By Marta Hernández Salván
Minima Cuba analyzes the reconfiguration of aesthetics and tool throughout the Cuban postrevolutionary transition (1989 to 2005, the realization of the precise interval ). It explores the marginal cultural creation at the island through the 1st new release of intellectuals born through the Revolution. the writer reports the paintings of postrevolutionary poets and essayists Antonio Jose Ponte, Rolando Sanchez Mejias, and Ivan de los angeles Nuez, between others. of their writing we discover the exhaustion of the allegorical and melancholic rhetoric of the Cuban Revolution, and the poetics of irony built within the present biopolitical period. The booklet will attract somebody drawn to modern literary and cultural reviews, poetics, and picture experiences in Latin the United States and the Caribbean."
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Extra info for Mínima Cuba: Heretical Poetics and Power in Post-Soviet Cuba
Sample text
What type of violence was culture promoting? Violence is the driving force of sacrifice, the act that dictates revolutionary rhetoric’s spiritual nature. Revolutionary sacrifice has the same mythical qualities as its religious counterpart. Throughout the revolutionary period, sacrifice has always been a condition of possibility for revolutionary change. In Cuba, the notion of sacrifice has longstanding religious connotations. In general, sacrifice is understood as an offering that does not necessarily require blood.
The Cuban people want more than a change of leadership. Cuba yearns for radical change in all fields of public and social life” (Castro 1972a, 78). More specifically, Castro laid out the uprising’s objectives in a speech that he delivered in his own defense while on trial for the first failed attack on the Moncada barracks in 1953,4 where he also defended his use of armed struggle. Most revolutions are associated with violence, but not all revolutions need be violent. For Cuban revolutionaries, however, revolution and armed struggle were inseparable concepts.
The second sense of ideology refers to a sort of theoretical matrix that I use to analyze a body of works. Let me then explain what I understand by this notion of ideology and how I can see it applied for the analysis of cultural production. From a Marxist perspective, ideology is the set of beliefs or perceptions that make us see the world in a “mystified” way. The “mystification” of commodities is a process inherent to the capitalist mode of production, and it has to do with the value of commodities.