60Th Anniversary of La Coubre: U.S
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Che Guevara, Nostalgia, Photography, Felt History and Narrative Discourse in Ana Menéndez’S Loving Che Robert L
Hipertexto 11 Invierno 2010 pp. 103-116 Che Guevara, Nostalgia, Photography, Felt History and Narrative Discourse in Ana Menéndez’s Loving Che Robert L. Sims Virginia Commonwealth University Hipertexto At the risk of seeming ridiculous, let me say that the true revolutionary is guided by a great feeling of love. It is impossible to think of a genuine revolutionary lacking this quality. Che Guevara More and more I've come to understand that when we mourn what a place used to be, we are also mourning what we used to be. Ana Menéndez any of the discussions and debates of the Cuban Revolution in Miami, M Havana and elsewhere converge, merge and diverge in the person and persona of Che Guevara. This process produces a mesmerizing mixture of myth, reality, and nonsense which we are far from unscrambling: “There's just this fascination people have with the man - which is not of the man, but of the photograph," says Ana Menéndez, author of ‘Loving Che’” (http://www.csmonitor.com/2004/0305/p13s02-algn.html). The photograph in question is Alberto Korda’s famous picture of Che Guevara taken on March 5, 1960 at a Cuban funeral service for victims of the La Coubre explosion. The photographic reality of Che soon transformed itself into an iconic image which traveled around the world. Che’s image has since undergone myriad changes and has become a pop culture, fashionista icon and capitalist commodity marketed and sold all over the world, including Cuba. Nostalgia and memory occupy the interstitial space between Che Guevara’s personal and revolutionary life and his now simulacralized iconicity: “Part of Guevara's appeal is that his revolutionary ideals no longer pose much of a threat in the post-cold-war world. -
Hybridity and Identity in the Pan-American Jazz Piano Tradition
Hybridity and Identity in the Pan-American Jazz Piano Tradition by William D. Scott Bachelor of Arts, Central Michigan University, 2011 Master of Music, University of Michigan, 2013 Master of Arts, University of Michigan, 2015 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by William D. Scott It was defended on March 28, 2019 and approved by Mark A. Clague, PhD, Department of Music James P. Cassaro, MA, Department of Music Aaron J. Johnson, PhD, Department of Music Dissertation Advisor: Michael C. Heller, PhD, Department of Music ii Copyright © by William D. Scott 2019 iii Michael C. Heller, PhD Hybridity and Identity in the Pan-American Jazz Piano Tradition William D. Scott, PhD University of Pittsburgh, 2019 The term Latin jazz has often been employed by record labels, critics, and musicians alike to denote idioms ranging from Afro-Cuban music, to Brazilian samba and bossa nova, and more broadly to Latin American fusions with jazz. While many of these genres have coexisted under the Latin jazz heading in one manifestation or another, Panamanian pianist Danilo Pérez uses the expression “Pan-American jazz” to account for both the Afro-Cuban jazz tradition and non-Cuban Latin American fusions with jazz. Throughout this dissertation, I unpack the notion of Pan-American jazz from a variety of theoretical perspectives including Latinx identity discourse, transcription and musical analysis, and hybridity theory. -
Sabotage Du Navire Français La Coubre Le 4 Mars 1960 Nadine Lalande
