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Please use this identifier to cite or link to this item: https://hdl.handle.net/2445/196341
Brujería, dominación y libertad en el Caribe neogranadino y la Cuba de entre siglos a partir de Los cortejos del Diablo, de Germán Espinosa, y Biografía de un cimarrón, de Miguel Barnet
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[spa] La magia, como un elemento disruptivo, que ensancha el marco perceptivo, epistémico o cognoscitivo del hombre, ha estado presente también en sus manifestaciones artísticas. Por ejemplo, durante siglos, la literatura se ha fijado en contextos y situaciones en donde la magia, lo sobrenatural y, según la perspectiva, lo brujeril o prohibido, son elementos fundamentales del engranado cultural de los escenarios creados y recreados. Así las cosas, en el Caribe latinoamericano, dos autores, Germán Espinosa y Miguel Barnet, desde Los cortejos del diablo y Biografía de un cimarrón, respectivamente, presentan sus propuestas narrativas haciendo uso de diferentes estilos para mostrar un acercamiento al tema de las prácticas mágicas, específicamente de la brujería, en dos escenarios fundamentales en la historia del continente y en las dinámicas humanas: la Cartagena neogranadina y la Cuba de la segunda mitad del siglo XIX y de la primera del XX. En las obras, el tema de la brujería y los elementos que se relacionan con ella son transversales, tanto es así que demarcan el devenir de los personajes, delimitan los roles de poder, sostienen esquemas ideológicos y rompen cadenas coloniales. Es decir, la brujería no es un tema más dentro del conglomerado social que tejen las obras, sino que, representa opciones absolutas para quienes se emparentan con esta.
[eng] Magic has been present in the history of mankind as a disruptive element. It broadens the perceptive, epistemic or cognitive frame of man. It has been present upon its artistic manifestation. For centuries; literature has fixed on contexts and situations where magic, supernatural things, and depending on the perspective; witchcraft and the forbidden. All of these are essential cogs in the cultural machinery of the created and recreated sceneries. Thus, in the Latin-American Caribbean, two authors, German Espinosa and Miguel Barnet, with Los cortejos del diablo and Biografía de un cimarrón, respectively, showcase their narrative proposals using different styles in order to display a close-up of the topic of magical practices, specifically witchcraft. They set their stories in two fundamental sceneries, the continent’s history and human dynamics: the New Grenadan Cartagena and Cuba during the second half of the XIX Century and the first half of the XX. Within their works, witchcraft and all the elements related to it are presented transversally. Such is its level that it foreshadows the outcome of the characters, delineates the power roles, sustains ideological outlines, and breaks colonial chains. Therefore, witchcraft is not another topic within the social conglomerate knitted around the works, but it represents absolute options for those who relate to it.
[eng] Magic has been present in the history of mankind as a disruptive element. It broadens the perceptive, epistemic or cognitive frame of man. It has been present upon its artistic manifestation. For centuries; literature has fixed on contexts and situations where magic, supernatural things, and depending on the perspective; witchcraft and the forbidden. All of these are essential cogs in the cultural machinery of the created and recreated sceneries. Thus, in the Latin-American Caribbean, two authors, German Espinosa and Miguel Barnet, with Los cortejos del diablo and Biografía de un cimarrón, respectively, showcase their narrative proposals using different styles in order to display a close-up of the topic of magical practices, specifically witchcraft. They set their stories in two fundamental sceneries, the continent’s history and human dynamics: the New Grenadan Cartagena and Cuba during the second half of the XIX Century and the first half of the XX. Within their works, witchcraft and all the elements related to it are presented transversally. Such is its level that it foreshadows the outcome of the characters, delineates the power roles, sustains ideological outlines, and breaks colonial chains. Therefore, witchcraft is not another topic within the social conglomerate knitted around the works, but it represents absolute options for those who relate to it.
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SALAZAR CARREÑO, Ronald. Brujería, dominación y libertad en el Caribe neogranadino y la Cuba de entre siglos a partir de Los cortejos del Diablo, de Germán Espinosa, y Biografía de un cimarrón, de Miguel Barnet. [consulted: 18 of August of 2026]. Available at: https://hdl.handle.net/2445/196341