Photographic Ekphrasis In Cuban American Fiction

Photographic Ekphrasis in Cuban-American Fiction introduces the concept of photographic ekphrasis as a reading tool for Cuban-American autobiographies and novels and argues that a focus on photographs provides fresh insights into these texts.

In this new study, Ylce Irizarry moves beyond literature that prioritizes assimilation to examine how contemporary fiction depicts being Cuban, Dominican, Mexican, or Puerto Rican within Chicana/o and Latina/o America. Irizarry establishes four dominant categories of narrative--loss, reclamation, fracture, and new memory--that address immigration, gender and sexuality, cultural nationalisms, and neocolonialism. As she shows, narrative concerns have moved away from the weathered notions of arrival and assimilation. Contemporary Chicana/o and Latina/o literatures instead tell stories that have little, if anything, to do with integration into the Anglo-American world. The result is the creation of new memory. This reformulation of cultural membership unmasks the neocolonial story and charts the conscious engagement of cultural memory. It outlines the ways contemporary Chicana/o and Latina/o communities create belonging and memory of their ethnic origins. An engaging contribution to an important literary tradition, Chicana/o and Latina/o Fiction privileges the stories Chicanas/os and Latinas/os remember about themselves rather than the stories of those subjugating them.

Featuring essays from an international group of scholars, this volume addresses Harper Lee’s To Kill a Mockingbird (1960), the American literary classic, and her controversial Go Set a Watchman (2015). The contributions include productive new interpretations from diverse critical angles, including US literary and cultural history, Southern studies, sociological theory, gender studies, stylistic analysis, translation, and pedagogy. With a balance of critical analysis and pedagogical approaches, this provocative book will prove to be of particular interest to scholars seeking to reconcile the points of divergence in these two works. For educators at the secondary and university levels, the collection also offers current resources and perspectives on Lee’s novels.

Following the disintegration of the Soviet Union, the globalization of Cuban culture, along with the bankruptcy of the state, partly modified the terms of intellectual engagement. However, no significant change took place at the political level. In Community and Culture in Post-Soviet Cuba, De Ferrari looks into the extraordinary survival of the Revolution by focusing on the personal, political and aesthetic social pacts that determined the configuration of the socialist state. Through close critical readings of a representative set of contemporary Cuban novels and works of visual art, this book argues that ethics and gender, rather than ideology, account for the intellectuals’ fidelity to the Revolution. Community and Culture does three things: it demonstrates that masculine sociality is the key to understanding the longevity of Cuba’s socialist regime; it examines the sociology of cultural administration of intellectual labor in Cuba; and it maps the emergent ethical and aesthetic paradigms that allow Cuban intellectuals to envision alternative forms of community and civil society.

Vols. for 1969- include ACTFL annual bibliography of books and articles on pedagogy in foreign languages 1969-

Latin America in the 1960s and 1970s underwent a profound and often violent process of social change. From the Cuban Revolution to the massive guerrilla movements in Argentina, Uruguay, Peru, Colombia, and most of Central America, to the democratic socialist experiment of Allende in Chile, to the increased popularity of socialist-oriented parties in Uruguay, or para-socialist movements, such as the Juventud Peronista in Argentina, the idea of social change was in the air. Although this topic has been explored from a political and social point of view, there is an aspect that has remained fairly unexplored. The cultural—and especially musical—dimension of this movement, so vital in order to comprehend the extent of its emotional appeal, has not been fully documented. Without an account of how music was pervasively used in the construction of the emotional components that always accompany political action, any explanation of what occurred in Latin America during that period will be always partial. This bookis an initial attempt to overcome this deficit. In this collection of essays, we examine the history of the militant song movement in Chile, Uruguay, and Argentina at the peak of its popularity (from the mid-1960s to the coup d’états in the mid-1970s), considering their different political stances and musical deportments. Throughout the book, the contribution of the most important musicians of the movement (Violeta Parra, Víctor Jara, Patricio Manns, Quilapayún, Inti-Illimani, etc., in Chile; Daniel Viglietti, Alfredo Zitarrosa, Los Olimareños, etc., in Uruguay; Atahualpa Yupanqui, Horacio Guarany, Mercedes Sosa, Marian Farías Gómez, Armando Tejada Gómez, César Isella, Víctor Heredia, Los Trovadores, etc., in Argentina) are highlighted; and some of the most important conceptual extended oeuvres of the period (called “cantatas”) are analyzed (such as “La Cantata Popular Santa María de Iquique” in the Chilean case and “Montoneros” in the Argentine case). The contributors to the collection deal with the complex relationship that the aesthetic of the movement established between the political content of the lyrics and the musical and performative aspects of the most popular songs of the period.

Internationally renowned scholars address the Cuban diaspora from multiple perspectives and locations.