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.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
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.
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.
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.
———. The Dialogic Imagination: Four Essays. Edited by Michael Holquist and translated by Caryl Emerson and Michael Holquist. Austin: Texas University Press, 1981. Print.
Balaisis, Nicholas. Cuban Film Media, Late Socialism, and the Public Sphere: Imperfect Aesthetics. New York: Palgrave, 2016. Print.
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.
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.
Baym, Geoffrey, and Jeffrey P. Jones. “News Parody in Global Perspective: Politics, Power, and Resistance.” Popular Communication 10.1–2 (2012): 2–13. Print.
Benítez-Rojo, Antonio. The Repeating Island: The Caribbean and the Postmodern Perspective. Translated by James Maraniss. Durham: Duke University Press, 1992. Print.
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.
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.
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.
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.
Cámara, Madeline, and David L. Frye. Cuban Women Writers: Imagining a Matria. New York: Palgrave Macmillan, 2008. Print.
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 Xiomar García. El postmodernismo: Esa fachada de vidrio. La Habana: Ciencias Sociales, 1994. Print.
Casamayor-Cisneros, Odette. Utopía distopía e ingravidez: reconfiguraciones cosmológicas en la narrativa postsoviética cubana. Madrid/Frankfurt: Iberoamericana/Vervuert, 2012. Print.
———. “Floating in the Void: Ethical Weightlessness in Post-Soviet Cuba Narrative.” Bulletin of Latin American Research 31 (2012): 38–57. Print.
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.
Coombe, Rosemary J. The Cultural Life of Intellectual Properties: Authorship, Appropriation, and the Law. Durham: Duke University Press, 1998. Print.
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.
De la Campa, Román. Cuba on My Mind: Journeys to a Severed Nation. London: Verso, 2002. Print.
De la Nuez, Iván. “El espejo cubano de la posmodernidad. Más acá del bien y del mal.” Plural 238 (1991): 21–32. Print.
De Mamporro, Ínclita. “Ella no escribía poscrítica: exorcizaba sus demonios.” Unión 9.26 (1997): 91–92. Print.
Dentith, Simon. Parody. London: Routledge, 2000. Print.
Dezeuze, Anna. Almost Nothing: Observations on Precarious Practices in Contemporary Art. Manchester: Manchester University Press, 2017. Print.
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.
Dopico Black, Georgina. “The Limits of Expression: Intellectual Freedom in Postrevolutionary Cuba.” Cuban Studies 19 (1989): 107–144. Print.
Duvall, John N. “Troping History: Modernist Residue in Fredric Jameson’s Pastiche and Linda Hutcheon’s Parody.” Style 33.3 (1999): 372–390. Print.
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.
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.
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.
Garrido Castellano, Carlos. “On Truth and Opacity: Symbolic Translation and Legibility in Contemporary Text-Based Cuban Art.” Revista Mitologías 12 (2015): 223–236. Print.
Genette, Gérard. Palimpsests: Literature in the Second Degree. Translated by Channa Newman and Claude Doubinsky. Nebraska University Press, 1997. Print.
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.
———. 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.
Greenblatt, Stephen. “Resonance and Wonder.” Bulletin of the American Academy of Arts and Sciences 43.4 (1990): 11–34. Print.
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.
———. “Cultural Policy, Participation and the Gatekeeper State in Cuba.” Cuba in Transition 24 (2014): 456–473. Print.
Hariman, Robert. “Political Parody and Public Culture.” Quarterly Journal of Speech 94.3 (2008). 247–272. Print.
Hernández Busto, Enrique. “Signos de la isla.” Plural (July 1992): 25–28. Print.
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.
Hernández-Reguant, Ariana. Cuba in the Special Period: Culture and Ideology in the 1990s. New York: Palgrave Macmillan, 2009. Print.
———. “Copyrighting Che: Art and Authorship Under Cuban Late Socialism.” Public Culture 16.1 (2004). 1–29. Print.
Hernández Salván, Marta. Mínima Cuba: Heretical Poetics and Power in Post-Soviet Cuba. Albany: SUNY Press, 2015. Print.
Howe, Linda S. Transgression and Conformity: Cuban Writers and Artists After the Revolution. Madison: University of Wisconsin Press, 2004. Print.
Huggan, Graham. The Postcolonial Exotic: Marketing the Margins. London and New York: Routledge, 2001. Print.
Hutcheon, Linda. A Theory of Parody: The Teachings of 20th-Century Art Forms. London: Routledge, 1985. Print.
Ichikawa, Emilio. “Disloque ideológico de la Postmodernidad (Una mirada desde La Habana).” Apuntes postmodernos 8.1–2 (2000): 47–58. Print.
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.
Jencks, Charles, and Nathan Silver. Adhocism: The Case for Improvisation. Boston: MIT Press, 2013. Print.
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.
Kumaraswami, Par. The Social Life of Literature in Revolutionary Cuba: Narrative, Identity, and Well-Being. New York: Palgrave Macmillan, 2016. Print.
