SpringerLink
Log in

No Laughing Matter: Post-Soviet Cuba in the Orbit of Postmodern Parody

  • Chapter
  • First Online:
Postmodern Parody in Latin American Literature

Part of the book series: Literatures of the Americas ((LOA))

  • 246 Accesses

Abstract

Sklodowska analyzes postmodern parody in Margarita Mateo Palmer’s 1995 experimental book Ella escribía poscrítica [She Wrote Post-Criticism]. Uniquely steeped in the most radical (self-)parody, Ella escribía poscrítica both merits and resists critical scrutiny. Sklodowska situates the text within a broader context of post-Soviet Cuba and, more specifically, against the backdrop of the profound socio-economic and ideological crisis of the 1990s known as the “Special Period in Time of Peace.” She demonstrates how Mateo Palmer’s book, produced amid the everyday drudgery of the struggle for survival, uses gendered performance to challenge the fundamental tenets of “western” postmodernism by means of irreverent (re)production of its metadiscourse and a dizzying amalgamation of fiction and academic criticism, testimony and (pseudo)autobiography, letters and interviews, footnotes and lecture notes.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Log in via an institution

Subscribe and save

Springer+ Basic
EUR 32.99 /Month
  • Get 10 units per month
  • Download Article/Chapter or Ebook
  • 1 Unit = 1 Article or 1 Chapter
  • Cancel anytime
Subscribe now

Buy Now

Chapter
EUR 29.95
Price includes VAT (Germany)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
EUR 85.59
Price includes VAT (Germany)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
EUR 106.99
Price includes VAT (Germany)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free ship** worldwide - see info
Hardcover Book
EUR 106.99
Price includes VAT (Germany)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free ship** worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Similar content being viewed by others

Works Cited

  • Araújo, Nara. “Repensando desde el feminismo los estudios latinoamericanos.” Lectora 5–6 (1999–2000): 55–65. Print.

    Google Scholar 

  • Astley, Tom. “The People’s Mixtape: Peer-to-Peer File Sharing Without the Internet in Contemporary Cuba.” In Networked Music Cultures. Edited by Raphaël Nowak and Andrew Whelan. London: Palgrave Macmillan, 2016. 13–30. Print.

    Google Scholar 

  • Bakhtin, Mikhail. “From Notes Made in 1970–71.” In Speech Genres and Other Late Essays. Edited by Caryl Emerson and Michael Holquist and translated by Vern W. McGee. Austin: Texas University Press, 1986. 132–158. Print.

    Google Scholar 

  • ———. The Dialogic Imagination: Four Essays. Edited by Michael Holquist and translated by Caryl Emerson and Michael Holquist. Austin: Texas University Press, 1981. Print.

    Google Scholar 

  • Balaisis, Nicholas. Cuban Film Media, Late Socialism, and the Public Sphere: Imperfect Aesthetics. New York: Palgrave, 2016. Print.

    Google Scholar 

  • Bartolotto, María Celina. “Fake for Its Own Sake: A Staged Performance of Choteo in Sarduy’s De donde son los cantantes.” Chasqui 38.1 (2009): 16–28. Print.

    Google Scholar 

  • Baujín, José Antonio. “Un grafiti MAGGIE. Discurso de elogio de Margarita Mateo en la entrega del Premio Nacional de Literatura 2016.” Revolución y Cultura (April–June 2017): 13–15. http://www.ryc.cult.cu/wp-content/uploads/2017/04/2-2017a.pdf. Web.

  • ———. “Una recreación posmoderna del topos del ensayismo.” Revista Universidad de La Habana 247 (1997): 216–217. Print.

    Google Scholar 

  • Baym, Geoffrey, and Jeffrey P. Jones. “News Parody in Global Perspective: Politics, Power, and Resistance.” Popular Communication 10.1–2 (2012): 2–13. Print.

    Google Scholar 

  • Benítez-Rojo, Antonio. The Repeating Island: The Caribbean and the Postmodern Perspective. Translated by James Maraniss. Durham: Duke University Press, 1992. Print.

    Google Scholar 

  • Beverley, John. “The Im/Possibility of Politics: Subalternity, Modernity, Hegemony.” The Latin American Subaltern Studies Reader. Edited by Ileana Rodríguez. Durham: Duke University Press, 2001: 47–63. Print.

