432581 1 En BookBackmatter 207. - link.springer.com978-3-319-63381-7/1.pdf · WORKS CITED Aguilú...
Transcript of 432581 1 En BookBackmatter 207. - link.springer.com978-3-319-63381-7/1.pdf · WORKS CITED Aguilú...
WORKS CITED
Aguilú de Murphy, Raquel. Los textos dramáticos de Virgilio Piñera y el teatro delabsurdo. Madrid: Editorial Pliegos, 1989. Print.
Aristotle. Poetics. Trans. Leon Golden. 1968. Gainesville, FL: Florida StateUniversity Press, 1981. Print.
Arrufat, Antón. Virgilio Piñera: entre él y yo. La Habana: UNEAC, 1994. Print.Artaud, Antonin. El teatro y su doble. Trad. Enrique Alonso y Franciso Abelenda.
Barcelona: Edhasa, 1978. Print.———. Theater and its Double. Trad. Mary Carolina Richards. New Cork: Grove
Press, 1958. Print.Balaguer, Joaquín. La isla al revés: Haití y el destino dominicano. Santo Domingo,
República Dominicana: Fundación José Antonio Caro, 1990. Print.Barreda, Pedro. “La tragedia griega y su historización en Cuba: Electra Garrigó de
Virgilio Piñera.” Escritura: Revista De Teoria Y Critica Literarias 10. 19–20(1985): 117–126. MLA International Bibliography. Web. 17 Jan. 2017.
Barradas, Efraín. “La pasión según Antígona Pérez: Mito latinoamericano y realidadpuertorriqueña.” Sin Nombre 10.1 (1979): 10–22.
Béjar, Eduardo C. “Abilio Estévez Entrevisto: La salvación por la literatura”.Encuentro 91–97.
Benítez Rojas, Antonio. “Comments on Georgina Dopico Black’s ‘The Limits ofExpression: Intellectual Freedom in Postrevolutionary Cuba’.” CubanStudies/Estudios cubanos 20 (1990), 171–174.
Ben-Ur, Lorraine Elena. “Myth Montage in a Contemporary Puerto RicanTragedy: ‘La pasión según Antígona Pérez’ (‘The Passion According toAntigone Pérez’).” Latin American Literature Review 4.7 1975): 15–21.
Blanchot, Maurice. The Space of Literature. 1955. Trans. Ann Smock. Lincoln,NE: University of Nebraska Press, 1982. Print.
Boal, Augusto. Teatro del oprimido y otras poéticas políticas. Buenos Aires:Ediciones de la Flor, 1974. Print.
———. Theatre of the Oppressed. Trans. Charles A. & Maria-Odilia Leal McBride.New York: Theater Communications Group, 1985. Print.
© The Editor(s) (if applicable) and The Author(s) 2017K. Ford, The Theater of Revisions in the Hispanic Caribbean,New Directions in Latino American Cultures,DOI 10.1007/978-3-319-63381-7
207
Boudet, Rosa Ileana. “Electra y Prometeo: La luz y el fuego.” Primer Acto 246.(1992): 29–32. MLA International Bibliography. Web. 17 Jan. 2017.
Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic. Ed. JohnWillett. New York: Hill and Wang, 1992. Print.
Cabrera Infante, Guillermo. Mea Cuba. Trans. Kenneth Hall. New York: FarrarStraus Giroux, 1994. Print.
———. Tres tristes tigres. 1967. Barcelona: Seix Barral, 1999. Print.Campos, Juan Carlos. ¡Hágase la mujer! In Antología del Teatro Dominicano
Contemporáneo. Ed. L. Howard Quackenbush. Dominican Republic: BrighamYoung University, Ediciones Librería La Trinitaria, 2004.
Campos Sagaseta, Koldo. ¡Hágase la mujer! Farsa teatral en un acto. OmegalfaBiblioteca Virtual, 2014.
Cantar de los Cantares. Fragmentos de la Biblia. Trans. Luis de León. Barcelona:Linkgua Ediciones, 2011.
“Cápitulo 2: La colonia española de Cuba.” In Historia del Caribe. Barcelona:Editorial Crítica, 2001. Print.