Lange, Charlotte. Modos de parodia: Guillermo Cabrera Infante, Reinaldo Arenas, Jorge Ibargüengoitia y José Agustín, 22. 2008. Bern: Peter Lang. Print.
Lastovicka, John, and Lance Bettencourt. “Lifestyle of the Tight and Frugal: Theory and Measurement.” Journal of Consumer Research 26 (1999): 85–100. Print.
Lévi-Strauss, Claude. The Savage Mind. Chicago: University of Chicago Press, 1966. Print.
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.
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.
———. “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.
Lyotard, Jean F. The Postmodern Condition: A Report on Knowledge. Minneapolis: University of Minnesota Press, 1984. Print.
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.
Mañach, Jorge. Indagación del choteo. Barcelona: Linkgua, 2007. Print.
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.
Mateo Palmer, Margarita. Ella escribía poscrítica. Atom Press, 2010. Print.
———. “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.
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.
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.
Muguiro Altuna, Carlos (Ed.). Las formas de la estalgia (cubana). Special Issue Kamchatka: Revista de análisis cultural 5 (2015). Print.
Müller, Beate. Parody: Dimensions and Perspectives. Amsterdam: Rodopi, 1997. Print.
Nelson, Anne. Cuba’s Parallel Worlds: Digital Media Crosses the Divide. Washington, DC: Center for International Media Assistance, 2016. Print.
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.
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.
———. “Del regreso de un libro.” Temas 53 (2008): 189–195. Print.
Pertierra, Anna Cristina. “Private Pleasures: Watching Videos in Post-Soviet Cuba.” International Journal of Cultural Studies 12.2 (2009): 113–130. Print.
Price, Rachel. Planet/Cuba: Art, Culture, and the Future of the Island. London: Verso 2015. Print.
Prieto, Abel. El humor de Misha: La crisis del “socialismo real” en el chiste político. Buenos Aires: Colihue, 1997. Print.
Prizant, Yael. Cuba Inside Out: Revolution and Contemporary Theatre. Carbondale: Southern Illinois University Press, 2014. Print.
Puñales-Alpízar, Damaris. Escrito en cirílico: el ideal soviético en la cultura cubana posnoventa. Santiago: Cuarto Propio, 2013. Print.
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.
Randall, Margaret. Exporting Revolution: Cuba’s Global Solidarity. Durham: Duke University Press, 2017. Print.
Ravelo Cabrera, Paul. El debate de lo moderno-postmoderno. La Habana: Pinos Nuevos, 1996. Print.
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.
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.
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.
———. “Post-modern Pastiche.” British Journal of Aesthetics 31.1 (1991): 26–38. Print.
———. Parody/Meta-Fiction: An Analysis of Parody as a Critical Mirror to the Writing and Reception of Fiction. London: Croom Helm, 1979. Print.
Rowlandson, William. “Cabrera Infante and Parody: Tracking Hemingway in Tres Tristes Tigres.” The Modern Language Review 98.3 (2003): 620–633. Print.
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.
Sánchez Aguilera, Osmar. Otros pensamientos en La Habana. La Habana, Letras Cubanas, 1994. Print.
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.
Schur, Richard L. Parodies of Ownership: Hip-hop Aesthetics and Intellectual Property Law. Ann Arbor: University of Michigan Press, 2009. Print.
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.
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.
Sklodowska, Elzbieta. Invento luego resisto: El Período Especial como experiencia y metáfora (1990–2015). Santiago de Chile: Cuarto Propio, 2016. Print.
———. La parodia en la nueva novela hispanoamericana (1960–1985). Amsterdam and Philadelphia: John Benjamins Publishing, 1991. Print.
Smith, Marlin H. “Note: The Limits of Copyright: Property, Parody, and the Public Domain.” Duke Law Journal 42 (1993): 1233–1272. Print.
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.
Tanuma, Sachiko. “Post-Utopian Irony: Cuban Narratives During the ‘Special Period’ Decade.” Political and Legal Anthropology Review 30.1 (2007): 46–66. Print.
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.
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.
Weiss, Rachel. To and From Utopia in the New Cuban Art. Minneapolis: University of Minnesota Press, 2011. Print.
Yoss. “Lo que dejaron los rusos.” Temas 37–38 (2004): 138–144. Print.
Zeitlin, Marilyn A. Contemporary Art from Cuba: Irony and Survival on the Utopian Island. Arizona State University Press, 1998. Print.
Zurbano, Roberto. Los estados nacientes: Literatura cubana y postmodernidad. La Habana: Editorial Pinos Nuevos, 1995. Print.
Author information
Authors and Affiliations
Corresponding author
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2018 The Author(s)
About this chapter
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
DOI: https://doi.org/10.1007/978-3-319-90430-6_8
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-90429-0
Online ISBN: 978-3-319-90430-6
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)