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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 precise interval ). It explores the marginal cultural construction at the island by means of the 1st iteration of intellectuals born throughout 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 publication will attract somebody drawn to modern literary and cultural experiences, poetics, and picture stories in Latin the US and the Caribbean."

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Extra resources for Mínima Cuba: Heretical Poetics and Power in Post-Soviet Cuba

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What follows from this ambiguity is that “cruz,” or sacrifice, can represent fate (of the soldier as a man) or salvation (of the soldier as a hero). But “cruz,” like a coin, may also represent both at the same time, and thus neither of them in particular. This explains why, as a signifier, sacrifice does not point to either fate (secular) or salvation (sacred) but to both. The signified of destiny and salvation are as arbitrary and necessarily bound as those of tails and heads. Sacrifice is simultaneously fate and salvation.

Historias de la Revolución (Tomás Gutiérrez Alea, 1960). Teresa’s dead boyfriend. 38 Mínima Cuba The final close-up of the girlfriend’s gaze even more clearly foregrounds the religious analogy. The take follows the slow transformation of her gaze until it finally acquires a martyr’s quality. Silence plays a very important role. This halt in the narration gives the audience an opportunity to empathize with the character. It is also the moment to conquer popular taste. This is accomplished through a close-up showing Teresa’s exaggerated feelings, as her hopelessness suddenly becomes strength and determination.

What is more, their ideological attitude is still articulated by the desire to demythologize the main symbols of revolutionary struggle. Might it not be the case, after all, that this radical negation of revolutionary ideology generates a negative dialectic of sorts, that is, an act whose refusal attempts to construct a space of alterity and thereby gains weight as an alternative political gesture? Or is this form of poetics indeed simply a radical negation of the political as such? This group perhaps embraces irony as an aesthetic recourse to avoid a prolonged confrontation with a traumatic Real—a haunting of the present that is, for example, the main subject of the poetry of Juan Carlos Flores.

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