Academic literature on the topic 'Cuban Historians'
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Journal articles on the topic "Cuban Historians"
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Ogelsby, J. C. M. "The Cuban Autonomist Movement's Perception of Canada, 1865-1898: Its Implication." Americas 48, no. 4 (April 1992): 445–61. http://dx.doi.org/10.2307/1006742.
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The history of Cuba from the 1860s to 1898 has been written largely from the revolutionary, independentista perspective. It is a perspective that has been appealing to U.S. and Cuban historians alike, but it may well be a perspective that has distorted the Cuban political experience and made it more difficult to understand the Cuban reality. That this perspective is alive and well can be seen in recent publications which give short shrift to the Cuban Autonomist movement, a movement that was essentially Cuban and whose leadership came from the largely urban, professional elite that rejected both annexation and independence.
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Chase, Michelle. "“A Cuba That Keeps Unsettling”." Radical History Review 2020, no. 136 (January 1, 2020): 209–16. http://dx.doi.org/10.1215/01636545-7857380.
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Abstract Two young Cuban historians, Ailynn Torres Santana and Diosnara Ortega González, discuss their forthcoming book of oral histories with Cuban women. They describe their methodology, their intellectual formation, and the reception of gender studies and oral history in the Cuban academy.
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Garcia, Alyssa. "Federada Testimonios on the Ground." Meridians 19, no. 1 (April 1, 2020): 149–201. http://dx.doi.org/10.1215/15366936-8117790.
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Abstract In 1961, several mass organizations in Cuba collaborated as Fidel Castro launched a national campaign against prostitution. By 1965, only four years later, the Revolution proclaimed “the elimination of prostitution” in Cuba. This article examines the Cuban Revolution’s national campaign to end prostitution as a case study to investigate how gender and patriarchy affect the ways social change is operationalized. Interested in the relationship between social and cultural change, following the tradition of feminist historians, this article utilizes the oral histories of two Cuban federada women involved in the State’s campaign to consider how the Revolution’s macro program was implemented and carried out at micro level. The narratives of these local agents in the everyday spaces of the campaign provide a bottom-up lens which can be juxtaposed with the Revolution’s proclaimed “success.” These testimonios detail how gender and patriarchy played out on the ground, limiting the campaign’s efforts toward social change, therefore demonstrating the tensions and contradictions of how social change is exercised within human agency and constraint.
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Scott, Len, and Steve Smith. "Lessons of October: historians, political scientists, policy-makers and the Cuban missile crisis." International Affairs 70, no. 4 (October 1994): 659–84. http://dx.doi.org/10.2307/2624552.
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McKercher, Asa. "A Helpful Fixer in a Hard Place: Canadian Mediation in the U.S. Confrontation with Cuba." Journal of Cold War Studies 17, no. 3 (July 2015): 4–35. http://dx.doi.org/10.1162/jcws_a_00551.
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With the breakdown of relations between Washington and Havana after the Cuban revolution in 1959, officials in Ottawa found themselves in an unenviable position. Increasingly, Canadian diplomats and politicians felt caught between, on one side, their most important ally and trading partner, and, on the other, a country that had not caused harm to Canada in any significant way. Alarmed by this state of affairs, Canadian officials on several occasions considered mediating the dispute between Cuba and the United States. Ultimately, however, policymakers in Ottawa stopped short of taking this step, largely because they recognized that their U.S. allies disapproved of mediation. Many historians, in playing up the differences between Canadian and U.S. foreign policies toward Cuba, have ignored Canada's caution in choosing an independent stance. This article shows that in dealings over Cuba, Canadian officials were mindful both of Canada's limited capabilities and of its position as a close ally of the United States.
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GARCÍA, DAVID. "“We Both Speak African”: A Dialogic Study of Afro-Cuban Jazz." Journal of the Society for American Music 5, no. 2 (April 14, 2011): 195–233. http://dx.doi.org/10.1017/s1752196311000034.
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AbstractFrom 1947 to 1948 the Dizzy Gillespie orchestra with Chano Pozo produced some of the most important recordings that contributed to the development of Afro-Cuban jazz. Pozo had already led a successful career as a professional musician in Havana before he moved to New York City, where he met Gillespie and joined his bebop big band. The integration of a black Cuban percussionist into Gillespie's all-black band raises important questions about the racial politics enveloping the popularization of bebop, Afro-Cuban jazz, and the work of others in contemporaneous political, cultural, and intellectual arenas. This article provides new documentation of Pozo's performances with the Gillespie band in the United States and Europe and shows the ideological concerns that Pozo and Gillespie shared with West African political and cultural activists, Melville Herskovists and his students, and early jazz historians in the 1940s. The article suggests an alternative methodology for scholarship on jazz in the United States that approaches jazz's extensive engagements with Cuban and other Afro-Atlantic musicians as embodying the crux of jazz's place in the Afro-Atlantic.
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WHITNEY, ROBERT. "The Architect of the Cuban State: Fulgencio Batista and Populism in Cuba, 1937–1940." Journal of Latin American Studies 32, no. 2 (May 2000): 435–59. http://dx.doi.org/10.1017/s0022216x00005800.
