Incursión en el espacio ontológico de las novelas “La ninfa inconstante” de Guillermo Cabrera Infante y “Todos se van” de Wendy Guerra

This thesis examines the phenomenological projection of space in two Cuban novels: La ninfa inconstante (2008) by Guillermo Cabrera Infante (1929–2005), and Todos se van (2006) by Wendy Guerra (1970–). Both novels are paradigmatic of two generations of Cuban writers who portray the city of Havana as a backdrop against which to project socio-political and biographical narratives. To problematize ethical and political omissions in the novels, this work incorporates disciplines such as philosophy, urbanism, architecture, sociology and literary theory. Through the concepts of prominent phenomenologists, such as Gaston Bachelard, Martin Heidegger and Maurice Merleau-Ponty, amongst others, this study evaluates how space becomes a construction to ambivalent dynamics of truth telling within contrasting, suffocating sociopolitical contexts. In addition, it explores how these phenomenological spaces are defined in relation to power. For instance, the Cuban Revolution, and its aftermath of more than 52 years, brings forth a sense of displacement and placelessness. The novels present and develop both authors’ spatial consciousness (that we call “ontological space”), which is not necessarily a container of three-dimensional objects, but instead, fictional emergent constructions. This thesis concludes that literature can become a meaningful space to cope with unbearable realities.

Sugar and Revolution ( A Requiem) , Lecture by Duanel Díaz Infante

This flyer promotes the event "Sugar and Revolution ( A Requiem) : Lecture by Duanel Díaz Infante", cosponsored by FlU's Cuban Research Institute, Latin American and Caribbean Center, and the FlU Libraries.

Lecture by Guillermo Gómez-Peña, given at Florida International University, November 4, 2005

This lecture begins with a piece of a video work followed by a performance piece by Guillermo Gómez-Peña. He shares his views on politics, life and art. Introduction by Stacy de la Grana and director ameritus Dahlia Morgan.