Sabotage du navire français La Coubre le 4 mars 1960 Nadine Lalande Le sabotage du navire La Coubre dans la mémoire du peuple cubain. L’une des premières actions terroristes du Gouvernement des États-Unis contre Cuba eut un caractère monstrueux, le sabotage du navire français La Coubre le 4 mars 1960, à quai dans le port de la Havane. Le bateau avait chargé en Europe un lot important d’armements et d’équipements achetés à l’industrie nationale belge par le Gouvernement Révolutionnaire de Cuba, qui était déjà préoccupé par les actions agressives croissantes des États- Unis. Le chargement fut saboté par les agents de l’Agence Centrale d’Intelligence CIA au point d’embarquement, et les engins placés déclenchèrent une explosion ce jour-là à trois heures dix de l’après-midi alors que se déroulaient les opérations de déchargement. Aux premières heures de l’après-midi du 4 mars 1960, une détonation initiale se produisit et quelques minutes plus tard une deuxième qui causera le plus grand nombre de victimes, puisque à ce moment-là des dizaines de militaires et de travailleurs apportaient leur aide sur place aux victimes de la première explosion. Le navire la Coubre ainsi que le quai alentour étaient remplis de travailleurs portuaires, des soldats rebelles, de membres de la Police Nationale Révolutionnaire, de pompiers et du personnel de secours qui, sans se soucier du danger avaient accouru sur le lieu du désastre pour aider les victimes et pour prévenir les accidents. Le Commandant en Chef Fidel Castro Ruz, et d’autres dirigeants de la Révolution Cubaine firent acte de présence sur le lieu des faits. -
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316.74:77 Rewriting Revolutionary Myths: Photography in Castro’s Cuba and Tania Bruguera’s Tatlin’s Whisper#6 Louisa Söllner LMU Munich Abstract: Photography was a key medium for creating, INTRODUCTION spreading, and cementing myths about the Cuban Revolution and its leaders. In the first part of this essay, In her novel Days of Awe (2001), Cuban-American I’ll explore several iconic images as well as responses to novelist Achy Obejas reproduces the following story these pictures, all parts of a Cuban “cross-national about Fidel Castro‟s victory speech on the 8th of memory discourse” (cf. Quiroga, 2005). Walter Benjamin’s media philosophy can help in developing January 1959: “On both sides of the Straits of Florida insights about the functioning of these photographs. In there‟s a story about Fidel‟s first victory speech in the second part of the paper, I turn to Tania Bruguera’s Havana. Sometime shortly after he began, a white dove piece Tatlin’s Whisper#6 (staged at the 10th Havana perched on his left shoulder, leaving everyone Biennial in 2009), which radically rewrites the poetics of breathless. This is Fidel‟s voodoo: He does the the images and aspires to create a sense of participation impossible. He gets that bird to pose with him, and direct involvement. whether through strategy or sorcery it doesn‟t matter. In one case, it’s divine intervention; in the other, a Keywords: Photography, Memory Mediation, Diaspora, ” Performance Art, Walter Benjamin stroke of theatrical genius; in both, he wins. (Obejas, 2001, p. 127) Obejas‟s novel reiterates and simultaneously rewrites a myth about Castro that has entered the collective memory of revolutionary Cuba and its 59 diaspora. -
Photo De Che Guevara « Guerrillero Heróico » Alberto Korda (Sources : Wikipedia )
Photo de Che Guevara « guerrillero heróico » Alberto Korda (Sources : Wikipedia ) Guerrillero Heroico est un portrait photographique de Ernesto Che Guevara réalisé par Alberto Korda le 05/05/1960 , alors qu il assistait à l ' enterrement des victimes de l ' explosion de la Coubre ( Le cargo français La Coubre explosa par deux fois le 4 mars 1960, alors qu'il déchargeait des munitions belges dans le port de La Havane à Cuba. L'explosion fit au moins 75 morts et 200 blessés. Le gouvernement cubain accusa la CIA et condamna à mort William Alexander Morgan alors que les États-Unis penchaient pour la thèse d'un accident. ) C est une des photos les plus célèbres au monde . Alberto Korda donna cette photographie à l'éditeur italien Gianfranco Feltrinelli qui lui fit faire le tour du monde avec des centaines de posters et des couvertures de carnets après la mort du Che en 1967. L'année