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This article analyzes the current state of weakening suffered by the class analysis and the hypothetical "death" of the working class, that is, it starts from a contextual framework in which the working-class is put in doubt (Olin Wright 2018). Along with the discourses of the social space, culture also intervenes and reproduces this state of confusion, weakening and stigmatization through products that shape the working-class referent in different ideological directions. Thus, the cultural territory of the new millennium intervenes in the battles for the meaning of the working class and wields two possibilities: the revitalization of the working class referent or the negation and invisibilization in favor of other structures of thought that do not use the social class as an axis. In this second variant, considered hegemonic in recent decades, a specific current emerges that uses "monstrification" (Jaume Peris Blanes 2019) to associate the working class with the abject values of the monsters of fiction. In this way, cultural logics relate the working class with characteristics of the monstrous and reinforce demonizing imaginaries that serve to project prejudices towards the working class social strata. We use, as a paradigm of how this works, a cinematographic proposal (Las colinas tienen ojos 2006) and observe how its logics of monstrification are reproduced in Spain through reality television programs (Hermano mayor 2009). We wonder, then, to what extent the tools used by American horror cinema can be translated into the most popular makeover shows of the last decade (Mercè Oliva 2013), those in which the abject working class is the object of representation. The article traces, in short, the forms that culture uses to intervene in the procedures of weakening the working class.

This article proposes an analysis of Juan Marsé’s work based on the theme of memory. In order to do so, we start by differentiating between the diverse processes concerning memory and we find that in the author’s fictional project the so-called “subaltern memory” takes on special relevance. The protagonists, Charnegos from the Catalan periphery, and their use of popular tradition (through cinema and aventis) run uninterruptedly through Juan Marsé’s narrative and are placed at the service of a literary truth that functions in opposition of the truth imposed by the Franco regime. The aim is to detect not only what kind of memories proliferate in Marsé’s narrative, but also what political sense they have in relation to the dictatorial past; that is, how the subaltern memories of the Kabileños construct in fiction a universe of reference different from that imposed by official memory.

Desde la noche y la niebla (mujeres en las cárceles franquistas) novela-testimonio (1978), de Juana Doña, constituye, al tiempo, plataforma y disparador de undebate que involucra al resto de narrativas memorialísticas. Para llevar a cabo unaaproximación a la obra, dividimos el análisis en tres ejes o nudos tensionales: la violencia (los efectos que esta tiene sobre los cuerpos, las subjetividades, losimaginarios, así como su marcado componente patriarcal), la comunidad (esto es: lacapacidad de resistencia colectiva de las presas, sus estrategias de oposición ysupervivencia en la cárcel) y la escritura (especialmente, las posibilidades de lecturaque existen en el ahora para rescatar el potencial revolucionario del testimonio). Proponemos, en definitiva, un estudio que ilumina tres zonas concretas de la obra deDoña; zonas que conectan con el resto de narrativas carcelarias y que de una u otramanera continúan algunas de las líneas fundamentales propuestas por los estudiosmemorialísticos de las últimas décadas.

El objetivo del presente artículo es llevar a cabo un estudio de la obra Para la libertad. Memorias a un padre asesinado (2017), de Antonio Martínez i Ferrer, al tiempo que la utilizamos como plataforma y disparadero de un debate que involucra al resto de relatos memorialísticos. Por ello, partimos de tres ejes o interrogantes: la autoría (¿desde dónde narra?), la composición y estrategia (¿cómo narra?) y la dirección política o el sentido ideológico (¿hacia qué lugar?). El análisis pretende problematizar algunos de los elementos centrales que atraviesan a las memorias subalternas y focalizar el debate en torno a las estrategias de recuperación de las narrativas presas.