Skip navigation
Please use this identifier to cite or link to this item:
Title: "Hasta sus últimas consecuencias". Dialécticas de la Revolución Cubana
Authors: Díaz-Infante, Duanel
Advisors: Nouzeilles, Gabriela
Contributors: Spanish and Portuguese Languages and Cultures Department
Keywords: communism
Subjects: Latin American studies
Caribbean literature
Issue Date: 2012
Publisher: Princeton, NJ : Princeton University
Abstract: This dissertation analyses the tense relationship between aesthetics and politics within the Cuban revolution and its aftermath. It reads a variety of materials --Ernesto Guevara's ideas about guerrilla warfare and the "New Man"; the copious non-fiction writing about the Revolution produced by foreign intellectuals who visited the island in the sixties (Jean-Paul Sartre, Susan Sontag, Ezequiel Martínez Estrada); the "novela policial revolucionaria" (revolutionary detective novel), Cuba's major contribution to Socialist Realism; and finally the melancholic image of post-socialist Cuba in fiction literature and photographic pictures depicting Havana urban ruins (Cuban writers Pedro Juan Gutiérrez and Antonio José Ponte, North American photographers Andrew Moore, Robert Polidori and Michael Eastman)-- as so many instances of what philosopher Alain Badiou calls the "Passion for the Real", that paradox defining the 20th century in which the will to go beyond appearances, mediation and representation ends up in new simulacra. In all of the different periods of the revolutionary era -the utopian sixties, the Soviet seventies and eighties, and the post-communist "special period"-, it traces how this "passion for the real", in Slavoj iek's words, "culminates in its apparent opposite, in a theatrical spectacle." Such a paradox is at the core of what I call "dialectics of the revolution", as it veers from the masses as subject of politics to the masses as object of politics, from the instantaneous Revolutionary Event to the eternal Revolutionary Regime, from a radically utopian to a rather melancholic mood. Situating the Cuba revolution in the greater historical context to which it belongs -a century haunted by the radical desire to transcend the separation of art and politics proper to bourgeois society-, allows me not only to shed light on revolutionary art in socialist Cuba, but also on the issue of revolution itself as a work of art. I show how the Revolution, which claimed to overcome the sort of alienation that Marxist tradition has called reification or spectacle, becomes commodity and spectacle produced and consumed in a vicious circle.
Alternate format: The Mudd Manuscript Library retains one bound copy of each dissertation. Search for these copies in the library's main catalog
Type of Material: Academic dissertations (Ph.D.)
Language: es
Appears in Collections:Spanish and Portuguese Languages and Cultures

Files in This Item:
File Description SizeFormat 
DazInfante_princeton_0181D_10348.pdf2.31 MBAdobe PDFView/Download

Items in Dataspace are protected by copyright, with all rights reserved, unless otherwise indicated.