Pub Date : 2022-03-01DOI: 10.1215/07990537-9724093
Aaron Kamugisha
Abstract:This introduction opens a special section featuring a series of tributes in homage to Kamau Brathwaite. The author's generational perspective becomes the occasion for a reflection on Brathwaite's legacy, creative voice, and sustained vision of the future of the Caribbean. The essay further presents an account of the author's attempt to shelter and represent this legacy in the form of Kamau at Ninety, a university course in Brathwaite's honor, offered in the surreal months of January to May 2020.
摘要:这篇引言中有一个特别的部分，是对卡马乌·布瑞斯韦特的一系列致敬。作者的代际视角为反思布瑞思韦特的遗产、创造性的声音和对加勒比海未来的持续愿景提供了契机。这篇文章进一步介绍了作者试图以《九十年代的卡马乌》(Kamau at Ninety)的形式来庇护和代表这一遗产的努力，这是一门以布瑞思韦特的名义开设的大学课程，在2020年1月至5月的超现实月份开设。
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Pub Date : 2021-11-01DOI: 10.1215/07990537-9583544
R. Jaffe
Abstract:This review essay enters into conversation with Greg Beckett’s 2019 There Is No More Haiti: Between Life and Death in Port-au-Prince to think through the geographies and temporalities of how crisis is known. Focusing on the urban Caribbean, it interrogates broadly circulating understandings of the city-as-crisis, asking how the “where” of crisis connects to a geographical imagination that sites Caribbean cultural authenticity in the countryside. Next, it reflects on the temporalities of crisis, in relation to Beckett’s conceptualization of crisis as a chronic condition, as the routinized anticipation of rupture. Despite a rich tradition of Caribbean scholarship on temporalities, there has been limited engagement with the region’s urban time-spaces. The author suggests that a more thorough consideration of Caribbean urban futures in particular might allow us to read an anticipatory attunement to insecurity and instability as an urban mode of temporal experience, in which future making in and through uncertainty can be not a source of despair but of hope.
摘要:本文与格雷格·贝克特(Greg Beckett)的《2019年不再有海地:太子港的生与死之间》(2019 There Is More Haiti: Between生与死之间)进行了对话，以思考危机是如何被认识的地理和时间。聚焦于加勒比海城市，它质疑了关于城市作为危机的广泛流传的理解，询问危机的“在哪里”如何与地理想象联系起来，将加勒比海文化的真实性定位在农村。接下来，它反映了危机的暂时性，与贝克特将危机概念化为一种慢性疾病，作为对破裂的常规预期有关。尽管加勒比地区在时间性方面有着丰富的学术传统，但对该地区城市时间空间的研究却十分有限。作者建议，特别是对加勒比城市未来的更彻底的考虑可能使我们能够将对不安全和不稳定的预期调和作为一种城市模式的时间经验，在这种模式中，在不确定性中并通过不确定性来制定未来可能不是绝望的来源，而是希望的来源。
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Pub Date : 2021-11-01DOI: 10.1215/07990537-9583390
Ines P. Rivera Prosdocimi
Abstract:This essay extends and contributes to existing scholarship by uncovering instances of cooperation and collaboration that suggest alternative views of Hispaniola and complicate contemporary political and social realities in the Dominican Republic. It focuses on Manuel Rueda’s 1998 Las metamorfosis de Makandal, in which François Makandal is imagined as a protean god. The author argues that Rueda’s Makandal is best understood as the embodiment of the vanguard poetic movement, Pluralismo. The Maroon becomes a central figure in the island’s story, as well as a figure of aesthetic possibilities and boundless exploration, like a pluralema. Rueda imagines a cosmic Makandal who is unhindered by racial or gender constructs, by space or time. Ultimately, he is a figure whose metamorphosis rewrites Hispaniola’s story and challenges rigid binaries that limit the way we view the Dominican Republic as a nation, Dominican national identity, Dominican-Haitian relations, and—more broadly—the island of Hispaniola.