suivante, Andy Warhol en fait un tableau qui devient une icône artistique et commerciale. Korda, révolutionnaire convaincu, ne toucha pas un centime et ne réclama jamais aucun droit d'auteur jusqu'en 1990, quand la société Smirnoff a repris l'image de Guevara pour vendre de la vodka1. Korda était photographe pour le journal cubain Revolución le 6 mars 1960 quand il prit le fameux cliché . Korda raconta ainsi l'instant historique : « Je me trouvais à quelque dix-huit mètres de la tribune où Fidel prononçait un discours et je tenais à la main un appareil muni d'un court téléobjectif, lorsque je vis le Che s'approcher de la balustrade près de laquelle se tenaient Jean-Paul Sartre et Simone de Beauvoir. -
Fidel Castro and Revolutionary Masculinity
University of Kentucky UKnowledge Theses and Dissertations--Hispanic Studies Hispanic Studies 2012 Deconstructing an Icon: Fidel Castro and Revolutionary Masculinity Krissie Butler University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Butler, Krissie, "Deconstructing an Icon: Fidel Castro and Revolutionary Masculinity" (2012). Theses and Dissertations--Hispanic Studies. 10. https://uknowledge.uky.edu/hisp_etds/10 This Doctoral Dissertation is brought to you for free and open access by the Hispanic Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Hispanic Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. I retain all other ownership rights to the copyright of my work. -
Ernesto “Che” Guevara, Intelectual Latinamericano: Notas Para Un Estudio Crítico De Su Pensamiento
1 Ernesto “Che” Guevara, intelectual latinamericano: Notas para un estudio crítico de su pensamiento. Hugo Cancino I.‐ Introducción. Pudiera parecer extraño incluir a Ernesto “Che” Guevara1 en la categoría social de los intelectuales. Si se define a los intelectuales como una elite que contempla, teoriza y crítica al orden existente y al poder desde una “torre de marfil” o que lo defiende, manteniéndose lejos de la acción, el Che no podría incluirse en esta categoría. El eje que definió su vida fue la profunda unidad entre su pensamiento y su acción. Pero fue su acción, más que su discurso, sus gestos testimoniales y su trágica muerte en Bolivia en 1967, los acontecimiento que contribuyeron a transformar su historia en una leyenda. En esta comprensión su imagen se ha convertido en ícono2, que se muestra en carteles, en adorno de camisetas, como decoración en diferentes objetos y artefactos y en la gráfica de las miles de páginas de la Web construidas en su homenaje. Para los jóvenes más politizados la imagen del “Ché”, en la célebre fotografía de Korda3, denota a un revolucionario, un rebelde intransigente en contra de la injusticia y la opresión donde quiera que esta se presentara y cuya vida y muerte testimonian la fidelidad a unos ideales revolucionarios y a una actitud ética que trascendería la época en el que Che viviera. La figura del Che ha trascendido al siglo XX y su representación iconizada de un revolucionario que renunció al poder, que ha llegado a ser el símbolo y signo de todas las protestas de los movimientos sociales en contra de la globalización neo‐ liberal. -
Young Ernesto Guevara and the Myth of Che Dan Sprinkle Western Oregon University
Western Oregon University Digital Commons@WOU Student Theses, Papers and Projects (History) Department of History 2012 Young Ernesto Guevara and the Myth of Che Dan Sprinkle Western Oregon University Follow this and additional works at: https://digitalcommons.wou.edu/his Part of the Latin American History Commons Recommended Citation Sprinkle, Dan, "Young Ernesto Guevara and the Myth of Che" (2012). Student Theses, Papers and Projects (History). 