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El cambio político a través de la cultura y el arte. Este libro aborda el proceso de transición a la democracia en España a partir de las acciones políticas del Ministerio de Cultura, heredero del franquista y censor Ministerio de Información y Turismo. La política cultural, como ya se dieron cuenta Manuel Fraga Iribarne y Pío Cabanillas en la etapa final de la dictadura, representó un ingrediente central del proceso de democratización.
This book examines troupes, plays, festivals, performative practices, and audiences active during the final years of the Franco dictatorship and the beginning of the transition to democracy. This period, spanning 1968 to 1982, is considered the historical moment that most directly shaped contemporary Spanish politics and society. The dominant narrative of the Transition has long portrayed it as a normalized, non-confrontational, and consensual process steered by political elites. But the world of Spanish theater tells a very different story - one in which ordinary Spaniards played a vital role in the transition to democracy. The chapters of this book draw on censorship files, photographs, audiovisual and textual material, and the author’s own interviews with more than a dozen audience and troupe members. Using these sources, David Rodriguez-Solas examines the notable experimentation during this period with theatrical performance and music; the establishment of performing spaces and festivals; the development of touring networks as a way to evade censorship; and the creation of networks of support that opposed diverse forms of violence and repression. This study will be of great interest to students and scholars interested in theater and the cultural and political history of Spain in the 1960s and 1970s.
Toward a Cultural Archive of la Movida revisits the cultural and social milieu in which laMovida, an explosion of artistic production in the late 1970s and early 1980s, was articulated discursively, aesthetically, socially, and politically. We connect this experience with a broader national and international context that takes it beyond the city of Madrid and outside the borders of Spain. This collection of essays links the political and social undertakings of this cultural period with youth movements in Spain and other international counter-cultural or underground movements. Moving away from biographical experiences or the identification of further participants and works that belong to laMovida, the articles collected in this volume situate this movement within the political and social development of post-Franco Spain. Finally, it also offers a reading of recent politically motivated recoveries of this cultural phenomenon through exhibitions, state sponsored documentaries, musicals, or tourist itineraries. The perception of Spain as representative of a successful dual transition from dictatorship to democracy and free market capitalism created a “Spanish model” that has been emulated in countries like Portugal, Argentina, Chile and Hungary, all formerly ruled by totalitarian regimes. While social scientists study the promises, contradictions and failures of the Spanish Transición—especially on issues of memory, repression, and (the lack of) reconciliation —our approach from the humanities offers another vantage point to a wider discussion of an unfinished chapter in recent Spanish history by focusing on laMovida as the “cultural archive” whose cultural transitions parallel the political and economic ones. The transgressive, urban nature of this movement demonstrated an overt desire, especially among Spanish youth, to reach onto a global arena emulating the punk and new wave aesthetic of such cities as London, New York, Paris, and Berlin. Art, design, film, music, fashion during this period helped to forge a sense of a modern urban identity in Spain that also reflected the tensions between modernity and tradition, global forces and local values, international mass media technology and regional customs.
Los movimientos asamblearios y el fin de la Cultura de la Transición..Coincidiendo con el aniversario de los movimientos asamblearios que desde el 15 de mayo de 2011 se propagaron por toda la geografía española y universal, varios de sus miembros más activos, escritores, críticos y periodistas que fueron partícipes o los siguieron con interés, se reúnen para reflexionar, a la luz de los nuevos acontecimientos, sobre un posible final de la CT, Cultura de la Transición. El término, acuñado por el periodista Guillem Martínez, alude a la cultura española posterior al franquismo, una cultura consensuada y vertical que ha actuado, desde los años ochenta, como el paradigma cultural unificador de conciencias políticas y sociales. Como el único marco posible de realidad durante décadas...
El libro propone un análisis transnacional de las transiciones democráticas en España y el Cono Sur. Las contribuciones presentan conceptualizaciones y exploraciones desde la antropología, las ciencias sociales, los estudios culturales, literarios, visuales y teatrales y la lingüística.
