Dialogos Musico-Literarios Entre Manhattan Y Quisqueya. El Rol De La Musica Popular En La Literatura Dominicana Contemporanea

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Dialogos Musico-Literarios Entre Manhattan Y Quisqueya. El Rol De La Musica Popular En La Literatura Dominicana Contemporanea City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Entre Dos Islas: Dialogos Musico-Literarios Entre Manhattan Y Quisqueya. El Rol De La Musica Popular En La Literatura Dominicana Contemporanea Sharina Maillo-Pozo Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/449 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ENTRE DOS ISLAS: DIÁLOGOS MÚSICO-LITERARIOS ENTRE MANHATTAN Y QUISQUEYA. EL ROL DE LA MÚSICA POPULAR EN LA LITERATURA DOMINICANA CONTEMPORÁNEA. by SHARINA MAILLO-POZO A dissertation submitted to the Graduate Faculty in Hispanic and Luso-Brazilian Literatures and Languages in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York. 2014 © 2014 SHARINA MAILLO-POZO All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Hispanic and Luso-Brazilian Literatures and Languages in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Professor Elena Martínez _______________ ____________________________________ Date Chair of Examining Committee Professor Magdalena Perkowska _______________ ____________________________________ Date Executive Officer Professor Óscar Montero Professor Magdalena Perkowska Professor Marlene Gottlieb Professor Sophie Mariñez Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract ENTRE DOS ISLAS: DIÁLOGOS MÚSICO-LITERARIOS ENTRE MANHATTAN Y QUISQUEYA. EL ROL DE LA MÚSICA POPULAR EN LA LITERATURA DOMINICANA CONTEMPORÁNEA. by SHARINA MAILLO-POZO Adviser: Elena Martínez Many critics agree that merengue, the cultural symbol of Dominican identity, has been linked to national identity since its beginnings when it emerged during the battles for independence from Haití in 1844. Hence, it is not surprising that the intertexual dialogue between Dominican literature and Dominican popular music could be traced back to the 19th century, a moment where cultural elements and practices were fundamental to the consolidation of a national identity. In the best cases, merengue was used to underline the social customs of the times in a few decimononical obras costumbristas from the 19th century. However, it was also demonized and portrayed as a backwards tradition in the works of Eurocentric intellectuals from the island. Fast- forwarding to the late 20th century, one can appreciate the rise of a literary sub-genre that relies on popular music. A significant number of Dominican writers cultivate a sub-genre that was gaining momentum in the Hispanic Caribbean: the musical narrative. In the late 1990’s and throughout the first decade of the new millennium the intertextual dialogue between popular music and Dominican letters reached its peak. Today, there is a iv considerable corpus of novels, short stories and performance texts that celebrate the interaction between literature and popular music in the Island and its Diaspora in New York. In my dissertation I argue that the cultural, political, and socio-economic changes in the Dominican Republic contributed to the proliferation of this trend. Most importantly, I underline the role of transnational dominicanidad in the growth of literary texts that underscores hybridity through the use of various popular genres. Finally, I propose that the tendency to narrate the nation in musical terms derives from the initial ties between merengue and national identity. Nonetheless, I show that although these texts recognize the linkage between national identity and popular genre of merengue, they propose alternative discourses that defy the uniform construction of identity and the political ties to the Trujillo regime embedded in its historical past. The final objective of this research project is to demonstrate that given the constant interchange between the two islands, writers from aquí y allá approach popular music as a tool of resistance against hegemonic discourses on Dominican identity. v It is so unusual to have a dream and to see it happen as you dreamt it. -Mi gran amigo, Christopher Potter A mi abuela, que todo me lo ha dado. A Rubén, por existir. A Marlene, por tanto apoyo. vi ACKNOWLEDGEMENTS Confieso que la incuestionable tarea de escribir los agradecimientos me llena de alegría porque tengo mucho por lo que estar agradecida y mucha gente querida que me ha acompañado en este viaje. Agradezco a mi familia académica de la City University of New York que desde mis años de estudiante sub-graduada me ha ofrecido su apoyo, protección y la sabiduría de sus grandes profesores. A Lehman College, mi alma máter, me queda toda una vida académica para saldar la deuda que tengo contigo. Quedo muy agradecida por todo lo aprendido y por todo lo enseñado. Gracias infinitas al McNair Scholars’ Program y