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Journal articles on the topic 'Cuban poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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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2

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Arnedo-Gómez, Miguel. "Afro-Cuban Literature and the Afrocubanista Poetry of Nicolás Guillén." Bulletin of Hispanic Studies 85, no. 4 (2008): 561–74. http://dx.doi.org/10.3828/bhs.85.4.8.

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12

Gaszyńska-Magiera, Małgorzata. "Literatura y política. Notas sobre la recepción de las traducciones de la poesía hispano-americana en Polonia en la segunda mitad del siglo XX." Estudios Hispánicos 24 (March 31, 2017): 49–62. http://dx.doi.org/10.19195/2084-2546.24.4.

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Literature and politics. Notes on the reception of translations of Hispano-American poetry in Poland in the second half of the 20th centuryThe main objective of the article is to describe the main trends in the reception of the Hispano-American poetry in Poland in the second half of the 20th century. The analysis carried out on the basis of the bibliographical data demonstrated that political factors were more important than artistic ones when the decisions concerning the choice of works to be published were made. Therefore, the most well-known Hispano-American poet in Poland was Pablo Neruda,

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13

Purchas-Tulloch, Jean A. "The Yoruban—Cuban Aesthetic Nicolas Guillen's Poetic Expressions: A Paradigm." A Current Bibliography on African Affairs 18, no. 4 (1986): 301–7. http://dx.doi.org/10.1177/001132558601800403.

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Guillen's poetry is exemplary of a most vibrant, dynamic, and substantive aesthetic resulting from the Yoruban-Cuban encounter in the Americas. Early in his writings he tends towards a very tropical and exotic flair. As his work matures, however, he asserts his Africanité very strongly in the language he uses, the oral traditional elements interlaced in his poems, and his musical and religious allusions.

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Miller, Elizabeth Gamble. "The Whole Island: Six Decades of Cuban Poetry. A Bilingual Anthology." Translation Review 81, no. 1 (2011): 176–79. http://dx.doi.org/10.1080/07374836.2011.10555819.

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15

Ochoa Roa, Ana Carolina. "“La fijeza”: the hope of the temporary progression through the image of the Caribbean location." Catedral Tomada. Revista de crítica literaria latinoamericana 3, no. 5 (2016): 118–29. http://dx.doi.org/10.5195/ct/2015.97.

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This is a text derivated from the presentation “La fijeza: tiempo y espacio insulares”, in the 38th Conference of the Caribbean Studies Association, on June 4th, 2013 at Grenada Grand Beach Resort, Grand Anse, Grenada.Lezama Lima was a Cuban poet, essayist, and novelist considered as well as Alejo Carpentier, one of the greatest figures of the Caribbean island literature. His detailed knowledge of the baroque literature specially Góngora’s poetry, and also his necessity of fixing a Cuban identity, allowed him to propose a very innovative esthetic which goes beyond the disenchantment proper of

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Новосельцев, Андрей Васильевич. "THE UNIFYING MOTIFS OF CUBAN AND RUSSIAN POETRY OF THE XX CENTURY ON THE EXAMPLE OF THE WORKS OF A. DEMENTIEV AND E. DIEGO." Вестник Тверского государственного университета. Серия: Филология, no. 3(70) (September 21, 2021): 263–67. http://dx.doi.org/10.26456/vtfilol/2021.1.263.

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Статья посвящена флористическим мотивам поэзии кубинского поэта XX века Э. Диего и аналогичным мотивам в творчестве русского поэта А. Дементьева. В статье проводится сопоставительный анализ творчества указанных поэтов, формируются выводы о возможности интерпретировать флористическое наполнение поэтики в качестве объединяющего звена мировой поэзии. This article is devoted to the floral motifs in the poetry of the Cuban poet of the XX century E. Diego and similar motifs in the works of the Russian poet A. Dementiev, the article provides with a comparative analysis of these motifs and draws concl

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17

Thiao, Yopane. "El discurso de la descolonización en la obra de Nicolás Guillén." IBERO-AMERICANA PRAGENSIA 48, no. 1 (2022): 63–74. http://dx.doi.org/10.14712/24647063.2021.5.

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Guillén, both in poetry and in journalistic prose. Colonialism therefore presents itself as a common enemy, in stark contradiction to the freedom sustained and sung with the best encouragement by Cuba’s national poet. From this perspective, we will analyze not only the victimization that Black people were subjected to because of slavery, but also their rebellions and their participation in shaping the Cuban national profile.

