EN BUSCA DE UNA TIPOLOGÍA MATERNAL: (RE)CONSIDERANDO LA MUJER-MADRE EN LA ESPAÑA DE LOS SIGLOS XIX Y XX

This dissertation examines different models of motherhood as represented in major modern novels, taking the late Nineteenth century as a point of departure and concluding with the period known as the “Transición” that followed the dictatorial regime of Francisco Franco (1939-75). This study emphasizes the novels published during and after the Francoist regime. The current study examines how the role of the mother evolved as various historical, political, and societal changes occurred in Spain. Although, as a general rule, novels often reflect the dominant ideologies of the patriarchal society in which they are written, each of these novels subverts the idealized image of the traditional Spanish mother. This subversion is less obvious in Los pazos de Ulloa (1886) by Emilia Pardo Bazán and in La tía Tula (1921) by Miguel de Unamuno. Each of these novels depicts variations of the stereotypical maternal image. Consequently, both novels constitute a transition between the two centuries. Delibe’s Cinco horas con Mario (1966) subtly undermines the concepts of the proper role of women as promulgated by the Sección Femenina, thus communicating a subversive vision of the mother. Women in La plaza del Diamante (1962) by Mercé Rodoreda also display great variety in the way they behave as mothers. This novel, as well as Si te dicen que caí (1977) by Juan Marsé and La hora violeta (1980) by Montserrat Roig, focus on a negative depiction of motherhood and introduce the mother-daughter conflict. This study demonstrates how the genre of the novel depicted an evolving role assigned to women who became mothers. In each case, this role represented a subversion of traditional stereotypes and expectations. These subversions reflected the particular vision of each author as well as those changes in society and cultural climate that took place at the time each novel was written. Advisers: Harriet Turner and Catherine Nicke

SUBVERSIÓN DE LOS ROLES SOCIALES Y DE GÉNERO EN CINCO HORAS CON MARIO

Resumen: Este artículo analiza el cuestionamiento de los roles de género y sociales de la protagonista, Carmen, al reconocer ésta que no quería tener tantos hijos, y llevar a cabo un intento fallido de adulterio. A pesar de que a primera vista pudiera parecer que Carmen se adhiere a la propaganda de la Sección Femenina y del gobierno, al realizar una segunda lectura queda patente que Carmen es una mujer frustrada al lado de Mario lo cual provoca una contradicción con los roles sociales y de género tradicionalmente asignados a la mujer española. Summary: This article analyzes the social and gender roles assigned to the main character, Carmen. In the novel, she clearly states that she never wanted to have so many children and, most importantly, she tried to commit adultery. Although, at the beginning it looks like Carmen follows the government’s rules and adscribes herself to the principles of Sección Femenina, after a close up reading we realize that this is not the case. Carmen reveals herself as a very unhappy wife who subverts the social and gender roles traditionally assigned to the Spanish woman

Subversión de los roles sociales y de género en Cinco horas con Mario.

Este artículo analiza el cuestionamiento de los roles de género y sociales de la protagonista, Carmen, al reconocer ésta que no quería tener tantos hijos, y llevar a cabo un intento fallido de adulterio. A pesar de que a primera vista pudiera parecer que Carmen se adhiere a la propaganda de la Sección Femenina y del gobierno, al realizar una segunda lectura queda patente que Carmen es una mujer frustrada al lado de Mario lo cual provoca una contradicción con los roles sociales y de género tradicionalmente asignados a la mujer española

L´Esquella de la Torratxa : la campana que enmudeció en 1939

Cet article analyse la trajectoire du journal barcelonais L´Esquella de la Torratxa, lors de ses trois dernières années d´existence (1936-1939) qui coïncident avec la Guerre Civile Espagnole ainsi que sa transformation en organe d’expression officiel du Syndicat de Dessinateurs Professionnels d’UGT. On y analyse les modifications apportées au périodique qui d’une satire politico-sociale de la bourgeoisie catalane et de la Lliga Catalana de Cambó devint un hebdomadaire de propagande marxiste d´UGT.Este artículo analiza la trayectoria del semanario gráfico barcelonés L´Esquella de la Torratxa durante los últimos tres años de su existencia, coincidentes con la Guerra Civil (1936-39), y su conversión en órgano oficial del Sindicato de Dibujantes Profesionales de UGT. Se analizarán las transformaciones sufridas por el semanario que pasó de ser una sátira político social de la burguesía catalana y de la Lliga Catalana de Cambó, a un semanario propagandístico marxista de UGT.This article analyzes the last three years of existence of the weekly paper published in Barcelona L´Esquella de la Torratxa (1936-39), years that also coincide with the Spanish Civil War. During this period the paper suffered a political transformation since it became the official paper of the Union of Professional Cartoonist of the Worker’s General Union (UGT). Therefore this article will explore the changes the paper underwent in its transition from a paper whose satirical punches were aimed at the bourgeoisie and the conservative Catalan government of Cambó and his party, La Lliga Catalana (The Catalan League), to a propaganda paper in the hands of the Worker’s General Union (UGT)

L´Esquella de la Torratxa : la campana que enmudeció en 1939

This article analyzes the last three years of existence of the weekly paper published in Barcelona L´Esquella de la Torratxa (1936-39), years that also coincide with the Spanish Civil War. During this period the paper suffered a political transformation since it became the official paper of the Union of Professional Cartoonist of the Worker’s General Union (UGT). Therefore this article will explore the changes the paper underwent in its transition from a paper whose satirical punches were aimed at the bourgeoisie and the conservative Catalan government of Cambó and his party, La Lliga Catalana (The Catalan League), to a propaganda paper in the hands of the Worker’s General Union (UGT)