Academic literature on the topic 'Cabrera Infante, Guillermo (1929-2005)'

Este texto traz uma carta inédita do escritor cubano Antón Arrufat, primeiro diretor da revista Casa de las Américas e um dos principais intelectuais envolvidos no Lunes, suplemento semanal publicado pelo jornal Revolución entre março de 1959 e novembro de 1961. Neste texto autobiográfico, Arrufat narra seu último encontro com o escritor Guillermo Cabrera Infante (1929-2005), exilado em Londres, em 1999, e a partir daí lembra os anos de juventude em Havana e os tempos de Lunes.

Este artigo objetiva analisar o livro El juego de la viola de Guillermo Rosales (1946-1993), considerando-se algumas problemáticas identitárias (sociais) e diferentes reproduções traumáticas da infância (familiares) inseridas no contexto meta-ficcional da obra do escritor caribenho. Como estratégia metodológica, foram utilizados métodos descritivos e de caráter bibliográfico. O conceito de violência e trauma baseou-se no pensamento de Arendt (2003, 2005), Dorfman (1972), Assmann (2011) e Butler (2003, 2015), ao passo que a discussão sobre o espaço autobiográfico e a obra de Rosales teve como fundamento as obras de Martínez (2003, 2007, 2015), Simal (2012, 2017), Vila (2015) e Alfonso (2015) e, finalmente, o suicídio no contexto histórico-narrativo cubano, toma como base o pensamento de Cabrera Infante (2015). Assim, no romance, foi possível apreender determinadas marcas autobiográficas, relativas à trajetória autodestrutiva de Rosales, fragmentadas segundo os aspectos geográfico, psicológico e criativo. Também se destaca a presença de uma memória violenta, em que são recorrentes as alusões à tortura, ao suicídio e à morte associadas aos espaços individual, filial e social.

De l'esclavage à l'abolition en passant par les guerres d'indépendance ( 1492-1898 ), l'histoire de Cuba a toujours été marquée par la présence des Noirs. Transportés comme esclaves dans les plantations, les Noirs ont été privés de tous les droits et de toutes les libertés. Leurs coutumes et croyances furent tout simplement bafouées car considérées pernicieuses et dangereuses par les Blancs. Ces derniers vont alors prendre toutes les dispositions afin que les esclaves adoptent et pratiquent la religion catholique. Mais les esclaves ne vont pas pour autant couper le cordon ombilical avec l'Afrique de leurs ancêtres. Sous prétexte de servir le Dieu chrétien, les esclaves vont réactiver les Orishas africains. Ils vont alors établir des équivalences entre les saints catholiques et les Orishas. A chaque fête d'un saint catholique, les esclaves associaient un Orisha africain. En fait, les pratiques culturelles africaines furent qualifiées de primitives, de barbares, de sorcières et de tous les maux qui débouchèrent sur leur occultation, même après les indépendances. C'est dans ce contexte qu'est née la cubanité. Elle consiste à définir l'identité authentique cubaine. Malheureusement, pendant la république ( 1902-1958 ), cette cubanité devient exclusive du Noir. Ce dernier et son héritage culturel sont différés. Cette attitude a exilé les Afro-cubains du discours identitaire. Les Blancs semblent ignorer l'apport considérable des Africains dans la formation de la nation cubaine. Le Négrisme a réagi contre cet " oubli " en mettant en relief le caractère métis de la societé cubaine. Des cherheurs comme F. Ortiz, L. Cabrera ou R. Lachatañere ont découvert l'énorme apport
Slavery with abolition while passing by the wars of independence ( 1492-1898 ), the history of Cuba was always marked by the presence of the Blacks. Transported like slaves in the plantations, the Blacks were privated of all the rights and all freedoms. Their habits and beliefs were quite simply jeered but considered pernicious and dangereous because of the Withe. The latter then will make all the previsios so that the slaves adopt and practise the catholic relgion. But the slaves can't therefore cutting the ombilical cord with Africa and their ancestors. Under pretext of serve christian Gold, the slaves reactivate Orisha African. They then will establish equivalences between the catholic saints and Orishas. With each festival of a catholic saint, the slaves associated A Orishas. In fact, qualified primitives, barbarians, Withe and all the evils which led to their screeming, even after independences. It is in this context that was born the cubanity. It consists in defening the cuban authentic society. Infortunately, the short after the independence of Cuba, this cubanity becomes exclusive Black. This last and its culturage heritage are difered. This attitude exiled the Afro-cuban of the speech identitary. The Withe seem to be unaware of the considerable contribution of the Africans in the formation of the cuban nation. The negrism reacted against this" laps of memory" by highlighting the character mongrel of the cuban company. Researchers like Fernando Ortiz, Lydia Cabrera or Rómulo Lachatañere discovered the enormous cultural contribution that Cuba received from Africa by the slaves. That african cultur is well anchored in the cuban culture and this one is approached