Casal, Lourdes. “Literature and Society.” Revolutionary Change in Cuba. Ed.Carmelo Mesa-Lago. Pittsburgh: University of Pittsburgh Press, 1971.
Castro, Fidel. “Palabras a los intelectuales. Ministerio de cultura, República deCuba. Web. 1961. http://www.min.cult.cu/historia/palabrasalosintelectuales.html.
Cervera Salinas, Vicente. “Electra Garrigó, de Virgilio Piñera: Años y leguas de unmito teatral.” Cuadernos Hispanoamericanos: Revista mensual de culturahispánica 545 (1995): 149–156. MLA International Bibliography. Web.17 Jan. 2017.
Cipolloni, Marco. “Electra por dentro y por fuera: Las Orestíadas americanas deO’Neill Y Piñera.” Theatralia, IV: Teatro hispánico y literatura europea: Teatro yWeltliteratur. 292–310. Vigo, Spain: Area de Teoría de la Literatura, Facultad deFilología y Traducción, Universidade de Vigo, 2002. MLA InternationalBibliography. Web. 17 Jan. 2017.
Cixous, Hélène, and Catherine Clément. The Newly Born Woman. 1975. Trans.Betsy Wing. Minneapolis: University of Minnesota Press, 1986. Print.
Colón-Zayas, Eliseo R. “La pasión según Antígona Pérez” in El teatro de LuisRafael Sánchez: códigos, ideología y lenguaje. By Eliseo R. Colón-Zayas.Madrid: Editorial Playor, 1985.
Cooper Alarcón, Daniel. The Aztec Palimpsest: Mexico in the ModernImagination. Tuscon: University of Arizona Press, 1997. Print.
Corrieri, Sergio. “El Grupo Teatro Escambray: Una experiencia de la Revolución.”Popular Theater for Social Change in Latin America: Essays in Spanish andEnglish. 363–369. Los Angeles: UCLA Lat. Amer. Center Pubs., Univ. ofCalifornia, 1978. MLA International Bibliography. Web. 17 Jan. 2017.
208 WORKS CITED
Cortázar, Julio. Interview by Joaquín Soler Serrano. A Fondo. You Tube, n. d.Web. 19 January 2017.
Cortés,Hernán.Cartas de relación.Ed.MarioHernández.Madrid:Historia16, 1985.Dávila-Pérez, Grace. “Meta-representación teatral en la puesta en escena de La
Pasión según Antígona Pérez.” Gestos: Teoria y practica del teatro hispánico7.13 (1992): 152–158. MLA International Bibliography. Web. 17 Jan. 2017.
De la Torre, Miguel A. “Ochún: (N)Either The (M)Other Of All Cubans (N)OrThe Bleached Virgin.” Journal of the American Academy Of Religion 69.4(2001): 837–861. MLA International Bibliography. Web. 17 Jan. 2017.
Derrida, Jacques. Archive Fever. Trans. Eric Prenowitz. Chicago: The University ofChicago Press. 1995. Print.
Dominguez, Franklin. Lisistrata odia a la política. Santo Domingo: Secretario deEstado de Educación, Bellas Artes y Cultos, 1981. Print.
Dopico Black, Georgina. “The Limits of Expression: Intellectual Freedom inPostrevolutionaryCuba.”Cuban Studies/Estudios cubanos 19 (1989), 107–142.
El Ateneo. N. d. Web. 17 January 2017. https://ateneopr.org/.Estévez, Abilio. La noche: Misterio herético en treinta episodios y tres finales
posibles. Madrid: Ediciones de Cultura Hispánica, 1995. Print.Estorino, Abelardo. Memorias de Milanés. Matanzas, Cuba: Ediciones Matanzas,
2005. Print.———. Personal interview. 8 May 2007.Euripides. Electra. Trans. Janet Lembke and Kenneth Reckford. New York: Oxford
University Press, 1994.Febles, Jorge. “Recontextualización poemática en La dolorosa historia del amor
secreto de don José Jacinto Milanés.” Latin American Theatre Review 31.2(1998), 79–95.
Fernandez, Piri. “De tanto caminar: Auto alegórico en tres cuadros.” In TeatroPuertorriqueño. San Juan, Puerto Rico: Instituto de Cultura Puertorriqueña,1961.
