About

Contemporary Spanish fiction, film, photography, feminist theory, Spanish civil war

Education

Ph.D. The University of Texas at Austin M.A. New York University, Madrid B.A. Barnard College, Columbia University, New York

Other Publications

History, Violence, and the Hyperreal: Representations of Culture in the Contemporary Spanish Novel. West Lafayette, IN:  Purdue University Press, 2010. 215pp. Catalan Women Writers and Artists: Revisionist Views from a Feminist Space.  Lewisburg:  Bucknell University Press, 2003. 234 pp. “Family Documents, Analogy and Reconciliation in the Works of Carme Riera.”Spanish Women Writers and Spain’s Civil War. Ed. Maryellen Bieder and Roberta Johnson. Routledge, 2017, 206-20. “Después del final: Muerte como catalizador en Cielos de barro” Laberintos del                              género: muerte, sacrificio y dolor en la literature femenina española. Ed. Josefa Álvarez. Seville: Renacimiento, 2016, 206-26.  “Remembering/Gendering War: Gerda Taro’s Spanish Civil War Photographs.” (Re)collecting the Past: Historical Memory in Spanish Literature and Culture.      Ed. Jacky Colllins, Melissa A. Stewart, Maureen Tobin Stanley and Nancy Vosburg.       Newcastle upon Tyne: Cambridge Scholars Publishing, 2016, 148-61. “Women, War, and Words in La voz dormida by Dulce Chacón.” Women in the Spanish Novel Today: Reflections of Self in the Works of Three Generations of Writers. Ed. Kyra Kietrys and Montserrat Linares. Jefferson, NC: McFarland Press, 2009, 92-111. (Florence Howe Award for feminist scholarship in a foreign language field. Presented by the Women’s Caucus of MLA) “Television and the Power of Image in Caídos del cielo and La pistola de mi hermano by Ray Loriga.” Generation X Rocks. Ed. Christine Henseler and Randolph Pope.Special Issue of Hispanic Issues, Vanderbilt UP, 2007, 170-83. “Beauty and Death as Simulacra in Ray Loriga’s Caídos del cielo and El hombre que inventó Manhattan. The Contemporary Extreme. Ed.  Alain-Phillippe Durand and Naomi Mandel. Continuum, 2006, 143-52. “Mujer y amor lesbiano: Ejemplos literarios.” La mujer en la Españaactual: ¿Evolución o involución?   Barcelona: Icaria, 2004, 297-314. “Acercamientos feministas al cine español y latinoamericano: la mujer como                               producto y productora de imágenes.” Vademécum del cine iberoamericana: métodos                                y teorías. Ed. Eugenia Afinoguénova, Samuel Amago and Kathryn Everly.                                 Inaugural issue of a new series Vademécum de Hispanófila. Hispanófila 177, Spring                            2016, pp-pp.  “Rethinking the Home and Rejecting the Past: A Feminist Reading of Najat El Hachmi’s L’últim patriarca” Ámbitos Feministas 4.4 (2014): 45-59. Print.  Masculinity, War, and Marriage in La plaça del Diamant by Mercè Rodoreda”Anales de la literatura española contemporánea 37.1 (2012): 63-84.   “Immigrant Identity and Intertextuality in L’últim patriarca by Najat el Hachmi” Cuaderno Internacional de Estudios Humanísticos y Literatura (CIEHL) 16 (2011): 142-50.  “Textual Violence and the Hyperreal in De todo lo visible y lo invisible byLucía Etxebarria.” Letras Hispanas: Revista de Literatura y Cultura 4.1 (Spring 2007): 51-61.  http://gato-docs.its.txstate.edu/jcr:c8970293-2e63-4cc0-b36c-fe99759057d0/Everly.pdf  “Sacred Violence as Social Criticism in Carme Riera’s En el último azulHispanic Journal 27.1(Spring 2006): 91-103. “The (Re)Invention of Eve in Mercè Rodoreda’s Aquella paret, aquella mimosa.” Letras peninsulares 16.3 (Fall/Winter 2003-04): 509-20. Print. (Reprinted in Short Story Criticism. Columbia, SC: Layman Poupard Publishing, 2015, 288-93). “Beyond the Postmodern Bodily Aesthetic in Beatriz y los cuerpos celestesMonographic Review/Revista monográfica XVII (2001): 165-175. “Portrait of a Writer: Visual and Verbal Connections Between the Art and Literature of Mercè Rodoreda” Catalan Review 12:2 (1998): 21-35. Special issue/book series:             Vademécum del cine iberoamericana: métodos y teorías. Ed. Eugenia Afinoguénova, Samuel Amago and Kathryn Everly. Inaugural issue of a new series Vademécum de Hispanófila. Hispanófila 177, Spring 2016. “Post-Franco Artistic Production and Beyond.” Guest Editor and Introduction,Symposium 58.2 (Summer 2004): 60-136.      

Kathryn Anne Everly

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@keverly

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