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18

Harding, Warren. "Absence and Disappearance." Small Axe: A Caribbean Journal of Criticism 26, no. 1 (2022): 1–15. http://dx.doi.org/10.1215/07990537-9724009.

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This essay argues for a comparative approach to studying and reading Black Caribbean women’s poetry. In particular, it focuses on the works of Cuban Soleida Ríos and Tobagonian Canadian M. NourbeSe Philip in their publications at the close of the 1980s. The essay asks, How does a recuperation of a poetics between Ríos and Philip enhance a study of the body? Through a close reading of two poems, it points to instances of absence and disappearance as generative signals that enable these women to transgress the silences that structure imaginative and lived experiences. In doing so, language, inte

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19

Ruiz Pérez, Ángel. "Tradición clásica y mitos en la poesía cubana del siglo XIX." Fortunatae. Revista Canaria de Filología, Cultura y Humanidades Clásicas, no. 32 (2020): 683–94. http://dx.doi.org/10.25145/j.fortunat.2020.32.44.

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Study of myths and motifs of classical antiquity in the poetry of some important Cuban poets of the 19th century (José María Heredia, Juan Clemente Zenea, Enrique José Varona Julián del Casal and especially José Martí). The importance of art as a subject and as a way of connecting with the ancient world and above all, the centrality of political issues are key aspects that explain the repeated presence of Prometheus and Laocoon

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20

Manresa González, Carlos. "Iconos, de Rafael Almanza Alonso: un nuevo caso de uso intencional del endecasílabo dactílico." Rhythmica. Revista Española de Métrica Comparada, no. 13 (January 1, 2015): 97. http://dx.doi.org/10.5944/rhythmica.16159.

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El endecasílabo anapéstico, dactílico o de gaita gallega ha sido utilizado en pocas ocasiones en la poesía española. El siguiente trabajo describe la existencia de un nuevo caso de endecasílabo anapéstico, dactílico o de gaita galleta en la obra del poeta cubano contemporáneo Rafael Almanza Alonso. Primero, se hace un recorrido por su poesía de juventud para demostrar su marcado interés por el empleo de este metro. Se estudia en particular el uso intencional o uniforme de la variedad dactílica del endecasílabo en el himno Iconos de este autor. Al comparar este himno con los textos poéticos has

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21

Millar, Lanie. "Luanda in Santiago and Santiago in Luanda: Trans-Atlantic Dimensions in Cuban and Angolan Poetry." MLN 133, no. 5 (2018): 1277–303. http://dx.doi.org/10.1353/mln.2018.0083.

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22

Costa, Marithelma. "Only the Road / Solo el camino: Eight Decades of Cuban Poetry, Edited by Margaret Randall." Review: Literature and Arts of the Americas 51, no. 1 (2018): 161–63. http://dx.doi.org/10.1080/08905762.2018.1485328.

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23

Chouciño Fernández, Ana. "Entre la poesía y la anécdota: la guaracha cubana como texto popular." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada 1, no. 18 (2012): 155. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201218555.

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Este artículo presenta un estudio prospectivo de la guaracha cubana. Examina las letras de una serie de canciones con el fin de describirlas como una producción híbrida entre la poesía y un anecdotario trivial del vivir cotidiano. Su principal objeto es describir y analizar las características formales, temáticas y performativas de la guaracha como género popular, al tiempo que se señala su potencial creativo y su desarrollo histórico desde la escena teatral hasta su éxito comercial. También se enfatiza el papel del choteo —la actitud humorística caribeña— en el potencial de estas canciones pa

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24

Casado Fernández, Ana. "Margaret Randall (ed. y trad.), "Only the road. Solo el camino. Eight decades of Cuban poetry"." Anales de Literatura Hispanoamericana 46 (February 7, 2018): 491–93. http://dx.doi.org/10.5209/alhi.58816.

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25

Morales-Franceschini, Eric. "Poetry and the Camp: Epiphanic Witness and Ecstatic Cry in the Spanish-Cuban-American War of 1895–98." Comparative Literature 73, no. 4 (2021): 403–20. http://dx.doi.org/10.1215/00104124-9313092.

