By Blanca Ana Roig Rechou, Veljka Ruzicka Kenfel
This paintings analyses the Spanish Civil warfare in Spanish and eu Children’s Literature from 1975, while Spain handed from a dictatorship to a parliamentary monarchy, to the current. The individuals specialize in gathering narrative works that care for the Civil struggle to explain how the conflict used to be lived, remembered and referenced in Spain and different international locations and choosing books of literary value to examine pre-established subject matters reminiscent of style, ideology, female/male characters, illustrations and intertextualities. additionally they suggest translations of these works that have now not but been translated into one of many languages of Spain and examine the works in accordance with theoretical-methodological versions provided in theories comparable to post-colonialism, feminism, comparativism and cultural experiences.
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Extra info for The Representations of the Spanish Civil War in European Children’s Literature (1975-2008)
Sample text
Só intentar transmitir a cultura, só desexar unha sociedade máis xusta e máis libre. Ese é o delito polo que se me condena! (p. 88). At the end of the war in 1939 the notes become less frequent until they abruptly stop where someone has ripped out the final pages, probably the ones where the comments were most sorrowful. His words continue to complain about the cold and the poor nourishment and they show his great distress but what seems to most ail Uncle Moncho was the pain in his ears he had suffered since his time on San Simón.
They all repeat themes from previous periods such as the consequences of the war, especially on the breakup of families, the climate of silence and fear, the humiliations suffered by the losers, exile as a way of escape in search of hope, and the restoration of the dignity lost by the defeated. Some of them recreate the peaceful ambiance of the pre-war period bfore the outbreak of the Spanish Civil War and the disastrous changes that Spanish society suffered in the post-war period. The books by Agustín Fernández Paz were written so that future generations may honour the memory of the losers, subjected to inhuman indignities and reduced to skeletal remains in mass graves, forgotten as if they had never existed.
Entering into a place considered “taboo” (p. 140) in the collective superstitions of the villagers causes the end of his relationship with Marta, which they had had to keep secret as Pontebranca was a village far from the “light winds of freedom that are sprouting in the cities” (p. 136). Ignorance, backwardness, obscurantism and the fear of altering the established order of the times are also reflected in the attacks and threats made to Miguel: “We don’t like people who go where they shouldn’t; you can pay a high price for curiosity.
