This article analyzes the Cuban television production of police series between 1969 and 1981. It shows the relationship between the series, the cultural policy of the Cuban Revolution, and the ...primarily educational role of television after the 1959 revolutionary triumph. These series have been produced and developed, until today, under the strict supervision of MININT (Ministerio del Interior, Home Office) and the FAR (Fuerzas Armadas Revolucionarias, Revolutionary Armed Forces), and perceived mainly as an invaluable means of propaganda and education. First, the article establishes the relationship between the sociopolitical context of the moment, Cuban cultural policies in the 1970s, and the decision to begin production of homegrown police dramas. Then, the series Sector 40 and Móvil 8 are examined. Both screened during prime time on alternating weekends for a decade (1969-1979), depicting the Cuban security forces' fight against counterrevolutionary groups and common crime. Next, the article focuses on a number of series that depicted the work of Cuban agents who had infiltrated counterrevolutionary groups. Finally, the series El regreso de David is considered, to show how, by the time it was screened (1981), the Cuban sociopolitical context had undergone deep transformations, which rendered outdated the original formula.
This article examines the role of female food writers in codifying cuisine in authoritarian regimes in Cuba (batistato, 1952-1958) and Paraguay (stronato, 1954-1989), providing examples of the way in ...which food discourse can both support and resist authoritarian power. As an everyday practice, the preparation and consumption of food offered the State the opportunity to promote, through the discursive codification of cuisine, official views of the nation as racially homogeneous (Paraguay) or as site of modernity, modeled on the United States (Cuba). The texts of four female cuisine writers (Josefina Velilla de Aquino, Graciela Martínez, Nitza Villapol and Adriana Loredo) are analyzed, to elucidate how each of them upheld or subverted the official discourse.
The Anniversary of the Triumph of the Revolution Crime Fiction Award was established in 1971, and given for the first time in 1972, as part of a policy to support the production of crime fiction in ...Cuba. From that year on and for at least another decade, it is impossible to find another cultural area that enjoyed the level of support and incentives that crime fiction did. In this article I establish the relationship between cultural policies adopted at the 1971 First Congress of Education and Culture and the implementation of a specific policy to support crime fiction. I pay special attention to the role played by the Anniversary of the Triumph of the Revolution award, and to the programmatic texts written by cultural officials to establish the theoretical and practical basis of the novela policial revolucionaria, focusing on the period 1971-1986.
The popularity inside and outside Cuba of Leonardo Padura’s Mario Conde series has certainly had a positive impact, as it has served to catch the attention of many readers who until recently ...perceived the police procedural as a minor genre. Similarly, Padura's novels have led to a series of studies, many of them written by academics usually reluctant to pay attention to crime fiction. At the same time, however, the impact of Padura’s novels, and the tendency to focus exclusively on them, has meant that few detailed analyses have been published on both the Cuban neopolicial as a phenomenon, and the work of certain writers in particular.
Against this trend, this essay focuses on the Leo Martin trilogy, by Cuban writer Lorenzo Lunar (Que en vez de infierno encuentres gloria, 2003; La vida es un tango, 2005; Usted es la culpable, 2006), with the aim to show how the author develops his own crime fiction framework, born not as a mere annex to Padura's novels, but rather as a way of dismantling the ideological and formal parameters of the Cuban revolutionary detective fiction
Resumen: Entre los años 2001 y 2008 el escritor cubano Amir Valle publicó las cinco novelas de la serie “El descenso a los infiernos”, con la cual se convertía en uno de los narradores de novela ...negra más célebres de las últimas décadas en Cuba. Escrita, en cierto modo, como continuación narrativa de su controvertido Habana Babilonia, la serie continúa su acercamiento al mundo de la marginalidad habanera, con el propósito de denunciar lo que el autor considera es el fracaso revolucionario. El artículo examina hasta qué punto el proyecto de Amir Valle resulta exitoso, señalando al mismo tiempo problemas como la representación racial o cierta tendencia a la politización excesiva del discurso.
Abstract: Between 2001 and 2008 Cuban writer Amir Valle published the five novels of his series "The descent into the underworld", with which he became one of the most famous crime fiction writers of the last decades in Cuba. Written as a narrative continuation of his controversial Habana Babilonia, the series continues its approach to the world of Havana's marginality with the purpose of denouncing what the author considers the failure of the Cuban Revolution. The article examines to what extent Amir Valle's project is successful, pointing out at the same time problems such as racial representation or his tendency toward an excessive politicization of the discourse.
