Relevant bibliographies by topics / Cuban poetry

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Reports

Academic literature on the topic 'Cuban poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Cuban poetry"

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Whitfield, Esther. "Guantánamo, Cuba: Poetry and Prison on Divided Ground." Comparative Literature 72, no. 3 (2020): 299–315. http://dx.doi.org/10.1215/00104124-8255339.

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Abstract Guantánamo as a site whose legal contortions and human rights abuses have global reach and urgency has long been the focus of the many scholars, lawyers, and activists who have fought to keep its detention centers in the public eye. And yet, alongside advocates who have insisted on the site’s urgent moral ties to the United States, Europe, the Middle East, and the international community broadly defined—and in defiance of both a US war on “terror” and a Cuban war on “imperialism”—there have persisted smaller-scale gestures aimed at situating the Guantánamo naval base as geographically
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Arnedo, Miguel. ""Afrocubanista" Poetry and Afro-Cuban Performance." Modern Language Review 96, no. 4 (2001): 990. http://dx.doi.org/10.2307/3735865.

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Sadikov, A. V. "African Element in Cuban Culture." Cuadernos Iberoamericanos 11, no. 4 (2023): 124–43. http://dx.doi.org/10.46272/2409-3416-2023-11-4-124-143.

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Cuba is one of those countries of the Western Hemisphere whose culture has been, throughout all of their history, and still is at present, under the influence of a potent factor: that of the African origin of a large portion of their population. This factor has been most active in all main domains of the spiritual life of Cuban people: in religion, in the intense functioning of the Abakuá cult and other mystical cults of African origin; in music, in dozens of genres of dance and song among which the Cuban son is most conspicuous, and, particularly, in the creative works of A. García Caturla, A
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Cort, Aisha Z. "Nation, Race, and Performance in the Poetics of Nicolás Guillén and Nancy Morejón." Small Axe: A Caribbean Journal of Criticism 25, no. 2 (2021): 125–41. http://dx.doi.org/10.1215/07990537-9384314.

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In the context of revolutionary Cuba, discourses of identity are veiled behind discussions and performances of nation and nationality. Consideration of the paradoxical relation of blackness and the Cuban Revolution must consider the historical relation of blackness to the Cuban nation, from its inception, to independence, through the Republic and immediately prior to the Revolution. In addition, a discussion of this relation must consider the discreet comments on race made via official policies, speeches, and discourses on the subject. Using Nancy Morejón’s critical analysis in her seminal 198
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Zapata-Calle, Ana. "El discurso desincretizador y womanista de Georgina Herrera: hacia una descolonización de la espiritualidad de la mujer negra cubana." Cuestiones de género: de la igualdad y la diferencia, no. 12 (June 24, 2017): 79. http://dx.doi.org/10.18002/cg.v0i12.3869.

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<p><strong>Resumen</strong></p><p>El propósito de este artículo es usar la poesía de Georgina Herrera para deconstruir la tradición de la santería que considera la religión yoruba como una ramificación del catolicismo y no como una religión universal. Georgina Herrera refleja en sus poemarios <em>África</em> (2006) y <em>Gatos y liebres o libro de las conciliaciones</em> (2010) el nuevo discurso afro-cubano que apuesta por una heterogeneidad religiosa que emerge en Cuba a finales de los años ochenta. Además, la poeta aboga en su poesía por
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Bridges, Jessica. "The Intersection of Values and Social Reproduction: Lessons from Cuba." Journal of Interdisciplinary Studies in Education 9, SI (2020): 134–51. http://dx.doi.org/10.32674/jise.v9isi.1866.

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This article will examine how various socialist values are promoted through the Cuban educational system. The voices represented vary generationally, racially, and gender. This research is not meant to generalize about all educational experiences in Cuba; rather, it represents a variety of experiences in the educational system. The research represented in this article was gathered in June 2015 in Havana, Cuba. This article begins with a brief historical background on education in Cuba after the triumph of the revolution in 1959, followed by data collection methods, representation of the data t
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Cruikshank, Stephen. "Inhaling the Nation: The Cultural Translation and Symbolic Performance of the Cigar in Cuba." TranscUlturAl: A Journal of Translation and Cultural Studies 9, no. 1 (2017): 145. http://dx.doi.org/10.21992/t9tp78.