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26

Kokkola, Lydia. "Becoming Native? The Wisdom of Plants in Margarita Engle's The Surrender Tree." International Research in Children's Literature 9, no. 1 (2016): 35–49. http://dx.doi.org/10.3366/ircl.2016.0181.

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This paper situates Margarita Engle's verse novel, The Surrender Tree: Poems of Cuba's Struggle for Freedom (2008), in both the historical context it depicts (the various wars against Spain 1850–99) and the emerging field of human-plant studies (HPS). Noting that Cuba's indigenous population was destroyed by genocide and imported illnesses, the paper suggests that the island itself, as portrayed in Engle's poetry, has colluded in human politics and played an active role in determining who can lay claim to Cuban nativity. Human-plant studies provide a rationale for suggesting that, in Engle's T

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Montes-Alcalá, Cecilia. "Code-switching in US Latino literature: The role of biculturalism." Language and Literature: International Journal of Stylistics 24, no. 3 (2015): 264–81. http://dx.doi.org/10.1177/0963947015585224.

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While mixing languages in natural speech production has often been inaccurately ascribed to illiteracy or lack of linguistic competence, doing so in writing is a long-standing practice in bilingual literature. This practice may fulfill stylistic or aesthetic purposes, be a source of credibility and/or communicate biculturalism, humor, criticism, and ethnicity, among other functions. Here, I analyze a selection of contemporary Spanish–English bilingual literature (poetry, drama, and fiction) written by Mexican American, Nuyorican, and Cuban American authors focusing on the types, and significan

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Makhachashvili, Rusudan K., Svetlana I. Kovpik, Anna O. Bakhtina, and Ekaterina O. Shmeltser. "Technology of poetry presentation via Emoji Maker platform: pedagogical function of graphic mimesis." CTE Workshop Proceedings 7 (March 20, 2020): 264–80. http://dx.doi.org/10.55056/cte.359.

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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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29

Enjuto Rangel, Cecilia. "Nicolás Guillén y la Guerra Civil española." Periphērica 2, no. 1 (2022): 129–58. http://dx.doi.org/10.5399/uo/peripherica.2.1.7.

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The poetry that emerges from the Spanish Civil War (1936-1939) develops a poetic discourse, to motivate its readers to become active historical agents and witnesses, and to politically support the Republican cause. In España: Poema en cuatro angustias y una esperanza (Spain: Poem in Four Anguishes and One Hope) the Cuban poet Nicolás Guillén (1902-1989) defends a poetics of solidarity with Republican Spain, while also acknowledging the colonial and postcolonial history that problematizes this “transatlantic” aesthetic position. Particularly in the “Angustia primera” and in the last poem “La vo

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Cruikshank, Stephen. "CONCRETE IMPRESSIONS: A POETIC VISION OF CUBAN GRAFFITI." TranscUlturAl: A Journal of Translation and Cultural Studies 6, no. 1 (2014): 11. http://dx.doi.org/10.21992/t9t32h.

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For those familiar with the sight of Cuban streets, particularly that of Havana, the photos represented in this series of short poems will not be of surprise seeming as different forms of graffiti seen in words, phrases from famous revolutionaries, or quotations from Cuban patriarchs are a common sight and form of political and ideological expression in Cuban culture. Graffiti in this sense sparks not a feeling of societal rebellion in Cuba, but rather takes a very different place in urban Cuban culture promoting often revolutionary ideologies of the past through historical figures and words p

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Fernandez, Raffaella. "Comunhão decolonial no slam de mulheres latino-americanas." Língua-lugar : Literatura, História, Estudos Culturais, no. 4 (April 7, 2022): 90–107. http://dx.doi.org/10.34913/journals/lingualugar.2021.e714.

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   Nesse texto apresento parte da pesquisa de pós-doutorado intitulada “Palavração, a partilha entra a letra e a voz no slam de mulheres latino-americanas” desenvolvida junto à Faculdade de Letras da UFRJ durante os anos de 2017 a 2020, com destaque para as poetas do cenário carioca, em específico, do grupo Slam das Minas RJ: Gênesis e Rejane Barcelos, da cubanas, chilena Mónica Idzi do slam SLhambe, da cubana Afibola Sifunola do Àse Poetry Slam, Mel Duarte do Slam das Minas SP e Bell Puã do Slam das Minas Pernambuco. A partir do diálogo intermediado por entrevista

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Badiane, Mamadou. "Miguel Arnedo-Gómez. Uniting Blacks in a Raceless Nation: Blackness, Afro-Cuban Culture, and Mestizaje in the Prose and Poetry of Nicolás Guillén. Lewisburg: Bucknell University Press, 2016." Revista Iberoamericana 84, no. 264 (2018): 818–21. http://dx.doi.org/10.5195/reviberoamer.2018.7640.

