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mainly focuses on Cuban styles of music and dance, influential Cuban musicians and Cuban musical identity. Carpentier devotes a great deal of his study to exploring the influence
African descendants had on Cuban music. He has an entire chapter titled, "Los Negros" ("The Blacks") that explores the many substantial ways African music influenced all of Latin American music. According to Carpentier, the African influence on Cuban music in particular was deliberately concealed by the colonist prejudice of 18th- and 19th-century Cuba. At the time of the book's publication many white Cubans were reluctant to even acknowledge the blending of the cultures much less investigate it. Carpentier, though, was eager to do so and by making bold statements about Cuba's past and integral relationships with a wide range of cultures he succeeded in giving back to Cuba an in-depth academic perspective of its own cultural identity through its music.
1305:("a spirit, not an historical style"). Wakefield insists that this attitude towards the Baroque stemmed from Carpentier's background in both Europe and Latin America which allowed him to take on a superior front in the face of post-colonialism and ultimately have the literary upper-hand where he could use European style to tell the Latin American story. Carpentier developed his vision of the baroque in his early works before he described himself as a baroque writer. He experimented with the technique in several developmental stages: "first as a cultural style of aesthetic fascination, later as a literary device to create period ambiance, and finally as a weapon of postcolonial pride, defiance and one-upmanship".
1128:) is a set of surrealistic short stories, in a variety of styles, which evidences Carpentier's ability to work with the fantastic and the surreal. The most important is the first one, "El Camino de Santiago" (The Way of Santiago), which narrates the adventures of a commoner, a Spaniard in the Age of Discovery, who is today a soldier, tomorrow pilgrim, then a sailor, a colonizer, prisoner, and so on; he pursues every dream and suffers every disappointment. The second tale is called "Viaje a la semilla" (Journey Back to the Source). This narrative is striking for the function of the time inversion that the narrator operates to tell the life of the main character, Don Marcial (Marqués de Capellanías).
1226:, the novel is highly compressed, richly atmospheric, philosophical, stylistically brilliant, and non-linear; plot is treated almost as an inconsequential side-effect. Though short (121 pages in its English translation), the novel exhibits a certain labyrinthine quality as its fragmented narrative cycles and circles in upon itself. Ostensibly a man is being chased by somewhat shadowy, probably sinister, perhaps governmental, forces. The action starts on a rainy night at a symphonic concert and music plays a part in the clues necessary to piece together what is happening.
1263:, both of which eventually fail. The second part of the novel, which is considerably longer than the other two, is a confession by Columbus, to be given to a Franciscan confessor. Raymond L. Williams sees the novel as "a fictional narrative about the life of Christopher Columbus and his fate as a historical figure. This novel is laden with allusions to Western literary tradition, from classical antiquity to modern Caribbean". James J. Pancrazio writes that "the confession is ironic because it never occurs; when the priest arrives to administer the
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1070:; but also the connections between corporeal and spiritual self. The story is seen through the eyes of the protagonist Ti Noël, a black slave. Being a white, European/Cuban writer who published on the subject of the Haitian Revolution, it has been implied that Carpentier chose to write from Ti Noël's point of view so that he would avoid being criticized for any racial stereotyping. Carpentier incorporates symbolic architecture throughout the novel; representing the dictatorship of colonial rule with structures such as the
837:. The ample room left for musical improvisation and the element of group dance were easily adapted into African musical tradition where improvisation and dance play integral roles. Hence, a hybrid musical form unique to Cuba was created. Carpentier argued that the improvisation inherent in African influenced music allowed for varied interpretations that catalyzed regional differences and therefore regional identity, and concluded that this was why Cuba had such a varied musical identity.
708:. However, Carpentier's theory and its development in his work are more limited in their scope than is the magical realism of, for example, Gabriel García Márquez. Whereas García Márquez's works include events that the reader never mistakes for reality (rainfall of flowers, old men with wings, etc.), Carpentier, for the most part, simply writes about extreme aspects of the history and geography of Latin America, aspects that are almost unbelievable, but that are in fact true.