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The following article uses a mixture of poetry and text to trace the cigar through various stages of Cuban history and highlights how the cigar has been translated and as a symbol useful to the construction of Cuban nationalism. In what ways does the cultural representation of the cigar throughout Cuban history create a performance of cultural values, identities, and heritage? As this paper reveals, such a question require us to translate the cigar smoke, to breathe in Cuban history, and to exhale the performance of metaphors.
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Haladner, Thomas. "The Cuban Connection." Mental Health & Human Resilience International Journal 7, no. 1 (2023): 1–4. http://dx.doi.org/10.23880/mhrij-16000208.

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Below is a quotation from Nicolás Guillén’s Prologue to Sóngoro Cosongo (translated from the original Spanish). Guillén was a political activist and well known on the island as Cuba’s national poet. Sóngoro Cosongo is a book of poems protesting racism and the treatment of blacks as second class citizens. “I should say finally that this is mulatto verse. The same elements are present as in the ethnic composition of Cuba, where we are all a little brown. Does that hurt? I don’t think so. It needs to be said regardless, lest we forget. The African injection in this land runs deep, and so many cap
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Pellón, Gustavo. "The Whole Island: Six Decades of Cuban Poetry." Review: Literature and Arts of the Americas 43, no. 2 (2010): 274–76. http://dx.doi.org/10.1080/08905762.2010.514420.

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Pérez-Rosario, Vanessa. "Mas yo resto: Entrevista con Nancy Morejón." Small Axe: A Caribbean Journal of Criticism 25, no. 2 (2021): 142–50. http://dx.doi.org/10.1215/07990537-9384328.

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In this interview, Cuban poet Nancy Morejón talks about her early work, her involvement with Ediciones El Puente, her poetry publishing hiatus from 1967 to 1979, and her literary criticism on the work of Nicolás Guillén. (In Spanish; an English translation is available online)
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Dissertations / Theses on the topic "Cuban poetry"

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Rodríguez-Núñez, Víctor Lázaro. "Poesía e [in]subordinación social en Gómez de Avellaneda, Casal, Loynaz, Ballagas y Vitier /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008431.

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Bellis, D. J. J. "Castro and the muses : the Cuban revolution and colloquial poetry." Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/20203/.

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It is argued in this thesis that the colloquial poetry which came to be the dominant poetic form after the triumph of the Cuban Revolution had been largely developed before 1959 and drew on the twin influences of poetry written in the Anglo-Saxon countries and developments from within Spanish-American poetry itself, developments which, before the advent of Nicanor Parra, reached their most mature form in the Spanish Civil War verse of César Vallejo. It will also be argued that, despite its political engagement with the Communist Bloc, there was little in the way of poetic influence on poets as
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Bustamante, Escalona Fernanda. "Redes transatlánticas: José Agustín Goytisolo y su relación con Cuba y sus letras (1966-1999)." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/400474.

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La presente investigación, inscrita en los objetivos de la Cátedra José Agustín Goytisolo de la Universitat Autònoma de Barcelona de promover los estudios en torno al poeta catalán y su generación, y del Grupo de Investigación de la Generalitat de Catalunya “Redes transatlánticas: relaciones intelectuales y literarias” (ref. 2014SGR 78-GRE), dialoga con los estudios sobre la explosión de las obras y los autores hispanoamericanos en el sistema literario y editorial español de los sesenta y setenta, que hizo que Barcelona se adjudicara la condición de "la meca de la literatura latinoamericana",
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Corsa, Lissette. "Palabra Inédita Género, Raza, E Identidad: Estrategias De La Memoria Cultural En La Poesía De Georgina Herrera, Nancy Morejón, Y Excilia Saldaña." Scholar Commons, 2007. http://scholarcommons.usf.edu/etd/3897.

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En esta tesis analizaré en la poesía de Georgina Herrera, Nancy Morejón y Excilia Saldaña 1 los conceptos de género y raza y cómo han sido apropiados del esquema patriarcal y redefinidos en la elaboración de identidad y nación a través de lo que Flora González Mandri y Catherine Davies han llamado la memoria cultural. Mi propósito es demostrar como dichas poetas han subvertido, a través de la palabra, un discurso historicamente maniqueísta que ha servido para reafirmar la doble subyugación de raza y género, como también exploro los resortes de auto-inscripción y el imaginario mítico-cultural q
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Machado, Julio. "Loose Ends." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1256.

