Emilio Bejel | University of California, Davis (original) (raw)
Papers by Emilio Bejel
Unión (La Habana), 1995
... y lo quiere para ella. Colibr?, que parece estar s?lo interesado en las pr?cticas homosexuale... more ... y lo quiere para ella. Colibr?, que parece estar s?lo interesado en las pr?cticas homosexuales, rechaza a ... es tambi?n Zun-Z?n, P?jaro Mosca, el Perseguido,el Torturado, entre otros sobrenombres, seg?n la situaci?no el momento. ...
I had the good fortune to attend the Charles Chaplin Theater in Havana on December 12, 2010, and ... more I had the good fortune to attend the Charles Chaplin Theater in Havana on December 12, 2010, and to personally experience the extraordinary reaction of the audience to the film Jose Marti: El ojo del canario (Jose Marti: The Eye of the Canary 2010). At a certain moment of the film, all the moviegoers (including myself; after all, I am not immune to Marti’s mythification) were crying almost uncontrollably. Once the movie was over, the entire audience, while still crying, gave a standing ovation to the film and several embraced one another. Later I spoke with other Cuban friends who told me, without exception, that they had reacted in the same way when they went to watch the movie.
In this chapter I will use a variety of discursive strategies to answer what the relation is betw... more In this chapter I will use a variety of discursive strategies to answer what the relation is between the specific characteristics of Jose Marti’s photos and the photographic medium as typically employed during this period. It should be noted that on Sunday, January 3, 1841, thanks to George Washington Halsey, Cuba became the second country in the world and the first in Hispanic America to open a public or commercial daguerreotype studio.1 The prediction later made by Jose Marti in 1885 that “photographers will populate the world!”2 was thus something less than a visionary prophecy since by 1839, more than a decade before his birth, a veritable explosion of enthusiasm for the new daguerreotype technology had begun in Havana. The constant exchange of daguerreo-typists among Havana, Paris, and New York was spectacular during these years, and a number of businesses devoted to the daguerreotype also emerged. Several daguerreotypists from the United States, Canada, Italy, England, Spain, France, and Cuba itself participated in the process of invention and commercialization of the daguerreotype in Havana. This period was when Louis Daguerre’s machine began to be perfected to the point that three-minute shots were made possible, and the evolution of the procedure was such that by the mid-1850s, although it was called “daguerreotype on paper,” what was happening in Cuba and some other countries was in fact photography, complete with the power of large-scale reproduction (Del Valle 2004–5, 4–15; Del Valle 2009, 1–6).
Inti: Revista de literatura hispánica, 1983
Eliseo Diego nació en La Habana en 1920. Perteneció al cuerpo de redactores de la revista Clavide... more Eliseo Diego nació en La Habana en 1920. Perteneció al cuerpo de redactores de la revista Clavideño, y fue miembro fundador del llamado Grupo Orígenes, en cuya revista, dirigida por Lezama Lima, dio a conocer poemas y cuentos no recogidos en libros. Fue maestro de inglés en los centros especiales nocturnos (desde 1944 a 1947), y a partir de 1947 hasta 1959 laboró como inspector del Ministerio de Educación para dicho idioma. Cursó
Caribe: revista de cultura y literatura, 2004
Anales de la literatura española contemporánea, ALEC, 2006
... durante el gobierno de Fulgencio Batista.) Estos eventos y conflictos pol?ticos, adem?s del t... more ... durante el gobierno de Fulgencio Batista.) Estos eventos y conflictos pol?ticos, adem?s del tema controversial de sus ... entre los dem?s prisioneros como el ?nico hombre "inco rrupto" de la c?rcelen t?rminos de las prevalentes pr?cticas homosexuales. ...
Temas de Nuestra América. Revista de Estudios Latinoaméricanos, Oct 27, 2017
La subversion de la semiotica. Analisis estructural de textos hispanicos Chile: dictatorship and ... more La subversion de la semiotica. Analisis estructural de textos hispanicos Chile: dictatorship and the struggle for democracy World Development Report
Hispamerica-revista De Literatura, 1978
Hispanic Review, 1978
La "liberation des espaces simultanes" comme subversion ou rupture du signe accepte et ... more La "liberation des espaces simultanes" comme subversion ou rupture du signe accepte et mort du realisme bourgeois. La violation de l'espace-temps. La relation pronominale je-tu.
Palgrave Macmillan eBooks, Sep 4, 2012
Revista de la Casa de las Américas, 2010
Anales de la literatura española contemporánea, ALEC, 2000
Confluencia-revista Hispanica De Cultura Y Literatura, 2011
An analysis of the life and work of the Spanish American poet, Jose Lezama Lima, this book places... more An analysis of the life and work of the Spanish American poet, Jose Lezama Lima, this book places his work in its artistic, cultural and political context and examines his theory of the poetic system of the world. The author aims to make Lezama's work more accessible.
