Abstract Despite the paucity of medical accounts of male neurosis under Francoism, the representation of the neurotic male is ubiquitous in postwar Spanish fiction and film. This article explores just a few examples, including three relatively unknown short stories by Carmen Laforet, ‘El infierno’ (1946), ‘El último verano’ (1954) and ‘El regreso’ (1954) as well as Juan Antonio Bardem’s film Calle mayor (1956). The texts discussed illustrate how turning the male gaze inward was too dangerous a phenomenon for the regime to contemplate. In postwar Spain, the problem that had no name, for male neurosis had to remain nameless for the sake of Franco’s ideological project, yet, as the texts discussed aver, upholding hyper-masculine values functioned to devalue men’s emotional selves and inflict psychological damage at an individual and collective level.

中文翻译：

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“无名的（男性）问题”：战后西班牙小说和电影中的男性神经症

摘要 尽管在佛朗哥主义下缺乏男性神经症的医学描述，但在战后的西班牙小说和电影中，神经症男性的表现无处不在。本文仅探讨了几个例子，包括 Carmen Laforet 的三篇相对鲜为人知的短篇小说“El infierno”（1946 年）、“El Último verano”（1954 年）和“El Volver”（1954 年）以及胡安·安东尼奥·巴登 (Juan Antonio Bardem) 的电影《Calle》较旧（1956 年）。讨论的文本说明了将男性的目光转向内部对于政权来说是一种多么危险的现象，无法考虑。在战后的西班牙，这个没有名字的问题，因为为了佛朗哥的意识形态项目，男性神经症不得不保持无名，然而，正如文本所讨论的那样，坚持超男性化的价值观起到了贬低男性情感自我并造成心理伤害的作用。个人和集体层面的损害。