    Google Scholar 

  • Butler, Judith. “From Interiority to Gender Performatives.” Camp: Queer Aesthetics and the Performing Subject. Edited by Fabio Cleto. Ann Arbor: University of Michigan Press, 1999. 361–368. Print.

    Google Scholar 

  • Cabrera, Jenny Cruz, María Regina Cano Orúe, and Dmitri Prieto Samsónov. “(Post)-Soviet Diaspora in Cuba.” International Journal of Cuban Studies 8.2 (2016): 263–295. Print.

    Google Scholar 

  • Cabrera Infante, Guillermo. Three Trapped Tigers. Translated by Donald Gardner and Suzanne Jill Levine in Collaboration with the Author. New York: Marlowe & Company, 1971. Print.

    Google Scholar 

  • Cámara, Madeline, and David L. Frye. Cuban Women Writers: Imagining a Matria. New York: Palgrave Macmillan, 2008. Print.

    Google Scholar 

  • Camnitzer, Luis. “La corrupción en el arte/el arte de la corrupción” (1995). Universes in Universe (March 2012). http://u-in-u.com/es/magazine/articles/2012/corrupcion-arte/. Web.

  • Campbell, Angus Donald. “Lay Designers: Grassroots Innovation for Appropriate Change.” Design Issues 33.1 (2017): 30–47. http://www.angusdonaldcampbell.com/wp-content/uploads/2016/11/006_DESI_a_00424_Campbell_WEB_vB.pdf. Web.

  • Campuzano, Luisa. Cuban Women Writers at the End of the 90s: A Thematic/Bibliographic Map. http://masteres.ugr.es/gemma/pages/actividades/actividades-granada/actividades-2012-2013/luisa-campuzano-3cubanwomenwritersattheendofthe90s/!. Web.

  • Cano, Lidia, and **omar García. El postmodernismo: Esa fachada de vidrio. La Habana: Ciencias Sociales, 1994. Print.

    Google Scholar 

  • Casamayor-Cisneros, Odette. Utopía distopía e ingravidez: reconfiguraciones cosmológicas en la narrativa postsoviética cubana. Madrid/Frankfurt: Iberoamericana/Vervuert, 2012. Print.

    Google Scholar 

  • ———. “Floating in the Void: Ethical Weightlessness in Post-Soviet Cuba Narrative.” Bulletin of Latin American Research 31 (2012): 38–57. Print.

    Google Scholar 

  • Castro Ruz, Fidel. Speech to Intellectuals. June 30, 1961. http://lanic.utexas.edu/project/castro/db/1961/19610630.html. Web.

  • Chatman, Seymour. “Parody and Style.” Poetics Today 22.1 (2001): 25–39. Print.

    Google Scholar 

  • Coombe, Rosemary J. The Cultural Life of Intellectual Properties: Authorship, Appropriation, and the Law. Durham: Duke University Press, 1998. Print.

    Google Scholar 

  • Cuba’s Constitution of 1976 with Amendments Through 2002. https://www.constituteproject.org/constitution/Cuba_2002.pdf?lang=en. Web.

  • Davies, Catherine. “Surviving (on) the Soup of Signs: Postmodernism, Politics and Culture in Cuba.” Latin American Perspectives 27.4 (2000): 103–121. Print.

    Google Scholar 

  • De la Campa, Román. Cuba on My Mind: Journeys to a Severed Nation. London: Verso, 2002. Print.

    Google Scholar 

  • De la Nuez, Iván. “El espejo cubano de la posmodernidad. Más acá del bien y del mal.” Plural 238 (1991): 21–32. Print.

    Google Scholar 

  • De Mamporro, Ínclita. “Ella no escribía poscrítica: exorcizaba sus demonios.” Unión 9.26 (1997): 91–92. Print.

    Google Scholar 

  • Dentith, Simon. Parody. London: Routledge, 2000. Print.

    Google Scholar 

  • Dezeuze, Anna. Almost Nothing: Observations on Precarious Practices in Contemporary Art. Manchester: Manchester University Press, 2017. Print.

    Google Scholar 

  • Díaz Mantilla, Daniel “Escribir en crisis. Margarita Mateo entre el ensayo y la ficción.” Temas 81 (2015). http://temas.cult.cu/articulo_academico/escribir-en-crisis-margarita-mateo-entre-el-ensayo-y-la-ficcion/. Web.

  • Dopico, Ana Maria, “Picturing Havana: History, Vision, and the Scramble for Cuba.” Nepantla: Views from the South 3.3 (2002): 451–493. Print.

