Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The main aim of this paper is to analyze the representation of women who held the rearguard that allowed the clandestine struggle against Franco's authoritarian regime that took place during almost the whole dictatorship in Inés y la alegría, a novel written by Almudena Grandes. For this purpose, in the first place, following a text by Judith Butler, we establish the importance of gender representation in order to create the perspective that we will follow for the novel’s analysis. Secondly, we took a tour of the role adopted by women in the first three decades of the twentieth century: from the social struggles that occur before the war and the first women's voices that fought for equality until obtaining some rights partially due to the arrival of the Second Republic in 1931. In addition, we will also deal with the active involvement of women in the civil war both in the care of the rearguard and taking a rifle and fighting on the front line. Finally, we will highlight the importance of the work of women in the republican exile of 1939. After this, we focus on the analysis of the gender representation carried out by Almudena Grandes in Inés and la alegría, a novel in which the author brings to memory a very unknown episode of the Spanish postwar period, such as the incursion of the Aran Valley (Catalonia) and the subsequent formation of the clandestine struggle from the Spanish exile in France. We finish our work, stopping at the image that Almudena Grandes projects of one of the protagonists of her novel: «Pasionaria», whom the exile did not affect in the same way as to the militant women of her political party, for whom the secrecy supposed silence and subordination.

Review of Luis I. Prádanos, Postgrowth Imaginaries: New Ecologies and Counterhegemonic Culture in Post-2008 Spain. Liverpool, Liverpool University Press, 2018, 240 pp.

Review of Bénedicte VAUTHIER, coord. y ed., Teoría(s) de la novela moderna en España. Revisión historiográfica. Oviedo, Genueve, 2019, 322 pp.

The aim of this paper is to trace a way through the main philosophical and literary attempts, with their drifts of a more psychological nature, to understand and to analyze the attraction towards the uncanny. The point of departure is the Enlightenment with the paradigmatic «pleasing kind of horror» of Joseph Addison, and the itinerary ends with the text which we can consider foundational for the theory of the uncanny: the essay under the same title written by Sigmund Freud in 1919, intimately related to his contemporary analysis of the principles of pleasure, reality, and the death drive. Some of the antecedents and subsequent derivations to these two key moments for the understanding of the attraction of the human being towards the uncanny will also be taken in to account.

This paper studies the article collection Los raros by Pere Gimferrer. Originating from the model of Ruben Darío’s namesake book, the author tackles the genre of literary portrait in a personal manner. He approaches it from the works, so his own can be considered as metonymic portraits. Other genres like memoirs, critics and even literary history can be integrated in them. The subsequent analysis in the subject of light leads to the gathering of appropriate allusions about the creator’s poetics. In the end, the forgotten works that he hopes to recover, reveal common aspects with the writer-reader Gimferrer and with us, so that the concept of “rarity” is overcome in order to reclaim their reading.

In this work I propose a new perspective and interpretation of Agota Kristof’s trilogy through the convergence of two frames: thematic and identity theories. Therefore, I relate the different structures of the double theme in the twins of the story – a central issue in the trilogy – with the condition of exile from the perspective of the autobiographic space and the construction of a narrative identity. Furthermore, this relationship between the double and the exile has been found to be repeated throughout history. Consequently, this work tries to explain in a more exhaustive way the particularities of the trilogy.

If we talk about memory, we also talk about movies. Cinema and literature are part of our memories: stories that we loved on the big scren, become part of our own emotional memory. In case of literature, film experience is able to trigger the lyrical story. In this article, with three collections of poems about cinema, written by Juan Antonio Bermúdez, Claudia Masin and Víctor Jiménez, we will analyze the connections between cinema, poetry and memory in contemporary literature. Beyond historical cinema and documentary cinema, classic films which these authors grew up with, and even the most current ones, are the starting point of the poems that we can find in the book. All of them mix cinematic memory and personal experience to tell a story that never dies, so they delete limits between fiction and reality, and between memory and imagination.

In this paper, we will analyse the poems "Poética" by Joaquín Giannuzzi and "Vida de poesía" by Osvaldo Picardo, in order to get in touch with the poetics of these argentine authors. We will work not only with the textual analysis but also with the theoretical concepts of metapoetry, self-reference and poetic art, among others, which will be very useful to account for the reflection that Giannuzzi and Picardo make of their own work. We are also interested in looking at the link between these two voices of contemporary argentine poetry.

The purpose with which this work is conceived is with the intention of contrasting a spanish and a european novel, contemporary with each other, and whose central theme was adultery. Both presented to their protagonists with a very similar character, as well as to boring and asphyxiating cities that surrounded their existence. Through different structures, characters, descriptions, symbols and narrative resources will go to two endings, in which, although Effi dies and la Regenta does not, underlying the same idea: the influence of the environment on the character and health of its inhabitants, the discouragement and the fall of two beings because of the oppression exerted by the envies and wills of others.

Maturity of video game as a product of popular culture has determined its condition of audiovisual narrative platform. Because of this condition, video game is the latest stage of dramatic writing that offers imaged-based stories in which a key component of its essence is added: interaction. In this way, as a form of storytelling, video game has also reflected about the uncanny, a perspective that Freud stablished in 1919 related to narrative arts. Through the genre of survival horror, video game has created a conceptual space in which the user confronts his fears as the basement of the interactive experience.  Basing the analysis on two fundamental works in survival horror —Resident Evil (Shinki Mimaki, 1996) and Silent Hill (Keiichiro Toyama, 1999)—, this article considers how video game has created its particular unheimlich and what have been the aesthetic and interactive contributions that shapes the uncanny from this perspective. The connections with gothic literature or horror cinema joins the immersive capacity of games to stablish an emotional impact in which the user experiments the interactive enjoyment of fear and continues the narrative tradition of horror as a cultural form, but also as a human expression.