Foley, Helene. Female Acts in Greek Tragedy. Princeton: Princeton UniversityPress, 2001. Print.
Ford, Katherine. “El espectáculo revolucionario: El teatro cubano de la década delos sesenta.” Latin American Theatre Review 39 (2005): 95–114.
———. Politics and Violence in Cuban and Argentine Theater. New York: PalgraveMacmillan, 2010. Print.
Fornet, Ambrosio. “The Quinquenio Gris: Revisiting the Term.” Casa de lasAméricas. 246 (Jan–Mar 2007) 3–16. Print.
Fulleda León, Gerardo. “Plácido.” In Resistencia y cimarronaje: Teatro de GerardoFulleda León. Ed. Inés M. Mariatu. La Habana: Ediciones UNIÓN, 2006.277–410.
Gallardo Saborido, Emilio J. Diseccionar los laurels: Los premios dramáticos de laRevolución Cubana (1959-1976). Warsaw: Instituto de Estudios Ibéricos eIberoamericanos, 2015.
WORKS CITED 209
García, William. “Sabotaje textual/teatral contra el modelo canónico:Antígona-Humor de Franklin Domínguez.” Latin American Theatre Review31.1 (1997): 15–29.
García Guerra, Iván. Andrómaca (tragedia de un acto). In Antología del teatrodomincano contemporáneo. Tomo I. Dominican Republic: Brigham YoungUniversity, Ediciones Librería La Trinitaria, 2004. 273–302.
Genette, Gerard. Palimpsests: Literature in the Second Degree. Trans. ChannaNewman and Claude Doubinsky. Lincoln and London: University of NebraskaPress, 1997. Print.
Goldhill, Simon. How to Stage Greek Tragedy. Chicago: University of ChicagoPress, 2007.
González, Aníbal. Love and Politics in the Contemporary Spanish American Novel.Austin: University of Texas Press, 2010. Print.
González Echevarría, Roberto. Myth and the Archive: A Theory of Latin AmericanNarrative. Durham: Duke University Press, 1998. Print.
González Melo, Abel. “Cartas anudadas cintas de seda azul.” In Memorias deMilanés. Matanzas, Cuba: Ediciones Matanzas, 2005. Print.
González Rodríguez, Rafael. “Teatro Escambray: Toward the Cuban’s InnerBeing.” TDR 40.1 (1996): 98–111.
Gutiérrez, Gustavo. A Theology of Liberation: History, Politics, and Salvation.Trans. And Ed. Sister Caridad Inda and John Eagleson. Maryknoll, New York:Orbis Books, 1988.
Gutiérrez, Pedro Juan. La trilogía sucia de La Habana. Barcelona: EditorialAnagrama, 1998.
Halperín Donghi, Tulio. The Contemporary History of Latin America. Ed. andTrans. John Charles Chasteen. Durham: Duke University Press, 1993. Print.
Hernández, Mario. “Introducción” Cartas de relación by Hernán Cortés. Madrid:Historia 16, 1985.
Hutcheon, Linda. A Theory of Adaptation. New York and London: Routledge, 2006.Irigaray, Luce. This Sex Which Is Not One. Trans. Catherine Porter. Ithaca, New
York: Cornell University Press, 1985.Jiménez, José Olivio. “La ley del día y la pasión de la noche en la poesía de José
Martí.” Insula: Revista de letras y ciencias humanas 37.428–429 (1982): 3.MLA International Bibliography. Web. 17 Jan. 2017.
Kapcia, Antoni. Havana: The Making of the Cuban Culture. Oxford: Berg, 2005.Kerrigan, Anthony. “What Are the Newly Literate Reading in Cuba? An
‘Individualist’ Memoir.” Salmagundi 82–83 (1989): 322–335.Kristeva, Julia. Desire in Language: A Semiotic Approach to Literature and Art.
Trans. Thomas Gora, Alice Jardine, and Leon S. Roudiez. New York: ColumbiaUniversity Press, 1980. Print.
Leal, Rine. Introduction. Teatro Completo. By Virgilio Piñera. Ed. Rine Leal. LaHabana: Editorial Letras Cubanas, 2002. Print.