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Marques, Rickley Leandro. "O papel dos intelectuais na revolução cubana." Em Tempo de Histórias, no. 13 (April 15, 2011): 105–23. http://dx.doi.org/10.26512/emtempos.v0i13.20030.

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Este artigo tem como objetivo debater o chamado caso Padilla, referente à prisão de Heberto Padilla acusado de contra revolucionário pelo seu livro Fuera del juego. Indaga-se: oque continha esse livro de poemas a ponto de levar o seu autor à prisão? O que havia em seus poemas que tanto ameaçavam a revolução cubana? Por que um dos principais poetas da revolução se tornou em menos de uma década uma ameaça a ela? Será a poesia subversiva por essência? Será o individualismo dos poetas um perigo às transformações sociais? Com essas reflexões, examinam-se os debates em Cuba sobre o papel dos intelec

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Nardi, Rafaela Chacon, Georgina Herrera, Dulce Maria Loynaz, et al. "Women and Poetry in Cuba." Social Text, no. 15 (1986): 32. http://dx.doi.org/10.2307/466490.

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Carralero Rodríguez, Susana, and Alfredo Acosta del Río. "Del arrullo tradicional al arte contemporáneo. Los cantos de cuna en la cultura cubana." Boletín GEC, no. 32 (December 16, 2023): 145–68. http://dx.doi.org/10.48162/rev.43.048.

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Las canciones de cuna han sido parte del folclor ancestral de los pueblos. En Cuba estos cantos tienen características que reflejan las tradiciones musicales y literarias de la cultura nacional. En este trabajo se analizan las nanas escritas y cantadas en Cuba en diferentes momentos de la historia del país, su origen, formas de manifestarse y particularidades literarias y musicales haciéndose especial énfasis en la manera en que arriban a la Isla y como la retoman poetas y músicos cubanos en diversos momentos de la historia: la poesía negrista republicana, la trova cubana revolucionaria y los

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Manresa González, Carlos. "Rimas en libertad: apuntes para un estudio de la rima libre o mezclada en la poesía cubana contemporánea." Rhythmica. Revista Española de Métrica Comparada, no. 16 (February 20, 2019): 113. http://dx.doi.org/10.5944/rhythmica.23925.

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La mezcla de rima asonante y consonante, conevidentes fi nes estilísticos y de manera sistemática, es unrecurso poco frecuente en la poesía hispana contemporánea.El siguiente trabajo describe la existencia de varios casosde poetas cubanos contemporáneos que han empleado consistematicidad la mezcla de rimas asonante y consonante.Se utiliza el concepto de rima libre para referirnos a la mezclade ambas rimas. Primero, se revisa la bibliografía sobremétrica y se determina qué establecen las obras de métricahispana recientes como normativa. En segundo lugar, semencionan algunos casos de poetas cuba

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El hamouti, Souria. ""La carne de René", una novela de tesis." Anales de Literatura Hispanoamericana 47 (December 11, 2018): 447–54. http://dx.doi.org/10.5209/alhi.62748.

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Virgilio Piñera (1912-1979) [1] relata en esta obra las obsesiones que le afectan sobremanera y, especialmente, su fijación por el cuerpo y por el dolor que se le puede aplicar; La carne de René (1952) es una muestra constante, clara y unívoca de esta obsesión. Su experiencia vital en la Cuba del siglo XX, inmersa en la represión, su lucha personal contra las instituciones impositivas y sus intentos por hacer oír su voz por encima de ellas, lo mantienen en un permanente estado de tensión, de estigmatización y de sufrimiento, como al protagonista de su novela. Esta novela de tesis es la clara r

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Azarova, Natalia. "Gramática femenina en poesía de autoras contemporáneas latinoamericanas." Revista Internacional de Culturas y Literaturas, no. 26 (2023): 12–23. http://dx.doi.org/10.12795/ricl.2023.i26.01.