    Google Scholar 

  • Dopico Black, Georgina. “The Limits of Expression: Intellectual Freedom in Postrevolutionary Cuba.” Cuban Studies 19 (1989): 107–144. Print.

    Google Scholar 

  • Duvall, John N. “Tro** History: Modernist Residue in Fredric Jameson’s Pastiche and Linda Hutcheon’s Parody.” Style 33.3 (1999): 372–390. Print.

    Google Scholar 

  • Eichenbronner, Ana. “Autorreferencialidad y metaficción en narradores cubanos del siglo XXI.” IV Coloquio Internacional Literatura y Vida. Rosario, Junio 2016. http://www.celarg.org/int/arch_coloquios/eichenbronner.pdf. Web.

  • Ferrari, Guillermina de. Community and Culture in Post-Soviet Cuba. New York/London: Routledge, 2015. Print.

    Google Scholar 

  • Fornet, Jorge. “Escritores y mercado editorial en Iberoamérica.” Revista Malabia 49 (2007). http://www.revistamalabia.com/index.php/archivo/36-numero-49/45-escritores-y-mercado-editorial-en-iberoamerica.html. Web.

  • Fusco, Coco. “Editorial. Cuba: The Fading of the Subcontinental Dream.” E-flux Journal 68 (2015). http://worker01.e-flux.com/pdf/article_9004585.pdf. Web.

  • ———. Dangerous Moves: Performance and Politics in Cuba. London: Tate Publishing, 2015. Print.

    Google Scholar 

  • Garbatzky, Irina. “Teorías del archivo, formas de la huida. Sobre Teoría del alma china de Carlos A. Aguilera.” Acta Literaria 53 (2016): 77–93. Print.

    Google Scholar 

  • Garrido Castellano, Carlos. “On Truth and Opacity: Symbolic Translation and Legibility in Contemporary Text-Based Cuban Art.” Revista Mitologías 12 (2015): 223–236. Print.

    Google Scholar 

  • Genette, Gérard. Palimpsests: Literature in the Second Degree. Translated by Channa Newman and Claude Doubinsky. Nebraska University Press, 1997. Print.

    Google Scholar 

  • González, María Virginia. “Estrategias para construir una tradición: (re)lecturas en la obra de Margarita Mateo Palmer.” In Literaturas caribeñas: Debates, reescrituras, tradiciones. Edited by Guadalupe Silva and María Fernanda Pampín. Buenos Aires: Universidad de Buenos Aires Facultad de Filosofía y Letras, 2015. 47–72. Print.

    Google Scholar 

  • ———. La construcción ensayística del Caribe en la obra de Margarita Mateo Palmer. http://2012.cil.filo.uba.ar/ponencia/la-construcci%C3%B3n-ensay%C3%ADstica-del-caribe-en-la-obra-de-margarita-mateo-palmer. Web.

  • ———. “La transgresión del ensayo: Ella escribía poscrítica de Margarita Mateo Palmer.” Edited by Graciela Salto. Memorias del silencio. Literaturas en el Caribe y Centroamérica. Buenos Aires: Corregidor, 2010. 216–219. Print.

    Google Scholar 

  • Greenblatt, Stephen. “Resonance and Wonder.” Bulletin of the American Academy of Arts and Sciences 43.4 (1990): 11–34. Print.

    Google Scholar 

  • Grenier, Yvon. “Temas and Anathemas: Depoliticization and ‘Newspeak’ in Cuba’s Social Sciences and Humanities.” Revista Mexicana de Análisis Político y Administración Pública 5.2 (2016): 155–182. Print.

    Google Scholar 

  • ———. “Cultural Policy, Participation and the Gatekeeper State in Cuba.” Cuba in Transition 24 (2014): 456–473. Print.

    Google Scholar 

  • Hariman, Robert. “Political Parody and Public Culture.” Quarterly Journal of Speech 94.3 (2008). 247–272. Print.

    Google Scholar 

  • Hernández Busto, Enrique. “Signos de la isla.” Plural (July 1992): 25–28. Print.

    Google Scholar 

  • Hernández, Rafael. Looking at Cuba: Essays on Culture and Civil Society. Translated by Dick Cluster. Gainesville: University of Florida Press, 2003. Translation of Hernández, Otra guerra. La Habana: Editorial de Ciencias Sociales, 1999. Print.