720:, and his grandmother played the organ. Carpentier studied music theory at the Lycée Janson-de-Sailly when he lived in Paris for the first time. Carpentier's own compositions made him an important part of the contemporary Cuban musical landscape, but he also studied the origins and political nuances of Cuban music. His devotion to the adaptations of European artistic styles into Latin American music styles can also be seen in his admiration for Afro-Cuban musical themes.
759:. In regards to their own music, Carpentier and Roldán were far more interested in integrating African rhythms and melodies into their works and abandoned imitation of European musical styles. "¡Abajo la lira, arriba el bongó!" (Down with the lyre, up with the bongo!) was the popular slogan for their style of music. Carpentier and Roldán collaborated on numerous works, including the 1925 orchestral piece
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narrative (drums, footsteps, etc.) are a few examples of music's influence over
Carpentier's work. In an interview the author himself was quoted as saying "Music is present in all of my work." For Carpentier, analysis of Cuban identity was grounded in the analysis of Cuban music. As such, for Carpentier to better understand Cuban identity through his work, he eagerly integrated music into his writing.
195:, Cuba, and despite his European birthplace, he strongly identified as Cuban throughout his life. He traveled extensively, particularly in France, and to South America and Mexico, where he met prominent members of the Latin American cultural and artistic community. Carpentier took a keen interest in Latin American politics and often aligned himself with revolutionary movements, such as
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1316:, regarding Carpentier's use of more historically eloquent vocabulary in the latter, instead of the authentic language of the ethnically inspired characters. Here he escapes the stereotype of "nativism" by incorporating European standards, but continues to achieve a sense of normalcy without the expected use of the colloquialisms which the protagonist Ti Noel would undoubtedly use.
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368:"balance against the insularity of his homeland". Upon arriving in Paris he immediately began working on poems and editorials in Parisian and Cuban magazines. Contributions to the Parisian Journal such as the short story "Cahiers du Sud" (1933), in French, were an effort to acquire European readers as a way to improve his recognition. He also contributed to the magazines
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2397:), "A Conversation with Jean-Paul Sartre", and "About the Real Marvelous American Realities, Part 3", trans. in Carner, Grant Calvin Sr, "Confluence, Bakhtin, and Alejo Carpentier's Contextos in Selena and Anna Karenina". Doctoral Dissertation 1995 (Comparative Literature), University of California at Riverside.
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Latin
American literature, cited by authors such as Gabriel García Márquez, Mario Vargas Llosa, José Donoso and others as a major influence in the movement known in North America as Latin American Magical Realism, though this identification is somewhat misleading (see section above on Carpentier's theory of
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Carpentier's interest in music had great influence on his prose writing. Navarro suggests that readers of
Carpentier's works are more listeners than they are readers. Lyrical use of colloquial dialects, literary rhythms such as alliteration and assonance and the theme of music within the world of the
461:. He continued to earn his living by writing on contemporary culture, both in French and Spanish. He also began working for a French radio station as a sound-technician and producer. From 1932 until 1939 Carpentier worked on several projects produced by Foniric Studios. He directed the production of
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who lent him his passport and papers. Carpentier decided on a voluntary exile to France and arrived in Paris in 1928; he remained there until 1939, when he returned to Havana. When he left Cuba, he was fortunate enough to avoid the political conflicts which had occurred during the 1930s. During this
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and published by Farrar, Straus and Giroux in 1989, after over three decades of suppression in the United States for
Carpentier's affiliation with Fidel Castro's Cuba (Carpentier had been Cuba's ambassador to France during this time). The novel is one of the most influential novels in contemporary
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Surrealism helped
Carpentier to see contexts and aspects, especially those of American life, which he did not see before and after working among the leading artistic figures for some time, Carpentier did not feel overly enthusiastic about his work within surrealism and had felt that his "surrealist
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The first issue appeared on March 15, 1927; it lasted until
September 15, 1930, and became the "voice of the vanguard" and the primary voice of expression of the Cuban movement. Because of his involvement in such projects, Carpentier was often suspected of having subversive and ultramodern cultural
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When the
Machado regime came to an end in 1933, Carpentier decided to make plans to return to his native land to visit, and in 1936 he made the trip back to Cuba. The time he had spent in Paris for over eleven years had enriched and "oriented his expressive abilities". Carpentier himself indicated
