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Between 1868 and 1898, three generations of Cubans fought to free
Cuba from colonialist Spain. More than a century later, no other
historical narrative is as beloved and ritualistically recited as
the story of Cuba Libre and the citizen-soldier known as the mambi.
In town festivals and cartoons, in textbooks and hymns, in the
national currency and logos alike, the mambi is the foremost icon
of Cuba's past and present. Scrutinizing how this figure has been
aesthetically rendered in literature, historiography, cinema, and
monuments, Eric Morales-Franceschini teases out the emancipatory
promises that the story of Cuba Libre came to embody in the
twentieth-century popular imagination.The story of Cuba Libre and
the mambi is not, after all, a conventional epic. For how does one
account for heroes that are neither demigods nor nobles? For
tactics more sly than virtuous? Or verse more populist than
eloquent? Analyzing the mambi as Afro-Cuban, woman, trickster,
saboteur, and martyr, this critical exegesis shows how that heroic
archetype has come to bear on issues such as racial justice,
women's empowerment, populist humor, the ethics of violence, and
the nationalist sublime. With an eye toward decolonial futures, The
Epic of Cuba Libre illuminates the complexities and idiosyncrasies
of an aesthetics of liberation.
Between 1868 and 1898, three generations of Cubans fought to free
Cuba from colonialist Spain. More than a century later, no other
historical narrative is as beloved and ritualistically recited as
the story of Cuba Libre and the citizen-soldier known as the mambi.
In town festivals and cartoons, in textbooks and hymns, in the
national currency and logos alike, the mambi is the foremost icon
of Cuba's past and present. Scrutinizing how this figure has been
aesthetically rendered in literature, historiography, cinema, and
monuments, Eric Morales-Franceschini teases out the emancipatory
promises that the story of Cuba Libre came to embody in the
twentieth-century popular imagination.The story of Cuba Libre and
the mambi is not, after all, a conventional epic. For how does one
account for heroes that are neither demigods nor nobles? For
tactics more sly than virtuous? Or verse more populist than
eloquent? Analyzing the mambi as Afro-Cuban, woman, trickster,
saboteur, and martyr, this critical exegesis shows how that heroic
archetype has come to bear on issues such as racial justice,
women's empowerment, populist humor, the ethics of violence, and
the nationalist sublime. With an eye toward decolonial futures, The
Epic of Cuba Libre illuminates the complexities and idiosyncrasies
of an aesthetics of liberation.
It is common to hear heavy metal music fans and musicians talk
about the "metal community". This concept, which is widely used
when referencing this musical genre, encompasses multiple complex
aspects that are seldom addressed in traditional academic endeavors
including shared aesthetics, musical practices, geographies, and
narratives. The idea of a "metal community" recognizes that fans
and musicians frequently identify as part of a collective group,
larger than any particular individual. Still, when examined in
detail, the idea raises more questions than answers. What criteria
are used to define groups of people as part of the community? How
are metal communities formed and maintained through time? How do
metal communities interact with local cultures throughout the
world? How will metal communities change over the lifespan of their
members? Are metal communities even possible in light of the
importance placed on individualism in this musical genre? These are
just some of the questions that arise when the concept of
"community" is used in relation to heavy metal music. And yet in
the face of all these complexities, heavy metal fans continue to
think of themselves as a unified collective entity. This book
addresses this notion of "metal community" via the experiences of
authors and fans through theoretical reflections and empirical
research. Their contributions focus on how metal communities are
conceptualized, created, shaped, maintained, interact with their
context, and address internal tensions. The book provides scholars,
and other interested in the field of metal music studies, with a
state of the art reflection on how metal communities are
constituted, while also addressing their limits and future
challenges.
It is common to hear heavy metal music fans and musicians talk
about the "metal community". This concept, which is widely used
when referencing this musical genre, encompasses multiple complex
aspects that are seldom addressed in traditional academic endeavors
including shared aesthetics, musical practices, geographies, and
narratives. The idea of a "metal community" recognizes that fans
and musicians frequently identify as part of a collective group,
larger than any particular individual. Still, when examined in
detail, the idea raises more questions than answers. What criteria
are used to define groups of people as part of the community? How
are metal communities formed and maintained through time? How do
metal communities interact with local cultures throughout the
world? How will metal communities change over the lifespan of their
members? Are metal communities even possible in light of the
importance placed on individualism in this musical genre? These are
just some of the questions that arise when the concept of
"community" is used in relation to heavy metal music. And yet in
the face of all these complexities, heavy metal fans continue to
think of themselves as a unified collective entity. This book
addresses this notion of "metal community" via the experiences of
authors and fans through theoretical reflections and empirical
research. Their contributions focus on how metal communities are
conceptualized, created, shaped, maintained, interact with their
context, and address internal tensions. The book provides scholars,
and other interested in the field of metal music studies, with a
state of the art reflection on how metal communities are
constituted, while also addressing their limits and future
challenges.
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