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This article examines how Fulgencio Batista y Zaldívar emerged as the ‘strong man’ of Cuba. Historians have pointed out that from 1934 to 1940 Batista's primary support came from the army and the police. We also know that, like many other Latin American leaders at the time, Batista went through a ‘populist phase’. Populists acknowledged the reality that ‘the masses’ were a new force in society and that ‘the people’ were at the centre of the nation and the state. Populist discourse functioned to construct a ‘people’ out of fragmented and scattered populations. Batista was very aware that in order to rule Cuba he had to appeal to ‘the people’ and to the revolutionary sentiments of 1933. But we need more information about exactly what Batista's political ideas were and how he put them into practice. This article shows how Batista became, in his own words, the ‘architect’ of the post-revolutionary state between 1937 and 1940. Batista supervised Cuba's transition from a military dictatorship in 1934 to a nominal constitutional democracy in 1940. The aim is to shed some light on how this remarkable transition took place.
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Eastman, Alexander Sotelo. "The Neglected Narratives of Cuba's Partido Independiente de Color: Civil Rights, Popular Politics, and Emancipatory Reading Practices." Americas 76, no. 1 (January 2019): 41–76. http://dx.doi.org/10.1017/tam.2018.48.
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On March 10, 1910, Pío Coronel informed his readers that he was abandoning his home in the western province of Pinar del Río and saddling up his horse to set out on an important journalistic and political assignment. The black press journalist noted that once he got wind of Cuban president José Miguel Gómez's plans to set off from the presidential palace on a political campaign across the island, he kissed his wife goodbye and took off in pursuit with little more than a pen and a shoulder bag. In the following weeks, Pío galloped hundreds of miles across the Cuban countryside, or, as he called it, the “ill-fated American Colony,” to report on how black communities from Havana to Guantánamo received President Gómez. In other words, Pío showcased Cuba's black public sphere, which despite its effervescent political and civic life was outside the purview of Cuba's mainstream reporters. As this article argues, it was also largely neglected by subsequent generations of historians.
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Sartorius, David. "Transitory Trust: Falsified Passports, Circulars, and Other Speculations in Nineteenth-Century Cuba." Journal of Social History 55, no. 1 (September 1, 2021): 7–26. http://dx.doi.org/10.1093/jsh/shab028.
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Abstract In nineteenth-century Cuba, the increasing and uneven use of passports for maritime travel generated confusion about their authority and encouraged their falsification. This essay explores the forgery and misuse of travel papers alongside the fabrications of an official colonial record that concealed the illegal transatlantic slave trade as it implemented documentary procedures for legal travel. Cuban officials pursued individuals who traveled without passports, with other people’s passports, or lacked other papers, with a disproportionate focus on the circulation of free people of African descent. At the same time, the limited reach of government decrees and policies complicated strict determinations of transgression. Rather than taking this as evidence of a broken system, recognizing how various actors created the conditions for a collective susceptibility both to the authority conferred by passports and to plausible falsehoods lets us view borders, individual identity, and Caribbean mobility in new light. The essay calls on historians to approach the archival record of passports and mobility by balancing our retrospective recognition of falsifications with an awareness of fluctuating estimations of documentary veracity in the past.
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Schmidt-Nowara, Christopher. "Still Continents (and an Island) with Two Histories?" Law and History Review 22, no. 2 (2004): 377–82. http://dx.doi.org/10.2307/4141651.
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Historians of Latin American slavery will find de la Fuente's article to be a particularly trenchant and learned essay on familiar historiographic controversies. The archival research awakens anticipation for the author's in-depth study of the earlier period of Cuban slavery, much neglected in favor of the heyday of the sugar complex of the late eighteenth and nineteenth centuries. Concentrating on the law and “slaves' claims-making” (341) allows for an important entry into the subject, complementing recent studies of slavery in Spanish America that have focused on how slaves used the institutions of Spanish colonialism to gain freedom or greater autonomy. However, reviving the Tannenbaum thesis, even in the limited form of the law, inspires less enthusiasm. De la Fuente's interpretation of Cuban slavery, through his rereading of Tannenbuam, does not produce misrepresentations in his treatment of historiography or sources; rather, I sense in this work the static conception of New World slavery created by Tannenbaum's dichotomous vision, both among and within particular colonial and national slave societies.
Dissertations / Theses on the topic "Cuban Historians"
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Cordeiro, Ítalo Rodrigo Xavier [UNESP]. "A cultura política da revolução latino-americana na década de 1960: Régis Debray e o foquismo." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/93190.
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No presente trabalho buscamos investigar os fundamentos da elaboração, desenvolvimento e repercussão da ―teoria da revolução latino-americana‖ produzida pelo intelectual francês Régis Debray, especialmente a partir da análise do seu livro Revolução na Revolução, publicado em 1967. As formulações de Debray, inspiradas na revolução cubana de 1959, marcaram profundamente a cultura política da esquerda latino-americana a partir da década de 1960. Suas teses influenciaram a esquerda radicalizada regional, que adotou a luta armada como única alternativa para realização e consolidação do projeto revolucionário no continente. Régis Debray envolveu-se com a revolução cubana mais do que qualquer outro intelectual da esquerda ocidental, transformando-se em um dos seus principais ideólogos. A partir de sua experiência com os cubanos, Debray criaria a teoria do ―foco‖, e essa cumpriu, especialmente na década de 1960, o papel de uma ―teoria da revolução latino-americana‖, tendo a revolução cubana como paradigma
In the present work, we aim at investigating the foundations of the elaboration, development and repercussion of the ―Latin American revolution theory‖, put forth by the French intellectual Régis Debray, from the analysis of his book Revolução na revolução, published in 1967, in particular. Debray's formulations, having taken inspiration in the 1959 Cuban revolution, deeply influenced the political culture of the Latin American left wing from the 1960's onward. His theses influenced the regional radicalized left wing, who adopted armed struggle as the only alternative to the realization and consolidation of the continent's revolutionary project. Régis Debray got more involved with the Cuban Revolution than any other Western left-winged intellectual, becoming one of its main ideologists. From his experience with the Cubans, Debray would create the ―foco‖ theory, which had, particularly in the 1960's, the vole of a ―Latin American revolution theory‖, having the Cuban revolution as its paradigm
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Lima, Edinaldo Aparecido Santos de. "Preparar, apontar, foto! A construção da imagem fotográfica dos camponeses cubanos nos periódicos Revolución e Campo de Revolución (1959-1961)." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/158300.
