Your search
Results 4 resources
-
En fechas recientes descubrí términos útiles para la investigación que realizo: la literatura transatlántica, utilizada en los estudios iberoamericanos, y la ecología de la literatura, usada en estudios de literatura comparada. El primer término se refiere a las afinidades y choques continuos que tienen autores capaces de navegar en varias lenguas y culturas, tal es el caso de Jorge Eduardo Eielson. De origen peruano, Eielson vivió gran parte de su vida en Europa, concretamente en Francia e Italia, aunque visitaba Perú más o menos regularmente y viajó brevemente a Estados Unidos. Todo lo anterior resulta útil si se piensa que los poemas y las instalaciones emblemáticas de Eielson encierran la fusión de culturas marginales: los quipus (nudos en quechua) rinden homenaje a las culturas precolombinas oriundas del Perú, pero también son consecuencia de una marcada influencia oriental, particularmente de las lecciones taoístas y algunas referencias anticonceptuales del budismo zen. Sorprende aún más saber que las lecciones de Oriente parecen haber llegado vía Estados Unidos, gracias a la New York School.
-
Este volumen nace con el propósito de producir conocimiento crítico sobre las prácticas poéticas en el espacio público, sus funciones y su eficacia dentro de éste. A la inestabilidad funcional de la poesía y lo lírico en la actualidad se une la noción de espacio público, entendida tanto desde su vertiente conceptual, filosófica y social, como desde su vertiente material, física, ligada a la (re)presentación escénica. Espacios, sujetos e instituciones se redefinen de la mano de esta combinación. Así, la inclusión de la espacialidad en una teoría poética actualizada, la constitución de nuevos sujetos y subjetividades y la identificación de públicos y prácticas en torno a los conceptos de performatividad e intervención constituyen los vectores fundamentales de este libro. Sin acotación de ningún tipo en términos lingüísticos, nacionales o interartísticos, los trabajos aquí recogidos se reparten entre lo teórico-crítico y metodológico, los estudios de caso y las reflexiones en primera persona, teniendo como objetivo último la valoración de la incidencia de la poesía en el espacio público y sus efectos socio-políticos.
-
This study presents an analysis of the appropriation of public space by cultural producers in Cuba, with a focus on art collectives, in particular, OMNI Zona Franca from Alamar, east of Havana. Based on primary research conducted with the artists, cultural producers, and scholars, I discuss OMNI’s work in the context of the history and formation of a nascent movement for civil society in Cuba, locating the collective’s work within the matrix of alternative and African diasporic cultural production. The latter is framed as part of a historical continuum and in the context of the discussion of race that emerged in Cuba’s public sphere during the 1990s with a concurrent movement among black Cuban artists to address issues of race. Situating OMNI’s work in a longer history of Afro-Cuban cultural production in Cuba as well as within the history of art collectives this study demonstrates how OMNI’s participation in the public sphere relates to social practice, appropriation of space, alternativity, and the forging of a wide coalition of civil and artistic alternatives among diverse communities. I draw on discourses on the production of space, particularly those of Henri Lefebvre and Raymond Williams, and argue that the unique and specific history of Alamar provided a fertile ground for alternative culture where multiple and countercultural expressions could be incubated and take root. The struggle over public space and the attempts by artists to create an autonomous public sphere in Cuba have led to continual conflict with the state. Using Gramsci’s theorization of civil society as incorporating both the hegemonic and contestatory realms, I contend that the level of contestation in OMNI Zona Franca’s work should be seen as counter-hegemonic expression aimed at altering the status quo. Producing new social relations, the collective’s practice is offered as an example of how art and cultural production is inaugurating alternative counter-spaces in the context of a demand for a more inclusive and representative Revolutionary public sphere.
-
During the twentieth century, two movements in Cuban art played a critical role in creating an expanded space for societal debate and cultural expression: the artistic avant-garde and the Afro-Cuban movement. Initially flourishing in the late 1920s and early 1930s, these collective efforts took on new forms in the changed environment after 1959. After the Revolution, conditions for cultural production changed with the official position that art should serve ideological functions, but both avant-garde and Afro-Cuban production continued, at the risk of conflict with the state. In the face of a restrictive state that sought to control such expressions, the Afro-Cuban movement and avant-garde art collectives developed along parallel, and sometimes intersecting, lines.
Explore
POEPOLIT
- Project Results (1)
Focus
- Ethnic Studies
- Aesthetic (3)
- Anthropological (3)
- Cultural-Semiotic (3)
- Historical (3)
- Interartistic (3)
- Orality/Sound Studies (3)
- Performance Centred (3)
- Sociological (3)
- Comparatist (2)
- Cultural Analysis (2)
- Hermeneutic (2)
- Media Studies (2)
- Philosophy/Political Theory Studies (2)
- Space/ City Studies (2)
- Body Studies (1)
- Cultural Studies (1)
- Empirical/Systematic (1)
- Feminist (1)
- Gender Studies (1)
- Literary (1)
- Subaltern Studies (1)
Geocultural Space
-
America
(3)
- Antilles (2)
- South America (1)
- Asia (1)
Period
- 1990-present (4)
- 1946-1989 (3)
Interartistic Relations
- Performance (4)
- Music (3)
- Dance (2)
- Graffiti (2)
- Graphic Art (2)
- Improvisation and Happenings (2)
- Painting (2)
- Staging Arts (2)
- Electronic Arts (1)
- Other (1)
- Photography (1)
- Sculpture (1)
- Videos (1)
Repertoires
- Neo-avant-guard Poetics
- Identitarian Poetics (4)
- Poetics of Staging (3)
- Poetics of the Body (3)
- Poetics of Voice (3)
- Agitprop Poetics (2)
- Ludic Poetics (2)
- Minimalist Poetics (2)
- Poetics of Knowledge (2)
- Poetics of Performance (2)
- Social Poetics (2)
- Traditional Poetry (2)
- Biographic Poetics (1)
- Feminist Poetics (1)
- Heteroerotic Poetics (1)
- Homoerotic Poetics (1)
- Intimist Poetics (1)
- Metapoetry (1)
- Narrative Poetics (1)
- Neo-epic Poetics (1)
- Queer Poetics (1)
- Satirical Poetics (1)
Resource type
- Book (1)
- Book Section (2)
- Thesis (1)