This dissertation studies the influence of film on the works and careers of Guillermo Cabrera Infante (Cuba, 1929- ) and Manuel Puig (Argentina, 1932- ). Emphasis is put on their critical views, fiction, and filmscripts. Generic, thematic, and technical questions concerning film and their works are discussed, without, however, an attempt at exhaustiveness. After an introduction in Chapter 1, the next chapter addresses the relationship of Cabrera to the film, a topic developed more fully in Chapter 3. As the critic of Un oficio del Siglo 20 (1973) and Arcadia todas las noches (1978), he is placed in the "auteurist" tradition, a view which he later modified. Chapter 3 further discusses his concept of film. The next two chapters concern his critical collections. Mythic, generic, and aesthetic areas are treated. The basis for a continuity with his major fiction is demonstrated. In Chapter 6, Vanishing Point (1969-70) is studied from generic and mythic perspectives. The filmscript is used in preference to the film, which severely revised it. The two major fictional works of Cabrera, Tres tristes tigres (1965), and La Habana para un Infante Difunto (1979), are analyzed in Chapters 7 and 8 with reference to filmic allusions, connections to his criticism, and technique. Generic continuity is demonstrated in both works, while Chapter 8 also concerns the mechanisms of parody and of "blasphemy" against the "temple" of film. The next chapter is a comparative overview of Puig and Cabrera. Common (and divergent) directorial and generic interests are discussed, as well as the influence of certain directors on the work of Puig. Molina, from El beso de la mujer arana (1976), is placed within a context of gay movie tastes. Chapter 10 is partially devoted to two filmscripts by Puig, La cara del villano and Recuerdo de Tijuana (originally published in 1980), the first as an adaptation of a literary work and the second as an example of film noir. The chapter also deals with Kiss of the Spider Woman (1985), an adaptation of the novel by Puig. Chapter 11 briefly concludes the study.

La litterature cubaine connait, depuis la revolution castriste de 1959, deux versants contradictoires. Les livres ecrits dans l'ile ont peu de choses a voir avec ce qui s'est fait a l'exterieur. La thematique, les formes d'ecriture, les objectifs sont radicalement differents. Guillermo cabrera infante, severo sarduy et reinaido arenas ont marque de leur empreinte l'ensemble de la creation litteraire en exil. Les prises de position politiques des uns et des autres, parfois ouvertement exprimees, parfois simplement insinuees, sont venues s'ajouter aux oeuvres de fiction, leur conferant un sens different. Dans la plupart de leurs ecrits, cependant, la litterature s'est maintenue intacte, fuyant l'engagement, dans une tentative de recuperation totale de la memoire des origines. Ce qui a ete perdu. La havane, la sensualite particuliere de l'ile, est devenu l'objet d'une quete permanente. Mais tous ont cru, au depart, aux possibilites offertes par la revolution. Ils ont adhere a certains de ses principes, ecrit des textes de soutien, participe a son evolution et a ses errements. Ce passe etait trop encombrant, vu a l'aune de leur evolution posterieure. C'est pourquoi le silence est venuse substituer a la critique d'eux-memes, en construisant une veritable dichotomie entre ce qui etait elabore a l'interieur de l'ile et ce qui est publie en exil. Ce travail pretend saisir, a travers les meandres des textes et des publications, les constantes, les particularites et les contradictions de ces trois ecrivains, dont la place dans la litterature cubaine, difficilement conquise, a ouvert la voie a d'autres expressions moins tragiques, moins tourmentees, davantage tournees vers le present que vers la memoire.

