n
6. NOVEL OF POSGUERRA During the DECADE OF THE FOURTY there is a cut in the evolution of the Spanish narrative, due to a number of reasons: death of certain authors, forced exile of others and censorship and impossibility of import Tos texts of authorsForeigners After the Civil War, there is a break in the Spanish narrative with the nineteenth century as well as with the Generation of 27, marked by dehumanized art.During this time three types of novels will be developed.7 First, we find the novel of exile, treating both traditional realism and avant-garde.We highlight Aub (“The magic labyrinth”), Sénder (“Requiem for a Spanish peasant”), Chacel (“Memories of Leticia Valle”) and Ayala (“The bottom of the glass”).In most of them there is a constant recreation of the past and a painful assumption of the present, which will be seen in topics such as: Memories of childhood and adolescence;the tragic experience in war and the consequences and the discovery of American reality.5 Next we find the traditional novel that is reflected in three trends.On the one hand in the nationalist novel, which is written from the perspective of the victors showing the ideological vision of the Falangists and claiming certain values.This novel is represented by Gonzalo Torrente Ballester with his work “Javier Mariño”.On the other hand we find the realistic novel, in the style of traditional realism of Galdós.Reproduce the life of the bourgeoisie with stories of extensive argument.Highlights: Zunzunegui and Gironella (“Cypresses believe in God”).Finally we find the fantastic and humorous novel, in which humor predominates and the creation of imaginary worlds rejecting the reality that proved too terrible.Wenceslas highlights with “The animated forest.”On the other hand we find the existential novel and the tremendismo that supposed the development of two subjects: the uncertainty of the human existence;and the difficulty of communication between men.These are usually autobiographical novels in which the characters are distressed and indecisive about the future.We highlight three authors such as Camilo José Cela, who has a clear naturalistic and picaresque influence and that inaugurates the tremendista tendency (“Pascual durarte’s family”).Then we find Carmen Laforet, whose novel translates the deep existential anguish for the lack of effective communications;it will be she who will enter the autobiographical novel (“Nothing”).Finally we must specify Delibes with novels such as “The shadow of the cypress is lengthened”.During the DECADE OF THE FIFTY, Spain gradually jumped out of isolation, entering the peak in its acceptance in the UN in 1955. There is a development of the economy and literature fulfills the function of informing the reader of what did not appear inthe media, seeing in the authors an ethical commitment to reality.During these years, certain external tendencies were incorporated into Spanish literature: Behaviorism based on the separation of the character’s internalization (John Dosspassos and Ernest Hemingway);French objectivism, inspired by the new novel in which the narrator only shows the facts (Marguerite Duras);and Italian Neorealism, from cinema and literature (Alberto Moravia).The social novel was practiced by the Generation of the half century.Its purpose was to testify to the living conditions of the Spaniards and was preceded by Cela (“La Colmena”) and Luis Romero (“La Noria”).These authors took two trends.On the one hand objectivism, which aims to collect only the actions and words of the characters embodied in abundant dialogues highlighting Atdecoa (“The rage and the blood”);Fernández Santos (“Los bravos theater”);Delibes (“The way”);and Ferlosio (“El Jarama”).And on the other hand the Critical Realism that arises from an evolution of objectivism.The authors try to denounce social injustices.That is why he accepts a commitment to reality and tries to capture the causes and effects of social inequality.Type characters, linear storytelling and colloquial registration will be common.Highlights: Ofmef’Ayer, October 27 “); Juan Goytisolo (” End of the party “); Caballero (” Two days of September “); Grosso (” La Granja “); and Delibes (” Las ratas “).Martin Gaite (“Between visits”); Juan Goytisolo (“Game of Hands”); Matute (“Small Finally, in the DECADE OF THE SIXTY, there are criticisms about the poverty of the realistic style. There is an improvement in conditionspostwar This new novel receives two clear influences: from European and North American authors such as Joyce, and Spanish Americans like Julio Cortázar or García Márquez, who specifically a more complex, formalistic, opaque and minority novel, since it requires the reader’s collaborationThe main characteristics are, for example, the use of narrative perspectivism) and the counterpoint (account of several simultaneous stories);also the inner monologue, the Direct Style