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Gestado nas matas da Sierra Maestra, em meio aos conflitos entre rebeldes e a ditadura de Fulgencio Batista (1952-1958), o jornal Revolución dirigido por Carlos Franqui cumpria o papel de divulgar as conquistas e os ideais dos insurgentes. Com o triunfo da Revolução em 1959, o periódico deixou a clandestinidade e tornou-se um influente veículo de informação do período. Nele trabalharam vários profissionais entre os quais, fotógrafos cujos frutos de suas produções cooperaram na eternização da Revolução como um dos eventos significativos do século XX. Depois dessa virada histórica, os holofotes dos principais meios de comunicação do mundo passaram a dedicar maior atenção aos passos que seriam dados por aquele país. Logo nos primeiros meses, o jovem governo revolucionário encetou uma série de reformas em vários âmbitos da sociedade, sobretudo em regiões rurais onde predominaram durante décadas a pobreza e a ausência de serviços básicos como educação e saúde. Diante das lentes dos fotógrafos de Revolución, os camponeses cubanos passaram a ter suas condições de vida e seus rostos propagados por toda a Ilha, ao passo em que um imaginário sobre si era construído no intuito de sensibilizar, conscientizar e mobilizar a sociedade, principalmente dos centros urbanos, a participarem do processo de mudanças sociopolíticas do país. Porém, os resultados obtidos a partir da meticulosa análise quantitativa e qualitativa do montante de fotografias presentes tanto no jornal quanto no seu suplemento Campo de Revolución, organizadas e catalogadas mostraram que a moldagem desse imaginário não fora unívoca ou rígida, pois a realidade histórica vivida intensamente pelos cubanos nos primeiros três anos tornou-a flexível. Além disso, a metodologia empregada na análise das fotografias permitiu-nos discutir outros assuntos inerentes ao universo rural cubano.
Raised in the forests of the Sierra Maestra, amid conflicts between rebels and the dictatorship of Fulgencio Batista (1952-1958), the newspaper Revolución led by Carlos Franqui played the role of publicizing the achievements and ideals of the insurgents. With the triumph of the Revolution in 1959, the newspaper left the clandestine and became an influential vehicle of information of the period. In it worked several professionals among whom, photographers whose fruits of their productions cooperated in the eternalization of the Revolution like one of the significant events of century XX. After this historic turnaround, the spotlight of the world's mainstream media began to pay more attention to the steps that would be taken by that country. In the early months, the young revolutionary government embarked on a series of reforms in various areas of society, particularly in rural areas where poverty and lack of basic services such as education and health prevailed for decades. Faced with the lenses of the photographers of Revolución, the Cuban peasants began to have their living conditions and their faces propagated throughout the Island, while an imaginary about themselves was built in order to raise awareness, raise awareness and mobilize society, especially the urban centers to participate in the process of socio-political changes in the country. However, the results obtained from the meticulous quantitative and qualitative analysis of the amount of photographs present in both the newspaper and its Campo de Revolución supplement, organized and cataloged, showed that the molding of this imagery was not unequivocal or rigid, since the historical reality lived intensely by Cubans in the first three years made it flexible. In addition, the methodology used in the analysis of the photographs allowed us to discuss other subjects inherent to the Cuban rural universe.
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Castro, Nathália Santos de. "Che Guevara vai ao cinema: possibilidades e perspectivas para o ensino de História." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/6982.
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This text outlines the development of our research contained in the Postgraduate Program in History - Professional Masters of UFG – Catalão/Go. Our research theme was the use of cinema in the classroom as a didactic aid working in specific the history of Che Guevara, showing how his history is inserted in two textbooks - in specific - and still in the biographies of Jorge Castañeda - "Che Guevara: Life in Red "(2006) and Jon Lee Anderson -" Che Guevara: A Biography "(1997). Our general objective will be to change the teaching of History, thinking how the images and the films can bring a different perception of the history of Che Guevara and also, in a more complex field, the History of the Cuban Revolution. One of the main problems that emerged during our research can be explained by the following question: how can the history teacher teach the context of the Cuban Revolution through the images of Che Guevara and the proposed films? It is worth mentioning that the films to be worked on in our research were "Che Guevara - The Argentine" and "Che Guevara - The Guerrilla" both directed by Steven Soderbergh of the year 2008. The various faces of Che Guevara allows us to question the character, Allowing us to present a more collective story. Several constructions were made regarding Che Guevara, now being presented as a hero and now as a homicide. It should be noted that there are some appropriations from both the right and the left that contribute to the construction of these various faces. From then on, the teacher will introduce students to the various ways of understanding History as well as making the student realize that he is also a builder of history.
