Revolution and Decolonisation

Revolution and Decolonisation The period covered by this presentation of the Collection (1962–1982) is notable for the spread of social conflict and for the way intellectual interest diversified towards various areas of the world. While earlier decades of the 20th Century – particularly since the beginning of the Cold War – had been dominated by the conflict dynamic between powers in the Northern Hemisphere (Europe, the USA and the Soviet Union), unfolding his- torical events were creating a newly expanded world of complexity and plurality: on the one hand, there was the decolonization of African countries, and on the other was the addition to the geopolitical chessboard of Latin America and the Caribbean, particularly after the Cuban Revolution. New acquisitions Agnès Varda. Serie Cuba, 1962 Bibliography Celli, Carlo. Gillo Pontecorvo. From Resistance to Terrorism. Metuchen (NJ): The Scarecrow Press, 2006. Césaire, Aimé. Discurso sobre el colonialismo. Madrid: Akal, 2006. The Battle of Algiers (1965), directed by Gillo Pontecorvo (1919-2006), reconstructs the traumatic decolonization process of Algeria, putting the emphasis on bloody French Fanon, Frantz. repression and the urban guerilla methods used by the local resistance. Other testimonials, Los condenados de la tierra. México such as the writings of Frantz Fanon (1925-1961) and Les statues meurent aussi, the film D. F.: FCE, 2007. by Alain Resnais (1922), describe a pan-African awakening, which, from its denouncement of the lack of development to its vindication of Blackness, unites Africa and the Caribbean. Fanon, Frantz. Piel negra, máscaras blancas. On the other side of the Atlantic, the outbreak of the Cuban Revolution and its cultural Madrid: Akal, 2009. output was a source of fascination for European intellectuals: Alberto Korda (1928-2001) photographed Jean-Paul Sartre and Simone de Beauvoir on a visit to Cuba to interview the García Borrero, Juan Antonio. Cuban leaders while Agnès Varda (1928) was photographing the new Southern cosmopo- Intrusos en el paraíso. Los cineastas litanism with both enthusiasm and skepticism. extranjeros en el cine cubano de los sesenta. Granada: Festival Cines del A look through the lens at this time would show a new, plural map that could no longer be Sur, 2009. seen as a system of blocks, but rather as a far more complex structure. The western view of the world had changed, while the voices of others emerged from their age-old silence. Sartre, Jean-Paul. Sartre visita a Cuba. La Habana: Ediciones R, 1961..

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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.
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Hybridity and Identity in the Pan-American Jazz Piano Tradition
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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.
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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.
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Universidade Federal De Santa Catarina Pós-Graduação Em Inglês: Estudos Linguísticos E Literários
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