By Blanca Ana Roig Rechou, Veljka Ruzicka Kenfel
This paintings analyses the Spanish Civil conflict in Spanish and eu Children’s Literature from 1975, whilst Spain handed from a dictatorship to a parliamentary monarchy, to the current. The individuals specialize in gathering narrative works that care for the Civil battle to explain how the warfare used to be lived, remembered and referenced in Spain and different nations and choosing books of literary value to examine pre-established subject matters resembling style, ideology, female/male characters, illustrations and intertextualities. additionally they suggest translations of these works that have no longer but been translated into one of many languages of Spain and evaluate the works according to theoretical-methodological types provided in theories akin 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)
This very bleak outlook brings together a bitter vision of the present day with the ghosts from the past, softened by the hope that a future generation “lift all the trapdoors and air all the wells that have been kept hidden from our view” (p. 202), as the main character states. His interjections and musings reflect the thoughts that Agustín Fernández Paz has manifested in numerous forums about the direct and indirect consequences of the 1936 war. 40 Eulalia Agrelo Costas 3. Noite de Voraces Sombras: Dreams Cut Short Like other stories by Fernández Paz, the initial idea behind Noite de Voraces Sombras (2002)6 came from a story in the news - specifically an item about the discovery of some books and documents belonging to a Republican schoolteacher who suffered reprisals, which had been safeguarded behind a false wall.
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. It is an intimate, personal tale but one that could have been written by many Galician prisoners who “disappeared” or were fortunate enough to survive with their lives but with their hearts forever broken.
122). The continued presence of the inexplicable spectre, which continues to call for the silenced past to be reawakened leads Sara to remember the promise that Uncle Moncho had made to return to San Simón with his fiancée to search for the object buried in the cemetery there. In the final two chapters, Fernández Paz tells of life in the leper colony. He had visited the island whilst writing the novel in search of the voices of suffering, the fear of the night-time “walks” and the terror (Fernández Paz 2009: IV).