By A. Hernandez-Reguant
This assortment is a multidisciplinary evaluate of the impression of industry reforms in Cuba’s cultural regulations and practices after the autumn of the Soviet bloc. Anthropologists, musicologists, and literary, movie, media and paintings students research innovative discourses, representations of individuals and areas, ideologies and practices of cultural construction, dissemination and intake, and the circulate of assorted cultural types in transnational networks of exposure and alternate. those insightful contributions make clear the adjustments that Cuba’s beginning to international markets of mass tradition delivered to the cultural box through the so-called exact interval in occasions of Peace.
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Extra info for Cuba in the Special Period: Culture and Ideology in the 1990s
When the couple recovers this book, the money is not there, yet the expectation that it might be, or indeed that it should be, leads to a series of associations that chart a speculative course for literature in an increasingly dollar-driven market. First, the husband imagines selling the book, assuring his wife that, in a local market where Arenas’s work is taboo, “es un best seller por el que me darán los treinta dólares” [it’s a bestseller for which they’ll give me thirty dollars]. The potential profits of this bestseller soon multiply, however, as the book is provisionally launched outside the domestic space.
De Aguila’s alarmist article coincides with the rise of what would be known as el nuevo boom cubano—the “new Cuban boom” that, ignited by booming foreign tourism to Cuba and buoyed by the success of Cuban exports in music and the visual arts, marked the entry of Cuban-authored works into European and American bookstores in unprecedented numbers. 3 Naming the 1990s Cuban phenomenon thus was no doubt an attempt on the part of publishers, booksellers, and industry journalists to recreate the commercial success of the earlier Boom; and, despite the term’s skeptical reception on the part of some critics—Estévez (1999), for example, preferred to think of Cuba as being “de moda,” in fashion—there is no doubt that, on the one hand, the late 1990s saw a surge in publications of both new and reprinted books by Cuban authors; and, on the other, that this phenomenon shares certain traits with the earlier Boom.
Like a foreign film” (36) cause friction between her and her friend, and suggest that her embrace of foreign luxuries has severed her cognitive ties to her homeland. Souleen dell’Amico Ciruta’s “Contradicciones” (1999) shares both the structure and the implicit concerns of Suárez’s story. This time, a Cuban woman addresses her friend from France, where she has gone to live with her old and jealously protective husband. This young woman’s distance from Cuba, and her sense of being out of place in her new surroundings, is more discomfiting than in Suárez’s story: she knows her Cubanness to be an attraction of only superficial interest, and she is soon taken to task for both her ignorance of French behavioral codes and her presumed tendencies toward infidelity.
Cuba in the Special Period: Culture and Ideology in the 1990s by A. Hernandez-Reguant