210 WORKS CITED
Lefever, Harry G. “The Virgin of Charity of Cuba: Both Patron Saint andOutsider.” South Eastern Latin Americanist 43.3 (2000): 82–95. MLAInternational Bibliography. Web. 17 Jan. 2017.
Luzuriaga, Gerardo. “El Teatro Como Reflexión Colectiva: Conversación ConSergio Corrieri.” Latin American Theatre Review 16.2 (1983): 51–59. MLAInternational Bibliography. Web. 17 Jan. 2017.
Macherey, Pierre. A Theory of Literary Production. 1966. Trans. Geoffrey Wall.London and New York: Routledge and Kegan Paul, 1986. Print.
Martí, José. Versos Libres. La Habana: Editorial Pueblo y Educación, 1997. Print.Martínez Tabares, Vivian. “La dolorosa búsqueda de los recuerdos.” Teatro cubano
contemporáneo. Madrid: Fondo de Cultura Económica, 1992. 347–354. Print.Matas, Julio. “Theater and Cinematography.” Revolutionary Change in Cuba. Ed.
Carmelo Mesa-Lago. Pittsburgh: University of Pittsburgh Press, 1971. Print.McLees, Ainslie A. “Elements of Sartrian Philosophy in Electra Garrigo.” Latin
American Theatre Review 7.1 (1973): 5–11. MLA International Bibliography.Web. 17 Jan. 2017.
McKendrick, Melveena. Theatre in Spain, 1490–1700. Cambridge: CambridgeUniversity Press, 1989. Print.
Meléndez, Priscilla. The Politics of Farce in Contemporary Spanish AmericanTheatre. Chapel Hill, North Carolina: The University of North Carolina Press,2006. Print.
Méndez Ballester, Manuel. “La invasión.” In Teatro de Manuel Méndez Ballester.Santo Domingo, Dominican Republic: Editoria Corripio, 1991. Print.
Miranda Cancela, Elina. “La importancia de llamarse Antígona en la obra de LuisRafael Sánchez.” In El teatre clàssic al marc de la cultura grega i la seuapervivencia dins la cultura occidental. Eds. Bañuls, J. V., F. de Martino, et al.Bari: Levante, 1998. 391–404.
Montes-Huidobro, Matías, “El discurso teatral histórico-poético de AbelardoEstorino: entre el compromiso y la subversión”, Alba de América 9.16–17(1991): 245–257.
Montes Huidobro, Matías. El teatro cubano durante La República: Cuba detrás deltelón. Boulder, CO: Society of Spanish and Spanish-American Studies, 2004.Print.
Morales Carrión, Arturo. Puerto Rico: A Political and Cultural History. New York:W.W. Norton, 1983.
Nietzsche, Friedrich. On the Geneaology of Morals. Oxford and New York: OxfordUniversity Press, 1996. Print.
Ocasio, Rafael. “Gays and the Cuban Revolution: The Case of Reinaldo Arenas.”Latin American Perspectives 29.2 (2002): 78–98.
Otero, Solimar. Spirit Possession, Havana, And The Night: Listening and Ritual InCuban Fiction. Western Folklore 66.1–2 (2007): 45–73. MLA InternationalBibliography. Web. 17 Jan. 2017.
WORKS CITED 211
Paquette, Robert L. Sugar is Made with Blood: The Conspiracy of La Escalera andthe Conflict between Empires over Slavery in Cuba. Middletown, CT: WesleyanUniversity Press, 1988. Print.
Petit, Anne. “Teatro y sociedad en Cuba: El Grupo Teatro Escambray.” LatinAmerican Theatre Review 12.1 (1978): 71–76. MLA InternationalBibliography. Web. 17 Jan. 2017.
Piñera, Virgilio. Dos Viejos Pánicos. 1967. In Teatro Completo. Ed. Rine Leal. LaHabana: Editorial Letras Cubanas, 2002. 3–38. Print.
Piñera, Virgilio. Electra Garrigó. 1941. In Teatro Completo. Ed. Rine Leal. LaHabana: Editorial Letras Cubanas, 2002. 3–38. Print.
Piñera, Virgilio. Electra Garrigó. Trans. Margaret Carson. In Stages of Conflict: ACritical Anthology of Latin American Theater and Performance. Ed. Diana Taylorand Sarah J. Townsend. Ann Arbor: The University of Michigan Press, 2008.