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Loose Ends is a collection of lyric and narrative poems that explores the multiple terrains of identity—individual, cultural, and historical. The poems embrace the essential incoherence of the self, resisting monolithic identity in favor of a multi-faceted, historically complex, imagistic rendering of the inner life. At its heart, the collection seeks to grapple with the gravitas of living: the continual assault of history and nature on human agency, the staggering context of the universe as a backdrop for communal and individual struggle. While single poems may only touch briefly or incomplet
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Ferro, González Vladimir. "Poética del exilio en poetas de la diáspora cubana en México y Chile." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/142661.

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Vettorato, Cyril. "Poésie moderne et oralité dans les « Amériques noires » : une étude comparée (Etats-Unis, Brésil, Cuba et Caraïbe anglophone)." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040196.

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Depuis le début du vingtième siècle, une poésie écrite fait entendre dans l’ensemble des Amériques la voix des personnes d’origine africaine ; ce phénomène est distinctement moderne, dans la mesure où une telle voix était jusqu’alors impensable dans un champ littéraire conçu selon des termes peu conciliables avec l’idée d’une perspective propre à un groupe social ou ethnique. De la « Harlem Renaissance » des années 1920 au « negrismo » cubain, du « Teatro Experimental do Negro » brésilien au « Black Arts Movement » nord-américain ou au « Caribbean Artists Movement » caribéen, nombreux ont été
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Roberts, Nicole S. "The Hispanic Caribbean : unity and diversity; a comparative study of the contemporary Black poetry of Cuba, Puerto Rico and the Dominican Republic." Thesis, University of Birmingham, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247771.

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Oveson, Vicky. "Cuban nationalism from 1920-1935, the contextualization of Afrocuban poetic and musical themes in "Motivos de Son" by Nicolás Guillén and Amadeo Roldán." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59916.pdf.

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Damerdji, Amina. "Le soupçon ludique. Les poètes officiels de la Révolution cubaine, de La Havane à Madrid (1966-2002)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA074.

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La formation, à partir de 1966, d’un groupe de quatorze poètes autour de la revue El Caimán Barbudo affiliée au Parti Communiste de Cuba a fait émerger un nouvel ethos littéraire. Nous l’appelons « soupçon ludique » pour la méfiance facétieuse qu’il provoque chez le lecteur. Quels sont les traits définitoires, les implications et les incidences idéologiques et esthétiques de cet ethos ? En s’appuyant sur les 48 recueils produits par les membres du groupe entre 1966 et 2002, année de sa dispersion définitive, sur 29 entretiens ainsi que sur le dépouillement de dix fonds d’archives situés à Pari
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Books on the topic "Cuban poetry"

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Retamar, Roberto Fernández. Felices los normales: Poesías escogidas, 1949-1999. Océano, 2002.

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González-Esteva, Orlando. Qué edad cumple la luz esta mañana?: Antología. Fondo de Cultura Económica, 2008.

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Manuel, Díaz Martínez, ed. Poemas cubanos del siglo XX: Antología. Ediciones Hiperión, 2002.

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Loynaz, Dulce María. Bestiarium. Editorial Jose Martí, 1993.

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Loynaz, Dulce María. Poemas escogidos. Ediciones de la Universidad, 1993.

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Loynaz, Dulce María. Bestiarium. D.M. Loynaz, 2006.

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Fonseca, Alejandro. Anotaciones para un archivo. Ediciones Unión, 1999.

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Bousoño, Jorge. Concluso para sentencia. Editorial Letras Cubanas, 2015.

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Fernández, Teresa J. Revolución, poesía del ser. Unión de Escritores y Artistas de Cuba, 1987.

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1955-, Bobes León Marilyn, ed. Eros en la poesía cubana. Letras Cubanas, 1995.

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Book chapters on the topic "Cuban poetry"

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Schulman, Ivan A. "The Poetic Production of Cuba, Puerto Rico and The Dominican Republic in the Nineteenth Century." In Comparative History of Literatures in European Languages. John Benjamins Publishing Company, 1994. http://dx.doi.org/10.1075/chlel.x.14sch.

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Robinson, Peter. "Money is a kind of poetry." In Poetry & Money. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622539.003.0002.