L'objet de ce travail est l’étude de la notion de transgression (grammaticale et linguistique) à partir d'un corpus de romans espagnols et hispano-américains de la fin du XXème siècle. Ce concept, qui demande préalablement de définir celui de "norme", s'applique aux différentes parties constitutives de la langue. Il conduit à la notion de babélisme, à l'invention de langues imaginaires, et à l'introduction de codes non linguistiques dans le texte littéraire
The object of this work is a study on the notion of transgression (both grammatical and linguistic) based on a corpus of Spanish and Spanish American late twentieth century novels. Such a concept, which requires the previous definition of a "norm" ,is applied to the different constituent parts of the language. It leads to the notion of babelism, to the invention of imaginary languages and to the introduction of non-linguistic codes in the literary text

Ce mémoire examine la concordance présente entre le langage et le discours révolutionnaire cubain dans Coupable d’avoir dansé le cha-cha-cha (1995) de Guillermo Cabrera Infante (1929-2005). L’examen du récit a été entrepris depuis une perspective qui approfondit ce que certaines études appellent « la parole ennemie » : cette parole qui questionne ce qui apparaît comme « réel » afin de montrer ce qui est caché. L’objectif principal de cette recherche consiste à établir une corrélation entre le dynamisme qui caractérise le langage du roman et celui qui correspond à la rhétorique révolutionnaire à partir de trois segments qui ont pour titres, « Une journée vers la déception », « Rupture et continuité du langage » et « Mémoire et antimémoire ». Ce schéma, qui comprend un trajet triple — utopique, linguistique et historique —, permet d’arriver à édifier une relation intime entre le langage de l’œuvre et celui du parcours révolutionnaire cubain.
Esta investigación examina la concordancia entre lenguaje y el discurso revolucionario cubano en Delito por bailar el chachachá (1995) de Guillermo Cabrera Infante (1929-2005). El análisis del texto se inició desde una perspectiva que profundiza lo que ciertos estudiosos llaman la “palabra enemiga”: esa palabra que busca cuestionar lo que pasa por “realidad” para desocultar lo ocultado. El objeto principal de este trabajo consiste en establecer una correlación entre el dinamismo que caracteriza el lenguaje de la novela y el que corresponde a la retórica revolucionaria a partir de tres segmentos que se titulan, “Una jornada hacia la decepción”, “Ruptura y continuidad en el lenguaje” y “Memoria y desmemoria”. Este esquema, que emprende un triple recorrido — utópico, lingüístico e histórico —, permite llegar a edificar una relación íntima entre el lenguaje de la obra y la jornada revolucionaria cubana.

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Entre o doce e o amargo, a cultura e a política, a revolução e o exílio, descortina-se a frágil e quase imperceptível fronteira das representações impressas nos livros de memórias de Carlos Franqui e Guillermo Cabrera Infante, que situam e definem contornos aos itinerários culturais e políticos desses dois intelectuais de esquerda dentro da Revolução Cubana. Amigos de longa data, desde tenra juventude em Habana Vieja, o jornalista Carlos Franqui e o renomado escritor Guillermo Cabrera Infante não somente apresentaram participações ativas dentro do processo revolucionário cubano como também, alguns anos depois, dele se tornaram dissidentes e ácidos críticos. Nesta pesquisa, utilizamos as autobiografias produzidas pelos dois autores a fim de compreender os meandros que os levaram do engajamento à dissidência, mapeando as nuances de uma página recente da história cultural de Cuba: o exílio levado a cabo pela intelectualidade cubana de esquerda em relação ao regime de Fidel Castro
Between the sweet and the bitter, the culture and the politics, the revolution and the exile, opens up the fragile and almost imperceptible boundary representations of the captured memoirs of Carlos Franqui and Guillermo Cabrera Infante who place contours and define the cultural and political routes of these two left-wing intellectuals in the Cuban Revolution. Longtime friends from early youth in Habana Vieja, the journalist Carlos Franqui and the writer Guillermo Cabrera Infante had not only active participation in the Cuban revolutionary process as well as a few years later became its dissidents and critics acids. In this research, we used the autobiographies produced by the two authors in order to understand the intricacies leaving them from the commitment to the dissent, mapping the nuances of a page's recent cultural history of Cuba: the exile carried out by Cuban intellectuals of the left against the Castro regime