Este texto esboça o desenvolvimento de nossa pesquisa contida no Programa de Pós-graduação em História – Mestrado Profissional da UFG – Regional Catalão. Nosso tema de pesquisa foi o uso do cinema em sala de aula como um auxílio didático trabalhando em específico a história de Che Guevara, mostrando como sua história está inserida em dois livros didáticos – em específico – e ainda nas biografias de Jorge Castañeda – “Che Guevara: a vida em vermelho” (2006) e de Jon Lee Anderson – “Che Guevara: uma biografia” (1997). Nosso objetivo geral será a mudança no ensino de História, pensando como as imagens e os filmes podem trazer uma percepção diferente da história de Che Guevara e ainda, em um campo mais complexo, a História da Revolução Cubana. Um dos principais problemas que emergiu durante nossa pesquisa pode ser explanado pela seguinte pergunta: como o professor de História pode ensinar o contexto da Revolução Cubana por meio das imagens de Che Guevara e os filmes propostos? Vale ressaltar que os filmes a serem trabalhados em nossa pesquisa foram “Che Guevara – O Argentino” e “Che Guevara – A Guerrilha” ambos dirigidos por Steven Soderbergh do ano de 2008. As várias faces de Che Guevara nos permite fazer um questionamento do personagem, nos permitindo apresentar uma história mais coletiva. Foram feitas várias construções em relação a Che Guevara, ora sendo apresentado como um herói e ora como um homicida. Deve-se atentar que existe algumas apropriações tanto da direita quanto da esquerda que contribui para construção dessas diversas faces. A partir de então, o professor irá apresentar aos alunos as diversas formas de compreender a História bem como fazer o aluno perceber que ele é também um construtor da história.
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Bemvindo, Vitor. "Os impactos da revolução cubana na política externa brasileira (1958 1961)." Universidade do Estado do Rio de Janeiro, 2009. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3366.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorA Revolução Cubana foi o evento mais importante das relações interamericanas no século XX. Ela foi responsável pela quebra da homogeneidade da sociedade americana, introduzindo, no continente, tensões típicas da Guerra Fria. O processo revolucionário cubano obrigou aos Estados Unidos a rever a sua política para a América Latina que, entre as décadas de 1940 e 1950, tratava o subcontinente como uma área secundária. A Revolução nas Caraíbas teve impactos diretos também na formulação da política externa brasileira. Durante o governo Juscelino Kubitschek, a Operação Pan-Americana previa um plano de integração com o objetivo de eliminar o subdesenvolvimento. O rechaço da iniciativa por parte do governo cubano, foi um dos fatos determinantes para o abandono da Operação. A administração subseqüente, do presidente Jânio Quadros, foi responsável por uma profunda reformulação na diplomacia do Brasil. A Política Externa Independente previa a defesa da autodeterminação dos povos e não-intervenção em assuntos internos que, aplicados ao caso cubano, foram encarados por setores conservadores como apoio a um regime socialista. A condecoração do líder revolucionário Ernesto Che Guevara e a oposição aos princípios da Política Externa Independente (PEI) foram fatores que culminaram na renúncia do presidente brasileiro.
The Cuban Revolution was the most important inter-American relations in the 20th Century. It was responsible for breaking the homogeneity of American society, introducing, on the continent, tensions typical of the Cold War. The Cuban revolutionary process has forced the United States to revise its policy for Latin America that, between the 1940s and 1950, involved the subcontinent as a secondary area. The Revolution in the Caribbean also had direct impacts on the formulation of Brazilian foreign policy. During the Juscelino Kubitschek government, Pan American Operation provided an integration plan with the objective to eliminate underdevelopment. The rejection of the initiative by the Cuban government, was one of the determinants for the abandonment of the operation. The subsequent administration, of President Jânio Quadros, was responsible for a major overhaul in diplomacy in Brazil. The independent foreign policy included the defense of self-determination and non-intervention in internal affairs, which, applied to the Cuban case, were seen by the conservative sectors to support a socialist regime. The decoration of the revolutionary leader Ernesto Che Guevara and the opposition to the principles of Brazilian independent foreign policy were factors that led to the resignation of Brazilian president.
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Enoa, Barban Olga Lidia. "Las cubanas y los nuevos desafíos societales del siglo XXI." Thesis, Limoges, 2020. http://www.theses.fr/2020LIMO0068.