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to Paris. As an adolescent, he read Balzac, Flaubert, and Zola. In 1921, Carpentier attended the School of
Architecture of the University of Havana. When he was 18, his parents' marriage broke up and his father left. The following year, Carpentier left his studies and tried to find work to support
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and natives—mirrors the blending of Cuba's two main musical styles, the
Christian European music and the elemental percussion and rhythm-based music of the transported Africans and aboriginal peoples of the island. The book includes a general history of music in colonized Latin America but
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During this time abroad, his disconnection from Cuba and the interaction with different groups of intellectuals and artists in Paris helped with his "critical vision". Carpentier felt that it was important for him to remain outside the influences of movements because he believed in maintaining a
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theory to Latin American literature. Always eager to explore more than Cuban identity, Carpentier used his traveling experiences throughout Europe and Latin America to expand his understanding of Latin American identity. Carpentier wove elements of Latin American political history, music, social
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and incorporated the cultural aspects into the majority of his writings. Although Carpentier wrote in a myriad of genres, such as journalism, radio drama, playwrighting, academic essays, opera and libretto, he is best known for his novels. He was among the first practitioners of
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or a reverence for presiding folkloric tradition. Carpentier, inspired by French Surrealists, learned to view his Cuban home in this new light. He left France with a bursting sense of Cuban and Latin American pride and the artistic goal to capture what it meant to be both.
684:. This is the notion that the history and the geography of Latin America are both so extreme as to appear fictional or even magical to outsiders. Thus, Latin America is a region where the line between magic and reality is blurred. It was in the prologue to
1222:, makes a point of referring to actual events that are so fantastic they seem magical, while the Magic Realists used Surrealist techniques and invent completely imaginary events with only the most tenuous connection to history or real events. As for
327:, a daily journal from Havana. His journalistic work, which was considered leftist, helped establish the first Cuban Communist Party. During 1923 and 1924 he continued to work as a columnist and also edited musical and theatre reviews for
388:. It was also during this time that, with the help of Robert Desnos, Carpentier became part of the surrealist movement which became a positive influence in his work. While in France, Carpentier also founded a literary magazine called
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of the 18th century when the African slaves fought the French colonists for their freedom and basic human rights. The novel combines not only historical references of the event with aspects of African faith and rituals, most notably
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With this intrinsic appreciation of music and a fascination with Cuban identity, Carpentier began investigating the origins of Cuban music in a more academic sense. In 1946, Carpentier published the ethnomusicological study
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Throughout his time in France Carpentier was occupied with not only literary works, but also other projects that kept him engaged within the arts. He collaborated with French composer Marins François Gaillard on the musical
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is not music...On the other hand, in mestizo and black music...the rich material has an incredible wealth to it...to make it the work of national expression." Because of racial tensions between white Cubans and black and
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dictatorship and had signed a democratic and anti-imperialist manifesto against Machado's regime and, as a result, spent forty days in jail. During this brief period in jail he started working on his first novel,
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style that Latin American artists adopted from the European model and assimilated to the Latin American artistic vision. With a first-hand experience of the French Surrealist movement, Carpentier also adapted the
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is perhaps Carpentier's strongest novel, and easily one of the better novels written in the 20th century, though it is almost unknown in the English-speaking world in spite of MacAdam's superb 1989 translation.
1323:(counter conquest) allows the New World authors to experiment with new identities and the manners of expressing them. As such, Carpentier observed in his 1975 essay that "American Baroque develop along with
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starting from the sixteenth century with the arrival of European explorers, until the present day of publication, the mid-twentieth century. The blending of different cultures—black, white, mulattoes,
767:) which was regarded as scandalous for its betrayal of what was seen as the proper European-style symphony in favor of Afro-Cuban inspired music. Other well-known collaborations between the two included
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Carner, Grant Calvin Sr (1995), "Confluence, Bakhtin, and Alejo Carpentier's Contextos in Selena and Anna Karenina". Doctoral Dissertation (Comparative Literature), University of California at Riverside.
