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(2011) in Qué Leer 164. Photograph: Mario Krmpotic. Reproduced with permission from the photographer. Figure 2.4 Image of Rosa Montero included in Begoña Piña’s interview with her in Qué Leer 164. Photograph: Asís G. Ayerbe. Reproduced with permission from the photographer. Figure 2.5 Photograph to accompany Inés García-Albi’s interview with Almudena Grandes in Qué Leer 157. Photograph: Asís G. Ayerbe. Reproduced with permission from the photographer. Figure 2.6 Espido Freire advertising La Semana Gótica [Gothic Week] in El Cultural (2011

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. 48 Figure 2.4 Image of Rosa Montero included in Begoña Piña’s interview with her in Qué Leer 164. Photograph: Asís G. Ayerbe. Reproduced with permission from the photographer. 49 Figure 2.5 Photograph to accompany Inés García- Albi’s interview with Almudena Grandes in Qué Leer 157. Photograph: Asís G. Ayerbe. Reproduced with permission from the photographer. 50 Figure 2.6 Espido Freire advertising La Semana Gótica [Gothic Week] in El Cultural (2011). Photograph: Alan Cueto for La Semana Gótica Madrid, October 2011. Reproduced with permission from El

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mundo [Instructions to Save the World] (Rosa Montero, 2008) Irlanda [Ireland] (Laura Espido Freire, 1998) La Eva futura/La letra futura [The Future Eve/Writing’s Future] (Lucía Etxebarria, 2000) La flor del Norte [The Flower of the North] (Laura Espido Freire, 2011) La función Delta [The Delta Function] (Rosa Montero, 1981) La hija del caníbal [The Cannibal’s Daughter] (Rosa Montero, 1997) La inmigración en la literatura española contemporánea [Immigration in Spanish Contemporary Literature] (Andrés-Suárez et al., 2002) La

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Martín Gaite, 1957) Fiesta al Noroeste [Northwest Party] (Ana María Matute, 1952) Historia del rey transparente [Story of the Transparent King] (Rosa Montero, 2005) Historias del Kronen [Stories of the Kronen] ( José Ángel Mañas, 1994) Inés y la alegría [Inés and Joy] (Almudena Grandes, 2010) Instrucciones para salvar el mundo [Instructions to Save the World] (Rosa Montero, 2008) Irlanda [Ireland] (Laura Espido Freire, 1998) La Eva futura/La letra futura [The Future Eve/Writing’s Future] (Lucía Etxebarria, 2000) La flor del Norte [The Flower of the North] (Laura

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, the writing of stimulating, unusual female characters is all too often assumed to detract from the potential literary value of a novel by a woman writer on the grounds that the fiction has been co- opted to fulfil some kind of political agenda concerning the ‘emancipation’ of women. The following example shows the different ways in which unnecessary reference to a woman’s gender contributes to the portrayal of a biased and less than accurate picture of the situation of women writers: Espido Freire, a 25-year- old Basque writer, wins the Planeta prize with a

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contributes to the portrayal of a biased and less than accurate picture of the situation of women writers: Espido Freire, a 25-year-old Basque writer, wins the Planeta prize with a women’s tale. As predicted, the 48th Planeta Awards has been taken over by women writers. ( El País 1999, n.pag.) This eye-catching headline refers to the 1999 Planeta prize that was awarded to Freire’s novel Irlanda [Ireland]. The definition of the novel as una historia de mujeres [a women’s tale] suggests that Freire is a female writer and the novel’s main characters are

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://www.laurafreixas.com/freixascriticas4.htm > [accessed 9 March 2011]. El Cultural . 2011. ‘La Semana Gótica y Espido Freire descubren la parte oscura de los cuentos de hadas’, 24 October 2011, < http://www.elcultural.es/noticias/LETRAS/2276/La_Semana_Gotica_y_Espido_Freire_descubren_la_parte_oscura_de_los_cuentos_de_hadas > [accessed 20 June 2012]. El Mundo . 2001. ‘Encuentros digitales. Belén Gopegui’, 19 April 2001, < http://www.elmundo.es/encuentros/invitados/2001/04/22/ > [accessed 2 August 2012]. El Mundo . 2004a. ‘Encuentro digital con Josefina Aldecoa’, 31 May 2001, < http

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 2007, <http://www.rosaregas.net/articulos/articulo.php?id_articulo=276> [accessed 31 October]. Dyer, Richard. 1986. Heavenly Bodies: Film Stars and Society (New York: St. Martin’s Press). ——. 1998. Stars (London: BFI). Bibliography 187 Echevarría, Ignacio. 1998. ‘Otra vez Nada’, El País, 21 February 1998, p. 11. El Correo Español. 2000. ‘Laura Freixas: “El camino es fácil para el escritor serio y la escritora frívola”’, 7 June 2000, <http://www.laurafreixas.com/freixascriticas4. htm> [accessed 9 March 2011]. El Cultural. 2011. ‘La Semana Gótica y Espido Freire

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always be suitable for Travellers. Traveller interviewees and focus group participants were more likely to suggest Traveller-specific approaches and materials. Freire’s plea could be applied to the cultural borders in this scenario: ‘I don’t want to be imported or exported. It is impossible to export pedagogical practices without reinventing them’ (Freire & Macedo 1998: 6). As well as the influence of patriarchy and pro-natalism cultures, pregnancy planning, where individual women decide to depart somewhat from such cultural norms, requires access to contraception. The

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enable students to be the protagonists of their own learning process. They aim to make the teacher invisible or at least to give them a secondary role, as a parallel participant alongside the student ‘protagonist’. This follows Paulo Freire’s concept of continuous exchange in the roles of teacher and student, or master and apprentice (1970, p.52), with the sole aim of dynamizing the process. This new dynamic generates within the training process a dialogic relationship that enhances the value of training, and that allows for visibility and recognition of the student as