Show Summary Details
- Title Pages
- Dedication
- [UNTITLED]
- Illustrations
- Acknowledgments
- Introduction: Comparsas, Congas, and Chambelonas
-
1 Felipe Pichardo Moya's “La comparsa” -
2 Carnival and Ñáñiguismo -
3 Carnival and Afro-Cuban Ritual in Nicolás Guillén's “Sensemayá: canto para matar una culebra” -
4 “Comparsa habanera,” Emilio Ballagas's Emblematic Contribution to Afrocubanismo -
5 Drumming Up the Black Vote -
6 “La conga prohibida” -
7 Representations of Afro-Cuban Carnival in Three Poems by Marcelino Arozarena -
8 An Outsider on the Inside - Epilogue
-
Appendix: A Brief Anthology of Poems Inspired by Afro-Cuban Carnival - Works Cited
- Index
- [UNTITLED]
(p.xiii) Acknowledgments
(p.xiii) Acknowledgments
- Source:
- Carnival and National Identity in the Poetry of Afrocubanismo
- Publisher:
- University Press of Florida
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- Title Pages
- Dedication
- [UNTITLED]
- Illustrations
- Acknowledgments
- Introduction: Comparsas, Congas, and Chambelonas
-
1 Felipe Pichardo Moya's “La comparsa” -
2 Carnival and Ñáñiguismo -
3 Carnival and Afro-Cuban Ritual in Nicolás Guillén's “Sensemayá: canto para matar una culebra” -
4 “Comparsa habanera,” Emilio Ballagas's Emblematic Contribution to Afrocubanismo -
5 Drumming Up the Black Vote -
6 “La conga prohibida” -
7 Representations of Afro-Cuban Carnival in Three Poems by Marcelino Arozarena -
8 An Outsider on the Inside - Epilogue
-
Appendix: A Brief Anthology of Poems Inspired by Afro-Cuban Carnival - Works Cited
- Index
- [UNTITLED]