Odebí, el cazador (1982), a play by Eugenio Hernández Espinosa, dramatizes a patakin , the Afro-Cuban myth of santería of Ochosí de Mata. Following Wole Soyinka's theories of dramatic creation based on the merging of Yoruba myths and rituals with Western Christian traditions, Hernández Espinosa creates a hybrid play blending African and European linguistic, musical, dance, and other cultural components. This essay takes into consideration a cluster of theories on ritual — Soyinka, Turner, Eliade and Campbell — as it explores the journey of a mythic hero in a metaphorical confrontation between man and cosmos, as symbolic representation of the conflict between the protagonist and the moral order and his destiny.
La teoria del cuerpo se presta para la interpretacion de imagenes, simbolos y reprcsentaciones que definen un ciclo de la identidad negra en la tradicion literaria puertorriquefa.' Es la noci6n de un "cuerpo imaginario", 2 que al personificar un sujeto diferenciado racialmente, mantiene reciprocidad hist6rica con la evolucion del nacionalismo cultural y Ia represi6n racial en el siglo XX. El proceso de "formacion racial" 3 en Puerto Rico enlaza las tradiciones culturales y las estrategias politicas a una manipulacion parad6jica del cuerpo negro. En la literatura, El tuntun de pasa y griferia (1937) es Ia primera expresion cultural que idealiza el cuerpo negro y mulato como la inscripcion categ6rica para cuestionar las consecuencias politicas del capitalismo y el colonialism. A partir de la publicaci6n del Tuntzin, la experiencia ontologica de Ia opresion, la marginacion social, la resistencia antihegemonica se localiza en el espacio cultural prefigurado por la Gatens se han basado en la perspectiva psicoanalitica para interpretar las concepciones metafisicas que forjan las practicas culturales, politicas y sociales a partir del cuerpo femenino. En este ensayo, Ia concepcion teorica del cuerpo estai complementada con la especificidad cultural, politica y social de Ia clasificacion racial. 2 Moira Gatens define el "cuerpo imaginario" asi. "An imaginary body is ntot simply a product of subjective imagination, fantasy or folklore. The term 'imaginary' will be used in a loose but nevertheless technical sense to refer to those images, symbols, metaphors and representations which help construct various forms of subjectivity. In this sense, I am concerned with the (often unconsious) imaginaries of aspecific culture: those ready-made images and symbols through which we make sense of social bodies and which determine, in part, their value, their status and what will be deemed their appropriate treatment" (xviii). 3Michael Omi y Howard Winant definen el proceso de formacion racial: "[...] as the sociohistorical process by which racial categories are created, inhabited, transformed, and destroyed. Our attempt to elaborate atheory of racial formation will proceed in two steps. First, we argue that racial formation is a process of historical situated projects in which human bodies and social structures are represented and organized. Next we link racial formation to the evolution of hegemony, the way in which society is organized and ruled [...] From a racial formation perspective, race is a matter of both social structures and cultural representations " (55-56).
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