A dual language edition of Alejandro Tapia y Rivera's masterpiece: set in Havana in the mid-19th century, the drama presents the obstacles to a mixed-race relationship between a son of the nobility and a woman of African ancestry. This unique version was edited and annotated by Dr. J. Delgado-Figueroa, author of "Our Father Takes and Bride" and "Lamentos Boricanos," former professor of Spanish literature and linguistics at the universities of Minnesota, Puerto Rico and South Carolina, as well as a researcher at Carnegie Mellon University's Software Engineering Institute. This edition includes Spanish-language biographical notes, a select bibliography and an essay by Dr. Delgado-Figueroa on racism in literature, popular culture and communication media in Cuba and Puerto Rico from the sixteenth century to the present.
Alejandro Tapia y Rivera (1826-1882) was a Puerto Rican poet, dramaturg, essayist and writer. Tapia is considered to be the father of Puerto Rican literature and as the person who has contributed the most to the cultural advancement of Puerto Rico's literature. In addition to his writing, he was also a abolitionist and a women's rights advocate. One of his most important works was his play, La Cuarterona, the tragic love story of Carlos, a young Cuban who falls in love with Julia, a childhood friend, but racial, class, and status divisions keep them apart, since he is from a white land-owning family and she is the daughter of a slave. This first translation with a critical introduction and an exhaustive bibliography on Tapia, is a useful contribution to the study of drama, African slavery and its abolition, Hispanic literature and culture, Puerto Rican studies, women's studies, colonial and post-colonial studies, human rights, and the history of the Atlantic World.
LAJSA Book Award Winner, 2017, Latin American Jewish Studies Association As Cuba industrialized in the nineteenth century, an epochal realignment of the social order occurred. In this period of change, two seemingly disparate, yet nevertheless intertwined, ideological forces appeared: anti-Semitism and abolitionism. As the antislavery movement became organized in Cuba, the argument grew that Jews participated in the African slave trade and in New World slavery, and that this participation gave Jews extraordinary influence in the new Cuban economy and culture. What was remarkable about this anti-Semitism was the decidedly small Jewish population on the island in this era. This form of anti-Semitism, Silverstein reveals, sprang almost exclusively from mythological beliefs.
LAJSA Book Award Winner, 2017, Latin American Jewish Studies Association As Cuba industrialized in the nineteenth century, an epochal realignment of the social order occurred. In this period of change, two seemingly disparate, yet nevertheless intertwined, ideological forces appeared: anti-Semitism and abolitionism. As the antislavery movement became organized in Cuba, the argument grew that Jews participated in the African slave trade and in New World slavery, and that this participation gave Jews extraordinary influence in the new Cuban economy and culture. What was remarkable about this anti-Semitism was the decidedly small Jewish population on the island in this era. This form of anti-Semitism, Silverstein reveals, sprang almost exclusively from mythological beliefs.
Tuning Out Blackness fills a glaring omission in U.S. and Latin American television studies by looking at the history of Puerto Rican television. In exploring the political and cultural dynamics that have shaped racial representations in Puerto Rico’s commercial media from the late 1940s to the 1990s, Yeidy M. Rivero advances critical discussions about race, ethnicity, and the media. She shows that televisual representations of race have belied the racial egalitarianism that allegedly pervades Puerto Rico’s national culture. White performers in blackface have often portrayed “blackness” in local television productions, while black actors have been largely excluded. Drawing on interviews, participant observation, archival research, and textual analysis, Rivero considers representations of race in Puerto Rico, taking into account how they are intertwined with the island’s status as a U.S. commonwealth, its national culture, its relationship with Cuba before the Cuban Revolution in 1959, and the massive influx of Cuban migrants after 1960. She focuses on locally produced radio and television shows, particular television events, and characters that became popular media icons—from the performer Ramón Rivero’s use of blackface and “black” voice in the 1940s and 1950s, to the battle between black actors and television industry officials over racism in the 1970s, to the creation, in the 1990s, of the first Puerto Rican situation comedy featuring a black family. As the twentieth century drew to a close, multinational corporations had purchased all Puerto Rican stations and threatened to wipe out locally produced programs. Tuning Out Blackness brings to the forefront the marginalization of nonwhite citizens in Puerto Rico’s media culture and raises important questions about the significance of local sites of television production.
The second volume of the World Encyclopedia of Contemporary Theatre covers the Americas, from Canada to Argentina, including the United States. Entries on twenty-six countries are preceded by specialist introductions on Theatre in Post-Colonial Latin America, Theatres of North America, Puppet Theatre, Theatre for Young Audiences, Music Theatre and Dance Theatre. The essays follow the series format, allowing for cross-referring across subjects, both within the volume and between volumes. Each country entry is written by specialists in the particular country and the volume has its own teams of regional editors, overseen by the main editorial team based at the University of York in Canada headed by Don Rubin. Each entry covers all aspects of theatre genres, practitioners, writers, critics and styles, with bibliographies, over 200 black & white photographs and a substantial index. This is a unique volume in its own right; in conjunction with the other volumes in this series it forms a reference resource of unparalleled value.
This new in paperback edition of World Encyclopedia of Contemporary Theatre covers the Americas, from Canada to Argentina, including the United States. Entries on twenty six countries are preceded by specialist introductions on Theatre in Post-Colonial Latin America, Theatres of North America, Puppet Theatre, Theatre for Young Audiences, Music Theatre and Dance Theatre. The essays follow the series format, allowing for cross-referring across subjects, both within the volume and between volumes. Each country entry is written by specialists in the particular country and the volume has its own teams of regional editors, overseen by the main editorial team based at the University of York in Canada headed by Don Rubin. Each entry covers all aspects of theatre genres, practitioners, writers, critics and styles, with bibliographies, over 200 black & white photographs and a substantial index. This Encyclopedia is indispensable for anyone interested in the cultures of the Americas or in modern theatre. It is also an invaluable reference tool for students and scholars of a wide range of disciplines including history, performance studies, anthropology and cultural studies.
Now in its third edition, Latin American Classical Composers: A Biographical Dictionary provides a singular English-language resource for biographical information on hundreds of composers from Central and South America and the Hispanic Caribbean. Painstakingly gathered from a wide variety of sources, the information updates and expands previous editions and fills in the gaps left by the other major English-language music dictionaries and encyclopedias. Entries provide biographical data comprising full names, birth and death dates and locations, background, education, and training, as well as selective works lists more than 2,300 composers. An index of composers by country and women composers of Latin America complement the volume. An essential part of any music library, Latin American Classical Composers is an invaluable reference for librarians, musicologists, ethnomusicologists, researchers, and music students.
Building on the strengths of the first edition, the second edition of Latin American Classical Composers: A Biographical Dictionary presents expanded and updated coverage of its topic with an aim to be comprehensive. The authors have conducted exhaustive research to fill in gaps and correct minor errors in the first edition, adding young composers and documenting deaths since 1996, when the first edition appeared. Hundreds of composers are represented in this volume, which presents biographical data, including dates of birth and death, personal information about composers' background and training, and a selective listing of each composer's works. Sources for further study are noted within each entry. An index of composers by country rounds out this work.