256. https://digitalcommons.wou.edu/his/256 This Paper is brought to you for free and open access by the Department of History at Digital Commons@WOU. It has been accepted for inclusion in Student Theses, Papers and Projects (History) by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected]. Young Ernesto Guevara and the Myth of Che Dan Sprinkle HST 499: Senior Seminar Spring 2012 First Reader: Dr. John Rector Second Reader: Dr. Max Geier June 6, 2012 1 Ernesto “Che” Guevara de la Serna is constantly dramatized and idolized for the things he did later in his life in the Congo, Guatemala, Cuba, and Bolivia pertaining to socialist revolution. The historical events Che partook in have been studied for decades by historians around the world and no consensus has been reached as to the morality of his actions. Many people throughout Latin America view Guevara as a heroic martyr for the people, whereas many people from the rest of the world see him as little more than a terrorist. What many of these historians fail to address is what exactly made Ernesto Guevara leave his relatively upper-middle class, loving family behind to pursue a life of revolution and guerrilla warfare. -
Ernesto Che Guevara Guerrillero Heroico Alberto Korda
ONO arte contemporanea VIA SANTA MARGHERITA 10 | 40123 BOLOGNA | +39 051 262465 Ernesto Che Guevara Guerrillero Heroico Alberto Korda Opening, giovedì 2 marzo, ore 18.30 Ingresso Libero ONO arte contemporanea via santa margherita, 10 bologna | www.onoarte.com ONO arte contemporanea è lieta di presentare Ernesto Che Guevara Guerrillero Heroico una personale di Alberto Korda, fotografo cubano che deve la sua notorietà all’omonima immagine scattata al Che, che può essere considerata come la più iconica e famosa nella storia della cultura popolare. L’immagine fu scattata con una Leica durante un funerale di Stato il 5 marzo del 1960, ma fu pubblicata solo un anno dopo sul quotidiano cubano «Revolución». Personaggio pubblico e persona si fondono in un’immagine che lentamente diventa vero e proprio immaginario, portando con sé una serie di significati che via via sbiadiscono da quella pellicola, che diventa vera e propria icona. Quell’immagine è stata non solo simbolo di un’epoca, ma a livello estetico e concettuale può annoverarsi a pieno titolo tra le immagini e le icone pop che anche lo stesso Andy Warhol ha portato nell’empireo dell’arte contemporanea. Ma la storia di Che Guevara e di Alberto Díaz Gutiérrez, detto Korda, va molto oltre rispetto a questo singolo scatto, che sicuramente ne è riassunto e compendio. Sullo sfondo Cuba e la rivoluzione, Che Guevara e Fidel Castro, ma anche tutto il milieau culturale di un’epoca, fatto di personaggi di spicco della moda e della letteratura. Fu Richard Avedon a convincerlo ad aprire il suo primo studio fotografico e presto Korda divenne il più importante fotografo di moda cubano oltre che volontario per la “Rivoluzione”. -
Universidade Federal De Santa Catarina Pós-Graduação Em Inglês: Estudos Linguísticos E Literários
i UNIVERSIDADE FEDERAL DE SANTA CATARINA PÓS-GRADUAÇÃO EM INGLÊS: ESTUDOS LINGUÍSTICOS E LITERÁRIOS Olegario da Costa Maya Neto ACTUALIZING CHE'S HISTORY: CHE GUEVARA'S ENDURING RELEVANCE THROUGH FILM Dissertação submetida ao Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários da Universidade Federal de Santa Catarina para obtenção do Grau de Mestre em Letras. Orientadora: Profa. Dra. Anelise Reich Corseuil Florianópolis 2017 ii iii iv v ACKNOWLEDGMENTS First, I would like to thank my parents, Nadia and Ahyr Maya, who have always supported me and stimulated my education. Since the early years of learning how to read and write, I knew I could always rely on them. I would also like to thank my companion and best friend, Ruth Zanini. She patiently listened to me whenever I had a new insight or when I was worried. She gave me advices when I needed them and also took care of my share of the housework when I was busy. In addition, I would like to thank my brother Ahyr, who has always been a source of inspiration and advice for me. And I would like to thank my friends, especially Fabio Coura, Marcelo Barreto and Renato Muchiuti, who were vital in keeping my spirits high during the whole Master's Course. I would also like to thank all teachers and professors who for the past twenty six years have helped me learn. Unfortunately, they are too many to fit in a single page and I do not want to risk forgetting someone. Nonetheless, I would like to acknowledge their contribution. -