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eras, a style characterized by dynamic movement, overt emotion and self-confident rhetoric". Carpentier first became fascinated with this style in architecture and sculpture; however, he later describes
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which explores how European music, transplanted African music and the indigenous music of the island all blended together to create Cuban music. Carpentier took particular interest in Afro-Cuban themes.
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time certain positions were unacceptable to the authorities and Cuban intellectuals were forced to define their political position and for these and other political reasons he decided to leave.
1267:, Columbus, after painstakingly contemplating his life, decides that he has nothing to confess. In this regard, the mediation of guilt, not repentance, is what structures the confession."
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In 1921, while studying in Havana, Carpentier became a cultural journalist, writing mostly about avant-garde developments in the arts, particularly music." He contributed columns to
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Wakefield notes that Carpentier's diverse travels were motivated by his need to incorporate the sights he experienced into familiar descriptions within his novels. Carpentier's
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Kaup claims that Carpentier utilizes what is known as the "New World Baroque", since Latin America didn't come into contact with the Enlightenment or "European modernity". This
1379:. Striving to portray unlikely beauty, termed, "the third beauty", Surrealist theory embraced unique perspectives of the world. Within the Surrealist theory was the concept of
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1039:), an ethno-musicological study of Cuba starting from the 16th century, the arrival of European explorers, till the present day of publication, the mid-20th century.
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As a young child Carpentier was exposed to a great deal of music. Carpentier himself played the piano, as did his mother; his father played cello, studying under
292:, Switzerland, to Jorge Julián Carpentier, a French architect, and Lina Valmont, a Russian language teacher. For a long time it was believed that he was born in
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and can be read as a "meditation on the dangers inherent in all revolutions as they begin to confront the temptations of dictatorship." After reading the book,
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injustice and art into the tapestries of his writings, all of which exerted a decisive influence on the works of younger Latin American and Cuban writers like
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that he was tiring of Paris, and "...in 1939 without any other reason than the nostalgia of Cuba, I vacated my apartment and started the return to La Habana".
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is a historic novel (also considered the first novel in the literary style of La nueva crónica de Indias) published in 1979. It follows two attempts by popes
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style dates back to the cultural period of the 17th and early 18th centuries. It is most often defined as "the dominant style of art in Europe between the
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movement. Taken with Surrealist theory, Carpentier absorbed much of it from his contemporaries, mainly his friend and colleague, the Parisian journalist
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Cubans, such preferences were not well received by the Cuban elite of the mid century. Carpentier devoted the majority of his musicology research to the
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of the New World Baroque is often seen as the dominant style of European literature emerging as a subordinate literary construction in Latin America.
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Duno-Gottberg, Luis (2003), "Solventando las diferencias: La ideología del mestizaje en Cuba", Iberoamericana – Frankfurt am Main, Vervuert, Madrid.
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Particularly fascinated with the overwhelming influence of African music in Cuban music, Carpentier introduced Afro-Cuban influenced music called
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696:: "But what is the history of Latin America but a chronicle of magical realism?" The novel itself develops the outlandish (but true) history of
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700:, first king of Haiti, as an example of how the real history of Latin America is so strange as to appear fictional. Some critics interpret the
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Early in his career Carpentier collaborated with other young musicians eager to explore Cuban musical roots. One such collaborator was
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2521:"Caribbean Identities Reconstructed and Redefined in Women's Narrative Texts: Marie Chauvet, Myriam Warner-Vieyra, and Ana Lydia Vega"
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2642:(Summer 2004), "The Haitian Revolution in Interstices and Shadows: A re-reading of Alejo Carpentier's The Kingdom of This World"",
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As Carpentier became acquainted with those among the arts community he had several encounters to meet other famous authors such as
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to explore the fantastic quality of Latin American history and culture. The most famous example of Afro-Cuban influence and use of
199:'s Communist Revolution in Cuba in the mid-20th century. Carpentier was jailed and exiled for his leftist political philosophies.
