These interdisciplinary essays focus on how cultural practices help form the Spanish identity, by introducing a range of theoretical debates and exploring specific areas of 20th century Spanish culture.

The first anthology in English on modern Spanish women's history and identity formation.

How did flamenco—a song and dance form associated with both a despised ethnic minority in Spain and a region frequently derided by Spaniards—become so inexorably tied to the country’s culture? Sandie Holguín focuses on the history of the form and how reactions to the performances transformed from disgust to reverance over the course of two centuries. Holguín brings forth an important interplay between regional nationalists and image makers actively involved in building a tourist industry. Soon they realized flamenco performances could be turned into a folkloric attraction that could stimulate the economy. Tourists and Spaniards alike began to cultivate flamenco as a representation of the country's national identity. This study reveals not only how Spain designed and promoted its own symbol but also how this cultural form took on a life of its own.

The history of twentieth-century Spanish nationalism is a complex one, placing a set of famously distinctive regional identities against a backdrop of religious conflict, separatist tensions, and the autocratic rule of Francisco Franco. And despite the undeniably political character of that story, cultural history can also provide essential insights into the subject. Metaphors of Spain brings together leading historians to examine Spanish nationalism through its diverse and complementary cultural artifacts, from “formal” representations such as the flag to music, bullfighting, and other more diffuse examples. Together they describe not a Spanish national “essence,” but a nationalism that is constantly evolving and accommodates multiple interpretations.

Exploring the fraught processes of Spaniards' efforts to formulate a national identity - from the Enlightenment to the present - this book focuses on the nation's Islamic-African legacy, disputing the received wisdom that Spain has consistently rejected its historical relationship to Muslims and Africans.

The global spread of uniform modes of production and cultural values has been accompanied by a dissemination of stereotypes of "modern" architecture styles almost everywhere around the globe. Paradoxically, the reverse process has also emerged: In some countries, the elites feel the necessity to counterbalance the "loss of identity" and defend their own cultures against the "intruding" forces of globalization. What started as a defensive notion has developed into a more progressive attempt to re-create what has allegedly been lost. This trend is being strongly expressed in discourses about architecture in countries of the South. Who are the actors feeling compelled to "construct" new identities? How are these new identities in architecture created in various parts of the world? And, which are the ingredients borrowed from various historical and ethnic traditions and other sources? These and other questions are discussed in five case studies from different parts of the world, written by renowned scholars from Brazil, Mexico, Egypt, India and Singapore.

With the rise of both populist parties and social movements in Europe, the role of emotions in politics has once again become key to political debates, and particularly in the Spanish case. Since 2011, the Spanish political landscape has been redrawn. What started as the Indignados movement has now transformed into the party Podemos, which claims to address important deficits in popular representation. By creating space for emotions, the movement and the party have made this a key feature of their political subjectivity. Emotions and affect, however, are often viewed as either purely instrumental to political goals or completely detached from ‘real’ politics. This book argues that the hierarchy between the rational and the emotional works to sediment exclusionary practices in politics, deeming some forms of political expressions more worthy than others. Using radical theories of democracy, Emmy Eklundh masterfully tackles this problem and constructs an analytical framework based on the concept of visceral ties, which sees emotions and affect as constitutive of any collective identity. She later demonstrates empirically, using both ethnographic method and social media analysis, how the movement Indignados is different from the political party Podemos with regards to emotions and affect, but that both are suffering from a broader devaluation of emotional expressions in political life. Bridging social and political theory, Emotions, Protest, Democracy: Collective Identities in Contemporary Spain provides one of the few in-depth accounts of the transition from the movement Indignados to party Podemos, and the role of emotions in contemporary Spanish and European politics.

In the late nineteenth century, Spanish intellectuals and entrepreneurs became captivated with Hispanism, a movement of transatlantic rapprochement between Spain and Latin America. Not only was this movement envisioned as a form of cultural empire to symbolically compensate for Spain’s colonial decline but it was also imagined as an opportunity to materially regain the Latin American markets. Paradoxically, a central trope of Hispanist discourse was the antimaterialistic character of Hispanic culture, allegedly the legacy of the moral superiority of Spanish colonialism in comparison with the commercial drive of modern colonial projects. This study examines how Spanish authors, economists, and entrepreneurs of various ideological backgrounds strove to reconcile the construction of Hispanic cultural identity with discourses of political economy and commercial interests surrounding the movement. Drawing from an interdisciplinary archive of literary essays, economic treatises, and political discourses, The Spirit of Hispanism revisits Peninsular Hispanism to underscore how the interlacing of cultural and commercial interests fundamentally shaped the Hispanist movement. The Spirit of Hispanism will appeal to scholars in Hispanic literary and cultural studies as well as historians and anthropologists who specialize in the history of Spain and Latin America.

Majismo, a cultural phenomenon that embodied the popular aesthetic in Spain from the second half of the eighteenth century, served as a vehicle to “regain” Spanish heritage. As expressed in visual representations of popular types participating in traditional customs and wearing garments viewed as historically Spanish, majismo conferred on Spanish “citizens” the pictorial ideal of a shared national character. In Framing Majismo, Tara Zanardi explores nobles’ fascination with and appropriation of the practices and types associated with majismo, as well as how this connection cultivated the formation of an elite Spanish identity in the late 1700s and aided the Bourbons’ objective to fashion themselves as the legitimate rulers of Spain. In particular, the book considers artistic and literary representations of the majo and the maja, purportedly native types who embodied and performed uniquely Spanish characteristics. Such visual examples of majismo emerge as critical and contentious sites for navigating eighteenth-century conceptions of gender, national character, and noble identity. Zanardi also examines how these bodies were contrasted with those regarded as “foreign,” finding that “foreign” and “national” bodies were frequently described and depicted in similar ways. She isolates and uncovers the nuances of bodily representation, ultimately showing how the body and the emergent nation were mutually constructed at a critical historical moment for both.

Gema Pérez-Sánchez argues that the process of political and cultural transition from dictatorship to democracy in Spain can be read allegorically as a shift from a dictatorship that followed a self-loathing "homosexual" model to a democracy that identified as a pluralized "queer" body. Focusing on the urban cultural phenomenon of la movida, she offers a sustained analysis of high queer culture, as represented by novels, along with an examination of low queer culture, as represented by comic books and films. Pérez-Sánchez shows that urban queer culture played a defining role in the cultural and political processes that helped to move Spain from a premodern, fascist military dictatorship to a late-capitalist, parliamentary democracy. The book highlights the contributions of women writers Ana María Moix and Cristina Peri Rossi, as well as comic book artists Ana Juan, Victoria Martos, Ana Miralles, and Asun Balzola. Its attention to women's cultural production functions as a counterpoint to its analysis of the works of such male writers as Juan Goytisolo and Eduardo Mendicutti, comic book artists Nazario, Rubén, and Luis Pérez Ortiz, and filmmaker Pedro Almodóvar.