The eccentric position of José Bergamín in the history of Spanish literature can be explained by the fact that his oeuvre is difficult to read, and also hard to integrate into the history that shapes it. This article intends to thematize Bergamín’s exile experience by studying his plays Medea, la encantadora, and La sangre de Antígona, all of which feature characters marked by the stigma of liminality. As representations of the written expression of a borderline experience during exile, these plays cannot be addressed without challenging the current political and aesthetic categories commonly used by historians who have explored Bergamín’s work so far.
Keywords:
José Bergamín, theatre, exile, history, Spanish literature
Hidalgo Nácher, M. (2014). Los límites del teatro de José Bergamín y el exilio como contra-tiempo. Revista Chilena De Literatura, (87). Retrieved from https://revistas.uchile.cl/index.php/RCL/article/view/33829
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