Nuyorican Modernity: The Early Poetry of Victor Hernández Cruz
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This paper studies the relationship the early Nuyorican poetry of Victor Hernández Cruz -
Papo Got His Gun (1966), Snaps (1969), Mainland (1973) - established with the concept of moderntiy
as defined by Allain Touraine: modernity as subectivity, creativity, and freedom. It is argued that this
side of modernity, which Hernández Cruz's early poetry underscored, complments, instead of negating,
what became the official Nuyorican view of modernity - established in Nuyorican Anthology (1975) as "outlaw poetry," "experimental poetry," and "dusmic poetry."
Keywords: Nuyorican, Modernity, Subjectivity, Creativity, Freedom, Poetry
Stream:
Literature, Literary Studies
Presentation Type:
Virtual Presentation in English
Paper:
A paper has not yet been submitted.
Prof. Francisco Cabanillas
Associate Professor, Department of Romance Languages, |
Teaches Latin American, Hispanic Caribbean, US Latino culture and civilization as it relates,
in particular, to the interplay among literature, art, and popular music. At the moment, his work concentrates on establishing cultural and aesthetic links between the poetry of Victor Hernández Cruz, which dramatizes Nuyorican modernity; the art of Arnaldo Roche Rabell, which dramatizes the dialogue between Catholicism and Protestantism; and the music of David Sánchez, whose Latin jazz, post-Afro-bop, has produced an oeuvre of symetrical, classical dimensions.
in particular, to the interplay among literature, art, and popular music. At the moment, his work concentrates on establishing cultural and aesthetic links between the poetry of Victor Hernández Cruz, which dramatizes Nuyorican modernity; the art of Arnaldo Roche Rabell, which dramatizes the dialogue between Catholicism and Protestantism; and the music of David Sánchez, whose Latin jazz, post-Afro-bop, has produced an oeuvre of symetrical, classical dimensions.
Ref: H06P0533