The Lumpen and the Popular
Guillermo Cabrera Infante and Julio García Espinosa
Bibliographic Data
| ID | 4990967 |
|---|---|
| Authors | Olga Rodríguez‐falcón, Olga Rodríguez-Falcón (Middlesex University, corresponding author) |
| Year | 2009 |
| Volume | 28 |
| Issue | 4 |
| Pages | 465-479 |
| Publication date | 2009-10-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Bulletin of Latin American Research (JOURNAL) |
| Journal identifiers | ISSN: 0261-3050 • E-ISSN: 1470-9856 |
| Publisher | Wiley (PUBLISHER • GB) |
| DOI | 10.1111/j.1470-9856.2009.00317.x |
| OpenAlex | W2077772289 |
| Language | EN |
| References cited | 2 |
This article deals with the post-1959 re-definitions of the concept of 'popular culture' and its relation to the cultural legacy of Havana's nightlife during the 1950s. After the 1959 Revolution, many Euro-Cuban cultural producers saw and represented the cultural expressions of the Afro-Cuban poor in the capital as being central to Cuban 'popular culture'. This article focuses mainly on two Euro-Cuban authors, writer Guillermo Cabrera Infante and filmmaker Julio García Espinosa, whose works during the first years of the 1960s were highly influenced by Havana's nightlife culture. What both authors shared was a view of the nocturnal in Havana as the heterotopical space and time-following Foucault's concept of 'heterotopia' (1998: 175-185)-where the divisions between high and low art in Cuba could be transcended through the encounters of the different cultural traditions then cohabiting in the city
Archaeology · Art · Art history · Garcia · Humanities · Media studies · Nightlife · Popular culture · Relation (database · Sociology · Cuban History and Society · History
| Highly cited | No |
|---|