Using mnemonics is an age-old technique for remembering names, numbers, and many other things. In Spanish Memory Book, William Harrison and Dorothy Welker offer original mnemonic rimes that are by turns amusing, ironic, pathetic, sentimental, and sardonic to help students and independent learners acquire and remember Spanish vocabulary. Included are mnemonic jingles for 700 of the 2,000 most commonly used Spanish words. Each jingle contains both the sound of the Spanish word and its English meaning. The authors have included a general pronunciation guide to Spanish vowels and consonants. This innovative approach, which the authors have used successfully with their own students, is simple, effective, and entertaining. In the words of one student, "This book teaches me not only Spanish words but English words as well."

Mnemonics is an age-old device for remembering names, numbers, and many other things. As in the authors' previous Memory Books, the Intermediate Spanish Memory Book makes use of this reliable memory help in a series of mnemonic jingles that are by turns playful, sardonic, touching, and heroic to help both students and independent learners acquire and remember Spanish vocabulary. The 500-plus words in this book represent a more advanced vocabulary than those in the Spanish Memory Book (1990) and the Spanish Memory Book, Junior Edition (1993). The mnemonic jingles present both the sound of the Spanish word (indicated by syllables in italic type) and its English meaning (given by a word or phrase in boldface type): merienda: picnic, afternoon tea Mary, end a boring picnic. Just say, "I'm going home. I'm sick, Nick." This innovative approach to vocabulary building is simple, effective, and entertaining.

Mnemonics is an age-old technique for remembering names, numbers, and many other things. In Spanish Memory Book, Junior Edition, William Harrison and Dorothy Welker offer onginal mnemonic rimes appropriate in subject matter and skill level for junior high and high school students to help them acquire and remember Spanish vocabulary. Included are mnemonic jingles for several hundred of the 2,000 most commonly used Spanish words. Each jingle contains both the sound of the Spanish word and its English meaning. The authors have also included a general pronunciation guide to Spanish vowels and consonants. This innovative approach, which the authors have used successfully with their own students, is simple, effective, and entertaining. In the words of one student, "This book teaches me not only Spanish words but English words as well."

In recent years, much Spanish literary criticism has been characterized by debates about collective and historical memory, stemming from a national obsession with the past that has seen an explosion of novels and films about the Spanish Civil War and Franco dictatorship. This growth of so-called memory studies in literary scholarship has focused on the representation of memory and trauma in contemporary narratives dealing with the Civil War and ensuing dictatorship. In contrast, the novel of the postwar period has received relatively little critical attention of late, despite the fact that memory and trauma also feature, in different ways and to varying degrees, in many works written during the Franco years. The essays in this study argue that such novels merit a fresh critical approach, and that contemporary scholarship relating to the representation of memory and trauma in literature can enhance our understanding of the postwar Spanish novel. The volume opens with essays that engage with aspects of contemporary theoretical approaches to memory in order to reveal the ways in which these are pertinent to Spanish novels written in the first postwar decades, with studies on novels by Camilo José Cela, Carmen Laforet, Arturo Barea and Ana María Matute. Its second section focuses on the representation of trauma in specific postwar novels, drawing on elements from trauma studies scholarship to discuss neglected works by Mercedes Salisachs, Dolores Medio and Ignacio Aldecoa. The final essays continue the focus on the theme of trauma and revisit works by women writers, namely Carmen Laforet, Rosa Chacel, Ana María Matute and María Zambrano, that foreground the experiences of female protagonists who are seeking to deal with a traumatic past. The essays in this volume thus propose a new direction for the study of Spanish literature of 1940s, 1950s and early 1960s, enhancing existing approaches to the postwar Spanish novel through an engagement with contemporary scholarship on memory and trauma in literature.

The 2015 law granting Spanish nationality to the descendants of Jews expelled in 1492 is the latest example of a widespread phenomenon in contemporary Spain, the "re-discovery" of its Jewish heritage. In The Memory Work of Jewish Spain, Daniela Flesler and Adrián Pérez Melgosa examine the implications of reclaiming this memory through the analysis of a comprehensive range of emerging cultural practices, political initiatives and institutions in the context of the long history of Spain's ambivalence towards its Jewish past. Through oral interviews, analyses of museums, newly reconfigured "Jewish quarters," excavated Jewish sites, popular festivals, tourist brochures, literature and art, The Memory Work of Jewish Spain explores what happens when these initiatives are implemented at the local level in cities and towns throughout Spain, and how they affect Spain's present.

Focusing on seven literary texts produced in the post-millennial period, this monograph examines the relationship between space and Republican memory and the reconfigurations of power in the Civil War, Franco Dictatorship, Transition and the resurgence period. Ryan combines scholarship on the history of spatiality in Spain with sociological literature on memory and identity, demonstrating the intertwinement of historical change and spatial transformation with the individual Republican struggle to maintain continuity with a marginalized identity.

An open-minded and clear-eyed reexamination of the cultural artifacts of Franco's Spain True, false, or both? Spain's 1939-75 dictator, Francisco Franco, was a pioneer of water conservation and sustainable energy. Pedro Almodóvar is only the most recent in a line of great antiestablishment film directors who have worked continuously in Spain since the 1930s. As early as 1943, former Republicans and Nationalists were collaborating in Spain to promote the visual arts, irrespective of the artists' political views. Censorship can benefit literature. Memory is not the same thing as history. Inside Spain as well as outside, many believe-wrongly-that under Franco's fascist dictatorship, nothing truthful or imaginatively worthwhile could be said or written or shown. In his groundbreaking new book, Franco's Crypt: Spanish Culture and Memory Since 1936, Jeremy Treglown argues that oversimplifications like these of a complicated, ambiguous actuality have contributed to a separate falsehood: that there was and continues to be a national pact to forget the evils for which Franco's side (and, according to this version, his side alone) was responsible. The myth that truthfulness was impossible inside Franco's Spain may explain why foreign narratives (For Whom the Bell Tolls, Homage to Catalonia) have seemed more credible than Spanish ones. Yet La Guerra de España was, as its Spanish name asserts, Spain's own war, and in recent years the country has begun to make a more public attempt to "reclaim" its modern history of fascism. How it is doing so, and the role played in the process by notions of historical memory, are among the subjects of this wide-ranging and challenging book. Franco's Crypt reveals that despite state censorship, events of the time were vividly recorded. Treglown looks at what's actually there-monuments, paintings, public works, novels, movies, video games-and considers, in a captivating narrative, the totality of what it shows. The result is a much-needed reexamination of a history we only thought we knew.