{"id":2345,"date":"2023-12-11T07:23:19","date_gmt":"2023-12-11T06:23:19","guid":{"rendered":"https:\/\/fima.ub.edu\/edl\/narradoras-espanolas-de-posguerra\/"},"modified":"2026-03-04T14:15:12","modified_gmt":"2026-03-04T13:15:12","slug":"narradoras-espanolas-de-posguerra","status":"publish","type":"post","link":"https:\/\/fima.ub.edu\/edl\/narradoras-espanolas-de-posguerra\/","title":{"rendered":"\u00abNarradoras espa\u00f1olas de posguerra\u00bb"},"content":{"rendered":"

\"\"<\/a>Mart\u00ednez Cant\u00f3n, Clara I.; Fern\u00e1ndez Mart\u00ednez, Sergio (eds.). Narradoras espa\u00f1olas de posguerra<\/i>. Berlin, etc.: Peter Lang, 2022. 227 p. (Estudios hisp\u00e1nicos en el contexto global; 17). ISBN 978-3-631-86940-6.<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Narradoras espa\u00f1olas de posguerra <\/span><\/span><\/i>\u00e9s el disset\u00e8 volum publicat a la col\u00b7lecci\u00f3 \u00ab<\/span><\/span>Estudios hisp\u00e1nicos en el contexto global\u00bb <\/span><\/span>de l\u2019editorial acad\u00e8mica Peter Lang. Els editors del llibre, que data de 2022, s\u00f3n Clara I. Mart\u00ednez Cant\u00f3n (professora titular de la <\/span><\/span>Universidad Nacional de Educaci\u00f3n a Distancia<\/span><\/span>) i Sergio Fern\u00e1ndez Mart\u00ednez (investigador postdoctoral de la <\/span><\/span>Universidad de Salamanca<\/span><\/span>). Partint de la consigna de \u00abrescatar de l\u2019oblit\u00bb el llegat d\u2019una generaci\u00f3 d\u2019autores marcada per l\u2019esclat de la guerra civil, l\u2019establiment de la dictadura i els obstacles de la censura, el volum reuneix assajos sobre la vida i l\u2019obra de nou escriptores de novel\u00b7la i conte. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

