Acceso usuarios
Alba María Gálvez Vidal 
Este trabajo explora tentativamente una genealogía de la representación sáfica en la literatura española de posguerra. Para ello, analizaremos cuatro novelas: Oculto sendero, de Elena Fortún; Nada, de Carmen Laforet; La colmena, de Camilo José Cela; y Entre visillos, de Carmen Martín Gaite. Analizaremos el safismo que de forma más o menos explícita aparece en ellas, implementando, en los casos en los que sea necesario, una queermenéutica especulativa del silencio a partir de la cual se proyectará la potencialidad sáfica sobre los huecos interpretativos del texto. Asimismo, se establecerá una comparación de la representación de la homosexualidad femenina con la de la masculina. Los resultados evidencian una tendencia cada vez mayor a la invisibilidad sáfica en la narrativa conforme nos adentramos en el franquismo, algo que no se produce del mismo modo con la homosexualidad masculina. De este modo, los resultados vienen a constatar que, también en la ficción, el safismo estaba invisibilizado o, a menudo, se «armariaba» en forma de cándida e inocente afectividad entre muchachas.
This work tentatively explores a genealogy of sapphic representation in postwar Spanish literature. To do so, we will analyze four novels: «Oculto sendero» by Elena Fortún, «Nada» by Carmen Laforet, «La colmena» by Camilo José Cela, and «Entre visillos» by Carmen Martín Gaite. We will examine the sapphic elements, more or less explicitly present in them, implementing, where necessary, a speculative queermenéutica of silence through which the sapphic potentiality will be projected onto the interpretative gaps in the text. Additionally, a comparison between the representation of female and male homosexuality will be established. The results indicate an increasing tendency towards sapphic invisibility in narrative as we delve into the Francoist era, something not occurring in the same way with male homosexuality. Thus, the findings confirm that, also in fiction, sapphism was either invisible or often «closeted» as candid and innocent affection between girls.After the case studies, the results show an increasing tendency towards sapphic invisibility in the novels analyzed as we move into the midst of Francoist regime, a tendency that does not apply in the same way to male homosexuality. Given that the realistic novels of the Spanish postwar period can be interpreted almost as sociological capsules, the results confirm that, also in fiction, sapphism was non-existent or, often, it was hidden in the form of candid and innocent affection between girls.