La investigación que se propone aspira a demostrar la pertinencia de la categoría de la repetición en el abordaje crítico de las novelas Tres tristes tigres (1967) del cubano Guillermo Cabrera Infante y La guaracha del Macho Camacho (1976) del puertorriqueño Luis Rafael Sánchez. La hipótesis de trabajo que se formula está orientada a demostrar que la repetición, en su acepción contemporánea de repetición diferenciadora y descentrante, constituye un mecanismo estructurador que sobredetermina los distintos niveles del mensaje literario. Utilizada, sobre todo, como herramienta hermenéutica, a través del estudio de las varias formas de repetición se intentará arrojar luz sobre la sistemática y corrosiva deconstrucción de las identidades simbólicas llevada a cabo por la estética contemporánea, a través del juego entre mismidad y alteridad. Con base en lo expuesto, un ulterior objetivo del trabajo es emprender un acercamiento a la narrativa caribeña desde horizontes conceptuales que no son estrictamente literarios, para seguir, en cambio, algunos de los planteamientos de la filosofía contemporánea. La investigación se articula en tres bloques: en el primer capítulo se perfila conceptual e históricamente la idea de repetición que vertebra y sustenta la investigación. Sin pretensión alguna de exhaustividad, pero ahondando lo suficiente en el corpus filosófico elegido, en este espacio se proporcionan los paradigmas conceptuales de referencia necesarios para acotar esta intuición filosófica tan primordial y, a la vez, abarcadora de un vastísimo espectro de significaciones subyacentes. El segundo capítulo aborda la repetición en Tres tristes tigres (1967) a partir dos principios fundamentales de la repetición neobarroca: la variación organizada y el dialogismo intertextual. Por lo que se refiere al primero ellos, se analiza la doble modalidad que adquiere el juego de oscilaciones entre lo que se repite y lo que difiere: la variación de un idéntico y la identidad de varios diversos. Mientras que, en realción con el segundo principio, se exploran aquellas configuraciones discursivas en las que el engranaje reiterativo subsume ciertas operaciones intertextuales a través de las cuales se injertan y transforman una serie de hipotextos, cuyas huellas siguen leyéndose en filigrana. El objetivo principal es demostrar que el orden de una obra caótica como TTT, lejos de ser un a priori, constituye un fieri, en el que el “sentido” es constantemente “producido en” y “desplazado por” la repetición. En el tercer capítulo se indaga el valor de la repetición en La guaracha del Macho Camacho, siguiendo un recorrido hermenéutico que se despliega por tres distintas vertientes interpretativas. En primer lugar se aborda el estudio de la repetición a nivel lingüístico en tanto característica del invasivo discurso radiofónico típico de las sociedades de masas. En segundo lugar se indaga en la repetición como mecanismo fundamental de lo kitsch en tanto «ideologema de la copia»: así entendida, diseña una nueva arena de negociación de las instancias sociales que, en La guaracha, quedan excluidas de cualquier tratamiento documental. En fin, se explora la relación entre el imaginario generado y transmitido por los medios masivos y el mecanismo que J. Butler define como «iteración performativa identitaria», en tanto repetición de gestos performativos –o performances– que, reiterados y estilizados en el espacio exterior del cuerpo, estructuran y moldean la identidad.
The proposed research aims to demonstrate the relevance of the category of repetition in the critical approach of the novels Tres tristes tigres (1967) by Cuban Guillermo Cabrera Infante and La guaracha del Macho Camacho (1976) by Puerto Rican Luis Rafael Sánchez. The working hypothesis that is formulated aims to demonstrate that repetition, in its contemporary meaning of differentiating and decentralizing repetition, acts as a structuring mechanism that overdetermines the different levels of the literary message. . Through the study of the various forms of repetition, used primarily as a hermeneutic tool, an attempt will be made to shed light on the systematic and corrosive deconstruction of symbolic identities, carried out by contemporary aesthetics through the game between sameness and alterity. Based on the above, a further objective of the work is to undertake an approach to the Caribbean narrative from conceptual horizons that are not strictly literary but taken instead from contemporary philosophy. The research is divided into three blocks: in the first chapter, the idea of repetition that structures and sustains research is presented in its conceptual and historical significance. Without claiming to be exhaustive, but delving deeply into the chosen philosophical corpus, this space provides the conceptual paradigms of reference necessary to trace the boundaries of the proposed philosophical intuition. The latter is in fact both primordial and, at the same time, encompassing a vast spectrum of underlying meanings. The second chapter deals with the repetition in Tres tristes tigres (1967) based on two fundamental principles of neo-baroque repetition: organized variation and intertextual dialogism. With regard to the first one, the double modality acquired by the game of oscillations between what is repeated and what differs is analyzed: the variation of an identical one and the identity of several different ones. Whereas, in conjunction with the second principle, those discursive configurations are explored in which the reiterative gear subsumes certain intertextual operations through which a series of hypotexts are grafted and transformed, whose footprints continue to be read in filigree. The main objective is to demonstrate that the order of a chaotic work like TTT, far from being an a priori one, constitutes a fieri, in which the "sense" is constantly "produced in" and "displaced by" repetition. In the third chapter, the value of repetition is investigated in La guaracha del Macho Camacho, following a hermeneutical route that unfolds through three different interpretive aspects. In the first place, the study of repetition at the linguistic level is considered as a characteristic of the invasive radiophonic speech, typical of mass societies. Secondly, repetition is explored as a fundamental mechanism of kitsch as "ideologema de la copia": thus understood, it designs a new arena for negotiation of social instances that, in La Guaracha, are excluded from any documentary treatment. Finally, we explore the relationship between the imaginary generated and transmitted by the mass media and the mechanism that J. Butler defines as "performative identity iteration": a repetition of performative gestures -or performances- that, repeated and stylized in space outside of the body, structure and shape the identity.