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337:. In 1927, with the help of Jorge Mañach, Juan Marinello, Francisco Ichaso, and Martí Casanovas, he became a founding member of
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384:, a brochure against the Machado government. He documented the latest news about this group and their activities in his book
408:(1933); it was experimental for its time as it contained elements of fantasy and folklore characterized as magical reality.
727:, a French musician of Cuban background. They helped to organize the Cuban premiere of popular orchestral music of the era
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In 1966, Carpentier settled in Paris where he served as Cuban ambassador to France. In 1975 he was the recipient of the
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attempts ha been in vain" describing his frustration, as he felt he had "nothing to add to this movement in France".
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drew on his visit to Venezuela in 1949. Similarly, his travels to Guadeloupe and the Gulf of Santa Fe inspired
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During his visit to France early in his life, Carpentier met and collaborated with many figures of the French
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was originally published in Spanish in 1956. It was translated into American English by Alfred MacAdam as
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With a developed knowledge of music, Carpentier explored musicology, publishing an in-depth study of the
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Alchemy of a hero : a Comparative Study of the Works of Alejo Carpentier and Mario Vargas Llosa
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and integrated musical themes and literary techniques throughout his works. He explored elements of
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Myth and History in Caribbean Fiction : Alejo Carpentier, Wilson Harris, and Edouard Glissant
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61.3 (2007): 183–197. Reprinted as: "Ese idioma: a(s) língua(s) enredada(s) de Alejo Carpentier".
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ceremony that was to further deepen his interest in Afro-Cubanism. In 1949, he finished his novel
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22. Pittsburgh: University of Pittsburgh Press, (Ed. Jorge I. Dominguez), 1992, pp. 219–229.
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Though bilingual from an early age, Carpentier always spoke Spanish with a marked French accent.
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in 1959. He worked for the State Publishing House while he completed the baroque-style book,
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Postmodern Tales of Slavery in the Americas : From Alejo Carpentier to Charles Johnson
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in 1931, for which he became editor-in-chief. Most of the authors who worked with him in
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Carpentier's Proustian Fiction : The Influence of Marcel Proust on Alejo Carpentier
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culture ...: the awareness of being Other, of being new, of being symbiotic, of being a
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Un camino de medio siglo : Homenaje nacional al 70 aniversario de Alejo Carpentier
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Realismo mágico y lo real maravilloso en El reino de este mundo y El siglo de las luces
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Un camino de medio siglo : Alejo Carpentier y la narrativa de lo real maravilloso
511:'s cyclical interpretation of history, provided the inspiration for his second novel,
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La narrativa de Alejo Carpentier : el concepto del tiempo como tema fundamental
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Alejo Carpentier Music in Cuba: Edited and with and Introduction by Timothy Brennan
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The Post-Colonial State and the 'Hybrid' Intellect: Carpentier, Ngugi, and Spivak
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influences present in Cuba. For example, Carpentier paid particular attention to
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570:. This novel has a prologue that "outlines Carpentier's faith in the destiny of
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In 1945, Carpentier moved to Caracas as an exile. From 1945 to 1959 he lived in
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La narrativa de Alejo Carpentier: el concepto del tiempo como tema fundamental
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This style strongly presents itself when comparing works such as the early
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The Cuban Condition: Translation and Identity in Modern Cuban Literature
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and collaborated with Desnos on arranging readings of Edgar Allan Poe's
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Carpentier was struggling with cancer as he completed his final novel,
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Carpentier returned to Cuba after the triumph of the revolution led by
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The Logic of Fetishism : Alejo Carpentier and the Cuban Tradition
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Giffuni, Cathe (1993), "An English Bibliography of Alejo Carpentier",
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his mother. He turned to journalism, working for the Cuban newspapers
191:, Switzerland, of French and Russian parentage, Carpentier grew up in
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1177:. Statements consisting only of original research should be removed.
