El discurso del poder y la lucha de contrarios en la narrativa de la esclavitud en Cuba y Estados Unidos

This dissertation explores the behavior of prejudiced discourse in the most representative narratives against inhumane slavery written in Cuba and the United States in the nineteenth century: Autobiografía de un esclavo, by Juan Francisco Manzano; Francisco, by Anselmo Suárez y Romero; Narrative of the Life of Frederick Douglass, an American Slave, by Frederick Douglass; and Uncle Tom's Cabin, by Harriett Beecher Stowe. This study deals with the identification between race and slavery that occurred in the American continent, using racial prejudice to justify the enslavement of human beings. Such concepts were maintained, diffused and perpetuated by the dominant discourse. ^ In the nineteenth century, intellectuals from both Cuba and the United States were highly influenced by the modern philosophical ideas rooted in the European Enlightenment. These ideas contradicted by principle the "peculiar institution" of slavery, which supported a great deal of the economy of both nations. This conflict of principles was soon reflected in literature and led to the founding of Cuban and African-American narrative respectively. The common exposure to slavery brought together two nations otherwise highly dissimilar in historical and cultural circumstances. Based on the theories of discourse by Foucault, Terdiman, and van Dijk, the analysis of the discourse displayed in these literary works helps understand how discourse is utilized to subvert the dominant discourse without being expelled or excluded by it. This subversion was successfully accomplished in the American narratives, while only attempted in the Cuban works, given Cuba's colonial status and the compromised economic loyalties of the Delmontino cenacle which produced these works. ^

¡Oh Cuba Hermosa! El cancionero político social en Cuba hasta 1958, Book presentation by Cristóbal Díaz Ayala

This flyer promotes the event " ¡Oh Cuba Hermosa! El cancionero político social en Cuba hasta 1958, Book presentation by Cristóbal Díaz Ayala" cosponsored by FIU Libraries. This event was held at Books & Books in Coral Gables.

El Posnacionalismo en la Narrativa Cubana Actual: Reivindicación de lo Privado y lo Homoerótico

La novela posnacional es un fenómeno relativamente reciente en la literatura latinoamericana. Sus orígenes se sitúan en los noventa, como parte de una narrativa que se rebela contra la llamada literatura del Boom originada en los sesenta. Los escritores posnacionales—a diferencia de sus predecesores—no se muestran obsesionados por la identidad latinoamericana. La globalización, el fracaso del socialismo y el descrédito de las grandes utopías son otros fenómenos que explican la emergencia de una narrativa que trasciende los márgenes nacionales. La literatura posnacional cubana se inserta dentro de esta corriente. Luego de la caída del Muro de Berlín, los jóvenes escritores cubanos comienzan a incluir una retórica diferente en sus creaciones: eluden el compromiso político militante, evitan los mensajes altruistas y abandonan las pretensiones de definir posiciones con relación al futuro de la patria o a su propia identidad. El proyecto revolucionario y su destino—tópico narrativo por más de tres décadas—desaparece como tema. El modo particular de la literatura posnacional cubana se expresa en la desesperanza y el desencanto. El propósito de esta disertación es ejemplificar dicha noción a través del análisis de los proyectos literarios de tres escritoras cubanas contemporáneas: Ena Lucía Portela, Anna Lidia Vega Serova y Karla Suárez. Además de sus cuentos, se analizan las novelas “Djuna y Daniel”, de Ena Lucía Portela; “Ánima fatua”, de Anna Lidia Vega Serova y “La viajera” de Karla Suárez. Estas novelas, además de ser ejemplos de la existencia en Cuba de una tradición en la narrativa latinoamericana contemporánea desvinculada de las preocupaciones nacionales, rompen con el paradigma del hombre heterosexual revolucionario. Los protagonistas de estas nuevas ficciones, por lo general mujeres, son personas desarraigadas y alejadas de la sociedad, ocasionales consumidoras de estupefacientes y que practican relaciones homosexuales. La transgresión de los estereotipos de género y de los comportamientos heteronormativos se convierte en un instrumento de dinámica posmoderna que presenta nuevos códigos y supone un desafío a los principios tradicionales del modelo revolucionario cubano.

