Realism in Contemporary Afro-Hispanic Drama
dc.contributor.author | Rizo, Elisa | |
dc.contributor.author | Rizo, Elisa | |
dc.contributor.department | World Languages and Cultures | |
dc.date | 2018-02-17T22:23:03.000 | |
dc.date.accessioned | 2020-06-30T05:46:24Z | |
dc.date.available | 2020-06-30T05:46:24Z | |
dc.date.copyright | Thu Jan 01 00:00:00 UTC 2015 | |
dc.date.issued | 2015-01-01 | |
dc.description.abstract | <p>Contemporary Afro-Hispanic drama offers a breadth of images that at first might be judged unrelated. 1 Take, for instance, the Afro-Uruguayan families evicted from their homes in Jorge Emilio Cardoso’s El desalojo en la calle de los negros (The Eviction on the Street of the Black People, 1992); the Costa Rican mestizo of humble origins trying to scale the social ladder while confronting a greedy oligarch in Quince Duncan’s El trepasolo (The Lone Climber, 1993); 2 or the Equatorial Guinean people trying to sort out the capricious rules imposed by a dictatorial regime in Juan Tomas Avila Laurel’s Los hombres domésticos (Homeboys, 1992).3 When seen together, such images provide a thematic spectrum that cuts across discourses of identity, geographic locations, and specific local circumstances. Yet, these dramas engage in a specific mode of analytical poetics that are rooted in the oral and written traditions of the African diaspora and that convey a twofold message of solidarity and solutions to problems. Through the examination of the above-mentioned plays, I submit that Afro-Hispanic drama published during and after the 1990s conveys a highly analytical form of realist depiction. While this realism is in alignment with previous models of aesthetic representation put forward by Hispanic intellectuals of African descent, contemporary Afro-Hispanic realist drama is also characterized by transethnic and transnational outlooks, that is, by a cosmopolitan perspective that corresponds to the globalized context in which these works were produced.</p> | |
dc.description.comments | <p>This is a manuscript of a chapter from Black Writing, Culture, and the State in Latin America, Jerome Branche (ed.) University of Vanderbilt Press, 2015. 83-102. Posted with permission.</p> | |
dc.format.mimetype | application/pdf | |
dc.identifier | archive/lib.dr.iastate.edu/language_pubs/110/ | |
dc.identifier.articleid | 1110 | |
dc.identifier.contextkey | 9201825 | |
dc.identifier.s3bucket | isulib-bepress-aws-west | |
dc.identifier.submissionpath | language_pubs/110 | |
dc.identifier.uri | https://dr.lib.iastate.edu/handle/20.500.12876/52632 | |
dc.language.iso | en | |
dc.source.bitstream | archive/lib.dr.iastate.edu/language_pubs/110/0-Vanderbilt_University_Press.pdf|||Fri Jan 14 18:39:58 UTC 2022 | |
dc.source.bitstream | archive/lib.dr.iastate.edu/language_pubs/110/2015_Rizo_BlackWriting.pdf|||Fri Jan 14 18:39:59 UTC 2022 | |
dc.subject.disciplines | Latin American Languages and Societies | |
dc.subject.disciplines | Other Languages, Societies, and Cultures | |
dc.subject.disciplines | Race, Ethnicity and Post-Colonial Studies | |
dc.title | Realism in Contemporary Afro-Hispanic Drama | |
dc.type | article | |
dc.type.genre | book_chapter | |
dspace.entity.type | Publication | |
relation.isAuthorOfPublication | c5500cb8-bc90-4946-b82c-024c5e62580f | |
relation.isOrgUnitOfPublication | 4e087c74-bc10-4dbe-8ba0-d49bd574c6cc |