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Dans le domaine des conquêtes obtenues par les femmes, la Révolution Cubaine depuis 1960, réalise des progrès remarquables. La Fédération des Femmes Cubaines (FMC), fondée en 1960, jouera un rôle essentiel en faveur de l’émancipation féminine, de l’insertion des femmes cubaines dans le monde du travail et de leur participation active à la construction de la nouvelle société socialiste. Cependant, ces progrès obtenus dans le cadre d’un processus idéologique et d’une volonté gouvernementale d’une participation forte des Cubaines dans la construction de la nouvelle société socialiste, cohabitent et se heurtent encore à des croyances propres à une culture machiste et patriarcale, laquelle aujourd'hui, à côté de la crise économique et des changements actuels que connaît le contexte cubain, montrent que la construction de la «nouvelle femme» n’est pas tout à fait aboutie et risque même de menacer les victoires obtenues par les Cubaines au sein de la société et en matière d’égalité des droits. L'analyse de la situation des Cubaines au XXIe siècle, leur rôle dans la construction « d’une société plus ouverte sur le monde » et la création de « nouvelles façons de penser le quotidien cubain » dans la lutte en faveur de l'équité du genre, nous permettra d’étudier les nouveaux défis sociétaux auxquels elles se sont confrontées et les solutions envisagées pour les résoudreFrom the first years of the Cuban Revolution, the respect and the defense of the women's rights constituted a priority for the Cuban authorities. The Federation of Cuban Women (FMC), founded in 1960, will play an essential role in the feminine emancipation, the insertion of the Cuban women in the working world and their active participation in the construction of the new socialist society. Nevertheless, serious challenges remain that render the progress made fragile and liable to setbacks. The analysis of the situation of the Cuban Women of the 21st century, her role in the creation of a “society more opened for the world” and in the conception of “new ways of thinking the daily cuban life”, it will allow us to understand the new societal challenges that this arduous mission imposes them
Desde los primeros años de la Revolución Cubana, el respeto y la defensa de los derechos de la mujer constituyeron una prioridad para las autoridades cubanas. La Federación de Mujeres Cubanas (FMC), fundada en 1960, desempeñará un rol esencial a favor de la emancipación femenina, de la inserción de las cubanas en el mundo laboral y de su participación activa en la construcción de la nueva sociedad socialista. Sin embargo, después de una larga trayectoria de lucha en la que han conocido avances y retrocesos, las cubanas de hoy se enfrentan a una realidad plagada de preceptos, normas y comportamientos dictados por una cultura patriarcal que perdura y se manifiesta cada día más en la cotidianidad cubana. La misma, junto a la crisis económica y las transformaciones actuales por las que atraviesa el contexto cubano, hacen que la construcción de “la nueva mujer” continúe siendo una tarea pendiente para la Revolución. El análisis de la situación de las cubanas del siglo XXI, de su rol en la creación de una “sociedad más abierta al mundo” y en la formación de “nuevas formas de pensar la vida cotidiana cubana”, nos permitirá comprender los nuevos desafíos societales que esta ardua tarea les impone
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Cordeiro, Ítalo Rodrigo Xavier. "A cultura política da revolução latino-americana na década de 1960 : Régis Debray e o foquismo /." Franca : [s.n.], 2010. http://hdl.handle.net/11449/93190.
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Orientador: Alberto AggioBanca: Adriane Vidal Costa
Banca: Marcos Sorrilha Pinheiro
Resumo: No presente trabalho buscamos investigar os fundamentos da elaboração, desenvolvimento e repercussão da ―teoria da revolução latino-americana‖ produzida pelo intelectual francês Régis Debray, especialmente a partir da análise do seu livro Revolução na Revolução, publicado em 1967. As formulações de Debray, inspiradas na revolução cubana de 1959, marcaram profundamente a cultura política da esquerda latino-americana a partir da década de 1960. Suas teses influenciaram a esquerda radicalizada regional, que adotou a luta armada como única alternativa para realização e consolidação do projeto revolucionário no continente. Régis Debray envolveu-se com a revolução cubana mais do que qualquer outro intelectual da esquerda ocidental, transformando-se em um dos seus principais ideólogos. A partir de sua experiência com os cubanos, Debray criaria a teoria do ―foco‖, e essa cumpriu, especialmente na década de 1960, o papel de uma ―teoria da revolução latino-americana‖, tendo a revolução cubana como paradigma
Abstract: In the present work, we aim at investigating the foundations of the elaboration, development and repercussion of the ―Latin American revolution theory‖, put forth by the French intellectual Régis Debray, from the analysis of his book Revolução na revolução, published in 1967, in particular. Debray's formulations, having taken inspiration in the 1959 Cuban revolution, deeply influenced the political culture of the Latin American left wing from the 1960's onward. His theses influenced the regional radicalized left wing, who adopted armed struggle as the only alternative to the realization and consolidation of the continent's revolutionary project. Régis Debray got more involved with the Cuban Revolution than any other Western left-winged intellectual, becoming one of its main ideologists. From his experience with the Cubans, Debray would create the ―foco‖ theory, which had, particularly in the 1960's, the vole of a ―Latin American revolution theory‖, having the Cuban revolution as its paradigm
Mestre
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Salinas, Carvacho Valentina. "Cultura, raza y desigualdad en la Cuba republicana: los debates en torno a las identidades raciales a través de la prensa de los intelectuales negros (1928-1939)." Tesis, Universidad de Chile, 2018. http://repositorio.uchile.cl/handle/2250/170368.
