Siempre en otra parte : Reinaldo Arenas

El propósito de este trabajo es analizar la novela El portero de Reinaldo Arenas a la luz de ciertos aspectos de su biografía, en particular de lucha permanente por el derecho a vivir en libertad. Nos detenemos aquí en una figura típica que reaparece con insistencia en sus relatos: un hombre que sale, se fuga, salta, rompe, abre alguna puerta, busca otro espacio, no descansa nunca. Como una especie de matriz, esta figura lo representa a él, al autor, como su máscara; es el mito que crea de sí mismo y que reproduce en sus personajes

Otra vez el mar... los cantos de Reinaldo Arenas

Durante los años sesenta y setenta, el gobierno de Fidel Castro persiguio a los intelectuales y homosexuales de la isla. Bajo la teoria del hombre nuevo de Che Guevara, el gobierno cubano trato de homogeneizar la sociedad, persiguiendo y reinsertando a todos aquellos que no se asemejaban a esta imagen viril y productiva del hombre. A traves de la novela de ficcion Otra vez el mar, Reinaldo Arenas ofrece el testimonio sobre su situacion de rechazado en su propio pais, escondiendose detras de su protagonista Hector. Este, un escritor homosexual, se autocensura y oculta su vertiente homosexual imaginando una vida respetable de hombre casado con hijo, a fin de integrarse en la sociedad cubana. Esta negacion de su propia identidad y persona acaba destruyendo al personaje, quien se suicida al final de la novela. Muchas veces la critica ha rechazado la obra de ficcion como parte del genero testimonio, argumentando que los elementos ficcionales se contraponen al caracter testimonial. No obstante, varios criticos no estan de acuerdo con esta afirmacion y consideran que la ficcion enriquece la realidad. De este modo, demostrare que hay otra posible manera de interpretar esos testimonios novelados, recordando la teoria de la novela testimonial frente a la novela-testimonio del critico Abdeslam Azougarh.

Una novela inedita de Reinaldo Arenas

This is the first article publishes about the unpublished novel by Reinaldo Arenas "Que dura es la vida". It tries to demonstrate that despite the fact the this is a novel written during the author's adolescence and before he had any literary education, it already shows signs of what the readers will discover in his master pieces later on.

Autofiction as a fictional metaphorical self-translation:the case of Reinaldo Arenas' El color del verano

In the past thirty years, autofiction has been at the center of many literary studies (Alberca 2005/6, 2007; Colonna 1989, 2004; Gasparini 2004; Genette 1982), although only recently in Hispanic literary studies. Despite the many common characteristics with self-translation, no interdisciplinary perspective has ever been offered by academic researchers in Literary nor in Translation Studies. This article analyses how the Cuban author, Reinaldo Arenas, uses specific methods inherent to autofiction, such as nominal and personal identity exploitation, among others, to translate himself metaphorically into his novel El color del verano [The colour of summer]. Analysing this novel drawing on the theory of self-translation sheds light on the intrinsic and extraneous motives behind the writer’s decision to use this specific literary genre, as well as the benefits presented to the reader who gains access to the ‘interliminal space’ of the writer’s work as a whole.

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. ^

Entre el terror y la irrealidad: La narrativa poetica postmoderna de Reinaldo Arenas

This study focuses on the works of Cuban writer Reinaldo Arenas, one of the most prolific and controversial Latin American authors in the second half of the twentieth century. First, I propose Arenas as the creator of the Cuban revolutionary novel (a term coined by critics when referring to the narrative written after the revolution), within the scope of postmodern historiographic metafiction and against the trend of the official revolutionary novel promoted by the political establishment. Through the analysis of the five novels of the pentagony and other texts, my study follows the tragic journey of the antihero protagonist, from adolescence into adulthood, registering the correlation between his existential crisis and the narrative historical discourse. Contemporary Cuba from 1959 onwards—the historical-political circumstances that afflicted and overwhelmed him the most—becomes the point of reference to deconstruct reality and reaffirm the existence of a “self” threatened by the violence of a totalitarian discourse. Out of the fragments of this reality, Arenas undertook a radical reconstruction in which he inverted and questioned every inherited cultural value, as well as the power structures. Within this context, Arenas projects what I call “the Cuban hideous unreal”, an ontological and literary vision antagonistic to the carpentirean concept of the American “marvelous real”. ^ Despite the ostracism Reinaldo Arenas suffered for ten years, this study shows how he established through his work a meditative dialogue with himself and the common man. This perspective formulates a permanent literary and philosophic reflection with thinkers and writers of his country and the West, as the basis for a rejection of the Cuban reality. The resultant interdisciplinary and postmodern dialogue constitutes one of the most significant and distinctive contributions of his work. ^

Reflexiones sobre corpus de autor, archivo y obra : El caso Arenas

El trabajo se propone indagar acerca del armado de un corpus "de autor" para la investigación literaria y la posibilidad de repensarlo a partir de la noción de archivo, para finalmente reflexionar sobre esta cuestión en el abordaje de la obra del escritor cubano Reinaldo Arenas (1943-1990)

Reflexiones sobre corpus de autor, archivo y obra : El caso Arenas

El trabajo se propone indagar acerca del armado de un corpus "de autor" para la investigación literaria y la posibilidad de repensarlo a partir de la noción de archivo, para finalmente reflexionar sobre esta cuestión en el abordaje de la obra del escritor cubano Reinaldo Arenas (1943-1990)