Este estudio de crítica cultural se expone en un recorrido simultáneo por variadas expresiones culturales de la transición española -entre ellas las de la "Movida" de Madrid y la "pre-Movida" de Barcelona. Producidos entre 1973 (año del asesinato de Carrero Blanco) y 1993 (firma del tratado de Maastricht), los textos convocados en este volumen corporal izaron la ausencia del régimen dictatorial de Francisco Franco con un síndrome de abstinencia específico que se teoriza aquí como el "Mono" del desencanto. Desde la celebración acompañada de infierno que nos han dejado textos como los de Sisa o Nazario; desde las barrocas plumas de Pedro Almodóvar y Ana Rossetti a las jeringuillas de Gallardo, Leopoldo María Panero y Eduardo Haro Ibars; desde los cuerpos expuestos y compuestos de Almudena Grandes, María Jaén, Ocaña y Jorge Rueda, a los demonios e infiernos de Jaime Chávarri, Manuel Gutiérrez Aragón o Carlos Giménez; desde los arrebatos de Iván Zulueta y Juan Goytisolo al pasmo de Miguel Espinosa; desde la caída de la revista Triunfo al colapso ideológico narrado por Lidia Falcón o Manuel Vázquez Montalbán; y desde la introspección histórica ofrecida por Eduardo Haro Tecglen, Gabriel Halevi o Costus, todos y cada uno de estos textos quedaron atrapados en el aleph de la transición. Con el cuerpo quizá roto, descompuesto y desbaratado, pero mostrando con la cara alta la profunda herida del fin de una historia, los textos llamados a este estudio dejan a nuestros pies una forma que no por encriptada nos es desconocida. Una sombra ominosa que, como Némesis implacable, nos exige el pago de una deuda de la que sin embargo no tenemos memoria.
The present volume reviews and revisits the life and work of Spanish writer, editor, and intellectual Esther Tusquets (1936–2012). The author of some seven novels, three collections of short stories, two books for children, seven volumes of essays and memoirs, and an extensive corpus of journalistic and other short prose texts, Tusquets’s contributions to contemporary Spanish culture and literature are vast and heterogeneous. Most academic scholarship to date has been dedicated to Tusquets’s groundbreaking novelistic trilogy (El mismo mar de todos los veranos [1978], El amor es un juego solitario [1979], Varada tras el último naufragio [1980]) and to her unified short-story collection, Siete miradas en el mismo paisaje (1979). The essays contained in Esther Tusquets: Scholarly Correspondences offer new readings of the author’s canonical fiction and delve into the largely unexplored terrain of her non-fiction. Participating faculty-scholars include Nina L. Molinaro (University of Colorado at Boulder); Maureen Tobin Stanley (University of Minnesota Duluth); Inmaculada Pertusa-Seva (Western Kentucky University); Laura Lonsdale (Queen’s College, University of Oxford); Stacey Dolgin Casado (University of Georgia); Abigail Lee Six (Royal Holloway, University of London); María Elena Soliño (University of Houston); Mayte de Lama (Elon University); Catherine G. Bellver (University of Nevada, Las Vegas); Rosalía Cornejo Parriego (University of Ottawa); Meri Torras Francès (Universitat Autònoma de Barcelona); and Mary S. Vázquez (Davidson College). The volume concludes with a complete bibliography by Tiffany L. Malloy of works by and about Tusquets.
The transition to democracy that followed the death of Spanish dictator Francisco Franco in 1975 was once hailed as a model of political transformation. But since the 2008 financial crisis it has come under intense scrutiny. Today, a growing divide exists between advocates of the Transition and those who see it as the source of Spain’s current socio-political bankruptcy. This book revisits the crucial period from 1962 to 1992, exposing the networks of art, media and power that drove the Transition and continue to underpin Spanish politics in the present. Drawing on rare archival materials and over three hundred interviews with politicians, artists, journalists and ordinary Spaniards, including former prime minister Felipe Gonzalez (1982–96), Following Franco unlocks the complex and often contradictory narratives surrounding the foundation of contemporary Spain.
Desde hace dos o tres décadas la historia cultural ocupa un lugar preferente en la escena historiográfica, aunque con desfases cronológicos y distintas modalidades dependiendo de las circunstancias nacionales y, en este sentido, se impone una aproximación comparativa. El presente volumen pretende inscribirse en esta perspectiva, preguntándose por la realidad de un «giro cultural» en la historiografía mundial. Los numerosos colaboradores han aceptado responder a un plan de trabajo en el que, partiendo de la situación historiográfica de cada país, se analicen las modalidades de surgimiento y de estructuración de la historia cultural. La meta buscada no es normativa y contempla un planteamiento que combina el análisis de las obras, las singularidades de las coyunturas historiográficas y la organización de los mercados universitarios.