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Ucin1122310471.Pdf (566.2 UNIVERSITY OF CINCINNATI Date:___July 25, 2005___ I, Manuel Martínez, hereby submit this work as part of the requirements for the degree of: Doctorate of Philosophy (Ph.D.) in: The Department of Romance Languages & Literatures of the College of Arts and Sciences It is entitled: A Place of Our Own: The Representation of Space in Te di la vida entera, La novela de mi vida, Animal Tropical & Dreaming in Cuban This work and its defense approved by: Chair: Luciano Picanço _______________ María Paz Moreno ______________ Carlos Gutiérrez _____________ _______________________________ _______________________________ A Place of Our Own: The Representation of Space in Te di la vida entera, La novela de mi vida, Animal Tropical & Dreaming in Cuban A dissertation submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTORATE OF PHILOSOPHY (Ph.D.) in the Department of Romance Languages & Literatures of the College of Arts and Sciences 2005 by Manuel Martínez A.A., Miami-Dade Community College, 1985 B.B.A., University of Miami, 1987 M.B.A., University of Miami, 1992 M.A., University of Cincinnati, 2000 Committee Chair: Dr. Luciano Picanço Abstract Martínez, Manuel (Ph.D., Romance Languages and Literatures) A Place of Our Own: The Representation of Space in Te di la vida entera, La novela de mi vida, Animal Tropical & Dreaming in Cuban. Abstract of a doctoral dissertation at the University of Cincinnati The present study analyzes the representation of space in four contemporary Cuban novels (Te di la vida entera, La novela de mi vida, Animal Tropical, Dreaming in Cuban). For the purposes of this study, space is defined as a zone of political and cultural negotiation. This definition is based on the concepts set forth by Edward Soja in his book Thirdspace and Homi Bhabha in his book The Location of Culture. The study bases its textual analysis on the theoretical work of Fernando Ortíz, Antonio Benítez Rojo, and Gustavo Pérez Firmat. These theoreticians suggest that there is a particularly Cuban way of negotiating with Cuban and non-Cuban space. This study seeks to identify patterns of representation in the four novels and analyzes them. Patterns are analyzed in the representation of Havana, exile, and the use of nostalgia. This study also suggests a mechanism whereby one can identify degrees of representation as being either relatively closer or farther away from the model suggested by the three theorists. © 2005 Manuel Martínez All Rights Reserved Este es un regalo para Mónica ACKNOWLEDGEMENTS A dissertation would not be possible without the contributions of a talented scholar that dedicates his time and analytical skills to enter into dialogue with the text. Dr. Luciano Picanço has been that reader and partner. It is thanks to him that this dissertation was nurtured into its present form. I will never be able to thank him enough for his guidance. The writing of a dissertation is a long process and I have had help all along the way. Dr. Kirsten Nigro was with me from the very beginning. Her encouragement and feedback proved invaluable. Dr. Carlos Gutiérrez has been a pillar of support and contributed greatly to my project through his comments and advice. Dr. María Paz Moreno contributed excellent suggestions which strengthened the final version of the dissertation. I will be in their debt always. A project of this sort is also not possible without the kindness and friendship of those near and dear; of those who are no longer with me and those who are with me still. They are all here; in these pages. First and foremost, however, above all, is the story of my life with Mónica and our son Tomás. She has accompanied me, faithful and beautiful, every step of the way. He has given meaning to the words in this dissertation and to my life. Lastly, there is Cuba. A space which I have never left and which has never left me. Martínez 1 TABLE OF CONTENTS Introduction 2 Chapter 1 – La Habana 39 Chapter 2 – Exile & Return 112 Chapter 3 – Nostalgia and the Limits of the Ajiaco 222 Conclusion 289 Bibliography 315 Martínez 2 Introduction How does one relate to one’s spaces? The plural is used intentionally for the purposes of this dissertation. On a basic level, space1 can be defined as the three dimensional area that surrounds an individual. This could be, for instance, one’s home, one’s city, or one’s country. There are other levels as well, however. The culture that imbues the physical space of the home or the city can be thought of as a space. Relations of power can be thought of as the space between two individuals where conflict and negotiation takes place. Finally, one can think of the pages of the novels that will be analyzed as yet another space. 