La Vida: A Puerto Rican Family in the Culture of Poverty-San Juan and New York.Oscar Lewis

1967 ◽  
Vol 73 (3) ◽  
pp. 358-359 ◽  
Author(s):  
Gary Schwartz
1996 ◽  
Vol 25 (1) ◽  
pp. 61-111 ◽  
Author(s):  
Richard Cameron

ABSTRACTThe Functional Compensation Hypothesis (Hochberg 1986a, b) interprets frequent expression of pronominal subjects as compensation for frequent deletion of agreement marking on finite verbs in Puerto Rican Spanish (PRS). Specifically, this applies to 2sg.túwhere variably deleted word-final -smarks agreement. If the hypothesis is correct, finite verbs with agreement deleted in speech should co-occur more frequently with pronominal subjects than finite verbs with agreement intact. Likewise, social dialects which frequently delete agreement should show higher rates of pronominal expression than social dialects which less frequently delete agreement. These auxiliary hypotheses are tested across a socially stratified sample of 62 speakers from San Juan. Functional compensation does show stylistic and social patterning in the category of Specifictú, not in that of Non-specifictú. However, Non-specifictúis the key to frequency differences between -s-deleting PRS and -s-conserving Madrid; hence the Functional Compensation Hypothesis should be discarded. (Functionalism, compensation, null subject, analogy, Spanish, Puerto Rico)


2021 ◽  
Vol 25 (2) ◽  
pp. 36-49
Author(s):  
César Colón-Montijo

Margarita “Doña Margot” Rivera García (1909–2000) was a black working-class Puerto Rican woman whose labor as a composer, healer, midwife, and spiritual medium made her an esteemed community leader among her neighbors from Santurce, a predominantly black enclave in San Juan. Through her bomba and plena compositions, she helped forge modern black Puerto Rican music amid the rapid industrialization of Puerto Rico after the 1950s. However, her story has been overshadowed by the aura of her son, the legendary Afro–Puerto Rican singer Ismael “Maelo” Rivera (1931–87). Although Doña Margot is praised as a maternal figure who gave Maelo the gift of rhythm, her story as a woman and artist has remained widely unheard. This essay examines her parallel presence and erasure in salsa historiography, taking her testimonios about her musical gift as offering a counternarrative that defies masculinist music histories and serves as a site of memory that endures erasure.


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