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|a (JST)24487476
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|a eng
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|a COOPER, SARA E.
|e verfasserin
|4 aut
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|a Irreverent Humor in Postrevolutionary Cuban Fiction: The Case of Mirta Yáñez
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|c 2006
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|a In response to life's tribulations, sometimes we laugh so that we will not cry. Even the most trying circumstances (and perhaps particularly these) are shaded with a sense of the absurd; when we can focus on the ridiculous, we can often transcend the most confining problems. In postrevolutionary Cuba, where the literary aesthetic during the 1960s and 1970s demanded a socially and politically committed prose, humor was not the order of the day. On the contrary, writers attempted to depict the decadence of the former dictatorships and the glory of the revolution in a style that has been called Cuban socialist realism. However, in the 1980s one literary voice emerges that challenges the necessary division between serious "revolutionary" literature and humor. In a prose that recuperates the complicated choteo of the Cuban neobaroque, Mirta Yáñez imbues even the most serious and compelling literary moments with irreverent humor. Yáñez's ability to laugh at herself and at the inconsistencies of Cuban life has made her one of the most important contemporary writers on the island. This paper will discuss how Yáñez's use of irreverent humor is critical of systemic problems without being censored as politically subversive. Cuando la vida "no es fácil," a veces es necesario reír para no llorar, ya que hasta los momentos más difíciles (y quizás muy particularmente en el caso de Cuba) están matizados con un sentido de lo absurdo. Cuando podemos enfocarnos en lo ridículo, muchas veces trascendemos los problemas más graves. En la Cuba posrevolucionaria, donde la estética literaria de los años 60 y 70 demandaba una prosa social y políticamente comprometida, el humor era algo fuera de contexto. Los escritores trataban de retratar la decadencia de las dictaduras de Machado y Batista y la gloria de la revolución en un estilo que llegó a llamarse el realismo socialista cubano. No obstante, en los años 70 surge una voz literaria que desafía la división establecida entre la literatura revolucionaria "seria" y el humor. Usando una prosa que recupera el complejo choteo del neobarroco, Mirta Yáñez utiliza un humor irreverente para describir hasta los momentos más serios. La capacidad que tiene Yáñez de reírse de sí misma y de develar lo cómico de las inconsistencias de la vida actual cubana la convierten en una de las escritoras contemporáneas más importantes de la isla. En este trabajo crítico, exploraré cómo es que el humor irreverente de Mirta Yáñez contribuye a una narrativa irreverentemente revolucionaria.
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|a Copyright © 2006, University of Pittsburgh Press
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|a Social sciences
|x Communications
|x Communicative content
|x Humor
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|a Arts
|x Literature
|x Literary elements
|x Narrative point of view
|x Narrators
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|a Arts
|x Literature
|x Literary genres
|x Fiction
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| 650 |
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|a Economics
|x Economic disciplines
|x Labor economics
|x Employment
|x Occupations
|x Artists
|x Writers
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| 650 |
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|a Social sciences
|x Communications
|x Narratives
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| 650 |
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|a Arts
|x Literature
|x Literary devices
|x Irony
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| 650 |
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|a Arts
|x Literature
|x Literary studies
|x Literary criticism
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| 650 |
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|a Social sciences
|x Population studies
|x Human populations
|x Persons
|x Women
|x Mothers
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| 650 |
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|a Behavioral sciences
|x Anthropology
|x Ethnology
|x Ethnography
|x American studies
|x Latin American studies
|x Latin American literature
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| 650 |
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|a Political science
|x Politics
|x Political processes
|x Political change
|x Political revolutions
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| 655 |
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|a research-article
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|i Enthalten in
|t Cuban Studies
|d University of Pittsburgh Press
|g 37(2006) vom: Jan., Seite 33-55
|w (DE-627)380026279
|w (DE-600)2137401-6
|x 15482464
|7 nnns
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|g volume:37
|g year:2006
|g month:01
|g pages:33-55
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|u https://www.jstor.org/stable/24487476
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