    Google Scholar 

  • Hernández-Reguant, Ariana. Cuba in the Special Period: Culture and Ideology in the 1990s. New York: Palgrave Macmillan, 2009. Print.

    Google Scholar 

  • ———. “Copyrighting Che: Art and Authorship Under Cuban Late Socialism.” Public Culture 16.1 (2004). 1–29. Print.

    Google Scholar 

  • Hernández Salván, Marta. Mínima Cuba: Heretical Poetics and Power in Post-Soviet Cuba. Albany: SUNY Press, 2015. Print.

    Google Scholar 

  • Howe, Linda S. Transgression and Conformity: Cuban Writers and Artists After the Revolution. Madison: University of Wisconsin Press, 2004. Print.

    Google Scholar 

  • Huggan, Graham. The Postcolonial Exotic: Marketing the Margins. London and New York: Routledge, 2001. Print.

    Google Scholar 

  • Hutcheon, Linda. A Theory of Parody: The Teachings of 20th-Century Art Forms. London: Routledge, 1985. Print.

    Google Scholar 

  • Ichikawa, Emilio. “Disloque ideológico de la Postmodernidad (Una mirada desde La Habana).” Apuntes postmodernos 8.1–2 (2000): 47–58. Print.

    Google Scholar 

  • Irvine, Martin. ‘The Postmodern.’ ‘Postmodernism.’ ‘Postmodernity.’ Approaches to Po-Mo. http://faculty.georgetown.edu/irvinem/theory/pomo.html. Web.

  • Jameson, Fredric. “Postmodernism, or the Cultural Logic of Late Capitalism.” New Left Review I 146 (1984): 53–92. Print.

    Google Scholar 

  • Jencks, Charles, and Nathan Silver. Adhocism: The Case for Improvisation. Boston: MIT Press, 2013. Print.

    Google Scholar 

  • Johnson, Peter. “Can You Quote Donald Duck?: Intellectual Property in Cyberculture.” Yale Journal of Law & the Humanities 13.2 (2001). http://digitalcommons.law.yale.edu/yjlh/vol13/iss2/4/. Web.

  • Knapp, Trischa G. The Daily Show 9 Rhetoric: Arguments, Issues, and Strategies. Lanham, MD: Lexington Books, 2011. Print.

    Google Scholar 

  • Kumaraswami, Par. The Social Life of Literature in Revolutionary Cuba: Narrative, Identity, and Well-Being. New York: Palgrave Macmillan, 2016. Print.

    Google Scholar 

  • Lange, Charlotte. Modos de parodia: Guillermo Cabrera Infante, Reinaldo Arenas, Jorge Ibargüengoitia y José Agustín, 22. 2008. Bern: Peter Lang. Print.

    Google Scholar 

  • Lastovicka, John, and Lance Bettencourt. “Lifestyle of the Tight and Frugal: Theory and Measurement.” Journal of Consumer Research 26 (1999): 85–100. Print.

    Google Scholar 

  • Lévi-Strauss, Claude. The Savage Mind. Chicago: University of Chicago Press, 1966. Print.

    Google Scholar 

  • Lightbody, Sarah. “Ordo Amoris Cabinet ‘The Eternal Object: Notes on a Film’.” Theoretical Beach. http://www.diangohernandez.com/the-eternal-object-notes-on-a-film-by-sarah-lightbody/. Web.

  • Lisenby, David. “Frustrated Mulatta Aspirations: Reiterations of ‘Cecilia Valdés’ in Post-Soviet Cuba.” Afro-Hispanic Review 31.1 (2012): 87–104. Print.

    Google Scholar 

  • Lorde, Audre. The Master’s Tools Will Never Dismantle the Master’s House. https://collectiveliberation.org/wp-content/uploads/2013/01/Lorde_The_Masters_Tools.pdf. Web.

  • Loss, Jacqueline. Dreaming in Russian: The Cuban Soviet Imaginary. Austin: University of Texas Press, 2014. Print.

    Google Scholar 

  • ———. “Despojos de lo soviético en Cuba: la estética del adiós.” Otro Lunes. Revista Hispanoamericana de Cultura 8 (2009). http://www.otrolunes.com/html/este-lunes/este-lunes-n08-a11-p01-2009.html. Web.

  • Loss, Jacqueline, and Manuel Prieto, Eds. Caviar with Rum: Cuba-USSR and the Post-Soviet Experience. New York: Palgrave Macmillan, 2012. Print.