Representación de la mujer transgresora en la novelística de la Cuba republicana

This dissertation explored the subversive feminine discourse in the most representative novels of the first quarter of the twentieth century in the newly born republic of Cuba. Drawing on the feminist theories of Simone de Beauvoir, Toril Moi and Pierre Bourdieu, these women were analyzed in the context of their time, their class level and their race. Because it is oppressive and theoretically unsatisfactory to reduce women to their general "humanity" or to their "femininity", my purpose was to analyze them as human beings in a "specific situation" and show how they curtailed the laws that patriarchy has prepared for them. The novels studied were: Doña Guiomar, by Emilio Bacardí; A fuego lento, by Emilio Bobadilla; La manigua sentimental, by Jesús Castellanos; Las honradas, by Miguel de Carrión; Las impuras, by Miguel de Carrión, and Ecué-Yamba-O, by Alejo Carpentier. Women will obtain freedom and independence from patriarchal control, symbolic power, symbolic violence, and hypnotic power when they are educated and have obtained a working position in society similar to men or by joining the political struggle in their community, in their country, or in the global organizations.

Santiago de Cuba en Ia música, Lecture by Emilio Cueto

This flyer promotes the event "Santiago de Cuba en Ia música, Lecture by Emilio Cueto" cosponsored by FIU's Cuban Research Institute, Latin American and Caribbean Center, and the FIU Libraries.

Transcultural experiences: A literature bridge to English for ESOL students from Cuba

This qualitative study is concerned with exploring the transcultural experiences of ESOL students and connecting their lived experiences to literature in the classroom. The purpose of this study was to describe and explain the transcultural perspectives of six high school and community college students: four Cuban born students and two American born/raised students of Cuban-American culture. The participants were from Barbara Goleman Senior High School and Miami-Dade Community College. The six phenomenological portraits were explored in the form of lived experience pieces, representing the students' transcultural experiences. The data was collected in the form of student interviews, researcher's journal, and document reviews. The following exploratory questions guided this study: (1) From the perspective of four Cuban-born, non-native English-speaking students (NNS), what are the essential structures of their transcultural identities? (2) What are the underlying themes that account for the Cuban NNS students' transcultural experiences? (3) What are the universal transcultural structures among the Cuban NNS students' transcultural experiences and the Cuban-American, native English/Spanish speaking (NESS) students' experiences? (4) What are the possible structural meanings of the Cuban NNS students' interests in relation to their transcultural experiences? (5) What are some connections between the structural themes inherent in the Cuban NNS students' transcultural experiences and teaching literature in ESOL? ^ A phenomenological approach was used to investigate the participants' transcultural experiences, focused on the students' lived experiences. The study consisted of three interview sessions for each of the six participants. The analysis of the data was conducted following the principles of qualitative research, which included participant interviews, thematic analysis, researcher's journal, document reviews, and triangulation. The researcher created portraits representing students' transcultural experiences. Subsequently, the participants' transcultural experiences were used to respond to the exploratory questions, including comparing and contrasting themes and drawing connections among teaching literature in the ESOL classroom. ^ The results of this study show some relevant specific statements and themes that emerged from the students' transcultural data. The results serve as a better understanding of these students' transcultural experiences and the potentiality of connecting their perspectives to literature in the classroom. In addition, this study shows the need for a better understanding of the connection between transcultural experiences and literature in ESOL. ^