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El artículo está dedicado a la descripción de los fenómenos gramaticales que se dan regularmente en la poesía latinoamericana contemporánea escrita en español. Los poemas de poetisas de diferentes generaciones de varios países (Venezuela, Cuba, Paraguay, Uruguay, Argentina, Colombia) incluidas en la antología (español-ruso) “La Poesía latinoamericana hoy” sirve de base para esta investigación. La saturación de formas en primera persona da la impresión de una mayor importancia del yo-texto en la poesía femenina que en la masculina. Es necesario reconocer las dificultades objetivas para recrear

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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 75, no. 3-4 (2001): 297–357. http://dx.doi.org/10.1163/13822373-90002555.

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-Stanley L. Engerman, Heather Cateau ,Capitalism and slavery fifty years later: Eric Eustace Williams - A reassessment of the man and his work. New York: Peter Lang, 2000. xvii + 247 pp., S.H.H. Carrington (eds)-Philip D. Morgan, B.W. Higman, Writing West Indian histories. London: Macmillan Caribbean, 1999. xiv + 289 pp.-Daniel Vickers, Alison Games, Migration and the origins of the English Atlantic world. Cambridge MA: Harvard University Press, 1999. xiii + 322 pp.-Christopher L. Brown, Andrew Jackson O'Shaughnessy, An empire divided: The American revolution and the British Caribbean. Philade

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Sousa, Pacelli Dias Alves de. "Omar Pérez: descrição precisa no país da poesia." Magma, no. 15 (December 27, 2019): 335–36. http://dx.doi.org/10.11606/issn.2448-1769.mag.2019.174065.

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Omar Pérez (1964-) é poeta, tradutor e ensaísta. Foi considerado parte da “Generación de los ochenta” em Cuba e apareceu em algumas antologias que marcaram a escrita e a crítica do período – como Poesía cubana de los 80, de Alicia Llarena, e, especialmente, Retrato de grupo, organizado por Carlos Augusto Alfonso, Victor Fowler Calzada, Emilio Garcia Montiel e Antonio José Ponte. Sob a designação de “Generación de los ochenta”, um conjunto de poetas nascidos entre o fim dos anos 1940 e o começo dos anos 1960 se agrupou na azotea da poeta Reina María Rodríguez, em Havana, que Pérez frequentou em

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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 71, no. 1-2 (1997): 107–78. http://dx.doi.org/10.1163/13822373-90002619.

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-Peter Hulme, Polly Pattullo, Last resorts: The cost of tourism in the Caribbean. London: Cassell/Latin America Bureau and Kingston: Ian Randle, 1996. xiii + 220 pp.-Michel-Rolph Trouillot, Édouard Glissant, Introduction à une poétique du Divers. Montréal: Presses de l'Université de Montréal, 1995. 106 pp.-Bruce King, Tejumola Olaniyan, Scars of conquest / Masks of resistance: The invention of cultural identities in African, African-American, and Caribbean drama. New York: Oxford University Press, 1995. xii + 196 pp.-Sidney W. Mintz, Raymond T. Smith, The Matrifocal family: Power, pluralism an

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Vásquez, Rigo. "La Nueva Trova: Written and sung poetry in Cuba." Third Text 6, no. 20 (1992): 103–13. http://dx.doi.org/10.1080/09528829208576371.

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Zanin, Marcela. "Call to Julián del Casal. The poet’s life in José Lezama Lima and Antonio José Ponte." Anclajes 25, no. 1 (2021): 103–12. http://dx.doi.org/10.19137/anclajes-2021-2518.

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The article deals with biographical mediation in Latin America. It examines the process of construction and deconstruction of the life of an emblematic 19th century Cuban poet: Julián del Casal. The poem “Oda a Julián del Casal” (1963) by José Lezama Lima, written for the centenary of Casal’s death, reflects on the possibility of building a vital poetic life as an alternative to the Cuban literary and cultural system. This question about the meaning of life, made by one poet to another, underlines the disruptive mode of creation that the Lezamian position enables, from “Julián del Casal” (1941

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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 66, no. 1-2 (1992): 101–61. http://dx.doi.org/10.1163/13822373-90002009.