Reflexiones sobre corpus de autor, archivo y obra : El caso Arenas

El trabajo se propone indagar acerca del armado de un corpus "de autor" para la investigación literaria y la posibilidad de repensarlo a partir de la noción de archivo, para finalmente reflexionar sobre esta cuestión en el abordaje de la obra del escritor cubano Reinaldo Arenas (1943-1990)

Celestino antes y despues del alba

La novela-testimonio ha sido desde siempre un género literario híbrido y difícil de definir. En este trabajo, empezaré destacando los rasgos principales e imprescindibles de este tipo de novela y trataré a la vez el tema polémico de la aceptación o no de la ficción en el mismo. En la segunda parte del estudio, me detendré en el análisis de la primera novela del escritor cubano Reinaldo Arenas Celestino antes del alba dentro de un contexto testimonial y aclararé cuál es su lugar dentro del género testimonio. The documentary novel has always been considered as a hibrid literary genre difficult to define. The first part of this article will emphasize its main and essential characteristics and, at the same time, address the polemic topic of the acceptance or not of the fiction in it. The second part of the study is an analysis of the first novel of the Cuban writer Reinaldo Arenas, Singing from the well, within the context of the documentary novel.

Relectura del discurso novomundista de Alejo Carpentier y Abel Posse en el contexto de la nueva novela historica

The purpose of this dissertation was to analyze the narrative works of Alejo Carpentier and Abel Posse within the context of the new Latin American historical novel that revises the Old World-New World Encounter. Focusing on El arpa y la sombra and Los perros del paraíso , the dissertation studied the particular manner in which Latin American novelists, and particularly Alejo Carpentier and Abel Posse, approach and question traditional historiography. The research also compared different novels to identify various trends within the new historical novel that rewrites the foundational period of Latin American literature. ^ This study considered the theories of the new historical novel as proposed by critics such as Seymour Menton, Fernando de Aínsa, Linda Hutcheon, and Brian MacHale. The new novel was examined within the frameworks of postmodern literary and historiographic theories. The study also contemplated the philosophical views that have influenced postmodern thought, and, especially, the ideas of Nietzsche, Heidegger, Lyotard, Harbermas, and Foucault. ^ Research showed two major trends within the new Latin American historical novel. In the case of the first trend, initiated by Alejo Carpentier in 1949 with El reino de este mundo, the novelist's approach is founded on historicism and factual rigor. The second trend, initiated by Reinaldo Arenas with El mundo alucinante in 1969, is marked by irreverence, parody, irony, and carnavalization. Characterized by intertextuality, dialogism, and anachronism, novels such as Carpentier's El arpa y la sombra and Posse's Los perros del paraíso, undermine the values and beliefs instituted by the traditional historiographic paradigm and the discourse of power. ^

Relectura del discurso novomundista de Alejo Carpentier y Abel Posse en el contexto de la nueva novela histórica

The purpose of this dissertation was to analyze the narrative works of Alejo Carpentier and Abel Posse within the context of the new Latin American historical novel that revises the Old World-New World Encounter. Focusing on El arpa y la sombra and Los perros del paraíso, the dissertation studied the particular manner in which Latin American novelists, and particularly Alejo Carpentier and Abel Posse, approach and question traditional historiography. The research also compared different novels to identify various trends within the new historical novel that rewrites the foundational period of Latin American literature. This study considered the theories of the new historical novel as proposed by critics such as Seymour Menton, Fernando de Aínsa, Linda Hutcheon, and Brian MacHale. The new novel was examined within the frameworks of postmodern literary and historiographic theories. The study also contemplated the philosophical views that have influenced postmodern thought, and, especially, the ideas of Nietzsche, Heidegger, Lyotard, Harbermas, and Foucault. Research showed two major trends within the new Latin American historical novel. In the case of the first trend, initiated by Alejo Carpentier in 1949 with El reino de este mundo, the novelist’s approach is founded on historicism and factual rigor. The second trend, initiated by Reinaldo Arenas with El mundo alucinante in 1969, is marked by irreverence, parody, irony, and carnavalization. Characterized by intertextuality, dialogism, and anachronism, novels such as Carpentier´s El arpa y la sombra and Posse´s Los perros del paraíso, undermine the values and beliefs instituted by the traditional historiographic paradigm and the discourse of power.

Política de fundos na educação e desigualdades municipais no estado de São Paulo: uma análise a partir das arenas políticas de Lowi

A sistematização das políticas sociais no Brasil vem sendo tratada de forma incremental nas últimas décadas, sendo a Constituição de 1988 um marco histórico ao reafirmar a importância de estados e municípios na oferta dessas políticas, em especial, na educação. Durante a década de 1990, percebe-se, no entanto, dificuldades na relação dos entes federativos para a condução de políticas educacionais. São então implementadas diversas modificações, como a aprovação do Fundef, que foi alterado em 2006, com a aprovação do Fundeb. Essas mudanças implicaram distorções e iniquidades na distribuição de recursos da educação nos municípios do estado de São Paulo. Este artigo busca discutir essas distorções, a partir da adoção dos dois fundos constitucionais, à luz das arenas de políticas públicas de Lowi (1966, 1972).