<\/p>\n

Es tracta, per ordre de naixement, d\u2019<\/span><\/span><\/span>Elena <\/span><\/span>Fort\u00fan (1886-1952) <\/span><\/span>\u2013pseud\u00f2nim <\/span><\/span><\/span>d\u2019Encarnaci\u00f3n Aragoneses de Urquijo\u2013<\/span>, <\/span><\/span>Carmen de Icaza (1899-1979), Elisabeth Mulder (1904-1987), Eulalia Galvarriato (1904-1997)<\/span><\/span>, Laura de Noves (1905-2000) \u2013nom de ploma de Carlota O\u2019Neill\u2013<\/span>, <\/span><\/span>Concha Castroviejo (1910-1995), Dolores Medio Estrada (1911-1996), Mercedes Formica (1913-2002) i <\/span><\/span>Ana Mar\u00eda Matute (1925-2014)<\/span><\/span>. <\/span><\/span>D\u2019aquesta manera, el llibre s\u2019insereix en una via de recerca dedicada a la visibilitzaci\u00f3 i revaloraci\u00f3 de l\u2019escriptura de les dones, l\u00ednia de treball que d\u2019unes d\u00e8cades en\u00e7\u00e0 ha anat guanyant pes dins l\u2019\u00e0mbit acad\u00e8mic. En el context dels estudis hisp\u00e0nics, poden trobar-se an\u00e0lisis com <\/span><\/span>La novela femenina de posguerra (1940-1960<\/span><\/span><\/i>)<\/span><\/span><\/i>, de Raquel Conde <\/span><\/span>Pe\u00f1alosa <\/span><\/span>(Pliegos, 2004)<\/span><\/span>; o Escritoras espa\u00f1olas (1939-1975): poes\u00eda, novela y teatro<\/i><\/span><\/span>, de Raquel Arias Careaga (Laberinto, 2005). M\u00e9s recentment, s\u2019han publicat treballs nous com <\/span><\/span>Ellas contaron la historia: novela y mirada de mujer<\/span><\/span><\/i> (1939-1979)<\/span><\/span><\/i>, de Jos\u00e9 Luis Calvo Carilla (Instituci\u00f3n Fernando el Cat\u00f3lico, 2020). L\u2019\u00fatil recull de bibliografia que els editors ofereixen a la introducci\u00f3 al volum ret compte d\u2019aquests antecedents. Per tot plegat, <\/span><\/span>Narradoras espa\u00f1olas de posguerra <\/span><\/span><\/i>s<\/span><\/span>\u2019emmarca en un camp d\u2019investigaci\u00f3 actual i cada any que passa m\u00e9s prol\u00edfic.<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Estructurat en tres parts i catorze cap\u00edtols, el llibre cont\u00e9 una esclaridora secci\u00f3 de contextualitzaci\u00f3 de Raquel Conde Pe\u00f1alosa que q\u00fcestiona la visi\u00f3 de la postguerra espanyola com una \u00e8poca caracteritzada per la migradesa de la literatura escrita per dones. Conde Pe\u00f1alosa argumenta en sentit contrari amb dades a la m\u00e0: entre 1940 i 1965, setanta-vuit autores editen m\u00e9s de dues-centes novel\u00b7les. Aix\u00ed, estem davant d\u2019un per\u00edode de prou abund\u00e0ncia per a les escriptores en llengua castellana \u2013l\u2019estudiosa fins i tot parla d\u2019una \u00abEdat d\u2019Or\u00bb\u2013<\/span>, per\u00f2 que ha tingut un reconeixement pobre per part de la cr\u00edtica tradicional, molt centrada en el corrent del realisme testimonial i d\u2019esquenes al vector de g\u00e8nere. La dissertaci\u00f3 indaga tant en els factors que propiciaren l\u2019auge de la narrativa d\u2019autoria femenina com en les raons per qu\u00e8, m\u00e9s tard, aquesta producci\u00f3 va ser relegada. <\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Alhora que constitueix un bon pre\u00e0mbul als cap\u00edtols monogr\u00e0fics sobre les escriptores, en el treball de Conde Pe\u00f1alosa s\u2019albira un aspecte problem\u00e0tic de <\/span><\/span>Narradoras espa\u00f1olas de posguerra<\/span><\/span><\/i>: la justificaci\u00f3 de la tria d\u2019autores. D\u2019entrada, salta a la vista que Ana Mar\u00eda Matute (que ocupa un lloc destacat, estudiada en tres cap\u00edtols)<\/span> no encaixa en el paradigma d\u2019\u00abescriptora silenciada\u00bb. De fet, ella i tres altres creadores tractades en el llibre \u2013Elisabeth Mulder, Dolores Medio i Eulalia Galvarriato\u2013 <\/span>formen part de la n\u00f2mina de narradores que, segons Conde Pe\u00f1alosa, excepcionalment aconsegueixen transcendir i estar presents en la majoria de manuals d\u2019hist\u00f2ria liter\u00e0ria. A causa de l\u2019\u00e8mfasi que es fa, al llarg del volum, amb el fi de recuperar la veu d\u2019escriptores amena\u00e7ades per l\u2019oblit, la inclusi\u00f3 de figures com Matute sembla poc coherent. Segurament, aquest desajust s\u2019hauria pogut resoldre atenuant la insist\u00e8ncia en la marginalitat de les autores en favor de la reivindicaci\u00f3 de la diversitat del grup.<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Seguint la presentaci\u00f3 dels editors i el marc contextual dibuixat per Raquel Conde <\/span><\/span>Pe\u00f1alosa<\/span><\/span>, la tercera part del llibre s\u2019aproxima a l\u2019escriptura de les nou autores seleccionades amb les contribucions de Marif\u00e9 Santiago Bola\u00f1os, Mar\u00eda del Mar Ma\u00f1as Mart\u00ednez, Adri\u00e1n Ram\u00edrez Ria\u00f1o, Luca Cerullo, Basilio Pujante Cascales, Anja Rothenburg, Sim\u00f3n Valc\u00e1rcel Mart\u00ednez, Fleur Duplantier, Pi-Chiao Liu, Iv\u00e1n Mallada \u00c1lvarez, Clara I. Mart\u00ednez Cant\u00f3n i Javier La Beira. Entre els temes abordats al voltant de la narrativa de les escriptores hi ha els retrats femenins, l\u2019epistolaritat, el component autobiogr\u00e0fic, el g\u00e8nere del conte i del microrelat, la novel\u00b7la rosa, la representaci\u00f3 del conflicte b\u00e8l\u00b7lic, la mirada infantil i les hist\u00f2ries de cicle familiar. Mentre que els assumptes s\u00f3n variats, la perspectiva dels assajos \u00e9s sobretot biobibliogr\u00e0fica, un enfocament que, tal vegada, s\u2019hauria pogut enriquir amb els sabers d\u2019\u00e0rees com els estudis autorials, els estudis de g\u00e8nere i la sociologia liter\u00e0ria, que ajuden a explicar el funcionament del camp literari i les din\u00e0miques que menen a menystenir un cert tipus de creacions i a privilegiar-ne d\u2019altres.<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