The empire beats on: Oyo, Bata drums and hegemony in nineteenth-century Cuba

The Lukumí people of Cuba, currently known as Yoruba, are descendants of one of the mightiest West African kingdoms, the Oyo, Empire. The Oyo-Yoruba were important cultural contributors to certain areas of the New World such as Cuba, Brazil, Trinidad, and to some degree Haiti and the Lesser Antilles. Anthropologist William Bascom has said that “no African group has had greater influence on New World culture than the Yoruba.” ^ After the devastation of the empire around 1825, two new Oyos resuscitated. The first, New Oyo, was established about 80 miles south of the ancient site around 1830. The second Oyo was instituted on the other side of the Atlantic Ocean, in the city of Havana and its surrounding towns. Much of Oyo lie, as ancient Oyo is now called, was transported to the New World, reformed and adapted according to its new surroundings, and, it preserved its reign over its “subjects” through the retention and dissemination of its cultural and religious practices. ^ Using an interdisciplinary approach, this investigation will argue that of all the African groups brought to Cuba, the Oyo-Yoruba were the most influential in shaping Afro-Cuban culture since their introduction in the nineteenth century. The existence of batá drums in Cuba and the cultural components of this musical genre will serve as one of many examples to illustrate the vitality of Oyo cultural hegemony over Afro-Cubans. It is arguable that these drums and the culture that surrounded them were very important instruments used by the Oyo to counter the acculturation of many Africans in Cuba. Likewise, this culture became acculturative in itself by imposing its religious world views on non-Oyo ethnics and their descendants. Oral histories and narratives collected among Lukumí practitioners on the island and abroad have been invaluable archives to supplement and/or complement primary and secondary sources of information. ^

The braids of the virgin: Taino roots of the early cult of La Virgen de la Caridad del Cobre in Cuba

Since her discovery in Cuban waters in 1611, La Virgen de la Caridad del Cobre (The Virgin of Charity) has become the leading transnational religious symbol for Cubans. The oldest stories about the appearance of La Virgen in Cuba suggest the presence of Cuban Taino in the early years of her cult. Yet historians have minimized Taino influence when examining Cuba's sixteenth and seventeenth centuries, pivotal years in the cult's development. This thesis demonstrated the significant role of the Taino in the formation of the early cult of La Virgen de la Caridad del Cobre, by employing revisionist historiography to the years between 1492 and 1687, to better understand the demographics and religious culture of Eastern Cuba, where the cult originated. It also found specific contributions from Taino religious culture in the myths, beliefs, and material culture associated with the early cult of La Virgen. ^

Hacia una poetica del Neobarroco: La vision de la historia en Jose Lezama Lima, Reinaldo Arenas y Severo Sarduy

Most of the critical studies of Baroque novels written in Spanish America during the 1960s and 1970s are characterized by a limited examination of their formal and stylistic representations. This dissertation explored the way in which certain writers developed a new Baroque tendency, the so-called Neobarroco, that presented a particular vision of history. José Lezama Lima, Reinaldo Arenas and Severo Sarduy developed innovative fictional and historiographic perceptions as alternative discourses to understand and perceive the cultural intricacies of Cuba and the New World. Their novels posited an elaborated poetic theory of history that can be summarized by the principle of supratemporal analogies, interweaved by a "metaphoric subject" that makes possible the conception of "imaginary eras". Since this poetry arises from a network of metaphoric correspondences, the image is conceived as a cultural creation that acts upon reality. ^ Although this study traced the trajectory of their writings from the point of view of their own essays, our focus was on the act of recovering the past as reshaped forms that are present in the memory. Paradiso, El mundo alucinante and De donde son los cantantes exemplified the attempt to place Americanness within the realm of poetics and history as one single discourse constructed by a combination of self-consciousness and historiographic meditation. ^ Basing my thesis on postmodernist theory (Ihab Hassan, Brian McHale, Linda Hutcheon) and philosophies of history (Michel Foucault, Hayden White, Keith Jenkins, Dominick LaCapra), I argued that the antagonistic paradoxes faced by postmodernism were reconcilable tendencies of the Neobarroco prior to the actual debate on the postmodern condition. The aesthetic trend initiated by these writers and their reading of history confronted the official historiographic discourse, thus empowering a contemporary voice in the current debate on historical skepticism. ^

Rich and poor, white and black, free and slave: The social history of Cuba's tobacco farmers, 1763--1817