    Google Scholar 

  • Lyotard, Jean F. The Postmodern Condition: A Report on Knowledge. Minneapolis: University of Minnesota Press, 1984. Print.

    Google Scholar 

  • Manzari, H. J. “A Postmodern ‘Play’ on a Nineteenth Century Cuban Classic: Reinaldo Arenas’ La Loma del Ángel.” Decimonónica 3.2 (2006): 45–58. Print.

    Google Scholar 

  • Mañach, Jorge. Indagación del choteo. Barcelona: Linkgua, 2007. Print.

    Google Scholar 

  • Marcus, George E. “The Debate Over Parody in Copyright Law: An Experiment in Cultural Critique.” Yale Journal of Law & the Humanities 1.2 (1989): 295–316. http://digitalcommons.law.yale.edu/yjlh/vol1/iss2/3. Web.

  • Martín Sevillano, Ana Belén. Sociedad civil y arte en Cuba: Cuento y artes plásticas en el cambio de siglo (1980–2000). Madrid: Editorial Verbum, 2008. Print.

    Google Scholar 

  • Mateo Palmer, Margarita. Ella escribía poscrítica. Atom Press, 2010. Print.

    Google Scholar 

  • ———. “Postmodernismo y criterios: prólogo a una antología y para un aniversario.” El posmoderno, el postmodernismo y su crítica en Criterios. http://www.criterios.es/pdf/mateopost.pdf. Web.

  • McClintock, Anne. Imperial Leather: Race, Gender and Sexuality in the Colonial Contest. London: Routledge, 1995. Print.

    Google Scholar 

  • Mendand, Louis. “Parodies Lost. The Art of Making Fun.” The New Yorker, September 20, 2010. http://www.newyorker.com/magazine/2010/09/20/parodies-lost. Web.

  • Miller, Nicola. “A Revolutionary Modernity: The Cultural Policy of the Cuban Revolution.” Journal of Latin American Studies 40 (2008): 675–696. http://journals.cambridge.org/abstract_S0022216X08004719. Web.

  • Morejón, Idalia. “Ella escribía poscrítica: de los márgenes al centro de la polémica.” Unión (1997): 87–90. Print.

    Google Scholar 

  • Morín Aguado, Vicente. “The Strange Case of Cuba’s Gilbert Man.” Havana Times. February 14, 2015. http://www.havanatimes.org/?p=109346. Web.

  • Mosquera, Gerardo. “Juan Francisco Elso: Sacralisation and the ‘Other’ Postmodernity in New Cuban Art.” Third Text 41 (1997–98): 75–84. Print.

    Google Scholar 

  • Muguiro Altuna, Carlos (Ed.). Las formas de la estalgia (cubana). Special Issue Kamchatka: Revista de análisis cultural 5 (2015). Print.

    Google Scholar 

  • Müller, Beate. Parody: Dimensions and Perspectives. Amsterdam: Rodopi, 1997. Print.

    Google Scholar 

  • Nelson, Anne. Cuba’s Parallel Worlds: Digital Media Crosses the Divide. Washington, DC: Center for International Media Assistance, 2016. Print.

    Google Scholar 

  • Oroza, Ernesto. “Technological Disobedience: From Revolution to Revolico.com.” Technological Disobedience. http://www.technologicaldisobedience.com/. Web.

  • Oroza, Ernesto and Pénélope Bozzi. Objets Réinventés: La Création Populaire à Cuba, Paris: Ed. Alternatives, 2002. Print.

    Google Scholar 

  • Oxford Dictionaries. Word of the Year 2016. https://www.oxforddictionaries.com/press/news/2016/12/11/WOTY-16. Web.

  • Padrón Hernández, María. Beans and Roses: Everyday Economies and Morality in Contemporary Havana, Cuba. Ph.D. Dissertation in Social Anthropology, School of Global Studies University of Gothenburg, 2012. https://gupea.ub.gu.se/bitstream/2077/29082/4/gupea_2077_29082_4.pdf. Web.

  • PBS. “The Bizarre, Brilliant and Useful inventions of Cuban DIY Engineers.” http://www.pbs.org/newshour/updates/bizarre-brilliant-useful-inventions-cuban-diy-engineers. Web.

  • Pérez-Hernández, Reinier. Indisciplinas críticas: la estrategia poscrítica en Margarita Mateo Palmer y Julio Ramos. Leiden: Almenara, 2014. Print.

