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Pérez-Sánchez, Gema. Queer Transitions in Contemporary Spanish Culture: From franco to la movida. SUNY Series in Latin American and Iberian Thought and Culture. Albany: SUNY Pr. 2007. 
Added by: joachim (12/28/09, 2:56 PM)   Last edited by: joachim (11/6/13, 1:28 PM)
Resource type: Book
Language: en: English
ID no. (ISBN etc.): 0-7914-7173-X
BibTeX citation key: PrezSnchez2007
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Categories: General
Keywords: "Madriz", Balzola. Asun, Gender, Juan. Ana, Luque. Nazario, Martos. Victoria, Miralles. Ana, Nazario, Pérez Ortiz. Luis, Politics, Popular culture, Rubén, Spain (country), Underground Comics
Creators: Pérez-Sánchez
Publisher: SUNY Pr. (Albany)
Views: 24/685
Gema Pérez-Sánchez argues that the process of political and cultural transition from dictatorship to democracy in Spain can be read allegorically as a shift from a dictatorship that followed a self-loathing “homosexual” model to a democracy that identified as a pluralized “queer” body. Focusing on the urban cultural phenomenon of la movida, she offers a sustained analysis of high queer culture, as represented by novels, along with an examination of low queer culture, as represented by comic books and films. Pérez-Sánchez shows that urban queer culture played a defining role in the cultural and political processes that helped to move Spain from a premodern, fascist military dictatorship to a late-capitalist, parliamentary democracy.
The book highlights the contributions of women writers Ana María Moix and Cristina Peri Rossi, as well as comic book artists Ana Juan, Victoria Martos, Ana Miralles, and Asun Balzola. Its attention to women’s cultural production functions as a counterpoint to its analysis of the works of such male writers as Juan Goytisolo and Eduardo Mendicutti, comic book artists Nazario, Rubén, and Luis Pérez Ortiz, and filmmaker Pedro Almodóvar.

Table of Contents

List of Illustrations (ix)
Acknowledgments (xi)

Introduction (1)

1. Franco’s Spain and the Self-Loathing Homosexual Model (11)
2. Reading, Writing, and the Love That Dares Not Speak Its Name: Eloquent Silences in Ana María Moix’s Julia (35)
3. From Castrating Fascist, Mother-Nation to Cross-Dressed Late-Capitalist Democracy: Eduardo Mendicutti’s Una mala noche la tiene cualquiera (61)
4. A Voyage in Feminist Pedagogy: Citationality in Cristina Peri Rossi’s La nave de los locos (113)
5. Drawing Difference: The Cultural Renovations of the 1980s (143)

Conclusion (187)

Notes (197)
Works Cited (223)
Index (243)

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