Examines Zora Neale Hurston's work, particularly her collection of folklore and ethnography of the American South, "Mules and Men." Looks at the author's role, the ways the ethnographer inscribes herself into the text, and speculates about Hurston's understanding of the limits of the impersonal researcher.
Reviews Mullen's examination (Greenwood Press, 1998, 236p) of Afro-Cuban literature. Notes that this study is "perceptive" and "important" to the field of Afro-Hispanic literary criticism.;
Perez Sarduy,Pedro (Editor) and Stubbs,Jean (Editor)
Format:
Book, Edited
Publication Date:
1993
Published:
Melbourne Vic.: Ocean Press
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
Published in association with the Center for Cuban Studies (New York)., 309 p, This anthology looks at the AfroCuban experience through the eyes of the island's writers, scholars and artists. Divided into three sections: The Die is Cast, Myth and Reality and Redrawing the Line, introducing the reader to a wide range of previously unavailable Cuban authors, in which dissenting voices speak alongside established writers, such as Fernando Ortiz.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
251 p., Chapters: African and Afro-Cuban factors in the structure of Lydia Cabrera's black short stories -- The characters : gods, animals, humans, supernatural beings and objects -- The theme of the waters.
321 p., Locates contemporary articulations of afrofeminismo in manifold modes of cultural production including literature, music, visual displays of the body, and digital media. Examines the development of afrofeminismo in relation to colonial sexual violence in sugar-based economies to explain how colonial dynamics inflect ideologies of blanqueamiento/embranquecimento (racial whitening) and pseudo-scientific racial determinism. In this context, the author addresses representations of the mujer negra (black woman) and the mulata (mulatto woman) in Caribbean and Brazilian cultural discourse.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
203 p., Argues for grounding the concept of global subaltern resistance in the legacy of the 1966 Tricontinental in which delegates from the liberation movements of 82 nations came together in Havana, Cuba to form an alliance against imperialism. This alliance, called the Organization of Solidarity of the Peoples of Africa, Asia and Latin America (OSPAAAL) quickly became the driving force of international political radicalism and the primary engine of its cultural production. Because the Tricontinental represents the extension into the Americas of the anti-imperialist union of Afro-Asian nations begun at the 1955 Bandung Conference, it points to a moment in which a diverse range of radicalist writers and artists in the Americas began interacting with its discourse. By tracing the circulation of the Tricontinental's ideology in its cultural production and in related texts from Third Cinema, Cuban Revolutionary film, the Nuyorican Movement, and writings by Young Lords and Black Power activists, Beyond the Color Curtain outlines how tricontinentalists laid the groundwork for a theory of power and resistance that is resurfacing in the contemporary notion of the Global South.