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and the aesthetic implications of its peculiar cultural heritage."
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Concierto Barroco de Alejo Carpentier - Una guía para su lectura
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The Logic of Fetishism: Alejo Carpentier and the Cuban Tradition
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Lo barroco y lo real-maravilloso en la obra de Alejo Carpentier
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Alejo Carpentier y la cultura del surrealismo en América Latina
2842:. Cambridge: Cambridge University Press, 1989. Rpt. 1997, 2006.
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After his release, he escaped Cuba with the help of journalist
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2383:, Editorial Losada, SA, English translation Alfred Mac Adam,
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Carpentier's Baroque fiction : Returning Medusa's Gaze
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at the outbreak of World War II. He worked on a history of
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and the Palace of Sans-Souci, both built by the black king
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A Hammock Beneath the Mangoes: Stories from Latin America
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The Columbia Guide to the Latin American Novel Since 1945
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A Hammock Beneath the Mangoes: stories from Latin America
239:) about the Haitian revolution of the late 18th century.
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Three authors of Alienation: Bombal, Onetti, Carpentier
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Carpentier returned to Cuba and continued to work as a
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He wrote short stories which were later collected in
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Alejo Carpentier: Viaje a la Semilla y otros relatos
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El acá y el allá en la narrativa de Alejo Carpentier
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Capentier's Baroque Fiction: Returning Medusa's gaze
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were drawn from Carpentier's trips to those places.
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ideas. Carpentier was arrested in 1927 for opposing
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with other Cuban political and artistic luminaries.
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Carpentier's writing style integrated the resurgent
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No reino de Alejo Carpentier: doze ensaios críticos
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Tres pequeñas poemas: Oriente, Pregón, Fiesta negra
491:In 1943, accompanied by French theatrical director
441:, "a burlesque tragedy", that was presented in the
127:
115:
105:
95:
78:
56:
40:
2974:Alejo Carpentier : Estudio biográfico-critico
2582:
2343:
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1878:
1876:
1828:
1826:
634:in 1977 and was recipient of the French Laureates
2823:Alejo Carpentier : His Euro-Caribbean Vision
2029:
2017:
1783:"Nomination archive: Alejo Carpentier y Valmont"
775:) produced in 1926, and two Afro-Cuban ballets:
449:helped organize the Cuban premieres of works by
2946:Música y épica en la novela de Alejo Carpentier
1795:
1610:
662:École Française de la Havane "Alejo Carpentier"
597:(1962). This novel discusses the advent of the
31: and the second or maternal family name is
3178:El diálogo con la historia de Alejo Carpentier
2995:Alejo Carpentier : tientos y differencias
2136:. Farrar, Straus, Giroux. pp. back cover.
499:, during which he visited the fortress of the
3199:
2960:Recopilación de textos sobre Alejo Carpentier
2614:Alejo Carpentier: estudios sobre su narrativa
2387:, New York: Farrar, Straus, and Giroux, 1989.
779:, a colonial ballet in two parts (1928) and
680:Carpentier is widely known for his theory of
617:is said to have discarded the first draft of
560:(1958). While in Cuba, Carpentier attended a
288:Carpentier was born on December 26, 1904, in
271:, France, in 1980 and was buried in Havana's
8:
3080:Alejo Carpentier : el tiempo del hombre
3073:Diccionario de conceptos de Alejo Carpentier
2474:, Santiago de Chile: Editorial Universitaria
2465:, Irvine, CA: Umiversity of California Press
1772:, University of Texas Press, 2014, chapter 1
1351:was inspired by his 1943 trip to Haiti, and
171:; December 26, 1904 – April 24, 1980) was a
3101:Construcción y lenguaje en Alejo Carpentier
3059:Alejo Carpentier, el peregrino en su patria
3052:Alejo Carpentier, el peregrino en su patria
2431:, Caracas: Universidad Central de Venezuela
3206:
3192:
3184:
2304:
2228:
2101:
2089:
2077:
2065:
2005:
1993:
1981:
1965:
1953:
1894:
1817:
1806:
1574:
404:". Carpentier contributed the short story
48:
37:
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2256:
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1497:
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1485:
1483:
1481:
1472:
1456:
1335:spirit is itself a Baroque spirit." This
1193:Learn how and when to remove this message
1096:) is an ethno-musicological study of the
378:Comité de Jeunes Revolutionnaires Cubains
299:In 1912, Alejo and his family moved from
2893:Alejo Carpentier, a Comprehensive Study
2832:, Lewisburg: Bucknell University Press.
