1 La mano del emigrante 1) Dnde tiene lugar esta historia? 2) Qu actitud tiene Castro hacia los ingleses?

Y hacia Galicia?

3) Por qu le atrae la atencin al narrador la mano de Castro? ) Qu signi!icado tienen los Pa"#os que Castro lle$a tatuados en el %ra&o? ') (n un momento de la narrati$a )*+gina 21), Castro a!irma- ./tete con el go%ierno, como todo Cristo, *ero no maldigas al *a"s que te a%ri la *uerta01 Qu di!erencia ha2 entre el go%ierno 2 el *a"s? 3) Cmo se *resenta en este *rimer ca*"tulo la e4*eriencia de la emigracin? (s una e4*eriencia *ositi$a o negati$a?

5) Qu marcas de identidad6que e4*eriencias6de!inen al su7eto gallego?

8) (n *+gina 23, Castro a!irma que .9mar: se ama a una mu7er, un hi7o, un *erro, *ero a un *a"s, un *a"s: en !in, ;qu m+s da<1 a) (n tu o*inin, se *uede amar un *a"s? (n qu consiste .amar1 un *a"s? %) (n *+gina 23, Castro a!irma que .mi *atria es un hos*ital01 Cu+l es tu *atria?

=) (n la *+gina 25, >ac? @ulli$an 2 el narrador ha%lan so%re Castro0 (l *rimero a!irma, en relacin a la !orma de andar de Castro que .se es el andar de quien *erdi algo01 Qu ha *erdido Castro con la e4*eriencia de la emigracin?

2 11) Qu elementos alegran la e4*eriencia de la emigracin de Castro? 12) Qu a*rendemos en el ca*"tulo 2 so%re la relacin entre el narrador 2 Castro? 13) Castro 2 el narrador *lanean regrear a Galicia *or na$idad0 Cmo cam%ia la emocin ante el regreso a su tierra con el *aso de los a#os? 1 ) Qu a!inidad *iensas que e4iste entre los dos Gallegos 2 el ta4ista de Cachemira? 1') Qu a!inidad e4iste entre la e4*eriencia de Castro como emigrante 2 su muerte? 13) Cmo se *resenta en este segundo ca*"tulo la e4*eriencia de la emigracin? (s una e4*eriencia *ositi$a o negati$a?

15) (l te4to no e4*lica con claridad cmo se *roduce el accidente0 (n cualquier caso, el te4to *arece sugerir que el ta4ista *ro$oca el accidente0 Qu *udo *ro$ocar al ta4ista *ara acelerar el coche hasta tener un accidente?

18) (n este a*artado, se com%inan tonos alegres 2 tonos m+s negati$os0 Podr"as identi!icar dos !ragmentos que re!le7en tonos contra*uestos?

1=) Qu e!ecto *roduce la 2u4ta*osicin6sin transicin alguna6entre tonos alegres 2 tonos tristes o, incluso, tr+gicos? Qu sugiere el *oeta mediante esta 2u4ta*osicin de tonos?

2A) Bras el accidente, el narrador e$oca en su relato su estado de con!usin 2 sus sue#os0 Qu estrategias narrati$as em*lea *ara reconstruir el estado !"sico 2 mental del narrador durante su con$alecencia?