Tobacco was of primary importance to Spain, and its impact on Cuba's economy and society was greater than just the numbers of farms, workers, or production, demonstrated by the Spanish crown's outlay of monies for capital assets, bureaucrats' salaries, and payments to farmers for their crop. This study is a micro- and macro-level study of rural life in colonial Cuba and the interconnected relationships among society, agricultural production, state control, and the island's economic development. ^ By placing Cuba's tobacco farmers at the forefront of this social history, this work revisits and offers alternatives to two prevailing historiographical views of rural Cuba from 1763 (the year Havana returned to Spanish control following the Seven Years' War) to 1817 (the final year of the 100-year royal monopoly on Cuban tobacco). Firstly, it argues against the primacy of sugar over other agricultural crops, a view that has shaped decades of scholarship, and challenges the thesis which maintains the Cuban tobacco farmer was almost exclusively poor, white, and employed free labor, rather than slaves, in the production of their crop. ^ This study establishes the importance of tobacco as an agricultural product, and argues that Cuban tobacco growers were a heterogeneous group, revealing the role that its cultivation may have played in helping some slaves earn their freedom. ^

Representation of people of color in the nineteenth century slavery novel in Cuba and Brazil

This dissertation explores the similarities and differences which characterize the depiction of people of color in certain representative nineteenth century Cuban and Brazilian slavery novels as a function of the authorial approach of each territory's literary tradition toward the issues of slavery, racial prejudice, and people of color. The selected texts, derived from the peak periods in slavery literature of each territory, include Francisco , by Anselmo Snárez y Romero; Sab, by Gertrudis Gómez de Avellaneda; Cecilia Valdés , by Cirilo Villaverde; A escrava Isaura, by Bernardo Guimarães; O mulato, by Aluísio Azevedo; and Bom-Crioulo, by Adolfo Caminha. While the present study explores the enslavement, abuse, and discrimination of people of color as a consequence of a deep-seated discourse of power, privilege and racial superiority, it focuses more extensively on the representation of people of color, particularly in their capacity to constructively appropriate the cultural values of the white dominant group and recognize their identity as ambiguous. ^ Said's theories of Orientalist discourse and geography and formation as well as Dube's perspective on subaltern-oriented studies provide a theoretical framework for exploring the response of slavery writers whose common exposure to slavery but dissimilar socio-political contexts generate some startling findings. Crafted within a period of political repression, fear of black revolt, factional in-fighting as well as strong socioeconomic ties to the slaveholding class, the Cuban texts generally fashioned an approach to slavery as one marked by moderation, reform, and cultural counter discourse and consequently depict people of color with a more passive but culturally authentic outlook. On the other hand, the Brazilian response to the issue of slavery, steeped in an ideological amalgam of liberalism, positivism, republicanism, and abolitionism, is characterized by overt opposition to slavery and a representation of people of color that is less concerned with cross-cultural input but reclaims their humanity as highly educable and socially mobile persons in search of greater freedoms. Ultimately, there is a shared message of higher significance couched in the worthwhile mission of raising slaves to the level of men. ^

Teoría y práctica del neobarroco en Severo Sarduy

This dissertation analyzes the theory and practice of the Cuban postmodern writer Severo Sarduy (1937–1993) from his early adult years in Cuba to his exile period in Paris, France, where he lived until his death. By studying his narrative through the light of his theoretical essays, this paper demonstrates that the author created his own type of reading model—from and for Sarduy. His literary work is influenced by three major elements: (post)structuralism, psychoanalysis, and Buddhism, which combined form what Sarduy himself called the Neobarroque style. The Sarduyan writing is a transgressive exercise expressed through his concept of simulación. This style breaks with the traditional art concept of mimesis (the representation of reality in the western world), and therefore with the correspondence between the signifier and the signified. Sarduy does not intend to represent reality but to go beyond it, achieving by his technique of signifying exhaustion to represent absence itself. The Neobarroque of Severo Sarduy is an aesthetic of the empty signifier based on the reckless expenditure, and ultimately exhaustion, of the artifices of language that precipitates in a signifier chain towards the infinite. His language does not transmit a message but it signifies itself, that is, a means without an end. Paradoxically, this signifier chain produces an excess of metaphors beyond the material limits of language and its support, the page. The space beyond language is the hipertelic technique inherited by Sarduy from his literary master, José Lezama Lima. This is also the empty space of no signification or nonsense in which occurs the depersonalization of the speaking subject; in Buddhist terminology this becomes the dissolution of the ego. The Sarduyan language is determined by a Lacanian psychoanalytic erotic drive (pulsion) known as the Barroquean desire, a death drive which directly relates to the exile condition of the author. But the genesis of this desire lies in a primordial desire of encounter with his origin: mother, maternal language, paradise, God. That is the reason why Sarduy not only poses an aesthetic question but also an ontological one. This other dimension of the Sarduyan writing is based on a liberating drive that permeates all his work—an ontological liberation expressed through language. The empty space created in the text provides the subject with the possibility of fusion with the all. Ultimately, Sarduy strives for a language that goes beyond the symbolic limits towards a place of constant dissolution, evanesce, and death-horror vacui. This corroborates the Sarduyan statement: “la simulación enuncia el vacío y la muerte.”

