Continuity and Change: The Revolution in the New Millennium

Author(s):  
Marina Gold

AbstractThis paper will consider two levels within the study of the Cuban revolution: the meta-narratives of change and continuity that determine the academic literature on Cuba and inform political positioning in relation to the revolution, and the methodological challenges in understanding how people in Cuba experience change and continuity in their daily life. Transformation and continuity have been the two dominant analytical tropes used to interpret Cuban social and political life since the overthrow of the Batista regime in 1959. For Cuban scholars and politicians, a focus on change in reference to what was Cuba’s reality before the Revolution is a continuous concern and a powerful discursive mechanism in redefining and reinvigorating the revolutionary project. Simultaneously, in periods of crisis throughout the 62 years since the revolution, the capacity to demonstrate continuity with revolutionary principles while developing new mechanisms to redefine the political project has ensured the revolution’s subsistence. Conversely, continuity and change are also harnessed by critics of Cuba’s current regime to articulate the ever-imminent collapse of socialism in the region. Change has been their main focus of concern during critical historic moments that affected the trajectory of the Cuban revolutionary project. From this perspective, change embodies a promise of progress and implies a movement toward liberal democracy and a pro-US foreign policy, while continuity denotes failure, stagnation, and repression. At the core of the analysis of change in Cuba lies a concern with the nature of the state. Ethnographic data reveals the partialities and contradictions people experience in their daily life and across time. Two elements of ethnographic experience are particularly informative: life histories that span across the revolutionary period, and generational conflicts surrounding political issues. I will focus on the life history of key informants and the generational conflicts that surround their experience, a well as their material contexts (their neighborhood, their house, their job), all of which help to elucidate the complexities of studying change within a permanent revolution.


2009 ◽  
Vol 9 (4) ◽  
pp. 429-455 ◽  
Author(s):  
Anthony J. Nownes ◽  
Krissy Walker DeAlejandro

1999 ◽  
Vol 5 (2) ◽  
pp. 115-125 ◽  
Author(s):  
Tanya M. Walker

There have been various factors and events that have contributed to the development of the rehabilitation field in Australia. This paper particularly examines the social, economical and political influences, which have made significant impact on the field. Having established the historical basis of rehabilitation, this paper examines the current changes that are happening in the field and make some suggestions for future developments in both the field and in the profession of rehabilitation counselling.


2020 ◽  
Vol 10 (2) ◽  
pp. 125-132
Author(s):  
Laura Bilic

AbstractDrama writings and theatre performances have always been, in my opinion, the mirror in which our society reflects itself. If in the decades before the 90s our society witnessed a total or quasi-total lack of freedom and a lack of voices to be heard in theatres, in the 90s we have all been witnesses to an absolute freedom that has been constantly managed chaotically. Immediately after The Revolution, the long lost freedom has soon become confusing and has turned into a heavy tormenting issue. The new drama writing and theatre performance have needed more than 10 years to change into something new. The independent theatres and the new drama have arisen as a reaction to the crisis that our theatres underwent in the 90s. The new artist of the new millennium is often self-taught, he has to improve his organizational abilities, to think big when it comes to new projects, to see the bigger picture and not to remain stranded into his own piece of art.


2001 ◽  
Vol 5 (2) ◽  
pp. A16
Author(s):  
N. Fan ◽  
S.K. Leung ◽  
C.K. Wong ◽  
S. Tse ◽  
Y.S. Sze ◽  
...  
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