Unión (La Habana), 1995
... y lo quiere para ella. Colibr?, que parece estar s?lo interesado en las pr?cticas homosexuale... more ... y lo quiere para ella. Colibr?, que parece estar s?lo interesado en las pr?cticas homosexuales, rechaza a ... es tambi?n Zun-Z?n, P?jaro Mosca, el Perseguido,el Torturado, entre otros sobrenombres, seg?n la situaci?no el momento. ...
I had the good fortune to attend the Charles Chaplin Theater in Havana on December 12, 2010, and ... more I had the good fortune to attend the Charles Chaplin Theater in Havana on December 12, 2010, and to personally experience the extraordinary reaction of the audience to the film Jose Marti: El ojo del canario (Jose Marti: The Eye of the Canary 2010). At a certain moment of the film, all the moviegoers (including myself; after all, I am not immune to Marti’s mythification) were crying almost uncontrollably. Once the movie was over, the entire audience, while still crying, gave a standing ovation to the film and several embraced one another. Later I spoke with other Cuban friends who told me, without exception, that they had reacted in the same way when they went to watch the movie.
In this chapter I will use a variety of discursive strategies to answer what the relation is betw... more In this chapter I will use a variety of discursive strategies to answer what the relation is between the specific characteristics of Jose Marti’s photos and the photographic medium as typically employed during this period. It should be noted that on Sunday, January 3, 1841, thanks to George Washington Halsey, Cuba became the second country in the world and the first in Hispanic America to open a public or commercial daguerreotype studio.1 The prediction later made by Jose Marti in 1885 that “photographers will populate the world!”2 was thus something less than a visionary prophecy since by 1839, more than a decade before his birth, a veritable explosion of enthusiasm for the new daguerreotype technology had begun in Havana. The constant exchange of daguerreo-typists among Havana, Paris, and New York was spectacular during these years, and a number of businesses devoted to the daguerreotype also emerged. Several daguerreotypists from the United States, Canada, Italy, England, Spain, France, and Cuba itself participated in the process of invention and commercialization of the daguerreotype in Havana. This period was when Louis Daguerre’s machine began to be perfected to the point that three-minute shots were made possible, and the evolution of the procedure was such that by the mid-1850s, although it was called “daguerreotype on paper,” what was happening in Cuba and some other countries was in fact photography, complete with the power of large-scale reproduction (Del Valle 2004–5, 4–15; Del Valle 2009, 1–6).
Inti: Revista de literatura hispánica, 1983
Eliseo Diego nació en La Habana en 1920. Perteneció al cuerpo de redactores de la revista Clavide... more Eliseo Diego nació en La Habana en 1920. Perteneció al cuerpo de redactores de la revista Clavideño, y fue miembro fundador del llamado Grupo Orígenes, en cuya revista, dirigida por Lezama Lima, dio a conocer poemas y cuentos no recogidos en libros. Fue maestro de inglés en los centros especiales nocturnos (desde 1944 a 1947), y a partir de 1947 hasta 1959 laboró como inspector del Ministerio de Educación para dicho idioma. Cursó
Caribe: revista de cultura y literatura, 2004
Anales de la literatura española contemporánea, ALEC, 2006
... durante el gobierno de Fulgencio Batista.) Estos eventos y conflictos pol?ticos, adem?s del t... more ... durante el gobierno de Fulgencio Batista.) Estos eventos y conflictos pol?ticos, adem?s del tema controversial de sus ... entre los dem?s prisioneros como el ?nico hombre "inco rrupto" de la c?rcelen t?rminos de las prevalentes pr?cticas homosexuales. ...
Temas de Nuestra América. Revista de Estudios Latinoaméricanos, Oct 27, 2017
La subversion de la semiotica. Analisis estructural de textos hispanicos Chile: dictatorship and ... more La subversion de la semiotica. Analisis estructural de textos hispanicos Chile: dictatorship and the struggle for democracy World Development Report
Hispamerica-revista De Literatura, 1978
Hispanic Review, 1978
La "liberation des espaces simultanes" comme subversion ou rupture du signe accepte et ... more La "liberation des espaces simultanes" comme subversion ou rupture du signe accepte et mort du realisme bourgeois. La violation de l'espace-temps. La relation pronominale je-tu.
Palgrave Macmillan eBooks, Sep 4, 2012
Revista de la Casa de las Américas, 2010
Anales de la literatura española contemporánea, ALEC, 2000
Confluencia-revista Hispanica De Cultura Y Literatura, 2011
An analysis of the life and work of the Spanish American poet, Jose Lezama Lima, this book places... more An analysis of the life and work of the Spanish American poet, Jose Lezama Lima, this book places his work in its artistic, cultural and political context and examines his theory of the poetic system of the world. The author aims to make Lezama's work more accessible.