Portraits of the New Man: revolutionary subjectivity in Episodes of the Cuban Revolutionary War and “The parade begins”

  • Laura Maccioni Universidad Nacional de Cordoba

DOI:

https://doi.org/10.19137/anclajes-2013-1723

Keywords:

Reinaldo Arenas, Ernesto “Che” Guevara, Cuban literature, Literary criticism, Cuban revolution

Abstract

The New Man ideal depicted on Ernesto “Che” Guevara’s Episodes of the Cuban Revolutionary War, and invoked as a social model in the discourse of the new revolutionary Cuban state after 1959 is taken here as a reference for reading Reinaldo Arena’s short story “The parade begins”. Contrary to Guevara’s text, Arenas proposes that the revolutionary event does not mean the final de-alienation and emancipation of the repressed original subject, but the chance of opening up a space that allows to escape from the socially prescribed identities (man, warrior, hero) and explore new possible forms of subjectivity.

Keywords: Reinaldo Arenas; Ernesto “Che” Guevara; Cuban literature; Literary criticism; Cuban revolution.

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Author Biography

Laura Maccioni, Universidad Nacional de Cordoba

PhD en Literatura Hispanoamericana por la Universidad de Maryland en College Park. Actualmente se desempeña como docente e investigadora en el Centro de Estudios Avanzados de la Universidad Nacional de Córdoba. Entre sus últimas publicaciones figuran “El cielo por asalto. Reinaldo Arenas y la revolución como literatura” (2011), La Habana elegante,  y “Abrir la puerta, ser Nadie. La Revolución como huida en ‘Bestial entre las flores’ de Reinaldo Arenas”, en Juan Carlos Quintero Herencia (ed.). Caribe Abierto. Antología crítica (2012), University of Pittsburgh.

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Published

2013-09-20

How to Cite

Maccioni, L. (2013). Portraits of the New Man: revolutionary subjectivity in Episodes of the Cuban Revolutionary War and “The parade begins”. Anclajes , 17(2), 33–45. https://doi.org/10.19137/anclajes-2013-1723

Issue

Vol. 17 No. 2 (2013): julio-diciembre

Section

Articles

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