Resumo: Entre 2001 e 2008, o escritor cubano Amir Valle publicou as cinco novelas da série "A descida para o submundo", com a qual se tornou um dos narradores mais famosos das últimas décadas em Cuba. Escrita, de certa forma, como uma continuação narrativa de sua controvertida Habana Babilonia, a série continua sua aproximação ao mundo da marginalidade havanesa, com o objetivo de denunciar o que o autor considera ser o fracasso revolucionário. O artigo examina até que ponto o projeto de Amir Valle é bem sucedido, indicando ao mesmo tempo problemas como a representação racial ou a tendência à politização excessiva do discurso.
Entre los años 2001 y 2008 el escritor cubano Amir Valle publicó las cinco novelas de la serie "El descenso a los infiernos", con la cual se convertía en uno de los narradores de novela negra más ...célebres de las últimas décadas en Cuba. Escrita, en cierto modo, como continuación narrativa de su controvertido Habana Babilonia, la serie continúa su acercamiento al mundo de la marginalidad habanera, con el propósito de denunciar lo que el autor considera es el fracaso revolucionario. El artículo examina hasta qué punto el proyecto de Amir Valle resulta exitoso, señalando al mismo tiempo problemas como la representación racial o cierta tendencia a la politización excesiva del discurso. Palabras claves: Cuba, neopolicial, marginalidad, novela negra, personajes afrocubanos. Between 2001 and 2008 Cuban writer Amir Valle published the five novels of his series "The descent into the underworld", with which he became one of the most famous crime fiction writers of the last decades in Cuba. Written as a narrative continuation of his controversial Habana Babilonia, the series continues its approach to the world of Havana's marginality with the purpose of denouncing what the author considers the failure of the Cuban Revolution. The article examines to what extent Amir Valle's project is successful, pointing out at the same time problems such as racial representation or his tendency toward an excessive politicization of the discourse. Keywords: Cuba; neopolicial; marginality; crime fiction; Afro-Cuban characters. Entre 2001 e 2008, o escritor cubano Amir Valle publicou as cinco novelas da série "A descida para o submundo", com a qual se tornou um dos narradores mais famosos das últimas décadas em Cuba. Escrita, de certa forma, como uma continuação narrativa de sua controvertida Habana Babilonia, a série continua sua aproximação ao mundo da marginalidade havanesa, com o objetivo de denunciar o que o autor considera ser o fracasso revolucionário. O artigo examina até que ponto o projeto de Amir Valle é bem sucedido, indicando ao mesmo tempo problemas como a representação racial ou a tendência à politização excessiva do discurso. Palavras-chave: Cuba, neopolicial, marginalidade, ficção criminal, personagens afro-cubanos.
Narrativa afrocubana del nuevo siglo Uxó, Carlos
Revista de crítica literaria latinoamericana,
01/2015, Letnik:
41, Številka:
81
Journal Article
Recenzirano
La implementation en 1989 del llamado Periodo Especial en Tiempos de Paz supuso una radical transformación del panorama sociocultural cubano. Entre sus múltiples consecuencias, este artículo se ...centra en el resurgimiento del debate en torno a la discriminación racial y la representación de ésta en nueve novelas publicadas en Cuba desde comienzos de siglo, todas ellas con personaje protagonista afrocubano: Las criadas de La Habana; Maldita danza; En la prisión de los sueños; El harén de Oviedo; Allegro de habaneras; Mulato; Palimpsesto; La soledad del tiempo y La Catedral de los Negros. The 1989 implementation of the Special Period in Times of Peace led to a radical transformation of the sociocultural context in Cuba. Among its many consequences, this article focuses on the resurgence of the debate on racial discrimination, and the representation of this discrimination on nine novels published in Cuba in the new century, all of them with an Afrocuban protagonist: Las criadas de La Habana published in English: The Maids of Havana; Maldita danza; En la prisión de los sueños; El harén de Oviedo; Allegro de habaneras; Mulato; Palimpsesto; La soledad del tiempo y La Catedral de los Negros.
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