Piñera, Virgilio. “La isla en peso.” La vida entera. La Habana: UNEAC, 1968.Print.
———. La isla en peso/The Whole Island.1968. Trans. Mark Weiss. Exeter, UK:Shearsman Books, 2010.
Pogolotti, Graziella. Introduction. Teatro Escambray. La Habana: Editorial LetrasCubanas, 1978. Print.
“Primer congreso nacional de educación y cultura.” Gaceta de Cuba 90–91(March-April 1971): 2–13.
Prince, Gerald. Foreword. Palimpsests: Literature in the Second Degree. By GerardGenette. Trans. Channa Newman and Claude Doubinsky. Lincoln and London:University of Nebraska Press, 1997. Print.
Quackenbush, L. Howard. Antología del teatro dominicano contemporáneo.Tomo 1. Dominican Republic: Brigham Young University, Ediciones LibreríaLa Trinitaria, 2004. Print.
Quiroga, José. Cuban Palimpsests. Minneapolis: University of Minnesota Press,2005. Print.
“Re-.” Webster’s New World Dictionary of American English. 3rd college ed. 1991.Print.
Reed, Roger. The Cultural Revolution in Cuba. Geneva: Latin American RoundTable, 1991. Print.
Ripoll, Carlos. The Cuban Scene: Censors and Dissenters. Washington D.C.:Cuban-American National Foundation, 1982.
Rodriguez, Antonio Orlando. “Children’s Theater: A Cuban Experience.” Theater12.1 (1980): 26–29. MLA International Bibliography. Web. 17 Jan. 2017.
Roudiez, Leon. Preface. Desire in Language: A Semiotic Approach to Literatureand Art. By Julia Kristeva. Trans. Thomas Gora, Alice Jardine, and Leon S.Roudiez. New York: Columbia University Press, 1980. Print.
212 WORKS CITED
Rudakoff, Judith. “R/Evolutionary Theatre in Contemporary Cuba: Grupo TeatroEscambray.” TDR: The Drama Review: A Journal Of Performance Studies 40.1(1996): 77–97. MLA International Bibliography. Web. 17 Jan. 2017.
Sagás, Ernesto. Race and Politics in the Dominican Republic. Gainesville, FL:University of Florida Press, 2000. Print.
Sánchez, Luis Rafael. La pasión según Antígona Pérez. Río Piedras, Puerto Rico:Editorial Cultural Inc., 1975. Print.
Sang, Mu-Kien A. Ulises Heureaux: biografía de un dictador. Santo Domingo:Instituto Tecnológico de Santo Domingo, 1996. Print.
Santos Silva, Loreina. “La pasión según Antígona Pérez: La mujer comoreafirmadora de la dignidad política.” Revista/Review Interamericana 11.3(1981): 438–443.
Simmons, Kimberly E. ““Somos Una Liga”: Afro-Dominicanidad and theArticulation of New Racial Identities in the Dominican Republic.” Wadabagei: A Journal of the Caribbean and Its Diaspora, vol. 8, no. 1, 2005., pp. 51–64Ethnic NewsWatch; ProQuest Central.
Smith, Paul Christopher. “Theatre and Political Criteria in Cuba: Casa de lasAméricas Awards, 1960-1983.” Cuban Studies/Estudios cubanos 14.1 (1984):43–47.
Sommer, Doris. Foundational Fictions: The National Romances of Latin America.Berkeley, University of California Press, 1991. Print.
Sophocles. Electra. Trans. Kenneth McLeish. London: Bloomsbury, 2013.Steedman, Carolyn. Dust: The Archive and Cultural History. New Brunswick, N.J.:
Rutgers University Press, 2002. Print.Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in
the Americas. Durham: Duke University Press, 2003. Print.Teatro Escambray. Ed. Rine Leal. La Habana: Editorial Letras Cubanas, 1978.