1 The concept of space to be used in this dissertation is based on the concept of space as a zone of cultural and political negotiation as elaborated by Henri Lefebvre in The Production of Space, Edward Soja in Thirdspace, Fredric Jameson in Postmodernism, or the Cultural Logic of Late Capitalsim, and Homi Bhabha in his essay “Cultural Diversity and Cultural Differences”, as well as his book The Location of Culture. It is interesting to note that Soja, Jameson and Bhabha have used the term Thirdspace (Bhabha actually writes it Third Space). While each word represents a differenct concept, they both concern themselves with the in between space of negotiation. Martínez 3 Although many spaces will be addressed in this dissertation, the one that runs through them all is culture. It is culture that helps to determine the social, physical and political organization of space. It is culture that influences the negotiations of power that take place within the physical and symbolic spaces of the society. Further, it is culture that reveals itself in the pages of its literature even as it seeks to represent space.2 By the same token, however, space also helps to influence culture. Proximity to the ocean or the montains, arguably, influences the development of culture. It is not the experience to live in a colonial city, than it is to live in a modern suburb. The question that lies at the root of this investigation is if there is a particularly Cuban way to relate to space. More specifically, however, the questions to be considered in this dissertation are: How is space represented in the four novels that will be analyzed? Is there a pattern that can be identified, and can a conclusion be drawn from these observations? 2 According to Homi Bhabha in “On Cultural Choice”, Culture is the symbolic realm through which we enact a range of imaginative aspirations that may subvert our mundane lives or exercise alternatives that supplement the leaden prose of the world.” (181) Martínez 4 In this study, space, be it physical or social, will not be analyzed in abstract or essentialist terms for its own sake. Space here will be considered from the point of view of how the authors represent it in their novels, how the characters are represented relating to it, and how the culture informs the on-going negotiation with the space that takes place. The axis of the analysis of the representation of space will be the characters’ interaction with their surrounding space, be it home, city, or nation. It is through the interactions of the characters with their surroundings that patterns of representation can hopefully be deciphered. Interactions between characters and their environment will further be analyzed as a series of negotiations. As in any negotiation, the individual involved has three options before him or her whether he or she is at home or abroad. Although these options are always available to a person Dominica Radulescu synthesizes them in terms of the choices open to an exile in a foreign land and society. In her essay “Theorizing Exile” she describes how the exile attempts to adapt to his new environment (1) by reconstructing memory even more stubbornly… (2) by reconstructing traditions and Martínez 5 creating replicas of one’s physical environment; (3) by going in the totally reverse direction and merging oneself to oblivion in the new environment of the adoptive country… (194) In other words, one can (option #2) retreat from and ignore the surrounding space by creating a cultural cocoon that serves as a shield from outside influences, (option #3) abandon one’s culture of origin, or (option #1) negotiate a position somewhere along the continuum between the extremes of the second and third positions. Although Radulescu frames the three alternatives within the specific circumstance of the exile experience, it is valid for the purposes of this dissertation for two reasons. First, her formulation succinctly summarizes the three alternatives which apply in any given negotiation. Second, this quote raises the issue of exile which looms so large in Cuban culture.3 3 My family left Cuba for the United States in December of 1970. From the time I was a child until now, I have experienced first hand the vicissitudes of exile. That experience implicitly informs this investigation. Although I have spent the majority of my life outside of Cuba, I have remained in touch with those members of my family who stayed behind. I have also returned to the island various times. From these experiences it has become obvious to me that the experience of exile does not just touch the lives of those who left. Martínez 6 Now, as was mentioned earlier, this dissertation is not concerned directly with an anthropological or social historical description of Cuban culture.
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