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1

Fantasmas en un desierto que brilla o la soledad del lector de palimpsestos. Los relatos del regreso en Max Aub, Francisco Ayala y Arturo Barea

100%
Peris Llorca J.
Estudios Hispánicos
|
2017
|
vol. 25
53-63
EN
During the long years of exile, writers like Max Aub, Francisco Ayala or Arturo Barea wrote stories in which they fictionalized the returns of the exiles before their own returns occurred. This is the case of the works collected in Las vueltas (1965) originally written in 1947, 1960 and 1964, and of Max Aub’s story “El remate” (1965), of “El regreso”, by Francisco Ayala (1948) and of the novel La raíz rota by Arturo Barea (1951). In this article I intend to draw the common lines of meaning between all these fictions and compare them with La gallina ciega. Diario español, written by Max Aub during his trip to Spain in 1969, the first time he visited since his departure in 1939 by Cerbère. We will check there the confirmation of some of the fears of the exiles expressed in the anticipatory works, the strangeness in the new country, the tendency to read its landscapes and its cities like palimpsests inhabited with ghosts and the impossibility to trace a membership to any community other than that of exile.
2

La intrahistoria de la guerra civil española de 1936 según Arturo Barea

99%
Bender E.
Roczniki Humanistyczne
|
2014
|
vol. 62
|
issue 5: Neofilologia
145-154
ES
En el artículo se estudia el carácter intrahistórico de la autobiografía de Arturo Barea, La forja de un rebelde, buscando puntos comunes entre el autobiografismo histórico de Arturo Barea y el ensayismo intrahistórico de Miguel de Unamuno. Ambos autores vivieron en momentos dramáticos de la historia española. Su gran sensibilidad humanística les empujó a buscar las raíces de los males de su patria. Unamuno se propuso estudiar la llamada intrahistoria del pueblo español, equivalente a la vida cotidiana de los individuos. Arturo Barea aplicó un método bastante parecido: al reconstruir minuciosamente su propia vida pretendió entender la historia de su pueblo, centrándose en la traumática experiencia de la Guerra Civil española.
PL
Celem artykułu jest ukazanie wpływu unamunowskiej koncepcji Intrahistorii na struktury narracyjne występujące w książce pt. La llama („Płomień”), należącej do autobiograficznej trylogii Artura Barei La forja de un rebelde („Kuźnia buntownika”). W La llama autor rysuje bardzo szczegółowy obraz życia cywilów w obleganym przez frankistowców Madrycie podczas hiszpańskiej wojny domowej 1936 r. Książka opiera się na osobistych wspomnieniach pisarza oraz na relacjach osób, z którymi Barea stykał się podczas wojny. Dzięki zastosowaniu narracji historycznej oraz intrahistorycznej autorowi udaje się stworzyć bardzo szczegółowy i przekonywujący obraz bratobójczego konfliktu, pełen emocji oraz osobistych tragedii ludzkich. Zwracając uwagę na codzienność narodu uwikłanego w tzw. wielką historię oraz opisując losy pojedynczych anonimowych postaci, Barea odbrązawia wyidealizowany obraz wojny. Forma, w jakiej przedstawia bolesne wydarzenia XX-wiecznej historii Hiszpanii, doskonale wpisuje się w najnowsze tendencje badań nad przeszłością.
EN
The article discusses Miguel de Unamuno’s concept of intrahistoria and its influence on the narrative structures of La llama (The Clash), the third volume of Barea’s autobiographical trilogy entitled La forja de un rebelde (The Forging of a Rebel). The Clash offers a detailed picture of civilians’ life during the Siege of Madrid that took place during the Spanish Civil War of 1936. The book is based on the author’s memoirs and the accounts provided by people Barea met when the city was surrounded by the troops under General Franco. Historical and intrahistorical narration enables the author to portray the fratricidal conflict in a very detailed and convincing way. Barea focuses on the everyday life of the nation involved in the so-called “great history,” depicts the fates of anonymous individuals, their emotions and personal tragedies and in this way he debunks the idealized image of war. The form employed to present the painful experiences of the twentieth-century Spain pertains to the latest trends in the studies on the past
3

"La raíz rota" de Arturo Barea: destiempo ficcionalizado y autobiografía figurada

72%
Bender E.
Estudios Hispánicos
|
2018
|
vol. 26
17 - 26
EN
The Broken Root by Arturo Barea — a novel in which the author imagines the return to his homeland after ten years in exile — is considered a fictional continuation of the famous autobiographical trilogy The Forging of a Rebel. The analysis of The Broken Root and the knowledge of Barea’s biography allow for the observation that in the novel the so-called destiempo, that is the sense of strangeness experienced by the migrants returning home, is fictional. The protagonist — Antolin — a persona inspired by the writer himself, allows the author to “experience”, or actually to imagine his meeting with the family that remained in Spain. In this way he creates a hypothetical / imagined autobiography that helps him overcome the longing for homeland and the sense of guilt over abandoning the family. The events are fictional, yet probable, but the feelings expressed by the protagonist seem to reflect the real feelings of the author.
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