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The title of this chapter is an aphorism from Adagia by Wallace Stevens. What this metaphorical conjoining could mean is unpacked as a further introduction to the complexities surrounding the relationships that poets and poetry may have with money, the theme illustrated by an article by Charles Simic. This aphorism being a form of metaphor, the metaphorical grounding of the book’s exploration is developed here. Stevens’s aphorism has been widely commented on, and a discussion of it includes references to poems by Dana Gioia and William Matthews, as well as remarks by the fictional poet in Humboldt’s Gift. The aphorism is then interpreted in the light of its poet’s two essays on insurance claims, which leads into a discussion of his poem ‘Attempt to Discover Life’, a lyric that concludes with a reference to Cuban currency.
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Millar, Lanie. "Nicolás Guillén and Poesia Negra de Expressão Portuguesa (1953)." In Transatlantic Studies. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620252.003.0032.

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The 1953 poetry notebook Poesia negra de expressão portuguesa [Black Poetry of Portuguese Expression] was first work that brought together negritude poetry from across the Lusophone African world. Edited by Angolan intellectual Mário Pinto de Andrade and Sao Tomean poet Francisco Tenreiro, the short collection declares itself an anti-colonial intervention into the negritude movements underway in the Francophone world since the 1930s. Little has been made, however, of the notebook’s dedication to Cuban poet Nicolás Guillén or the inclusion of Guillén’s poem “Son Número 6” [Son Number 6] in the collection. This article argues that the juxtaposition of Guillén’s “Son No. 6” with the Lusophone poems consolidates an alternative transatlanticism that emphasizes Guillén as a black poet, rather than themes of racial and cultural mixing, and thus shifts the circuits of collaboration away from francophone negritude's colony-metropole axis to the South. Poetic techniques such as call-and-response and the socially-embedded, metonymic construction of blackness shared among Guillén and Lusophone poets Agostinho Neto, Noémia de Sousa, and António Jacinto show how the notebook establishes the origins of both negritude poetry and negritude identity in the trans-Atlantic poetic conversation itself.
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Nasser, Tahia Abdel. "Introduction." In Latin American and Arab Literature. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781399507127.003.0001.

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The introduction traces the relationship of Latin America to the Arab world from the Cuban revolutionary poet José Martí’s chronicle on Egypt to the mid-twentieth century, the history of Arab and Latin American letters through the southern Mahjar poets who settled in South America in the late nineteenth and early twentieth century and produced some of the finest modern Arabic poetry, comparative methodologies based on direct networks and shared struggles and a survey of the structure of the book.
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Pettway, Matthew. "Carnival, the Virgin, and the Saints." In Cuban Literature in the Age of Black Insurrection. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496824967.003.0005.

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This chapter demonstrates how Plácido appealed to African ideas of spirit and cosmos to create a blueprint for black Cuban liberation.This chapter brings two narratives into contention to explore the political function of African-inspired spirituality in Plácido’s poetry: the poems about African-inspired spirituality and the government’s account about his conspiratorial activities to depose the colonial regime.This chapter makes the African epistemological claims in Plácido’s poetry legible while also examining the government indictment of the poet for the “horrendous crime” of “conspiracy against the white race.”This chapter constitutes the first serious examination of Plácido’s poetry alluding to African-inspired spirituality.Poems such as “To the Mountain Pan,” “The Silhouette of a Soul,” “Ghosts, Witches and Spirits,” “The Oath,” “To the Virgin of the Rosary,” “Me Don’t Know What I Said,” and “The Little Devil” acknowledge the inherent power of sacred oaths, carnival and the African orishasto transform the outcome of events in the materials world.
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Pettway, Matthew. "The Introduction." In Cuban Literature in the Age of Black Insurrection. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496824967.003.0001.

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The introduction presents Manzano and Plácido to readers as Cuban authors of African descent that navigated conflicting bodies of religious knowledge and disparate aesthetic practices.This chapter defines key terms both critical and theoretical. And, briefly takes a look at how Plácido and Manzano have been studied as assimilationists in the formation of the Cuban literary tradition.The introduction provides a very brief review of scholarly approaches to Plácido and Manzano but suggests a radical departure from most previous scholarship on the authors.This chapter introduces African-inspired spirituality as a lens for articulating antislavery philosophy in black Cuban poetry and prose.This book explores new terrain because it explores what the relationship between aesthetics, religion, and black aspirations for emancipation might teach us about the origins of Cuban literature.
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Pettway, Matthew. "Present but Unseen." In Cuban Literature in the Age of Black Insurrection. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496824967.003.0004.

