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Jorge Guillén interrupted his exile to visit Spain in the 1960s and 1970s before returning for good in 1977. This article examines the effects on his poetry of his progressive return to Spain. In Y otros poemas (1973) and Final (1981) Guillén rethinks his place and that of his works in Spanish reality and history. He insists on remembering the effects of the Civil War, brings attention to his exile poetry, and highlights the role of the reader in the survival of his work. In order to understand Y otros poemas and Final, it is key to connect them to the ethical awakening that exile provoked in his writing. The analysis of his acknowledgment of the relational dimension of poetry during his exile reveals that his return, far from becoming a break from his previous work, meant a conscious reiteration of the lessons that he had learned outside of Spain.

In the context of the transformations that Europe is undergoing, Zoom in, Zoom out: Crossing Borders in Contemporary European Cinema attempts to serve as a testimony to the multiple ways in which European filmmakers are questioning the many borders of the continent. European films have become a vital cultural space where the relationship between borders and identity is being renegotiated. The films discussed here self-consciously address the question of European identity while overtly crossin.

This paper examines the impact of exile on the literary works of Pedro Garfias, an outstanding Ultraist poet who was forced to flee Spain after the outbreak of the Spanish Civil War. Primavera en Eaton Hastings (1941), the first book of poetry written by Garfias after having left Spain, reflects, both in structure and content, the challenges of writing in exile. Profoundly affected by isolation and the memories of the war, the poems of Pedro Garfias in exile are informed by an urgent sense of responsibility and guilt that questions the limits of the writing itself. Primavera reflects the ethical dimension that Emmanuel Levinas claims as fundamental in the subjectivity. War and exile oblige Garfias to reconsider his identity and to realize that it is not autonomous, but rather dependent on the other. Likewise, he discovers that writing in exile is primordially a responsible act. Having the victims of the Spanish Civil War as its ultimate addressees, Garfias proposes a poetry that talks to —and not about— the Other. The urge to communicate with their addresses without turning them into an object of the poetic voice makes Garfias defy the bucolic conventions and go beyond the limits of aestheticism. Although Garfias had already pursued a more profound and rich encounter with his addresses in the poems he wrote before the Spanish Civil War, it will be in exile when he finally reaches a more satisfactory poetics.

Diversos autores han considerado este libro la expresión de dolor de Garfias ante la derrota en la Guerra Civil y el consiguiente exilio en Inglaterra.1 Una nota preliminar en la primera edición de Primavera en Eaton Hastings de 1941 parece legitimar esta lectura al especificar que el libro fue \"escrito en Inglaterra, durante los meses de abril y mayo, de 1939, a raíz de la pérdida de España\" (332, énfasis mío).2 Sin embargo, es necesario analizar la verdadera relevancia que esa \"pérdida de España\" tiene en relación con el sentimiento de separación radical a nivel más profundo que se deja traslucir en algunos de los poemas que Garnas escribió antes de su exilio inglés.3 En este sentido, es crucial estudiar cómo en el exilio el recuerdo del fallecimiento real de las víctimas de la guerra hace que la voz poética de Garfias cuestione la introyección narcisista de la alteridad perdida y confiera una nueva significación a la ausencia del otro en la identidad, la memoria y la poesía.

Reseña de This Ghostly Poetry. History and Memory of Exiled Spanish Republican Poets de Daniel Aguirre-Oteiza.