Print.Thomas, Hugh. Cuba, or, The Pursuit of Freedom. New York: Da Capo Press,
1998. Print.Tomé, Patricia. “X Edición de Mayo Teatro en Cuba: Homenajeando 40 años del
Teatro Escambray” Latin American Theatre Review 42.1 (Fall 2008), 159–165.Triana, José. La noche de los asesinos. Madrid: Cátedra, 2001. Print.Valdés, Zoe. Te di la vida entera. Barcelona: Planeta, 1996.Valdivieso, Teresa. “Dialéctica histórica en el teatro del puertorriqueño Manuel
Méndez Ballester.” Bilingual Review/ La Revista Bilingüe 25.1 (2000): 93–97.Vargas, Margarita. “Dreaming the Nation: René Marqués’s Los Soles Truncos.”
Latin American Theatre Review 37.2 (2004): 41–55.Versenyi, Adam. Theatre in Latin America: Religion, Politics and Culture from
Cortés to the 1980s. Cambridge: Cambridge University Press, 1993. Print.
WORKS CITED 213
Weiss, Judith A. “Traditional Popular Culture and the Cuban ‘New Theater’:Teatro Escambray and the Cabildo De Santiago.” Theatre ResearchInternational 14.2 (1989): 142–152. MLA International Bibliography. Web.17 Jan. 2017.
Zalacaín, Daniel. “La Antígona de Sánchez: Recreación puertorriqueña del mito.”Explicación de Textos Literarios 9.2 (1981): 111–118.
Zamora, Margarita. Reading Columbus. Berkeley: University of California Press,1993. Print.
Zurbano, Roberto. “For Blacks in Cuba the Revolution Hasn’t Begun.” New YorkTimes. New York Times, 23 March 2013. Web. 27 April 2015.
214 WORKS CITED
INDEX
AAdaptations, 3, 4, 141Age, 65, 70, 81, 92, 107, 146, 155, 156Andrómaca, 2, 138, 165–179Antigone, 48–50, 60, 61, 65, 66, 69,
76Archive, 4–6, 8, 9, 12, 13, 19, 43,
47–49, 54, 60, 63, 75–77, 79, 84,91, 139, 157, 202
Archive Fever, 4, 8Arenas, Reinaldo, 190, 199Aristophanes, 48, 77–80Aristotle, 13, 29, 64Arrufat, Antón, 191, 192Artaud, Antonin, 132Ateneo, El, 93, 141Auto, 2, 90–93, 102, 113, 114, 117
BBakhtin, Mikhail, 3Balaguer, Joaquín, 172Bello, Andrés, 7Bible, 15, 90, 93, 95, 104, 111, 120,
126, 129Blanchot, Maurice, 184, 201Blanco, Roberto, 116, 187Boal, Augusto, 13, 28, 29, 42, 54, 132
Boom, 7, 153, 167Brecht, Bertolt, 13, 28, 29, 32, 54, 55
CCabrera Infante, Guillermo, 59, 192Calderón de la Barca, Pedro, 92Campos, Juan Carlos, 2, 8, 90,
102–115, 133Canon, 2, 5, 8–10, 19, 43, 48–50, 55,
56, 59–61, 70, 77, 79, 84, 85, 91,103, 114, 141, 179, 191
Cantar de los Cantares, 51Casa de las Américas, 30, 155, 164,
191, 192Caso Padilla, 30, 186Castro, Fidel, 24, 30, 37, 130, 171,
189, 190, 193Castro, Raúl, 192Catholicism, 1, 8, 17, 19, 75, 76, 89,
90, 93, 95, 97, 99, 102, 116, 130,133, 137
Censorship, 186–191, 196–198Chorus, 55–57, 61, 63–70, 96, 165Christ, 17, 72–76, 91, 100–102, 117Christianity, 2, 19, 72–74, 76, 89–136Cien años de soledad, 7Cixous, Hélène, 5, 139, 140
© The Editor(s) (if applicable) and The Author(s) 2017K. Ford, The Theater of Revisions in the Hispanic Caribbean,New Directions in Latino American Cultures,DOI 10.1007/978-3-319-63381-7
