東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Cuba y Cataluna en la segunda mitad ...

Fernandez de la Reguera Taya, Tanit.

FindBook

Google Book

Amazon

博客來

Cuba y Cataluna en la segunda mitad del siglo XIX: Teatro popular e identidades (proto)nacionales.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Cuba y Cataluna en la segunda mitad del siglo XIX: Teatro popular e identidades (proto)nacionales./
作者:	Fernandez de la Reguera Taya, Tanit.
面頁冊數:	260 p.
附註:	Source: Dissertation Abstracts International, Volume: 75-01(E), Section: A.
Contained By:	Dissertation Abstracts International75-01A(E).
標題:	Literature, Comparative. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3595905
ISBN:	9781303422683

Cuba y Cataluna en la segunda mitad del siglo XIX: Teatro popular e identidades (proto)nacionales.
Fernandez de la Reguera Taya, Tanit.

Cuba y Cataluna en la segunda mitad del siglo XIX: Teatro popular e identidades (proto)nacionales. - 260 p.

Source: Dissertation Abstracts International, Volume: 75-01(E), Section: A.

Thesis (Ph.D.)--The University of Chicago, 2013.

The shared history of Cuba and Catalonia in the nineteenth century was crucial to the rise of capitalism in both territories. Catalans participated significantly in various commercial enterprises within Cuba, particularly in the slave trade. Those who immigrated to the island either sought to establish an exclusive Catalonian community or mixed with emergent, more variegated social classes, the result of which was the exchange of cultural capital and forms. I understand the emergent forms of Cuban and Catalan vernacular theater as cultural merchandise produced in a Cuban-Catalan intersystem, which led to the construction of (proto)national identities. I view both forms of semipopular theater as a type of public media, which not only generated specific identities but also represented social and cultural processes of transformation brought on by political and ideollogical changes affecting the Spanish state. Both shared a comical and social costumbrismo, acted as places of collective exposition, and posed the same kinds of problems when representing identity. Authors introduced characters whom spectators could recognize as local character types. Some of these characters appeared in works written by Catalan playwrights, such as Frederic Soler or Eduard Aules, and by Cuban playwrights, such as Francisco Campos de la Madrid or Luis Cruz. The most controversial characters are the so-called 'negrito' and the 'mulata,' who were portrayed by actors in blackface. I study how these characters came to embody social and cultural anxieties and desires, and how they contributed to the formation of collective identities in both territories. The ambiguity of these plays stems from the blurring of race, class, and gender categories even though they were also reinforcing traditional power structures.

ISBN: 9781303422683Subjects--Topical Terms:

530051
Literature, Comparative.

Cuba y Cataluna en la segunda mitad del siglo XIX: Teatro popular e identidades (proto)nacionales.
LDR:02790nam a2200313 4500 001 1959120
005 20140512081950.5
008 150210s2013 ||||||||||||||||| ||spa d
020 $a 9781303422683
035 $a (MiAaPQ)AAI3595905
035 $a AAI3595905
040 $a MiAaPQ $c MiAaPQ
100 1 $a Fernandez de la Reguera Taya, Tanit. $3 2094443
245 1 0 $a Cuba y Cataluna en la segunda mitad del siglo XIX: Teatro popular e identidades (proto)nacionales.
300 $a 260 p.
500 $a Source: Dissertation Abstracts International, Volume: 75-01(E), Section: A.
500 $a Advisers: Mario Santana; Agnes Lugo-Ortiz.
502 $a Thesis (Ph.D.)--The University of Chicago, 2013.
520 $a The shared history of Cuba and Catalonia in the nineteenth century was crucial to the rise of capitalism in both territories. Catalans participated significantly in various commercial enterprises within Cuba, particularly in the slave trade. Those who immigrated to the island either sought to establish an exclusive Catalonian community or mixed with emergent, more variegated social classes, the result of which was the exchange of cultural capital and forms. I understand the emergent forms of Cuban and Catalan vernacular theater as cultural merchandise produced in a Cuban-Catalan intersystem, which led to the construction of (proto)national identities. I view both forms of semipopular theater as a type of public media, which not only generated specific identities but also represented social and cultural processes of transformation brought on by political and ideollogical changes affecting the Spanish state. Both shared a comical and social costumbrismo, acted as places of collective exposition, and posed the same kinds of problems when representing identity. Authors introduced characters whom spectators could recognize as local character types. Some of these characters appeared in works written by Catalan playwrights, such as Frederic Soler or Eduard Aules, and by Cuban playwrights, such as Francisco Campos de la Madrid or Luis Cruz. The most controversial characters are the so-called 'negrito' and the 'mulata,' who were portrayed by actors in blackface. I study how these characters came to embody social and cultural anxieties and desires, and how they contributed to the formation of collective identities in both territories. The ambiguity of these plays stems from the blurring of race, class, and gender categories even though they were also reinforcing traditional power structures.
590 $a School code: 0330.
650 4 $a Literature, Comparative. $3 530051
650 4 $a Literature, Caribbean. $3 1019116
650 4 $a Theater. $3 522973
650 4 $a Literature, Romance. $3 1019014
650 4 $a Literature, Latin American. $3 1024734
690 $a 0295
690 $a 0360
690 $a 0465
690 $a 0313
690 $a 0312
710 2 $a The University of Chicago. $b Romance Languages and Literatures. $3 2092322
773 0 $t Dissertation Abstracts International $g 75-01A(E).
790 $a 0330
791 $a Ph.D.
792 $a 2013
793 $a Spanish
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3595905