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The Prohibited Backward Glance: Resisting Francoist Propaganda in Novels of Female Development

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The Prohibited Backward Glance: Resisting Francoist Propaganda in Novels of Female Development The Prohibited Backward Glance: Resisting Francoist Propaganda in Novels of Female Development by Megan Louise Briggs Magnant A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Hispanic Languages and Literature in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Emilie Bergmann, Chair Professor Alexandra Saum-Pascual Professor Emerita Paula Fass Spring 2019 Abstract The Prohibited Backward Glance: Resisting Francoist Propaganda in Novels of Female Development by Megan Louise Briggs Magnant Doctor of Philosophy in Hispanic Languages and Literature University of California, Berkeley Professor Emilie Bergmann, Chair This dissertation examines the unique ways in which three canonical novels of female development subtly responded to the Francoist propaganda that surrounded their production. In order to better understand the covert resistance in Carmen Laforet’s Nada (1945), Ana María Matute’s Primera memoria (1960), and Carmen Martín Gaite’s El cuarto de atrás (1978), I explore the strategies and patterns of the messaging presented to women in propagandistic magazines, textbooks, and manuals of social behavior published by the Sección Femenina (Women’s Section) of Franco’s regime. This propaganda promoted a model woman who was young, energetic, optimistic, cheerful, self-sacrificing, and just educated enough to educate her children; at the same time, internal paradoxes within the ideology of the Sección Femenina, the Falange, and the Franco regime provided apertures for critique, which I find in the selected novels. Building on the foundational work of David Herzberger, I read the authors’ choice of the female Bildungsroman genre as an inherently subversive move for its emphasis on growth and individuality, particularly in a woman. I also see specific mechanisms in each novel that deconstructed particular elements of Francoist doctrine. By revisiting the archive and the canon, I forge a new way of approaching both hegemonic and fictional representations of womanhood. In Chapter 1, “Andrea Writing and Wandering: Critical Passivity in Carmen Laforet’s Nada,” I show how Laforet questions in particular the requirement that women be both cheerful and subservient. While other critics have debated whether protagonist Andrea has grown or changed in order to argue that the novel can or cannot be categorized as a Bildungsroman, I see Andrea’s passivity as in fact critical: she completely opts out of system by aimlessly wandering city streets, wasting money, and seeking both privacy and friendship in nonstandard ways. Chapter 2, “Destabilizing Dichotomies in Ana María Matute’s Primera memoria,” investigates how Matute also undermines Sección Femenina doctrine, in this case by focusing on the deconstruction of absolutes and the courting of complexity and uncertainty. Whereas the propaganda encourages unity of the individual, which in turn served the unity of society, Matute instead creates opposites that can coexist, such as a natural world that is both nurturing and menacing, which reflects a simultaneous fear and interest in growing up. Finally in Chapter 3, “In Search of Breadcrumbs: Circling Back Through the Past in Carmen Martín Gaite’s El cuarto de atrás,” I turn to the only work in this study that was published after Franco’s death, which 1 Franco’s death, which allows Martín Gaite to bring to the forefront many of the issues only hinted at in the previous two works. In performing the prohibited backward glance that she discusses in her historical work, she boldly circles back through her past memories in order to reclaim them; as she loops through history, memory, conversations, and storytelling, she rejects the mundane circularity imposed upon women. 2 Table of Contents Acknowledgements ii Introduction 1 “Prohibido mirar hacía atrás” Chapter 1 20 Andrea Writing and Wandering: Critical Passivity in Carmen Laforet’s Nada Chapter 2 45 Destabilizing Dichotomies in Ana María Matute’s Primera memoria Chapter 3 75 In Search of Breadcrumbs: Circling Back Through the Past in Carmen Martín Gaite’s El cuarto de atrás Conclusion 103 Looking Back, Looking Forward Works Cited 106 i Acknowledgements It is truly with immense gratitude that I complete this dissertation. First, I would like to extend my sincere thanks to the chair of my dissertation committee, my dear advisor and mentor Emilie Bergmann, who has encouraged me as a scholar since my early days in the program at University of California, Berkeley. Emilie is a role model in so many ways. Over the years, she read countless drafts of my dissertation, with an eye toward the big picture and also the details. She suggested readings, asked questions, and brainstormed new ideas to incorporate, all in a constructive and affirming way that still pushed me to improve my work and grow intellectually. She also valued me as a full being even outside the academic realm. It has been an honor to have had the opportunity to work with Emilie. I