    Google Scholar 

  • ———. “Del regreso de un libro.” Temas 53 (2008): 189–195. Print.

    Google Scholar 

  • Pertierra, Anna Cristina. “Private Pleasures: Watching Videos in Post-Soviet Cuba.” International Journal of Cultural Studies 12.2 (2009): 113–130. Print.

    Google Scholar 

  • Price, Rachel. Planet/Cuba: Art, Culture, and the Future of the Island. London: Verso 2015. Print.

    Google Scholar 

  • Prieto, Abel. El humor de Misha: La crisis del “socialismo real” en el chiste político. Buenos Aires: Colihue, 1997. Print.

    Google Scholar 

  • Prizant, Yael. Cuba Inside Out: Revolution and Contemporary Theatre. Carbondale: Southern Illinois University Press, 2014. Print.

    Google Scholar 

  • Puñales-Alpízar, Damaris. Escrito en cirílico: el ideal soviético en la cultura cubana posnoventa. Santiago: Cuarto Propio, 2013. Print.

    Google Scholar 

  • Puyol, Johanna. “Entrevista con Margarita Mateo. Rompiendo moldes.” La Jiribilla 343 (2007). http://www.lajiribilla.co.cu/2007/n343_12/343_15.html. Web.

  • Quiroga, José. Cuban Palimpsests. Minneapolis: University of Minnesota Press, 2005. Print.

    Google Scholar 

  • Randall, Margaret. Exporting Revolution: Cuba’s Global Solidarity. Durham: Duke University Press, 2017. Print.

    Google Scholar 

  • Ravelo Cabrera, Paul. El debate de lo moderno-postmoderno. La Habana: Pinos Nuevos, 1996. Print.

    Google Scholar 

  • Riccio, Alessandra. “Maggie Mateo despilfarra su patrimonio. Pensar y escribir en el período especial.” Inti: Revista de Literatura Hispánica 1.59 (2004): 113–122. Print.

    Google Scholar 

  • Rodríguez, Fidel A. “Videos to the Left: Circumvention Practices and Audiovisual Ecologies.” Geoblocking and Global Video Culture. Edited by Ramón Lobato and James Meese. Amsterdam: Institute of Network Cultures, 2016. 178–188. Print.

    Google Scholar 

  • Rojas, Rafael. “The Archive’s Ashes.” Translated by Ariana Hernández-Reguant and Susannah Rodríguez Drissi. Cuba Counterpoints. Public Scholarship about a Changing Cuba. https://cubacounterpoints.com/archives/3816. Web.

  • Rose, Margaret A. Parody: Ancient, Modern, and Post-modern. Cambridge: Cambridge University Press, 1993. Print.

    Google Scholar 

  • ———. “Post-modern Pastiche.” British Journal of Aesthetics 31.1 (1991): 26–38. Print.

    Google Scholar 

  • ———. Parody/Meta-Fiction: An Analysis of Parody as a Critical Mirror to the Writing and Reception of Fiction. London: Croom Helm, 1979. Print.

    Google Scholar 

  • Rowlandson, William. “Cabrera Infante and Parody: Tracking Hemingway in Tres Tristes Tigres.” The Modern Language Review 98.3 (2003): 620–633. Print.

    Google Scholar 

  • Ruiz Barrionuevo, Carmen. “Parodia y espejeo de la escritura en Tres tristes tigres: ‘la muerte de Trotsky referida por varios escritores cubanos, años después—o antes’.” América: Cahiers du CRICCAL 20 (1998): 191–198. http://www.persee.fr/doc/ameri_0982-9237_1998_num_20_1_1349f. Web.

  • Said, Edward. Orientalism. New York: Vintage Books, 2003. Print.

    Google Scholar 

  • Sánchez Aguilera, Osmar. Otros pensamientos en La Habana. La Habana, Letras Cubanas, 1994. Print.

    Google Scholar 

  • San Pedro, Emilio. “Cuban Internet Delivered Weekly by Hand.” http://www.bbc.com/news/technology-33816655. Web.

  • Santana, Andrés I. Nosotros, los más infieles: Narraciones críticas sobre el arte cubano (1993–2005). Murcia: CENDEAC, Centro de Documentación y Estudios Avanzados de Arte Contemporáneo, 2007. Print.

