ABSTRACT Este artículo plantea cómo en los años setenta se produjo una coyuntura intelectual que coincide con un momento histórico de transformaciones en el campo literario postfranquista. Se pone el foco en la labor de Ana María Moix y su relación con la revista Vindicación Feminista, con el fin de proponer dos casos representativos de dinámicas que estaban teniendo lugar en la prensa cultural española de los setenta. Del rol de Moix en la prensa se pueden extraer valores literarios y políticos, como se intenta demostrar con los ejemplos de Rosa Chacel y Felicidad Blanc, y se puede ampliar el conocimiento sobre la trayectoria de una de las escritoras más importantes del siglo veinte en España.

ABSTRACT Patricia Font’s historical drama, El maestro que prometió el mar (2023), focuses on the pedagogy of Antoni Benaiges (1903–1936), a Republican educator who served for two years at a school in rural Burgos prior to being assassinated just days after the Nationalist uprising in July 1936. Focused also on the efforts to recuperate the legacy of Benaiges, whose body was deposited in a mass grave and has never been identified, the film employs a dual timeline narrative, telling interconnected stories in the past and the present to shed light on pre-Civil War education and contemporary discourses and practices of historical memory in Spain. Benaiges embraced the pedagogical principles of Célestin Freinet, who advocated the use of manual printing presses which students used to create their own publications. By conducting a close reading of the film alongside the historical record, this article posits that Benaiges was a transgressive pedagogue, one who challenged the status quo and ultimately paid with his life. The article ruminates on Benaiges’s transgressive approach and use of Freinetian methods to argue that the film enhances our understanding of educational innovation in pre-Civil War Spain and the ongoing efforts to recuperate the memory of victims of Francoist violence.

ABSTRACT Painted as a celebration of creativity, plurality and feminist subcultures, la Movida madrileña was central to the 1980s nostalgia which permeated the Spanish narrative fiction produced at the beginning of the new millennium. Luisa Castro’s 2001 novel El secreto de la lejía recounts the lesser-represented experiences of a young Galician woman who moves to the Spanish capital to pursue a writing career during the Movida through an experimental, multigenre exploration of suffering and personal growth. This article shows how El secreto de la lejía unmasks dark realities of the Movida for the female outsider, contradicting interpretations of its universal social inclusivity. Through an intersectional feminist framework, it is argued that indicators of progress such as women’s independence, literary production and cultural plurality remain acutely subjected to discourses of power as the protagonist navigates the threatening atmosphere of elite artistic spaces at the cost of her own wellbeing. Castro’s novel fundamentally disrupts the mythologization of the Movida’s spirit of progress from a minoritized perspective, revealing the instability of the period and the enduring influence of heteropatriarchal power structures in Spain’s nascent democracy.

ABSTRACT “Roundtable: The Spatial Politics of Everyday Life” is an edited version of an online-session which took place via Zoom on 9 May 2025 as part of New York University’s el taller @KJCC, a non-hierarchical intellectual community in the Inter-University Doctoral Consortium founded in Summer 2020 to foster humanistic inquiry and collaboration relating to the arts, literatures, cultures and histories of the Iberian Peninsula with no limits regarding periodization or language choice. The session was conceived as a joint book presentation of Megan Saltzman’s Public Everyday Space: Cultural Politics in Neoliberal Barcelona, Enric Bou’s Cartographies of Disappearance: Vestiges of Everyday Life in Literature and Susan Larson’s edited volume Comfort and Domestic Space in Modern Spain. The text follows the same structure of the original session, although it has been reduced, edited and restructured for clarity and to adapt the conversation to a reading format. Moderated by Vicente Rubio-Pueyo, the conversation opens with a general question to the authors, asking each of them to put these issues of space and everyday life into the context of their respective works. It is then followed by the three authors’ respective book presentations.

ABSTRACT El Agua (2022) es la ópera prima de Elena López Riera. Rodada en Orihuela, un pueblo al sur de la Comunidad Valenciana, una riada amenaza de nuevo con desbordar el río que lo atraviesa. El agua “se mete dentro” de algunas mujeres y se las lleva en cada riada, según la vieja leyenda que circula en el pueblo de Orihuela. Este artículo examina la forma en que El Agua rompe el sortilegio de esta vieja creencia, transformando el miedo atávico en liberación. López Riera nos invita a una reinterpretación subversiva del mito del agua, un mito nacido del miedo y de la opresión. En cuanto al marco teórico, seguiremos, por una parte, las publicaciones de Georges Dumézil ([1970] 1990) y Claude Calame (1997) en el ámbito de la mitología. Por otra parte, en el campo del género, la noción de “female gaze” (Iris Brey 2020 [2018]) y de “sororidad” (Chloé Delaume 2019) permitirán mostrar cómo la cineasta oriolana desafía el poder del mito en este pueblo de la Vega Baja donde pesan demasiado los atavismos.