3 21) Qu elementos de este relato no son realistas? 22) De%ido al estado de con!usin del narrador, el relato oscila entre la con!rontacin de la tragedia )del accidente) 2 su negacin0 Cmo *asa el narrador de un estado al otro? 23) Qu signi!icado tiene la am*utacin de la mano del narrador? 2 ) Qu similud o%ser$as entre la e4*eriencia de la emigracin 2 la am*utacin de la mano del narrador? 2') Qu nos ense#a este te4to en relacin a la historia de Galicia? 23) Qu as*ectos de la $ida de Castro a$erigua el narrador des*us de la muerte del *rimero? 25) Qu relacin e4iste entre Castro 2 su hermana? 28) (l mar se *resenta como una entidad humana0 Qu recursos literarios em*lea el autor *ara conseguir este e!ecto? 9*orta e$idencia te4tual0 2=) Comod"n- Constru2e tu *ro*ia *regunta 3A) Comod"n- Constru2e tu *ro*ia *regunta 31) Comod"n- Constru2e tu *ro*ia *regunta 3 equi*os0 Cada equi*o tiene 1' *untos0 @aca una *regunta de la %olsa 2 le dirige la *regunta a uno de los otros dos gru*os0 Cee la *regunta 2 a*uesta un nDmero de !ichas0 )/"nimo 1, m+4imo )0 @i los com*a#erosEas a*ortan una res*uesta correcta, ganan la a*uesta0 @i no *ierden0 Gana quien consiga arruinar a los otros dos gru*os o quien tenga m+s *untos cuando se aca%en las *reguntas0 Ca decisin, si la res*uesta es %uena o mala, la decide el tercer gru*o que no *artici*a *or $otacin0 De%en considerar durante un minuto 2 dar una res*uesta de gru*o0 La mano del emigrante (l emigrante lle$a escrita su historia en sus manos0 Ftili&ando como can$as la mano del emigrante, e4*lica su e4*eriencia de acuerdo al tema que se *ro*one0

Ca historia de Castro )/ano derecha)

Ca mano del emigrante (l emigrante lle$a escrita su historia en sus manos0 Ftili&ando como can$as la mano del emigrante, e4*lica su e4*eriencia de acuerdo al tema que se *ro*one0

' Ca morri#a o @audade- Gostalgia )/ano i&quierda)

Ca mano del emigrante (l emigrante lle$a escrita su historia en sus manos0 Ftili&ando como can$as la mano del emigrante, e4*lica su e4*eriencia de acuerdo al tema que se *ro*one

Helaciones entre los emigrantes 2 otros *ersona7es )/ano derecha)

Ca mano del emigrante (l emigrante lle$a escrita su historia en sus manos0 Ftili&ando como can$as la mano del emigrante, e4*lica su e4*eriencia de acuerdo al tema que se *ro*one

IinculacinE a*ego a la tierra )/ano i&quierda)

Ca mano del emigrante (l emigrante lle$a escrita su historia en sus manos0 Ftili&ando como can$as la mano del emigrante, e4*lica su e4*eriencia de acuerdo al tema que se *ro*one

8 (4*eriencia de la *rdida )/ano i&quierda)

Cada mano nos e4*lica un as*ecto de la e4*eriencia de la emigracin gallega, segDn la re*resenta /anuel Hi$as0 (ncuentra una mano com*lementaria )una i&quierda, si tienes una mano derecha, o $ice$ersa) que, de acuerdo a tu an+lisis e inter*retacin, com*lemente de !orma m+s e!ecti$a la historia de la mano que tD has com*letado0

Beniendo en cuenta la in!ormacin de las dos manos que han 7untado, escri%an @egDn Hi$as, la e4*eriencia de la emigracin gallega est+ marcada *orJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

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Luisa Castro. Mi madre en la ventana 1) Qu di!erencia ha2 entre una madre 2 una mam+? 2) Qu di!erencias e4isten entre (sther 9lonso 2 la narradora? 3) Qu trans!ormacin su*one *ara la narradora 2 su hermana la construccin del gara7e? ) Qu causa su *elea con Caura? ') Cmo reaccionan la madre de Caura 2 la madre de la narradora? 3) Qu le re*rocha la narradora a su madre? 5) (n qu sentido no es la madre de la narradora una madre con$encional? (n qu sentido es con$encional? 8) Ca !amilia de la narradora 2 sus $ecinos esta%lecen .!ronteras1 con res*ecto al mundo e4terior0 Qu ti*os de !ronteras? Quin decide la longitud 2 la naturale&a de estas !ronteras? Quin tiene derecho a *oseer estas !ronteras? =) Dnde est+n los hom%res en esta historia? Quines determinan las normas de esta sociedad arti!icial que se constru2e en el %arrio de cha%olas?

11 1A) Qu similitudes 2 qu di!erencias o%ser$as en la relacin entre madre e hi7a en este te4to 2 en el relato de (sther Busquets .Carta a mi madre1?

Tarea: 1) (scri%ir Heaccin *ersonal

2) (l l+*i& del car*intero )/anuel Hi$asK Cectura, 1AL33)