2750:Alejo Carpentier: Bibliographical guide
2359:
2347:
1969:
1942:
1930:
1918:
1906:
1882:
1867:
1855:
1844:
1832:
1440:
419:, who had sent him a draft of his book
1625:
1468:
1452:
507:. This trip, along with readings from
3066:Las últimas obras de Alejo Carpentier
3057:Echevarría, Roberto González (2004),
3050:Echevarría, Roberto González (1993),
3042:Carpentier : una revisión lineal
2748:Echevarría, Roberto González (1983),
2738:, Austin: University of Texas Press,
2700:, Great Britain: The Cromwell Press,
2625:, Alicante: Universidad de Alicante,
2502:Alejo Carpentier, the Pilgrim at home
2499:Echevarría, Roberto González (1990),
2212:
2112:
2110:
1770:Alejo Carpentier: The Pilgrim at Home
1718:
1716:
1685:
1673:
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7:
2809:Alejo Carpentier and his Early Works
2752:, Westport, Conn.: Greenwood Press,
2623:Musica y escrita en Alejo Carpentier
2585:Alejo Carpentier and his Early Works
2422:, Mexico: Fondo de Cultura Economica
2320:
2308:
2292:
2280:
2132:Fuentes, Carlos; Carpentier (1989).
495:, Carpentier made a crucial trip to
3171:Nuevas lecturas de alejo Carpentier
3106:Mocega-González, Esther P. (1975),
3002:Alejo Carpentier y el mundo clasico
3000:Calahorro, Inmaculada López (2006)
2852:: Alejo Carpentier's Tongue Ties",
2612:Mocega-González, Esther P. (1980),
2603:Mocega-González, Esther P. (1975),
2589:, London: Tamesis Books Unlimited,
2147:Williams, Raymond L. (2007-09-21).
445:in Paris (1928); and with composer
386:Homenaje a nuestros amigos de Paris
3169:Rodríguez, Alexis Márquez (2004),
3162:Rodríguez, Alexis Márquez (1982),
2932:Carpentier, El reino de este mundo
2519:Gosser Esquilín, Mary Ann (1997),
2403:The Baroque and the Marvelous Real
845:Carpentier's major works include:
692:, that he described his vision of
533:, eventually published in 1946 as
14:
3143:Conversación con Alejo Carpentier
3115:Conversación con Alejo Carpentier
2925:University of Massachusetts Press
2718:, Boston, MA: Twayne Publishers P
2470:Bergh, Klasu Müller, ed. (1972),
2411:Obras completas: Ensayos, Vol. 13
1751:Lettres de Cuba, Alejo Carpentier
1074:and the fortress of La Ferrière.
791:Ethnomusicology and Afro-Cubanism
487:Years in Haiti and return to Cuba
3261:
3089:, no.87, "Con Alejo Carpentier".
2953:Alejo Carpentier ante la crítica
1505:; Penguin Group, 416–417 (1991).
1394:
1147:
921:), based on the 1709 meeting of
642:. A perennial contender for the
3127:Pickenhayn, Jorge Oscar (1978)
2811:, London : Tamesis Books,
2644:Research in African Literatures
1361:La consegración de la primavera
961:La consagración de la primavera
735:), featuring composers such as
264:and Fernando Velázquez Medina.
3662:Cuban people of French descent
2867:Twayne World Author's Series,
2461:Belnap, Jeffrey Grant (1993),
1415:List of Cuban-American writers
623:and begun again from scratch.