D\u2019altra banda, resulta interessant que la majoria de treballs donin ra\u00f3 dels textos de les autores que eren in\u00e8dits fins fa poc i que editorials com Renacimiento han apostat per publicar. A tall d\u2019exemple, el 2016 va sortir a llum la ficci\u00f3 autobiogr\u00e0fica d\u2019Elena <\/span><\/span>Fort\u00fan titulada Oculto sendero<\/i><\/span><\/span>; i el 2021, la darrera novel\u00b7la d\u2019Elisabeth Mulder, <\/span><\/span>El retablo de Salom\u00e9 Amat<\/span><\/span><\/i>. Concha Castroviejo<\/span><\/span> \u00e9s una altra de les escriptores que fins recentment tenia producci\u00f3 in\u00e8dita. El 2020, l\u2019editorial Tandaia n\u2019ha editat el llibre En las praderas del Gran Manit\u00fa<\/i>. Aix\u00ed mateix, els estudis del volum exposen l\u2019abast i els efectes de la censura franquista en l\u2019obra de les autores. Com a mostra, s\u2019assenyala que la versi\u00f3 \u00edntegra<\/span><\/span> de Nosotros, los Rivero<\/i> de Dolores Medio <\/span><\/span>\u2013<\/span><\/span><\/span>novel\u00b7la escap\u00e7ada en els anys cinquanta\u2013<\/span> no s\u2019ha publicat fins al 2017. En altres casos, com el <\/span><\/span>de Los Abel <\/i>d\u2019<\/span><\/span>Ana Mar\u00eda Matute, es continua difonent la versi\u00f3 censurada. Globalment, el llibre demostra que l\u2019examen de l\u2019obra d\u2019aquestes escriptores s\u2019ha realitzat, durant llarg temps, des d\u2019una \u00f2ptica incompleta. D\u2019aqu\u00ed que publicacions com aquesta siguin pertinents i necess\u00e0ries.<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

El volum en conjunt, si b\u00e9 podria ser m\u00e9s ambici\u00f3s en els seus plantejaments, assoleix l\u2019objectiu de donar a con\u00e8ixer unes autores poc llegides pel p\u00fablic no especialitzat. <\/span><\/span>Narradoras espa\u00f1olas de posguerra<\/span><\/span><\/i> es posa al servei de la reconstrucci\u00f3 del panorama cultural posterior a 1939; rebat la creen\u00e7a que la literatura escrita per dones tingu\u00e9 un paper menor en aquest per\u00edode; i, finalment, ve a perfilar la hist\u00f2ria de la narrativa femenina dels anys quaranta, cinquanta i seixanta a Espanya.<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Catalina Mir<\/a><\/span><\/span><\/span><\/span><\/span>
\nCol\u00b7laboradora del grup Literatura contempor\u00e0nia: estudis te\u00f2rics i comparatius (LiCETC), de la UIB<\/span><\/span><\/span><\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Mart\u00ednez Cant\u00f3n, Clara I.; Fern\u00e1ndez Mart\u00ednez, Sergio (eds.). Narradoras espa\u00f1olas de posguerra. Berlin, etc.: Peter…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_seopress_robots_follow":"","_seopress_robots_imageindex":"","_seopress_robots_snippet":"","_seopress_robots_primary_cat":"","_seopress_robots_breadcrumbs":"","_seopress_robots_freeze_modified_date":"","_seopress_robots_custom_modified_date":"","_seopress_robots_canonical":"","_seopress_social_fb_title":"","_seopress_social_fb_desc":"","_seopress_social_fb_img":"","_seopress_social_fb_img_attachment_id":0,"_seopress_social_fb_img_width":0,"_seopress_social_fb_img_height":0,"_seopress_social_twitter_title":"","_seopress_social_twitter_desc":"","_seopress_social_twitter_img":"","_seopress_social_twitter_img_attachment_id":0,"_seopress_social_twitter_img_width":0,"_seopress_social_twitter_img_height":0,"_seopress_redirections_value":"","_seopress_redirections_enabled":"","_seopress_redirections_enabled_regex":"","_seopress_redirections_logged_status":"","_seopress_redirections_param":"","_seopress_redirections_type":0,"_seopress_analysis_target_kw":"","_seopress_news_disabled":"","_seopress_video_disabled":"","_seopress_video":[],"_seopress_pro_schemas_manual":[],"_seopress_pro_rich_snippets_disable_all":"","_seopress_pro_rich_snippets_disable":[],"_seopress_pro_schemas":[],"inline_featured_image":false,"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1400],"tags":[1133],"class_list":["post-2345","post","type-post","status-publish","format-standard","hentry","category-ressenyes","tag-llibres"],"acf":[],"taxonomy_info":{"category":[{"value":1400,"label":"Ressenyes"}],"post_tag":[{"value":1133,"label":"llibres"}]},"featured_image_src_large":false,"author_info":{"display_name":"jordi","author_link":"https:\/\/fima.ub.edu\/edl\/author\/jordi\/"},"comment_info":0,"category_info":[{"term_id":1400,"name":"Ressenyes","slug":"ressenyes","term_group":0,"term_taxonomy_id":1400,"taxonomy":"category","description":"","parent":0,"count":1352,"filter":"raw","cat_ID":1400,"category_count":1352,"category_description":"","cat_name":"Ressenyes","category_nicename":"ressenyes","category_parent":0}],"tag_info":[{"term_id":1133,"name":"llibres","slug":"llibres","term_group":0,"term_taxonomy_id":1133,"taxonomy":"post_tag","description":"","parent":0,"count":1214,"filter":"raw"}],"_links":{"self":[{"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/posts\/2345","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/comments?post=2345"}],"version-history":[{"count":1,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/posts\/2345\/revisions"}],"predecessor-version":[{"id":3861,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/posts\/2345\/revisions\/3861"}],"wp:attachment":[{"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/media?parent=2345"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/categories?post=2345"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/tags?post=2345"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}