Bulletin of Spanish Studies

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  Año 2024, Vol. 101, Número 5-6. Dedicado a: Head and Tails of the Monarch: Representing Kings and Queens in Iberian Cultures, 1975–2020

  • Introduction

    • Introduction This Is Not an Introduction against the Monarchy

      Antonio Córdoba, Daniel García Donoso, Carlos Varón González

      • Resumen

      págs. 659-674

      

  • Section I : Fashioning Kings: The Forms of Modern Monarchy

    • The republican subject and the two representations of the king: The monarchy in transition in Julián Marías’ La España real

      Carlos Varón González

      • Resumen

      págs. 677-699

      

    • The crown in the crowd: Sport and the House of Bourbon, 1975–2021

      Adam L. Winkel

      • Resumen

      págs. 701-726

      

    • El Rey y sus familias (o el problema de la abstracción real)

      Antonio Gómez López-Quiñones

      • Resumen

      págs. 727-750

      

    • Queen Letizia’s royal fashion and celebrity: From curse to asset

      Jorge Pérez

      • Resumen

      págs. 751-774

      

  • Section II : To Plainness Honour's Bound: The Critique of the Monarchy in the Public Sphere

    • Scandal, shame and the former King of Spain: ¡Hola! magazine and its coverage of Juan Carlos I from 2012 to 2022

      Diana Norton

      • Resumen

      págs. 777-799

      

    • The crown through Catalan eyes: The monarchy in Polònia (2006–2021)

      Sebastiaan Faber

      • Resumen

      págs. 801-817

      

    • Comic queens: Sofía and Letizia in Spain’s graphic satire

      Rhiannon McGlade

      • Resumen

      págs. 819-844

      

  • Section III : Monarchic Figures: The King in Performance and Film

    • Grotesque monarchism in Luis García Berlanga’s Patrimonio nacional (1981)

      Elizabeth Warren

      • Resumen

      págs. 847-868

      

    • Complaint and the Bourbon monarchy in (post-)recessionary cinema from Spain

      Bryan Cameron

      • Resumen

      págs. 869-896

      

    • Lo que saben los demócratas: el soberano como bufón cínico en la escena teatral española contemporánea

      Ana Sánchez Acevedo

      • Resumen

      págs. 897-913