215
Colombus, Christopher, 15Comedy, 8, 48, 49, 76, 78–81, 83–85,
115Communism, 90, 130Community feedback, 1, 2, 8, 23, 28Conquista, 15Conspiracy of the Ladder, 137, 157,
158, 179, 186, 196, 198Cooper Alarcón, Daniel, 11, 62Corrieri, Sergio, 24–26Cortés, Hernán, 16, 18Counterreformation, 91, 92Creation story, 102–105, 107, 113,
114, 124, 133Cuba, 2, 13, 16, 17, 19, 23–25, 30, 47,
50, 51, 55–59, 90, 116, 130, 133,137, 142, 143, 155, 156, 158, 159,164, 171, 186–192, 195, 196, 200,201
Cuban Revolution, 24, 37, 137, 186,189, 191, 194, 195, 200
DDe León, Fray Luis, 95Derrida, Jacques, 4, 6, 8, 9, 63, 114De tanto caminar: Auto alegórico en
tres cuadros, 93–102Domínguez, Franklin, 76–85Dominican Republic, 2, 8, 47, 49, 61,
76, 84, 90, 103, 111, 114, 133, 137,165–172, 174, 176, 178, 179
Doubt, 2, 18, 37, 40, 49, 75, 89, 90,93–97, 100–102, 117, 120,122–124, 127, 133, 157
EÉcriture feminine, 5, 139, 140Electra, 2, 5, 48–51, 53–60Electra Garrigó, 5, 47, 50–63, 70, 76El paraíso recobrao, 2, 8, 19, 23–45
Escambray, 13, 23–45Estévez, Abilio, 2, 90, 115–133Estorino, Abelardo, 183–206Euripides, 53, 54
FFarce, 102, 112, 113Fernandez, Piri, 90, 93–102, 133Fornet, Ambrosio, 192Founding, 2, 7, 8, 10, 16, 48, 56, 89,
91, 93, 107, 133, 139Freire, Paulo, 29Fuentes, Carlos, 7Fuera de juego, 30Fulleda León, Gerardo, 2, 8, 137, 138,
141, 155–164, 171, 179, 186, 194,196
GGarcía Guerra, Iván, 2, 137–139,
165–179García Márquez, Gabriel, 7García, William, 83, 84Gender, 67, 79, 83, 84, 104, 108, 109,
111, 165, 174, 176, 177Genette, Gerard, 3, 4, 10González, Aníbal, 153González Echevarría, Roberto, 12, 48,
138, 139, 157González Rodríguez, Rafael, 27Greece, ancient, 6, 8, 12, 19, 47–87,
89, 133, 137, 202Guilt, 99Gutiérrez, Pedro Juan, 59
H¡Hágase la mujer!, 2, 8, 90, 102–115,
121, 133Haiti, 60, 168, 170, 171
216 INDEX
Havana, 24, 25, 30, 48, 50, 51, 56, 57,59, 116, 156, 186, 189–191, 194,195, 197, 199, 200
Hero, 56, 64, 78, 111, 133, 179, 195Heureux, Ulises, 138, 165–167,
171–179History, 2, 5, 7, 9–12, 18, 19, 25, 38,
50, 53, 56, 84, 112, 114, 116, 124,137–181, 194, 196, 200, 201, 203
Hutcheon, Linda, 3, 4, 9, 11, 13, 18,185
IIndio, 169–171Insularity, 58Intertextuality, 3, 54, 202Irigaray, Luce, 20
JJehovah’s Witness, 27, 31–43Journalism, 63
KKristeva, Julia, 3
LLa dolorosa historia del amor secreto de
don José Jacinto Milanés, 183–206La invasión, 2, 137, 141–155La muerte de Artemio Cruz, 7
La noche, 2, 59, 90, 115–133La pasión según Antígona Pérez, 2, 6,
47, 49, 60–64, 69–72, 74–76, 80,160–176
Last names, 54, 55, 70Latin American, 2, 7, 10, 12, 13, 19,
20, 29, 48, 53, 60, 63, 65, 70, 71,73–75, 79, 80, 83, 84, 91, 114, 138,139
Laughter, 78–81, 85, 109, 111, 114,115
Leal, Rine, 51, 52, 190Lezama Lima, José, 30, 191, 196Liberation theology, 73–75Light, 1, 4, 10, 16, 51, 53, 57–60, 103,
