Ramón José Sender

Borja Rodríguez Gutiérrez

El relato corto, elegante y conmovedor de los efectos tragicos de la guerra civil española (1936-1939) sobre una pequeña población de Aragón, es frecuentemente considerada la obra mas lograda de Ramón J. Sender.

Réquiem por un campesino español

Jean-François Botrel

Juan Molina Porras

Leonardo Romero Tobar

Raquel Gutiérrez Sebastián

José María Ferri Coll

Montserrat Ribao Pereira

Mª de los Ángeles Ayala Aracil

Ángeles Quesada Novás

Enrique Rubio Cremades

Marta Palenque

El incremento de las publicaciones acompañadas de ilustración gráfica durante el siglo XIX se debió a la mejora en la alfabetización de los lectores, al papel propagandístico del que precisaban los movimientos políticos que se sucedieron en el mundo occidental desde finales del XVIII, a los avances técnicos y a los intereses mercantiles de las empresas comerciales consagradas a la industria editorial. Estos últimos precisamente explican el modo de actuación de los propietarios de las editoriales, quienes se volcaron en el empleo de ilustraciones en sus publicaciones. La ampliación de la producción y el consumo de textos impresos darían ocasión a lo largo del XIX a una multiplicación de posibilidades para el diálogo entre pintura y literatura. En la lengua conversacional de esa época, distintas palabras –monos, santos, láminas– nombrarían las imágenes, desatendiendo su proyección en los textos lingüísticos. Hoy, para denominar la relación pintura y literatura, se emplean términos técnicos como iconotextoen que se incardinan ambas vertientes artísticas, si bien Benito Pérez Galdós ya había acuñado el marbete texto gráfico léxico. Sistematizar tal relación explicando cómo se produjo en el curso del xix en sus diferentes géneros literarios es el objetivo de esta obra.

Historia de la literatura ilustrada española del siglo XIX

Federico García Lorca

As he wrote La casa de Bernarda Alba, Federico Garcia Lorca explained: "drama is poetry that escapes the book and becomes human. And as it is being made it talks and shouts, cries and despairs." Lorca saw in theatre the most perfect means to reach people's souls, more immediate and effective than poetry, and he kindled this possibility even amidst difficult times. Lorca is, mainly, a poet, and as so his plays possess great visual as well as linguistic virtue. The last of the rural tragedies -Bernarda Alba was preceded by Bodas de sangre (1933) and Yerma (1934)- was finished in June 1936. It was meant to open in Buenos Aires in October, played by the Margarita Xirgu company, but Lorca was murdered in July. War events postponed the opening until 1945, but in Spain the play would stay banned until 1964. The plot is deceivingly simple: Bernarda Alba exerts a tyrant control upon her daughters, who live as prisoners within her house walls. The conflict is deprivation of freedom, blown up to tragic proportions by the death of Bernarda Alba's second husband and her decision to impose eight years of strict mourning. But this mourning goes far beyond the usual black clothing: during the following eight years no one will leave the house, and no man will enter. The reclusion is the results of them being women of a certain social position. The authority/freedom conflict is visible through the submission of the feminine condition -the subtitle Drama of women in the towns of Spain highlights this-. Freedom is stifled by the prejudices of a social class enslaved by appearance and tortured afraid by gossip. Lorca's theatrical experience is highly noticeable in his way of highlighting the conflict without superfluous details: lighting, costumes, text and language, and the actresses' movements, everything is measured to the last millimeter. And the closing words of the main character become a remarkable premonition of what would shroud Spain during many following years. "And I do not want sobbing. Death must be stared in her face." " Silence, silence I have said! Silence! Professor Borja Rodriguez-Gutierrez adds to this edition a clear introductory essay that dismantles Garcia Lorca's clockwork mechanism, while introducing annotations that allow the reader to fully grasp the meaning of this influential cornerstone of Hispanic letters.

La casa de Bernarda Alba

Borja Rodríguez Gutiérrez

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