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Pub Date : 2021-11-01DOI: 10.1215/07990537-9583404
Éric Morales-Franceschini
Abstract:Whether emplotted as epic or as tragedy, the tales told about a nation’s revolutionary past do not tend to elicit laughter as much as awe and solemnity. This is the case with Cuba’s national epic, the story of its nineteenth-century wars for independence (1868–98)—the story of Cuba Libre. This essay analyzes how the animated cartoon shorts and film series Elpidio Valdés (1974–2003) comically inflects the story of Cuba Libre with ridiculing laughter and choteo (folk humor). The series puts forth both a hero more akin to a populist trickster than a Spartan and a revolutionary war more akin to carnivalesque drama than to the Homeric epic. In so doing, it subtly critiques the didactic and panegyric rhetoric that has shrouded the national (as well as the socialist) epic and, in its stead, offers a jocular and fallible revolutionary subject in a more participatory and less austere epic.
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Pub Date : 2021-11-01DOI: 10.1215/07990537-9583587
G. Beckett
Abstract:In this essay, anthropologist Greg Beckett responds to Rivke Jaffe’s, Nadège T. Clitandre’s, and Jhon Picard Byron’s critical engagements with his 2019 ethnography, There Is No More Haiti: Between Life and Death in Port-au-Prince. Beckett discusses issues of representation and form, how gender and age shape people’s experience of crisis, the discourse of Haitian exceptionalism, and the need to rethink crisis in Haiti from the standpoint of the conceptual categories and lived experiences of those who most directly feel the brunt of the destructive forces of predatory capitalism, political instability, and foreign intervention.
摘要:在本文中，人类学家格雷格·贝克特(Greg Beckett)对里夫克·贾菲(Rivke Jaffe)、纳德里奇·t·克里特安德烈(nadrie T. cliitandre)和约翰·皮卡德·拜伦(john Picard Byron)在2019年出版的民族志《不再有海地:太子港的生与死之间》做出了回应。贝克特讨论了代表性和形式的问题，性别和年龄如何塑造人们对危机的体验，海地例外论的话语，以及从概念范畴的角度重新思考海地危机的必要性，以及那些最直接感受到掠夺性资本主义、政治不稳定和外国干预的破坏性力量的冲击的人的生活经验。
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Pub Date : 2021-11-01DOI: 10.1215/07990537-9583516
Khalila Chaar-Pérez
Abstract:In sharing the original French version as well as Spanish and (first-ever) English translations of “Speech at the Masonic Lodge of Port-au-Prince” (ca. 1870–71), the author argues for the importance of the work of Afro–Puerto Rican activist Ramón Emeterio Betances in the history of Caribbean decolonization. This speech represents a unique inter-Caribbean intervention in the anti-imperial struggle of the time. With the Cuban Ten Years’ War against Spain in the background, Betances, in contrast to his fellow Cuban and Puerto Rican activists, advocates a vision of Caribbean sovereignty that is inclusive of Haiti. Although the limitations of revolutionary masculinity and regional sameness are evident in the text, Betances proposes a politics of unity beyond nationhood that interconnects with later decolonial projects of coliberation.
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Pub Date : 2021-11-01DOI: 10.1215/07990537-9583432
E. Brathwaite
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Pub Date : 2021-11-01DOI: 10.1215/07990537-9583376
Jennifer Baez
Abstract:When Christopher Columbus’s human remains were discovered in a lead box inside Santo Domingo’s Basilica Cathedral of Santa María la Menor in 1877, Santo Domingo City Hall proposed commissioning a statue and a mausoleum. The Columbus statue featured an india, or a Native woman, presumably Taino chieftain Anacaona, on the pedestal base, writing words of praise to the admiral, who stood atop the monument. This essay explores how Anacaona’s racialized and gendered body symbolically validated a public nationalist discourse, while arguably erasing the roles that Blacks and Indigenous peoples had played in shaping island life since 1492.
摘要:1877年，当圣多明各(Santo Domingo)的圣塔María la Menor大教堂(Basilica Cathedral of Santa)内的铅箱中发现克里斯托弗·哥伦布(Christopher Columbus)的遗骸时，圣多明各市政厅提议建造一座雕像和一座陵墓。哥伦布雕像的基座上有一个印度人，或者一个土著妇女，可能是泰诺酋长阿纳考纳，她给站在纪念碑顶上的海军上将写了赞美的话。这篇文章探讨了阿纳考纳的种族化和性别化的身体是如何象征性地证实了一种公共民族主义话语，同时可以说是抹杀了黑人和土著人民自1492年以来在塑造岛上生活中所扮演的角色。
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