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This chapter discusses how Juan Francisco Manzano created two apparently contradictory freedom narratives: the first grounded in Enlightenment ideals of liberty and the second one premised on the secret powers of African-inspired ritual.By privileging Manzano’s slave narrative and his unpublished poetry, this chapter deciphers the way he wrote about spirit presence, the sacred wilderness and the ritual of escape.Poems such as “A Dream: For My Second Brother,” “The Poet’s Vision Composed on a Sugar Plantation,” “Poesies,” and “Desperation” explore African ideas of spirit and cosmos as part of a larger antislavery philosophy.The dream motif, the mountain wilderness, transfiguration, anachronism and magical flight emerges as Romantic tropes that created space for an African-Cuban religious persona in Manzano’s poetry and prose.In this way, the notion that Manzano assimilated to Spanish Catholicism unproblematically is contested and disproven.
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Pettway, Matthew. "Católico a mi manera." In Cuban Literature in the Age of Black Insurrection. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496824967.003.0002.

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This chapter discusses Manzano’s early identity formation from a religious and racial standpoint prior to his 1836 manumission.Instead of reading Manzano’s Catholicism as imperfect mimicry–as Homi Bhabha might suggest–this chapter explores the mulatto-Catholic identity as a persona that garnered social capital and as a political statement that rendered Manzano inoffensive when questioned by the Military Commission under suspicion of conspiracy.The racial self-image that Manzano created in his slave narrative, poetry, and letters to his patron Domingo Del Monte manifest double-consciousness because the poet reads himself through the prism of the white gaze.But unlike in previous studies, Pettway demonstrates that Manzano’s Autobiografíaand poetry demonstrate that the Catholic redemption narrative was insufficient to emancipate the enslaved person.
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Lahr-Vivaz, Elena. "Birds of a Feather." In Writing Islands. University Press of Florida, 2022. http://dx.doi.org/10.5744/florida/9781683402701.003.0003.

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Chapter Two explores how Cuban poet Reina María Rodríguez crafts an archipelagic space in which like-minded readers and writers might gather. Rodríguez is an award-winning poet who is known not only for her written work, but also for the gatherings she long hosted in Havana for fellow writers and artists. This chapter proposes that in her gatherings Rodríguez creates an archipelagic space for a public residing in Havana. Outside the Cuban capital, the territory that Rodríguez claims for her archipelagic outcroppings can also be found in the references and rhythms of her prose poem … te daré de comer como a los pájaros … [I Will Give You to Eat as to the Birds] (2000), or in the poetry collected in her anthology Bosque negro [Black Forest] (2013). This text-based, poetic archipelago is open to all like-minded individuals--all birds of a feather--whether they live on the island or in the larger, transnational archipelago that Rodríguez evokes and envisions. The chapter also includes a discussion of Travelling (1995) and Otras mitologías [Other Mythologies] (2012).
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"Becoming Cuban in Yiddish: The Poetry of Eliezer Aronowsky." In Splendor, Decline, and Rediscovery of Yiddish in Latin America. BRILL, 2018. http://dx.doi.org/10.1163/9789004373815_013.

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Reports on the topic "Cuban poetry"

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Makhachashvili, Rusudan K., Svetlana I. Kovpik, Anna O. Bakhtina, and Ekaterina O. Shmeltser. Technology of presentation of literature on the Emoji Maker platform: pedagogical function of graphic mimesis. [б. в.], 2020. http://dx.doi.org/10.31812/123456789/3864.

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The article deals with the technology of visualizing fictional text (poetry) with the help of emoji symbols in the Emoji Maker platform that not only activates students’ thinking, but also develops creative attention, makes it possible to reproduce the meaning of poetry in a succinct way. The application of this technology has yielded the significance of introducing a computer being emoji in the study and mastering of literature is absolutely logical: an emoji, phenomenologically, logically and eidologically installed in the digital continuum, is separated from the natural language provided by
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You might also be interested in the extended bibliographies on the topic 'Cuban poetry' for particular source types:
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