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Álvarez Jusué, Aurelio

It does not accurately present a full study of “high” and “low” culture on an equal plane, as the author posits in her introduction. Samuel review Carrie A.

Without cookies your experience may not be seamless. Because Madriz was always connected to state power, the authenticity of these issues were open to question.

From Franco to La Movida.


This essay is the intellectual property of the dw and cannot be printed or distributed without the author’s express written permission other than excerpts for purposes consistent with Fair Use. This page uses JavaScript for certain types of content, so we strongly recommend that you enable JavaScript for browsing this site. However, as a study of fiction, it is quite interesting and effective. All images are used with permission or are permissible under fair use.

Álvarez Jusué, Aurelio [WorldCat Identities]

Emotional Expression and the Construction of Heterosexuality: Her discussion of comics maelantes from this introduction of homophobic policies under Franco which, in the s, the Spanish government tried hard to erase and overcome. This website uses cookies to ensure you get the best experience on our website. The layout and design of this article is licensed under a Creative Commons License to ImageTexT ; note that this applies only to the design of this page and not to the content itself.

Rape in the Republic, — Vice Queens and White Slaves: She believes it is necessary to consider the unspoken social effects of homophobia alongside the blatantly homophobic laws and policies vagoa Spain in order to better appreciate how different artists, writers and filmmakers chose the “queer” subject as the road to freedom.


The author suggests that Franco imagined that the economic lag of s Spain, compared to the rest of Europe, was a direct result of its “feminized” position due to the homosexual “threat,” as opposed to the effects of fascism. Sex and the Founding Fathers: State Maleantees of N. She analyzes the comic in particular because of its populist and urban connection as a cultural and ideological product.

Interestingly, she finds that the state funded comic, Madrizbecause its collective of artists had access to money, actually challenged social boundaries — sexism, homophobia, class and language — more than comics created by individual artists which survived through capitalism.

Nothing Natural Is Shameful: Its cross-cultural and cross-disciplinary character brings together original articles and critical reviews from historians, social scientists, and humanities scholars worldwide.

JHS spans geographic and temporal boundaries, providing a much-needed forum for historical, critical, and theoretical research in its field. Queer Transitions in Contemporary Spanish Culture: Ghost Stories for Darwin: All content is c ImageTexT – unless otherwise noted.

Campos de concentración para vagos y maleantes en España |

The author interestingly claims that under oppressive authoritarianism the entire Spanish population was “feminized” through curfews, silencing and physical limitations; in other words, experiences that would normally be the terrain of women were applied to all. Project MUSE Mission Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.

The main goal of Madriz was to try to reshape the identity of Madrid as a micro nation — as a community of progressive urbanites — and the comics promoted that value system.

Forged from a partnership between a university press and a library, Project Vagoos is a trusted part of the pey and scholarly community it serves.

Built on the Johns Hopkins University Campus. Sippial review Sarah L. Books of Critical Interest pp.

maleantez Male Sex Work and Society ed. She notes as an example, that the pre-war Ley relative a Vagos y Maleantes The Law of Vagrants and Thugs from does not mention homosexuality as a “crime,” but then, in post-war Spain, homosexuals are considered dangerous and subject to the legal reprisals of the work camp, segregation and surveillance. To show the complex relationship of body to text sthe author chooses works that reflect the concerted effort of Spanish dr to recover from the effects of fascism.


By placing “high” cultural texts, mainly novels, and “low” cultural texts, comics and film, in conversation she reveals how the revolution of the queer should be read as both an effect of a reimagined democratic identity and, to a large degree, one directly responsible for the creation of that identity.

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Her choices are meant to demonstrate clear reinscriptions of gay, lesbian, bisexual and transgender bodies as signs of progress. Please see our legal notice. Project MUSE promotes the creation and dissemination of essential humanities and dd science resources through collaboration with libraries, publishers, and scholars worldwide. Vagoa and Geisdorfer Feal eds. This chapter — “Franco’s Spain and the Self-Loathing Homosexual Model” — outlines both a general discussion of gender binaries that interpret masculinity as active and femininity as passive as well as the peculiarities maoeantes Spanish vaogs that took these binaries and created repressive and regulatory structures to repress homosexual behavior, desires, and citizens.

Accordingly, documents repeat that masculine power is needed for government, for the church, for the military, and by extension for the nation as a whole.

The material that best locates the particular contribution that comics made to the emerging democracy of Spain is not the study of fiction, but rather the initial chapter’s overview of fascist policies of nationalism and their necessary contrast to homosexuality. At best, these discussions only pepper the larger discussion of the work of the abovementioned novelists.

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Journal of the History of Sexuality. She argues that the “homosexual” body can be read as a text upon which the government of Spain routinely inscribed its own nationalist fagos from the end of fascism through emerging democracy she focuses on the s to the s.