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Tesis para optar al grado de Magíster en Estudios LatinoamericanosEsta tesis tiene como objetivo analizar los discursos identitarios y políticos de un conjunto de intelectuales negros que circularon a través de la revista Adelante (1935-1939). Adelante fue una publicación mensual de divulgación popular nacida de una asociación de jóvenes afrocubanos de clase media dedicada a luchar contra las injusticias que en materia racial se mantenían. En este espacio existieron diversas posturas respecto al significado de ser “negro” en Cuba, tanto en su relación con el nacionalismo cultural que emergía como alternativa de construcción identitaria, así como respecto al significado de la “raza”. La primera parte de esta investigación se dedica a delimitar las aproximaciones teóricas desde las cuales se plantea el estudio, teniendo como ejes de análisis la idea de “raza”, el concepto de “identidad cultural” y de “campo cultural”, así como las particularidades que presentan en el contexto latinoamericano. La segunda parte se enfoca en situar el problema desde una perspectiva histórica, para lo cual se reconstruye tanto la historia de los negros con énfasis en la movilización política y las ideas que defendieron mediante sus órganos de prensa, así como los debates desarrollados tras el auge del movimiento afrocubanista. El tercer capítulo realiza un análisis del corpus documental seleccionado en base a los conceptos mecionados y atendiendo a las divergentes posturas que en torno a estos temas se produjeron. Se postula que si bien la mayor parte de los escritores consideraron el mestizaje cultural como un proyecto a seguir para redefinir la identidad, tuvieron puntos de confrontación respecto al significado que tenía la “raza”, como al rol que cumplían las expresiones de los descendientes de africanos en la nación. Esto llevó a un grupo a cuestionar - y en ciertos casos a rechazar - el arte realizado por los negros y la promoción de identidades “afrocubanas”, y a un segundo a impulsar su desarrollo, en tanto postuló que dicha identificación constituía tanto un ejercicio de reconocimiento cultural, como un discurso de enfrentamiento contra el colonialismo.
CONICYT / Magíster Nacional
Enero 2020
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Riera, Sanz Carolina. "Ramiro Guerra, bailarín, coreógrafo y maestro." Tesis, Universidad de Chile, 2012. http://www.repositorio.uchile.cl/handle/2250/111578.
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Profesor especializado en danzaCuando comencé mis estudios de perfeccionamientos de danza moderna en Cuba me vi enfrentada a una forma de movimiento realmente especial y para mi completamente nueva, los años dedicados al estudio de la danza me permitieron en mis primeras reflexiones reconocer ciertos elementos técnico provenientes de la técnica Graham y algunos de mi experiencia en la técnica Cunnigham, sin embargo estos eran tratados de una forma diferente donde además se conjugaban elementos que parecían provenir de una influencia más bien folklórica, una marcada tendencia a los elementos provenientes del afro como por ejemplo la fuerza de los movimientos, el trabajo de la ondulación del torso, la inclusión de la sensualidad, por nombrar algunos, y por que además el acompañamiento musical eran claramente percusiones y cantos africanos incluidos en las clases diarias. El alto nivel técnico y me atrevo a decir artístico también alcanzado por los bailarines me hizo pensar que estaba frente a un estudio muy completo del movimiento lo que me impulsó a realizar una investigación más profunda de la danza moderna Cubana y en lo que ellos denominan técnica contemporánea Cubana. Esa investigación es la que llenara las páginas de esta tesis y el recorrido que realice para comprender mejor el desarrollo que ha tenido la danza en Cuba. Acotar esta investigación no fue fácil ya que Cuba posee un universo dancistico muy amplio que no acontece de manera aislada sino más bien en conjunción con otros estilos. El desarrollo alcanzado en el ballet, la importancia que se le ingiere al rescate del folklore entre otras ha hecho que la danza moderna se alimente de otras disciplinas y que a la vez esta influencia a otros estilos.
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BOLAÑOS, Andrés Felipe González. "La revolución cubana a través de la caricatura política en los periódicos El País y El Tiempo de Colombia 1958-1962." Universidade Federal do Pará, 2016. http://repositorio.ufpa.br/jspui/handle/2011/8261.
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Esta investigación, analiza cómo fue representa la Revolución Cubana en la caricatura política de los periódicos colombianos El País y El Tiempo entre 1958 y 1962. Para cumplir con este propósito, el siguiente trabajo se divide en dos capítulos. El primero estudia la caricatura política y los intelectuales de la opinión pública como una fuente para la historia. Abordando de manera general, algunos planteamientos teóricos y metodológicos de Erwin Panofsky. De igual forma, se identifica a un grupo de caricaturistas que representaron, cuestionaron y satirizaron con mayor frecuencia los acontecimientos políticos relacionados con la Revolución Cubana. Además se describir los orígenes, posturas políticas e influencias de poder de los periódicos El País y El Tiempo en Colombia. En el segundo, identificamos las diferentes formas de representación que los diarios El País y El Tiempo realizaron sobre la Revolución Cubana entre 1958 y 1962 en la caricatura política, señalando las temáticas más recurrentes en estos periódicos. Para ello, estudiaremos la manera de como la opinión pública fue cambiando en la medida en que se consolida el proyecto revolucionario liderado por Fidel Castro y su Movimiento 26 de julio, desde su lucha armada en la Sierra Maestra, hasta la salida de Cuba de la Organización de los Estados Americano (OEA).
Esta dissertação busca analisar a representação da Revolução Cubana na caricatura politica impressa nos periódicos El País e El Tiempo entre os anos de 1958 a 1962. Para tanto, o estudo encontra-se dividido em dois capítulos. O primeiro estuda a caricatura política e os intelectuais da opinião pública, considerando-os como fontes para a analise dos processos históricos, a partir dos fundamentos teóricos- metodológicas de Erwin Panofsky. Do mesmo modo, se identifica um grupo de caricaturistas que representaram, questionaram e satirizaram os acontecimentos políticos relacionados à Revolução Cubana. Ademais, se descrevem as origens, posturas politicas e influencias do poder dos jornais El País e El Tiempo na Colômbia No segundo capítulo, identificam-se as diferentes representações assumidas pelos ditos periódicos sobre o processo da Revolução Cubana, entre os anos de 1958 e 1962, a partir das caricaturas políticas neles impressas, assinalando, sobretudo, as temáticas mais recorrentes. Para tanto, busca-se compreender o modo como a opinião publica reconfigurou seus olhares sobre os fatos, na medida em que o projeto revolucionário liderado por Fidel Castro e seu Movimento de 26 de julho consolidou suas bases, desde sua luta armada na Serra Maestra, até a saída de Cuba da Organização dos Estados Americanos (OEA).
