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• W872699814 abstract "Miguel Barnet's Biografia de un (1966) can be seen as foundational book of testimonio genre. While working at Instituto de Etnologia y Folklore (Havana), Barnet conducted a series of interviews with centenary Esteban Montejo, which resulted in a first person account of initial forty years of black man's life. Taking place in nineteenth century, narrative recounts Montejo's time as a slave, a maroon (cimarron), a day laborer, and as a soldier in independence army. Barnet divides book into three parts: Slavery, Abolition and War of Independence. Barnet's book is often used as a paradigmatic example of contradictions and problems of testimonio, which have already been extensively discussed in multiple articles. When we consider titles (in Spanish and in certain translations) and introductions, we stumble upon a couple of contradictions. The title of 1966 first edition in Spanish is Biografia de un cimarron. In Siruela edition of 1998, title has been changed to Cimarron: Historia de un esclavo. The introductions to both editions differ substantially: while first stresses gestation of work and its revolutionary value, using an academic we, introduction of Siruela's edition is written in first person singular and stresses personal aspect of text. As such, emphasis has shifted from ethnographic value of work toward importance of its literary character. The titles of English translations seem to concentrate on its classification as a literary genre, since they refer to Autobiography and Biography (of a Runaway Slave). Furthermore, English introduction is not a translation of first Spanish introduction. Its content approaches that of Siruela's introduction without being entirely identical. In French, title Esclave a Cuba: biographie d'un cimarron du colonialisme a l'independance points more toward an ethnographie account. The introduction of French version is a translation of first Spanish one.Besides these differences highlighting certain tensions with regard to genre definition and orientation of testimonio, majority of critical studies on Barnet's book and testimonio in general reveal a series of dilemmas of (meta) literary, anthropologic, hermeneutical and ideological nature. As such, they bring to light fundamental questions in (Latin American) literature and/or anthropology, discussing tension between reality and fiction, history and fiction, transcriber and narrator-informer, orality and writing, documentary or literary features. The literary critic Antonio Vera Leon gives an accurate summary of these core problems;In testimonial process life of the other is not simply real referent alluded to by text. In transcription life is reinvented, thought of as a cultural figure in which transcriber reads resolution of social and historical fractures; a view that conflicts with that of particular story offered by narrator-informant. This is how a testimonial text can be read as a place of unresolved tensions amongst stories that conform it, and how place where story is negotiated and where life of the other is documented, and ways of documenting it, are also ways of imagining it and appropriating it for written work. (195; my translation)With exception of some critics (Sklodowska, Tardieu), very few analyses have examined content or intrinsic characteristics of text. Even less attention has been devoted to specific themes that occupy large meaningful portions of work, such as festivities, religious rituals or appearance and importance of food. According to William Luis (481), initial interviews focused primarily on religion, even though, in his first introduction, Barnet posits that the religious issue did not surface easily (Biografia 8; my translation). …" @default.
• W872699814 created "2016-06-24" @default.
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• W872699814 date "2011-10-01" @default.
• W872699814 modified "2023-09-24" @default.
• W872699814 title "Miguel Barnet's Cimarrón, the Real Thing? A Gastrocritical Approach" @default.
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