English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Plus monthly

Global: Zendy Tools annual

Global: Zendy Tools monthly

Global: Zendy Free Plan

This article considers the first collection of black poems Motivos de son (1930), by the Cuban writer Nicolas Guillen, as a type of ethnographic literature that overcomes some of the formal and methodological problems in other representations of the subaltern in Latin American literature. The analysis includes comparisons between Motivos de son and the traditional approach in Latin American testimonio, mainly with reference to Cimarron, by the Cuban writer Miguel Barnet, and Me llamo Rigoberta Menchu y asi me nacio la conciencia, by the Venezuelan author Elizabeth Burgos. It is shown that Motivos de son is an innovative work for its time and comes close in some aspects to the approaches to representing the other put forward by theorists from the so-called post-modern ethnography, such as James Clifford. The analysis also mobilizes Mikhail Bakhtin’s concept of literary polyphony in order to account for the polyphonic nature of the collection and its uniqueness and importance in Guillen’s poetic oeuvre.

américa sin nombre/américa sin nombre

Motivos de son de Nicolás Guillén desde perspectivas teóricas sobre la representación del Otro en la novela testimonio latinoamericana y en la etnografía posmoderna