would also like to thank the other members of my dissertation committee. Alex Saum- Pascual was a thoughtful and detailed reader whose comments and questions challenged me to be a better writer and scholar. Classes and meetings with Alex were always invigorating and productive, so that I would leave them feeling uplifted and inspired, with a renewed interest and passion for my own project. She is an outstanding intellectual, teacher, and mentor. Paula Fass of the History Department helped me build a better foundation in my understanding of the history of childhood, children, and families, helping me to see how I might ground my literary analysis in its historical context. Her seminar prompted me to start the research that became a fundamental part of my dissertation’s contribution to the field. My journey toward my doctoral degree owes so much to the many educators throughout my life, who helped bring me here to Berkeley—especially my high school Spanish teachers, who made the language come alive and supported me in cultural exchange programs, and Elena Gascón-Vera, Jill Syverson-Stork, and Carlos Ramos, my professors at Wellesley who solidified my passion for Spanish literature and helped me to become a more analytical reader and writer. Now, my years here at the University of California, Berkeley have been enriched by the curiosity and drive of my own students in our Spanish language and literature classrooms, my enlightening coursework with some of the most preeminent scholars, and the continuous nurturing generosity of our graduate advisor Veronica Lopez. And to my dear friends and colleagues Holly and Molly, thank you for the ongoing support, humor, and camaraderie—we made it! Finally, completing my dissertation would not have been possible without the support of my family. To my parents I owe everything. My mother Jenifer has taught me compassion, kindness, and perseverance. My father Bill inspired me from an early age to appreciate art and literature, and has continued to volunteer as my proofreader for this very dissertation. Last but certainly not least, my husband Joe has stood by my side through all the ups and downs of the PhD, never doubting my capabilities. He has joined me on writing retreats and research trips, reminded me to take breaks, celebrated my achievements—to name just a few of the ways in which I have always felt his enduring support. My daughter Stella has complemented the often solitary and intense work of the dissertation with the joy and light she has brought into my days. She has shown me that motherhood can enrich and deepen our academic work, inspiring me to be successful and productive, yet also helping me find a balance between work and family. Joe and Stella have moved across the country so that I could pursue my academic goal, and they have made that goal achievable and its attainment enjoyable: for this I will be forever grateful. ii Introduction “Prohibido mirar hacia atrás” In her well known historical work Usos amorosos de la postguerra española (1987), Carmen Martín Gaite famously claims that during the three-decade dictatorship of Francisco Franco it was “Prohibido mirar hacia atrás” (13), particularly back to the brutal realities of the Spanish Civil War (1936-1939) and to daily life in the immediate postwar. In her memory it was plagued with hunger, cold, rationing, social control—to mention nothing of the more systematic violence committed against the Spanish people. The repression of these memories, and then the great deluge of memoirs and novels of memory after Franco’s death in 1975, has become ubiquitous in Spanish literary history, and Martín Gaite’s 1978 novel, El cuarto de atrás (the subject of the third chapter of this dissertation), is her contribution to and critique of that explosion of narrative production after Franco’s death. The act of writing about the past takes on a subversive nature when framed in this context. Critic David Herzberger has made a similar claim in his seminal book Narrating the Past: “Writing the past thus becomes a twofold endeavor: it is a way to write and to act against the grain, as well as a means to develop narrations that allow (and even compel) the opening of history to divergence” (2). Martín Gaite reminds us in her introduction to Usos amorosos de la postguerra española of the important connections between history and fiction: empecé a reflexionar sobre la relación que tiene la historia con las historias y a pensar que, si había conseguido dar un tratamiento de novela a aquel material extraído de los archivos, también podía intentar un experimento al revés: es decir, aplicar un criterio de monografía histórica al material que, por proceder del archivo de mi propia memoria, otras veces había elaborado en forma de novela. (11-12) For Martín Gaite herself, this historical work is intrinsically connected to El cuarto de atrás, which provides an aperture that hints at the kind of inter-genre work that can be done—not only within an author’s own oeuvre, as Sara Brenneis has adeptly done in her book Genre Fusion, but also by placing it, along with works by other authors who also dared to recover history, against Francoist rhetoric.
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