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-Selwyn R. Cudjoe, John Thieme, The web of tradition: uses of allusion in V.S. Naipaul's fiction,-A. James Arnold, Josaphat B. Kubayanda, The poet's Africa: Africanness in the poetry of Nicolás Guillèn and Aimé Césaire. Westport CT: Greenwood, 1990. xiv + 176 pp.-Peter Mason, Robin F.A. Fabel, Shipwreck and adventures of Monsieur Pierre Viaud, translated by Robin F.A. Fabel. Pensacola: University of West Florida Press, 1990. viii + 141 pp.-Alma H. Young, Robert B. Potter, Urbanization, planning and development in the Caribbean, London: Mansell Publishing, 1989. vi + 327 pp.-Hymie Rubinstein, R

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Catoira, Patricia, Ileana C. Zéndegui, and Ileana C. Zendegui. "The Postmodern Poetic Narrative of Cuban Writer Reinaldo Arenas." Rocky Mountain Review of Language and Literature 59, no. 2 (2005): 135. http://dx.doi.org/10.2307/3655071.

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Sánchez Aguilera, Osmar. "El Martí de Desiderio, ¿sin lugar en los setenta?" Interpretatio. Revista de Hermenéutica, no. 6-1 (September 3, 2021): 51–64. http://dx.doi.org/10.19130/iifl.it.2021.6.1.24865.

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In 1972 Desiderio Navarro dedicated an entire book to the study of José Martí’s poetry from a semiotic perspective. Innovative due to the pruritus of scientificity that presides over it, that book, however, did not circulate in Cuba except through one of its chapters… thirty years later. As if it were the two sides of a coin, the rereading to which this pioneering study is subjected here seeks, on the one hand, to identify the main distinctions of its proposal, and, on the other, to analyze it as a symptom of the state of affairs in the field of Martí studies in Cuba during that decade, also k

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Doherty, Taylor Marie. "“Contact is Community”: A Conversation with Margaret Randall." Middle Atlantic Review of Latin American Studies 8, no. 1 (2024): 147–85. http://dx.doi.org/10.23870/marlas.458.

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Interview with US writer and Latin Americanist Margaret Randall, accompanied by a selection of her poetry and photographs. She shares her thoughts on the interconnection of memory and place; personal contact for building community, connection, and mutuality; translation; risk-taking; art and social change. She also shares previously unpublished photos from her time in Cuba and Nicaragua in the 1980s. Entrevista con la escritora latinoamericanista estadounidense Margaret Randall acompañada de una selección de sus poesías y fotografías. Comparte sus ideas sobre la interconexión de memoria y luga

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Silva, Ricardo Marçal de Souza e. "Ekphrasis em música: os Quadrados Mágicos de Paul Klee na Sonata para violão solo de Leo Brouwer." Per Musi, no. 19 (2009): 47–62. http://dx.doi.org/10.1590/s1517-75992009000100006.

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Para Siglind Bruhn, o conceito de ekphrasis, usado nas artes plásticas e na literatura, pode ser aplicado também para certas obras musicais. Partindo dessa concepção, desenvolvida pela autora na obra Musical Ekphrasis: composeres responding to poetry and painting este artigo investiga a apropriação que o compositor cubano Leo Brouwer (1939 - ) faz, no primeiro movimento de sua Sonata para violão solo, de certos procedimentos composicionais utilizados pelo pintor suíço Paul Klee (1879-1940) em sua série de pinturas intitulada Quadrados Mágicos, caracterizando, assim, uma ekphrasis.

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Frajzyngier, Zygmunt. "A Case of Poetic Transplant: A Cuban Song in “Kwiaty polskie”." Slavic Review 46, no. 1 (1987): 115–17. http://dx.doi.org/10.2307/2498625.

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Verneck, Bruno. "Saquear o arquivo, ouvir-se no eco: a leitura voraz do arquivo europeu na poesia de Rubén Darío." Alea: Estudos Neolatinos 24, no. 3 (2022): 251–70. http://dx.doi.org/10.1590/1517-106x/202224315.

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Resumo Sylvia Molloy, ao ler a literatura latino-americana a partir do gênero autobiográfico, propõe que sua apropriação da cultura europeia se dê por meio de um saqueio voraz de seu arquivo. Perseguindo a ideia da crítica argentina, este artigo se propõe a ler esse procedimento de leitura voraz na obra do poeta nicaraguense Rubén Darío, enfocando um de seus poemas: “Caracol” em diálogo com outros poemas do autor, bem como busca compará-lo com trabalhos do cubano Julián del Casal, poeta coevo, com quem Darío partilha o interesse pela cultura francesa moderna. A partir da leitura dos poemas, mo

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