al Lehman Scholars’ Program por incentivarme y ofrecerme los recursos para emprender mi carrera académica. A mi querido Gary Schwartz, muchas gracias por la confianza, por el ánimo y por abrirme tantas puertas. A Richard y a Aida Blot, gracias por tanto cariño y calidez. A mis queridas Carmenes: Carmen Sáen de Casas y Carmen Estevez, les agradezco su continúo apoyo y tantos abrazos. A Susana Reisz, gracias por toda la sabiduría compartida. A Ana Diz, por su entrega y por transmitirme su pasión por la enseñanza. A Pepé Muñoz, por su generosidad y candidez. A Humberto Lizardi, por ser el más pragmático de los mentores. A mi adorada Julette Sánchez, por su amistad, por sus consejos, por llevarme de la mano en momentos que sentía que no podía continuar este camino. A The Graduate Center de la City University of New York y al programa de Hispanic and Luso Brazilian Literatures and Languages, gracias por brindarme la oportunidad de florecer en el ámbito profesional y por la dicha de conocer a un selecto vii grupo de seres humanos que hasta hoy son mi fuente de inspiración. A Lia Schwartz, muchas gracias por su voto de confianza. A mi querido profesor Lerner para quien siempre fui Cabrera y a quien le estaré eternamente agradecida por darle un nombre a mi tesis. A Anna Santiago, por su cariño y protección. A José del Valle, a quien me faltan páginas para agradecerle todo el apoyo que me ha dado. A Lina García y a Yezenit Barreto, por tanta ayuda. Quedo eternamente agradecida con los diversos programas de apoyo económico de esta institución que hasta hace poco subsidiaron mi carrera doctoral y mis proyectos adyacentes: CUNY Enhanced Chancellor Fellowship, Dean K Harrison, Summer Research Grant y Presidential Magnet Fellowship. Este proyecto de tesis hubiera sido casi imposible sin el apoyo del Dominican Studies Institute. A Sarah Aponte, cuyo extenso conocimiento del archivo dominicano ha sido fundamental para mi investigación. Querida Sarah, muchas gracias por tus recomendaciones, por tu apoyo incondicional y, sobretodo, por tu sonrisa y afecto. A mi comité de tesis por apoyar este proyecto desde sus inicios. A Óscar Montero por ser un gran maestro, por sus atinadas lecturas y por abrirme las puertas a su mundo. A Magdalena Perkowska, siempre pendiente, siempre con las palabras adecuadas, siempre dispuesta a brindarme su apoyo, siempre con los brazos abiertos. A Sophie Mariñez, te agradezco mucho cada momento en que del otro lado de la mesa me ayudabas a entender una historia compartida. Muchas gracias por ser parte de este proyecto. A mi querida Marlene Gottlieb por ser mi soporte, mi guía, mi inspiración. Muchas gracias por tanto cariño y por hacer de madre en los momentos en que sólo el afecto maternal podía aliviar algunas penas. Gracias infinitas a mi asesora de tesis, Elena Martínez cuyo apoyo y dedicación han sido cruciales a lo largo de mi carrera doctoral. Querida Profesora viii Martínez, quedo infinitamente agradecida por sus lecturas, sus consejos, las oportunidades profesionales que me ha brindado, por su ejemplo y por su cariño. Muchas gracias. A mis compañeros del programa doctoral y a los colegas que he conocido a lo largo de este trayecto. A Michele, muito obrigada pelo amor y amizade que floresceu estes anos. A Laura Villa, querida mía, me palpita el corazón tan sólo de pensar todo lo que tengo que agradecerte. A Berenice y a Gustavo, muchas gracias queridos por su amistad, por las navidades y demás festivos compartidos, por ser parte de mi vida. A Miguel, gracias “fenómeno” por estar ahí siempre. A Astrid, por todas las experiencias compartidas, querida amiga. A Cheché, por ser un hermano. Shawn, gracias por tus sonrisas y afecto. Mi adorara Laura Redruello, agradezco tanto haberte conocido en Manhattan College. Gracias por incentivarme, por creer en mí, por ser mi promotora. A quienes con su calor me han ayudado a construir la imagen de una isla humanizada: Carlos Decena, Médar Serrata, Aurora Arias, Frank Báez, Rey Emmanuel Andújar, Junot Díaz, Francis Mateo, Jorge Suberví, Angelina Tallaj, Adán Vásquez, Ángel Ulerio, Alex Guerrero, Carla Franchesca, Danny Méndez, Lorgia García Peña y Zaida Corniel. Espero que la literatura, el arte y la amistad sigan siendo el motor de nuestros proyectos. A Chris y Clare Potter, I am forever grateful for being part of your lives. Thank you for always being there for me, for being family, for being my rock. A Josefina Báez, mi querida guía, gracias por “toda la luz possible”. A Cristina, Ileana y Andrea, mis tres pilares, mis tres soles, amigas inigualables, que cada día me enseñan que el amor incondicional no es una invención. ix A mi familia porque, a pesar de no compartir esta pasión, intentan entender mis razones y razonamientos. A mi madre, por permitir que emprendiera mi vuelo con tan solo 18 años. A mi querido padrastro, por superar mis expectativas.
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