Cette étude met en lumière la dimension carnavalesque telle que théorisée par Mikhaïl Bakhtine chez Rabelais dans le roman cubain contemporain (El arpa y la sombra d’Alejo Carpentier, Paradiso de José Lezama Lima, De donde son los cantantes de Severo Sarduy, Tres tristes tigres de Guillermo Cabrera Infante, El color del verano o Nuevo “Jardín de las Delicias” de Reinaldo Arenas, La piel y la máscara de Jesús Díaz). Il s’agira principalement de montrer comment les caractéristiques de « ce monde à l’envers » qui marque la « vision carnavalesque » proposée par le théoricien russe s’inscrivent dans l’écriture, tant dans l’intégration des codes du carnaval comme motifs littéraires que dans les techniques narratives employées. Dans une lecture dépassant le concept baroque associé jusqu’ici aux romans cubains de notre corpus, nous envisageons la résurgence de traditions populaires anciennes de la fête carnavalesque, le mélange entre hommage et irrévérence, sacralisation et désacralisation, comme le symptôme d’une crise du sujet cubain, l’expression postmoderne du rejet des idoles en même temps que la manifestation d’un désir profond de retrouver une liberté provisoire dans la représentation littéraire carnavalisée et de se plonger dans l’âge d’or célébré par la fête
This study sets out the Bakhtine “carnival dimension” in the Cuban contemporary novel (El arpa y la sombra by Alejo Carpentier, Paradiso by José Lezama Lima, De donde son los cantantes by Severo Sarduy, Tres tristes tigres by Guillermo Cabrera Infante, El color del verano o Nuevo “Jardín de las Delicias” by Reinaldo Arenas, La piel y la máscara by Jesús Díaz). Our main concern is to demonstrate that “upside down world characteristics” that fixe the “carnavalesque vision” proposed by the Russian theorist is part of the writing in the integration of the carnival’s codes both as literary themes as narrative techniques. In a reading exceeding the baroque concept associated up to now with the Cuban novels of our corpus, we envisage the resurgence of the carnival’s former popular traditions, the mixture between tribute and irreverence, sacralization and deconsecration, as the symptom of the Cuban subject’s crisis, the postmodern expression of the rejection of the idols at the same time as the demonstration of a deep desire to recover a temporary freedom in the carnivalized literary representation and to plunge into a golden age celebrated by the carnival

This thesis investigates the principle of play in the diverse constituents of the modern novel, represented by the works of Rayuela by Julio Cortázar and Tres tristes tigres by Guillermo Cabrera Infante. In the chapter 1, it inquires into the conception of play in the point of view of the philosophy (mainly of Eugen Fink), sociology (of Roger Caillois) and psycology (of Carl Gustav Jung). In the chapter 2, it focuses from the point of view of the literary science on the play in the modern novel and it gives some examples from the world-literature. The chapter 3, which is the center of the thesis, applies the outcomes of the previous chapters in the analysis and comparison of the principle of play on the thematic, language, compositive and narrative level directly in the novels Rayuela and Tres tristes tigres, and on the finish it tries to formulate the sight of the world and the man in both works.