Freire, and Javier Garcia Sanchez,
Abigail Lee Six traces the evolution of three staples of the
Gothic: the heroine imprisoned on grounds of madness, the doubled
or split character, and the use of violent, gory description.
Persuasively argued and well researched, Gothic Terrors reflects on
the Gothic presence in Spanish mainstream literature and identifies
two important ways in which it crosses cultural divides: the
traditional gulf between high and low culture within Spain, and the
engagement of Spanish creative writers with transnational literary
trends. Gothic Terrors will thus appeal to Gothic scholars who are
interested in the Spanish dimension of their field, as well as to
Hispanists who may have been unaware of how relevant and useful
Gothic studies could be for them.
This highly original and pragmatic guide is designed for students
at intermediate levels seeking a better grade on their Spanish
exams. It offers a thirty-day revision program that is guaranteed
to improve one's results. Students are encouraged to spend anywhere
from 30 minutes to an hour with
the book as exams approach and they should see a marked improvement
in performance. Short, accessible, and user-friendly, the book
stresses three key strategies for exam improvement: eliminating
basic errors and slips of the pen, increasing and consolidating
vocabulary, and moving on from schoolbook
Spanish.
Upgrade your Spanish is the ideal guide for students wanting a
better grade in their Spanish exams. It offers a thirty day
revision programme that is guaranteed to improve your results. In
the countdown to exams, students should simply spend between 30
minutes to an hour a day with this book, and see their mark go up a
grade!This short revision guide focuses on three key strategies for
improving your exam results: 1) Eliminating basic errors and slips
of the pen; 2) Increasing and consolidating your vocabulary; 3)
Moving on from school-book Spanish.
Spanish Vampire Fiction since 1900: Blood Relations, as that
subtitle suggests, makes the case for considering Spanish vampire
fiction an index of the complex relationship between intercultural
phenomena and the specifics of a time, place, and author.
Supernatural beings that drink blood are found in folklore
worldwide, Spain included, and writers ranging from the most
canonical to the most marginal have written vampire stories,
Spanish ones included too. When they do, they choose between
various strategies of characterization or blend different ones
together. How much will they draw on conventions of the
transnational corpus? Are their vampires to be local or foreign;
alluring or repulsive; pitiable or pure evil, for instance?
Decisions like these determine the messages texts carry and, when
made by Spanish authors, may reveal aspects of their culture with
striking candidness, perhaps because the fantasy premise seems to
give the false sense of security that this is harmless escapism
and, since metaphorical meaning is implicit, it is open to argument
and, if necessary, denial. Part I gives a chronological
text-by-text appreciation of all the texts included in this volume,
many of them little known even to Hispanists and few if any to
non-Spanish Gothic scholars. It also provides a plot summary and
brief background on the author of each. These entries are
free-standing and designed to be consulted for reference or read
together to give a sense of the evolution of the paradigm since
1900. Part II considers the corpus comparatively, first with regard
to its relationship to folklore and religion and then contagion and
transmission. Spanish Vampire Fiction since 1900: Blood Relations
will be of interest to Anglophone Gothic scholars who want to
develop their knowledge of the Spanish dimension of the mode and to
Hispanists who want to look at some canonical texts and authors
from a new perspective but also gain an awareness of some
interesting and decidedly non-canonical material.
By highlighting features common to the Gothic classics and the
works of Adelaida Garcia Morales, this monograph aims to put the
Gothic on the map in Hispanic Studies. The Gothic as a literary
mode extending well beyond its first proponents in
eighteenth-century England is well established in English studies
but has been strangely under-used by Hispanists. Now Abigail Lee
Six uses it as the paradigm through which to analyse the novels of
Adelaida Garcia Morales; while not suggesting that every novel by
this author is a classic Gothic text, she reveals certain constants
in the work that can be related to the Gothic, evenin novels which
one might not classify as such. Each of the novels studied is
paired with an English-language Gothic text, such as Dracula,
Frankenstein and Dr Jekyll and Mr Hyde, and then read in the
lightof it. The focus of each chapter ranges from psychological
aspects, such as fear of decay or otherness, or the pressures
linked to managing secrets, to more concrete elements such as
mountains and frightening buildings, and to keyfigures such as
vampires, ghosts, or monsters. This approach sheds new light on how
Garcia Morales achieves probably the most distinguishing feature of
her novels: their harrowing atmosphere. ABIGAIL LEE SIX is
Professor of Hispanic Studies at Royal Holloway, University of
London.
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