Catholic student movements in Latin America: Cuba and Brazil, 1920s to 1960s

This dissertation examines the ideological development of the Catholic University Student (JUC) movements in Cuba and Brazil during the Cold War and their organizational predecessors and intellectual influences in interwar Europe. Transnational Catholicism prioritized the attempt to influence youth and in particular, university students, within the context of Catholic nations within Atlantic civilization in the middle of the twentieth century. This dissertation argues that the Catholic university movements achieved a relatively high level of social and political influence in a number of countries in Latin America and that the experience of the Catholic student activists led them to experience ideological conflict and in some cases, rupture, with the conservative ideology of the Catholic hierarchy. Catholic student movements flourished after World War II in the context of an emerging youth culture. The proliferation of student organizations became part of the ideological battlefield of the Cold War. Catholic university students also played key roles in the Cuban Revolution (1957-1959) and in the attempted political and social reforms in Brazil under President João Goulart (1961-1964). ^ The JUC, under the guidance of the Church hierarchy, attempted to avoid aligning itself with either ideological camp in the Cold War, but rather to chart a Third Way between materialistic capitalism and atheistic socialism. Thousands of students in over 70 nations were intensively trained to think critically about pressing social issues. This paper will to place the Catholic Student movement in Cuba in the larger context of transnational Catholic university movements using archival evidence, newspaper accounts and secondary sources. Despite the hierarchy's attempt to utilize students as a tool of influence, the actual lived experience of students equipped them to think critically about social issues, and helped lay a foundation for the progressive student politics of the late 1960s and the rise of liberation theology in the 1970s. ^

La mujer en defensa de la mujer: voces femeninas del romanticismo cubano (Poesía y cuento)

Throughout history, women have played an important role in literature. Nevertheless, since Sappho's poetry until now, feminine voices have had to struggle for recognition of their works. Before the nineteenth century, women were almost ignored in Spanish literature. Society kept them as "ángeles de la familia," taking care of their homes, husbands, and children. Some of them, such as María de Zayas y Sotomayor in Spain and Sor Juana Inés de la Cruz in Mexico, complained about their situation in their writings. However, they expressed their fight not as a generation but as individuals. In the nineteenth century, the ideas and ideals of Romanticism, were brought to Latin America from Europe. Cuba was among those countries where the new movement took roots. Initiated by Gertrudis Gómez de Avellaneda, a group of women began to participate in literary reunions, and to found newspapers and magazines where works authored by women, dedicated to feminist ideas, were published. They indeed through literature started to live out womanhood in order to intellectually leave the ideological prisons where society had been keeping them. This study scans the literary works of all Romantic women writers in Cuba. It specifically analyzes poetry and short stories, and investigates how these authors expressed themselves in their works against the patriarchal society, where they lived and wrote their books. An eclectic critical method has been used. Findings were very revealing. Only three of the fourteen writers studied in my dissertation had been previously mentioned by major critics. Most of them had been ignored. However, the greatest discovery was that they prompted something new: For the first time they projected themselves as a group, as a collective consciousness, and this fact established a difference with former women writers in Cuban literature before Romanticism. In other words, they produced a "Renaissance" in Cuba's literature. In spite of how they lived between 1820 and 1900, their struggles for women's rights have linked them to our current times.