    Google Scholar 

  • Schur, Richard L. Parodies of Ownership: Hip-hop Aesthetics and Intellectual Property Law. Ann Arbor: University of Michigan Press, 2009. Print.

    Google Scholar 

  • Segre, Erica. “‘El convertible no convertible’: Reconsidering Refuse and Disjecta Aesthetics in Contemporary Cuban Art.” Latin American Popular Culture: Politics, Media, Affect (2013): 109–138. Print.

    Google Scholar 

  • Shklovsky, Viktor. “Art as Technique.” Russian Formalist Criticism. Edited by Lee T. Lemon and Marion J. Reis. Lincoln: University of Nebraska Press, 1965. 3–24. Print.

    Google Scholar 

  • Sklodowska, Elzbieta. Invento luego resisto: El Período Especial como experiencia y metáfora (1990–2015). Santiago de Chile: Cuarto Propio, 2016. Print.

    Google Scholar 

  • ———. La parodia en la nueva novela hispanoamericana (1960–1985). Amsterdam and Philadelphia: John Benjamins Publishing, 1991. Print.

    Google Scholar 

  • Smith, Marlin H. “Note: The Limits of Copyright: Property, Parody, and the Public Domain.” Duke Law Journal 42 (1993): 1233–1272. Print.

    Google Scholar 

  • Snyder, Emily. “‘The Fist of Lázaro Is the First of His Generation’: Lázaro Saavedra and New Cuban Art as Dissidence.” Cuban Studies (2015): 193–202.

    Google Scholar 

  • Tanuma, Sachiko. “Post-Utopian Irony: Cuban Narratives During the ‘Special Period’ Decade.” Political and Legal Anthropology Review 30.1 (2007): 46–66. Print.

    Google Scholar 

  • Toro, Alfonso de. “Margarita Mateo: Posicionalidades y estrategias de hibridación.” http://home.uni-leipzig.de/detoro/wp-content/uploads/2014/03/2006_MagaritaMateo.pdf. Web.

  • ———. “Meta-autobiografía/autobiografía transversal posmoderna o la imposibilidad de la historia en primera persona: Alain Robbe-Grillet, Sere Doubrovsky, Assia Djjebar, Abdelkebir y Margarita Mateo.” Estudios Públicos 107 (2007): 214–308. https://dialnet.unirioja.es/servlet/articulo?codigo=2381186. Web.

  • Venegas, Cristina. Digital Dilemmas: The State, the Individual, and Digital Media in Cuba. New Brunswick, NJ: Rutgers University Press, 2010. Print.

    Google Scholar 

  • Waugh, Patricia. “Literary Evolution: The Place of Parody.” In Metafiction: The Theory and Practice of Self-Conscious Fiction. Edited by Patricia Waugh. London: Routledge, 1984. 63–86. Print.

    Google Scholar 

  • Weiss, Rachel. To and From Utopia in the New Cuban Art. Minneapolis: University of Minnesota Press, 2011. Print.

    Google Scholar 

  • Yoss. “Lo que dejaron los rusos.” Temas 37–38 (2004): 138–144. Print.

    Google Scholar 

  • Zeitlin, Marilyn A. Contemporary Art from Cuba: Irony and Survival on the Utopian Island. Arizona State University Press, 1998. Print.

    Google Scholar 

  • Zurbano, Roberto. Los estados nacientes: Literatura cubana y postmodernidad. La Habana: Editorial Pinos Nuevos, 1995. Print.

    Google Scholar 

Download references

Author information

Authors and Affiliations

  1. Washington University in St. Louis, Saint Louis, MO, USA

    Elzbieta Sklodowska

Authors
  1. Elzbieta Sklodowska
    View author publications

    You can also search for this author in PubMed Google Scholar

Corresponding author

Correspondence to Elzbieta Sklodowska .

Editor information

Editors and Affiliations

  1. University of North Dakota, Grand Forks, North Dakota, USA

    Helene Carol Weldt-Basson

Rights and permissions

Reprints and permissions

Copyright information

© 2018 The Author(s)

About this chapter

Check for updates. Verify currency and authenticity via CrossMark

Cite this chapter

Sklodowska, E. (2018). No Laughing Matter: Post-Soviet Cuba in the Orbit of Postmodern Parody. In: Weldt-Basson, H. (eds) Postmodern Parody in Latin American Literature. Literatures of the Americas. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-90430-6_8

Download citation

Publish with us

Policies and ethics

Search

Navigation