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Roco, Kliebs Manuel. "Momentos de esplendor : exposición del cartel cubano periodo 1965-1976." Tesis, Universidad de Chile, 2006. http://repositorio.uchile.cl/handle/2250/100892.
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No autorizada por el autor para ser publicada a texto completoRealizar una exposición pública de alto impacto visual en la cual se rescate el valor histórico-gráfico de los trabajos realizados por connotados cartelistas cubanos en el período denominado "momentos de esplendor del cartel en Cuba (1965-1976)", entregando así elementos visuales que aporten al desarrollo disciplinario del diseño y estimulen la cultura artística de nuestra comunidad
Books on the topic "Cuban Historians"
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Chaviano, Daína. Historias de hadas para adultos. La Habana, Cuba: Editorial Letras Cubanas, 1986.
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Historias secretas de médicos cubanos. La Habana: Ediciones La Memoria, Centro Cultural Pablo De La Torriente Brau, 2005.
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Muñoz, Giselle Bello. Historias de payasos. Matanzas, Cuba: Ediciones Vigía, 1999.
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Carlos, Velazco, ed. Chakras: Historias de la Cuba dispersa. Madrid: Editorial Verbum, 2014.
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Gold, Marina. "Conceptualizing Change in the Cuban Revolution." In Methodological Approaches to Societies in Transformation, 89–111. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65067-4_4.
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AbstractThis paper will consider two levels within the study of the Cuban revolution: the meta-narratives of change and continuity that determine the academic literature on Cuba and inform political positioning in relation to the revolution, and the methodological challenges in understanding how people in Cuba experience change and continuity in their daily life. Transformation and continuity have been the two dominant analytical tropes used to interpret Cuban social and political life since the overthrow of the Batista regime in 1959. For Cuban scholars and politicians, a focus on change in reference to what was Cuba’s reality before the Revolution is a continuous concern and a powerful discursive mechanism in redefining and reinvigorating the revolutionary project. Simultaneously, in periods of crisis throughout the 62 years since the revolution, the capacity to demonstrate continuity with revolutionary principles while developing new mechanisms to redefine the political project has ensured the revolution’s subsistence. Conversely, continuity and change are also harnessed by critics of Cuba’s current regime to articulate the ever-imminent collapse of socialism in the region. Change has been their main focus of concern during critical historic moments that affected the trajectory of the Cuban revolutionary project. From this perspective, change embodies a promise of progress and implies a movement toward liberal democracy and a pro-US foreign policy, while continuity denotes failure, stagnation, and repression. At the core of the analysis of change in Cuba lies a concern with the nature of the state. Ethnographic data reveals the partialities and contradictions people experience in their daily life and across time. Two elements of ethnographic experience are particularly informative: life histories that span across the revolutionary period, and generational conflicts surrounding political issues. I will focus on the life history of key informants and the generational conflicts that surround their experience, a well as their material contexts (their neighborhood, their house, their job), all of which help to elucidate the complexities of studying change within a permanent revolution.
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Cushion, Steve. "Cuban Popular Resistance to the 1953 London Sugar Agreement." In Global Histories, Imperial Commodities, Local Interactions, 168–85. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137283603_9.
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Ford, Katherine. "Cobwebs of Memory: History Made with Violence in Abelardo Estorino’s La dolorosa historia del amor secreto de don José Jacinto Milanés (1974)." In Politics and Violence in Cuban and Argentine Theater, 57–95. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230105225_3.
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Martínez-Garbino, J. A., L. E. Litwak, H. Pallaoro, J. Aguilera Diaz, D. Luna, F. González, and B. de Quirós. "Sistema para la Integración Automática de Datos de Automonitoreo Glucémico a una Historia Clínica Electrónica." In V Latin American Congress on Biomedical Engineering CLAIB 2011 May 16-21, 2011, Habana, Cuba, 299–302. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-21198-0_77.
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Deupi, Victor, and Jean-François Lejeune. "Cuban Architects at Home and in Exile." In Picturing Cuba, 109–30. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9781683400905.003.0008.
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Architectural historians Victor Deupi and Jean-François Lejeune assess the legacy of the “modernist generation” of Cuban architects who were active on the island between the late 1930s and 1959. Deupi and Lejeune focus on how this generation struggled “to be modern and Cuban at the same time,” and how this tension informed their residential designs. Many Cuban architects sought to adapt modern aesthetics and building techniques to a tropical climate in their blueprints for private houses, public buildings, and urban planning. Architect Eugenio Batista codified the main elements of vernacular Cuban houses as “the three ps”—persianas (louvers), patios (courtyards), and portales (arcades)—which other architects adopted. Deupi and Lejeune have followed the professional careers of numerous Cuban architects who moved abroad after the Revolution and left a “transnational and transcultural” imprint in the built environments of their host countries, particularly the United States, Puerto Rico, and Venezuela.
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"The Cuban Missile Crisis twenty-five years later : The learning continues." In History, the White House and the Kremlin : Statesmen as Historians. Bloomsbury Academic, 2016. http://dx.doi.org/10.5040/9781474290890.ch-004.