107, 123, 126, 128, 129, 139, 144,153–155, 164, 167, 171, 173, 177,184, 185
Lisístrata odia a la política, 76–85Lysistrata, 5, 48, 50, 77, 78, 83, 84
MMacherey, Pierre, 140, 141, 184, 185Marqués, René, 93Martí, José, 56, 59, 193Melendez, Priscilla, 112Méndez Ballester, Manuel, 2, 137–139,
141–155, 178Metaphor, 10, 130Milanés, José Jacinto, 183, 186, 187,
193–195, 201Misterio, 90, 115–117, 132Muñoz Marín, Luis, 144
INDEX 217
Myth, 1, 2, 5, 8, 12, 16–19, 47–49, 51,53, 54, 60, 61, 69, 74–76, 83, 85,97, 102, 103, 105, 107–115, 121,133, 137–139, 158, 160, 164, 172,179, 183, 202, 203
NNietzsche, 99
OOchún, 17, 18
PPadilla, Heberto, 30, 191, 192, 196,
198, 199“Palabras a los intelectuales”, 190Palimpsest, 3, 10–12, 19, 27, 42, 47,
54, 62, 91, 203Paradiso, 30, 191Paz, Albio, 24, 30Performance, 32, 42, 52, 91, 195“Período especial en tiempos de paz”,
116, 200Piñera, Virgilio, 2, 5, 47, 50–60, 85,
190, 193, 199Plácido, 2, 8, 137, 155–164, 179, 194,
196–199, 201Pleasure, 90, 100, 108, 118–121, 123,
124, 127, 129–132, 176Pogolotti, Graziella, 14, 24, 31Police, 77, 79, 80, 82, 175Politics, 34–36, 63, 76–80, 84, 145,
152, 153, 156, 178, 192–194Prizes, literary, 190, 191Puerto Rico, 2, 6, 47, 49, 63, 71, 73,
74, 90, 93, 99, 133, 137, 141–147,149–155, 178
QQuinquenio gris, 186, 192Quiroga, José, 11, 12, 62, 116, 200
RRace, 17, 70, 156–158, 162, 164, 165,
167–172, 174, 176, 177, 179, 197,199
Reader-spectator, 1, 11, 13–15, 23, 28,31–35, 37, 41–43, 48, 53–55,61–64, 66, 67, 69–71, 75, 76, 78,80–82, 84, 89–91, 93–96, 98–100,102, 104–106, 152–155, 157, 159,161, 162, 164, 165, 172–176, 178,179, 183–186, 194, 201, 203
Reconquista, 14–16, 91Revolution, 23–25, 28, 30–37, 39, 41,
42, 50, 51, 59, 116, 130, 155, 158,164, 168, 185, 188–197, 199, 200
Revolutionary, 2, 6, 23–25, 27, 30–33,36, 42, 50, 90, 129, 130, 151, 152,154, 188, 191–193, 197, 199, 201
Revolution of 1959. See CubanRevolution
Revuelta, Vicente, 186, 187, 197
SSánchez, Luis Rafael, 2, 6, 47, 49, 60,
61, 64, 66, 67, 69–73, 75, 76, 85,160–176
Santería, 17Sentimentality, 153, 154Sex, 77–79, 114, 157, 162, 166, 176,
191Sexuality, 162, 163, 175, 176Social class, 81Sommer, Doris, 7Sophocles, 53, 54, 60
218 INDEX
Spain, 15, 16, 18, 91, 92, 103, 113,114, 142, 143, 148–152, 156, 157,167
Spanish-American War, 142, 148, 154Spectacle, 2, 18, 19, 31, 32, 41, 90, 91,
103, 133, 186, 191Steedman, Carolyn, 6, 8, 9Stereotypes, 8, 49, 69, 79–85, 90, 102,
109, 114, 131
TTaylor, Diana, 10, 16Teatro Escambray, 2, 6, 8, 19, 23–31,
35, 42, 43Theater of the absurd, 51, 53Tragedy, 48, 50, 52, 60, 61, 64, 65, 70,
76, 80, 165, 173, 175Trujillo, Rafael, 168, 170, 172
UUnión Nacional de Escritores y Artistas
Cubanos (UNEAC), 30United States, 151
VVagos rumores, 183–206Valdes, Zoe, 59Verde Olivo, 192Virgen de la Caridad del Cobre, 12,
16–18Virgin Mary, 16, 17
ZZamora, Margarita, 15
INDEX 219