By Marta Hernández Salván
Minima Cuba analyzes the reconfiguration of aesthetics and gear in the course of the Cuban postrevolutionary transition (1989 to 2005, the realization of the unique interval ). It explores the marginal cultural construction at the island by way of the 1st iteration of intellectuals born through the Revolution. the writer reports the paintings of postrevolutionary poets and essayists Antonio Jose Ponte, Rolando Sanchez Mejias, and Ivan de los angeles Nuez, between others. of their writing we discover the exhaustion of the allegorical and melancholic rhetoric of the Cuban Revolution, and the poetics of irony constructed within the present biopolitical period. The ebook will attract an individual drawn to modern literary and cultural reports, poetics, and movie experiences in Latin the United States and the Caribbean."
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Extra resources for Mínima Cuba: Heretical Poetics and Power in Post-Soviet Cuba
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In other words, he is alluding to the misrepresentation of dominant social relations in the consciousness of the working class. The mental representations of society in the consciousness of the subordinate classes conceal the realities of exploitation. It is important to note that Lukács insists on the necessity of bypassing the true/false dichotomy since the goal is to understand the relations of society as a whole: he notes, “However, the dialectical method does not permit us simply to proclaim the ‘falseness’ of this consciousness and to persist in an inflexible confrontation of true and false” (1968, 50).
No amamos la violencia; porque detestamos la violencia no estamos dispuestos a seguir soportando la violencia que desde hace cuatro años se ejerce sobre la nación [We don’t like violence: it is because we dislike violence that we won’t put up with the repression that’s been devastating the nation for four years]” (Castro 1972b, 91). Fidel Castro’s nonviolence claims gave the 26th of July Movement the moral ground over the Batista regime’s brutal treatment of political opponents, as well as a legitimate right to self-defense and the political legitimacy that his nascent movement needed.
In “Cruz” and “Camilo Cienfuegos,” nature is threatened with destruction because of the disappearance of Jesus Christ. It is no longer God who S o v e r e i g n t y o f Vi o l e n c e 43 runs nature.