Aunt Tula (La tia Tula), published in 1921, is one of the few novels written by Miguel de Unamuno to centre on a female protagonist. It is a vivid, nuanced portrait of the intelligent, wilful and yet vulnerable Tula. Despite having no biological children of her own, the unmarried Tula becomes the primary maternal figure for successive generations of children; some related to her, others not. Her chaste maternity is presented as a complex response to her long-held, self-sacrificing romantic love for her brother-in-law, her antipathy for the submissive role expected of bourgeois married women, and Tula's fear of her own physicality. Julia Biggane's translation captures the accessibility of style and richness of literary substance in the original, and the introduction equips the reader with an understanding of the text's wider material contexts and historical significance. Of special interest is the novel's representation of womanhood and maternity, itself inflected by wider social changes in countries across Western Europe and Russia during the first two decades of the 20th century.

Aunt Tula (La tia Tula), published in 1921, is one of the few novels written by Miguel de Unamuno to centre on a female protagonist. It is a vivid, nuanced portrait of the intelligent, wilful and yet vulnerable Tula.

A provocative nonconformist, Unamuno (1864-1936) excelled in the creation of essays, fiction, poetry, and plays. In La tía Tula, he paints a memorable portrait of the indomitable Aunt Tula, who fulfills her maternal desires on her own terms. This dual-language edition features an informative introduction and ample footnotes.

La tía Tula, sin duda la más popular de las novelas de Miguel de Unamuno (1864-1936), es, según su autor, «la historia de una joven que, rechazando novios, se queda soltera para cuidar a unos sobrinos, hijos de una hermana que se le muere. Vive con el cuñado, a quien rechaza para marido, pues no quiere manchar con el débito conyugal el recinto en que respiran aire de castidad sus hijos. Satisfecho el instinto de maternidad, para qué perder su virginidad? Es virgen madre». Pero sobre este canamazo argumental teje Unamuno una obra cargada de sentidos plurales: Tula, la protagonista, que encarna la concepcion tradicional de la familia y de la mujer y que es, a al vez, víctima de ella, ejemplifica la figura del agonista unamuniano dividido en mil contradicciones. ENGLISH DESCRIPTION "Aunt Tula, published in 1921, is one of the few novels written by Miguel de Unamuno to centre on a female protagonist. It is a vivid, nuanced portrait of the intelligent, wilful and yet vulnerable Tula. Aunt Tula is the story of a young woman who is left unmarried to care for her dead sister’s children. She lives with her brother-in-law, whom she rejects as husband. Satisfied with the instinct of motherhood, she is a virgin mother. She is the victim of a traditional family.

A key decade in world cinema, the 1960s was also a crucial era of change in Spain. A Cinema of Contradiction, the first book to focus in depth on this period in Spain, analyses six films that reflect and interpret these transformations. The coexistence of traditional and modern values and the timid acceptance of limited change by Franco's authoritarian regime are symptoms of the uneven modernity that characterises the period. Contradiction--the unavoidable effect of that unevenness--is the conceptual terrain explored by these six filmmakers. One of the most significant movements of Spanish film history, the 'New Spanish Cinema' art films explore contradictions in their subject matter, yet are themselves the contradictory products of the state's protection and promotion of films that were ideologically opposed to it. A Cinema of Contradiction argues for a new reading of the movement as a compromised yet nonetheless effective cinema of critique. It also demonstrates the possible contestatory value of popular films of the era, suggesting that they may similarly explore contradictions. This book therefore reveals the overlaps between art and popular film in the period, and argues that we should see these as complementary rather than opposing areas of cinematic activity in Spain.