609:of the printing press and the
605:in the New World. It has twin
1:
3682:Prix Médicis étranger winners
3627:Ambassadors of Cuba to France
3176:Zurdo, Oscar Velayos (1985),
2762:Brennan, Timothy (ed. 2001),
2549:CR: The New Centennial Review
2440:, D.F., México: SEIX BARRAL,
2391:
2180:. Bucknell University Press.
2153:. Columbia University Press.
1785:. nobelprize.org. April 2020.
812:. Carpentier once wrote that
620:One Hundred Years of Solitude
469:The Murders in the Rue Morgue
464:Le Livre de Christophe Colomb
425:to review; Guatemalan author
3602:20th-century Cuban novelists
3504:José Manuel Caballero Bonald
3129:Para leer a Alejo Carpentier
3016:Cómo leer a Alejo Carpentier
2979:Bergh, Klaus Müller (1972),
2972:Bergh, Klaus Müller (1972),
2828:Pancrazio, James J. (2004),
2682:, London: Michell Beazeley,
2505:, Cornell University Press,
2174:Pancrazio, James J. (2004).
1968:, pp. 360–362 cited in
1471:, pp. 263–264 cited in
1455:, pp. 263–264 cited in
933:, with cameo appearances by
761:Obertura sobre temas cubanos
23:, the first or paternal
2734:Adams, Michael Ian (1975),
2640:Paravisini-Gebert, Lizabeth
1173:the claims made and adding
227:is Carpentier's 1949 novel
3708:
3612:20th-century musicologists
3309:Gonzalo Torrente Ballester
3148:Santander, Carlos (1971),
3078:González, Eduardo (1978),
3040:Cvitanovic, Dinko (1997),
2986:Birkenmaier, Anke (2006),
2930:Young, Richard E. (1983),
2436:Carpentier, Alejo (2004),
2427:Carpentier, Alejo (1976),
2418:Carpentier, Alejo (1972),
2409:Carpentier, Alejo (1990),
2401:Carpentier, Alejo (1975),
2379:Carpentier, Alejo (1956),
2215:, pp. 44–45 cited in
2117:Carpentier, Alejo (1989).
1501:Colchie, Thomas (editor),
729:Conciertos de música nueva
628:Prix mondial Cino Del Duca
396:also contributed works in
151:Alejo Carpentier y Valmont
18:
16:Cuban novelist (1904–1980)
3392:Guillermo Cabrera Infante
3259:
3216:Miguel de Cervantes Prize
3155:Selma, José Vila (1978),
3120:Padura, Leonardo (2002),
3085:Labastida, Jaime (1974),
3014:Collard, Patrick (1991),
2951:Ainsa, Fernando, (2005),
2944:Acosta, Leonardo (1981),
2905:Wakefield, Steve (2004),
2797:, London: Tamesis Books,
2696:Wakefield, Steve (2004),
2621:Navarro, Gabriel (1999),
2607:, New York: Eliseo Torres
1768:José Gonzalez Echevarria
1430:Latin American literature
1410:Cuban American literature
1049:The Kingdom of This World
872:The Kingdom of this World
704:as being synonymous with
686:The Kingdom of this World
644:Nobel Prize in Literature
568:The Kingdom of this World
518:The Kingdom of this World
394:La Revolution Surrealiste
349:Gerardo Machado y Morales
312:. He also studied music.
236:The Kingdom of this World
181:Latin American literature
132:Miguel de Cervantes Prize
60:Alejo Carpentier Valmont
47:
3677:Premio Cervantes winners
2958:Arias, Salvador (1977),
2779:Cox, Timothy J. (2001),
2680:A-Z of Art & Artists
2479:Colchie, Thomas (1991),
1726:Une autre vision de Cuba
1697:Carpentier, Alejo 1972.
1218:) as Carpentier, in his
904:Explosion in a Cathedral
765:Overture on Cuban Themes
593:Explosion in a Cathedral
319:Cuba and exile in France
284:Early life and education
175:novelist, essayist, and
3687:Swiss emigrants to Cuba
3445:