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Karl, Robert A. "The Making of the Creole Peace, 1958–1960." In Forgotten Peace. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520293922.003.0004.
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This chapter discusses how the Lleras administration's political pardon and agrarian lending program extended to frontier Communists such as Manuel Marulanda an opportunity to restore their rights and livelihoods. Though Latin American historians have concentrated on the grander utopian visions of geopolitical insurgency and revolutionary politics that took shape after the Cuban revolution of 1959, the crux of Colombian politics remained in these local, regional, and national contexts. Moreover, situating peace alongside violence accordingly entails a sweeping reinterpretation of not only Colombian history but also the Latin American 1960s—ostensibly an era of revolutionary violence. A focus on peace reveals a greater coherence to the words and decisions of well-known historical figures such as Marulanda.
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Bosch, Lynette M. F. "The Cuban-American Exile Vanguardia." In Picturing Cuba, 187–204. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9781683400905.003.0013.
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Art historian Lynette M. F. Bosch concentrates on the first generation of postrevolutionary exile artists, which she calls the “Cuban-American Exile Vanguardia,” who arrived in the United States between 1959 and 1980. Bosch emphasizes that many members of this diasporic generation explore “identity, hybridity, transnationalism, and the emotional and experiential territory of exile.” She also argues that these artists recast traditional notions of lo cubano (Cubanness) as lo cubanoamericano (Cuban-Americanness) through visual representations of “life on the hyphen,” that is, the blending of Cuban and American cultural practices. Examples of these hybrid exile artists include Humberto Calzada, Jake Fernandez, and Arturo Rodríguez.
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Fraunhar, Alison. "Colonial Art and Its Afterlife." In Picturing Cuba, 51–69. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9781683400905.003.0004.
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Art historian Alison Fraunhar examines how graphic and fine arts helped trace the contours of national identity in colonial Cuba well before the island’s independence. Fraunhar dwells on maps and other visual representations of rural and urban landscapes, people, and historical events that were critical to imagine Cuba as a separate nation with its own culture. The author argues persuasively that late nineteenth-century images of the island’s geography, history, and culture continue to be significant visual markers for contemporary Cuban artists.
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McEwen, Abigail. "Concrete Cuba." In Picturing Cuba, 131–43. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9781683400905.003.0009.
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Art historian Abigail McEwen focuses on the so-called concretos, a generation of abstract Cuban painters that emerged during the 1950s and included Luis Martínez Pedro, Mario Carreño, José M. Mijares, and the Romanian-born Sandú Darié. According to McEwen, the concretos saw themselves as the last generation of the island’s artistic avant-garde, which contradicted their predecessors’ quest for a vernacular expression of national identity in the visual arts while striving for modernization and cosmopolitanism. She shows that the abstract turn in Cuba was both an aesthetic revolt against figurative art and a political protest against the Batista regime. The abstract art movement gradually waned after the triumph of the Cuban Revolution, with its preference for narrative and representational art.
Conference papers on the topic "Cuban Historians"
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Vasconcellos, César Augusto Zen, Helio T. Coelho, and Hugo Pérez Rojas. "Una (breve) Historia del Futuro de Cuba." In Cuba e Brasil no Século XXI. São Paulo: Editora Edgard Blücher, 2015. http://dx.doi.org/10.5151/edupro-cbs21-006.
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Maddonni, Alejandra Viviana. "Formas del tiempo y la memoria en el arte contemporáneo latinoamericano." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5875.
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A lo largo de la historia del arte, el espacio y el tiempo se han abordado como categorías separadas. En efecto, la concepción moderna definió al tiempo como el ámbito donde las cosas suceden y al espacio donde las cosas están. En este esquema, el tiempo es progresivo, posible de medir en términos de sucesos que se presentan con un patrón homogéneo. El proyecto de la modernidad, en su implacable búsqueda de certezas, ha necesitado de esta escisión y otras -como la separación forma – contenido- , a fin de borrar toda incertidumbre e inestabilidad. De este modo algunas categorías de análisis han quedado fuera de la mirada moderna, aún hasta nuestros días. El cuerpo, lo monstruoso, el misterio, el tiempo detenido, la intensidad, la experiencia, lo complejo, lo múltiple, lo suspendido, lo no lineal y lo sugerido son sólo algunas de las dimensiones con las que la contemporaneidad teje la trama de sus obras. El arte contemporáneo reconfigura la temporalidad. El tiempo y el espacio unidos se construyen con la obra, son la obra. Permite nuevos modos de percepción y nos ofrece otro modo de ver el mundo a través de operaciones cognitivas complejas. A través del análisis crítico de un conjunto de artistas latinoamericanos, este texto intenta generar un entramado de vínculos y tensiones entre sus producciones visuales, sus poéticas y los modos contemporáneos del tiempo, la materialidad y el contexto. Los artistas seleccionados Ana Mendieta (Cuba), Graciela Sacco (Argentina), Lucy Argueta (Honduras), Jorge Macchi (Argentina), Alfredo Jaar (Chile) y Regina Galindo (Guatemala) han trabajado en buena parte de su producción con el cuerpo. Presente o ausente. Único o múltiple. Como tema, soporte, forma y contenido. Como posicionamiento cultural, social y político. Como devenir temporal, memoria y territorio en disputa permanente.http://dx.doi.org/10.4995/ANIAV.2017.5875