Grand Slam De Despaigne Coloca a Cuba En Segunda Ronda Del Clásico Mundial
Grand Slam de Despaigne coloca a Cuba en segunda ronda del Clásico Mundial Tokio, Japón, 10 mar (RHC) Grand Slam de Alfredo Despaigne y relevo de altos kilates de Miguel Lahera dieron a Cuba un peleado triunfo ante Australia 4-3, para colocarla en la segunda ronda del IV Clásico Mundial de Béisbol. Australia fue el primero en anotar por cohete remolcador de Logan Wade en el quinto ante el abridor Lázaro Blanco, batazo sobre el que el patrullero izquierdo Alfredo Despaigne no mostró un gran brazo. Pero el cuarto bate del ‘team’’ Cuba tomó desquite en la parte baja de esa entrada y castigó con toda su fuerza una recta del relevista zurdo Lachlan Wells con las bases llenas, para desaparecer la pelota a más de 400 pies por entre left y center y darle un giro al marcador. ‘’Salí a buscar un batazo porque en ese momento era importante para el equipo y con mucha paciencia logré el objetivo’’, dijo a la prensa Despaigne, recién fichado por el Softbank de la Liga Japonesa y ahora colíder en jonrones en la historia del Clásico, con 6, junto a su compañero Frederich Cepeda. Los australianos siempre dieron batalla –como si el partido fuera una réplica del celebrado entre ambos equipos en el Clásico de 2009, también el 10 de marzo y ganado por Cuba 5-4 por jonrón de Yosvany Peraza. Este viernes mandaron antes de lo esperado a las duchas a Blanco y luego siempre tuvieron sobre un volcán a Yoanni Yera, Vladimir García y Liván Moinelo. Pero el cerrador Miguel Lahera – quinto pitcher empleado por el mentor Carlos Martí- se presentó intratable con su recta de hasta 91 millas y retiró el noveno sin manchas, con dos ponches incluidos, para sellar el triunfo y poner a Cuba otra vez entre los ocho mejores. -
Raúl González Isidoría IF Yorlián Rodríguez Fonseca P P: 17 V: 10-11 Raúl González Humberto Morales Yordi Y
AGO. 2019 2019-2020 EDICIÓN ESPECIAL DIRECCIÓN GENERAL Ricardo Valdivia Dariagna Steyners DISEÑO Ricardo Valdivia Hola novena de campeonato: Dariagna Steyners COLABORACIONES Fernando Martínez Martí Inicia la edición número 59 de nuestra Serie Nacional de Béis- Calixto N. Llanes bol (SNB), y a pesar de la actuación del equipo Cuba de pelota ......................................... en los Juegos Panamericanos de Lima 2019, quisimos hacer algo distinto, algo que hasta donde conocemos no se ha hecho con el [email protected] mayor espectáculo deportivo en la Isla: una guía de los 16 equi- www.scoresportmagazine.com pos participantes. La actuación de la anterior temporada, el manager, la principal Score Sport Magazine figura, la nómina del conjunto, su estadio y la posible alineación titular son los aspectos que figuran en cada perfil de equipo. Nos impulsó la idea mostrar más, mucho más de lo que conse- guimos; la dificultad para obtener imágenes de alta calidad, esta- dísticas actualizadas y confiables, nos forzó a buscar alternativas, dejando entrever, como ya se está haciendo costumbre otras de las tantas carencias de lo que se supone sea el mayor evento de nuestro deporte nacional dentro de nuestras fronteras. De cual- quier manera, la SNB se merece mucho más que esto. Esperamos que para la segunda etapa la propuesta sea mucho mejor y más FUENTES: beisbolcubano.cu, completa. EcuRed, Granma, Radio Rebelde, Radio Bayamo, JIT, Cubadebate, Sin más deseo de que esta edición especial les resulte útil y beisbolencuba.com, Radio Cadena atractiva, nos despedimos hasta nuestro próximo lanzamiento. Agramonte, ACN, Periódico 26, alamy.com y La Demajagua.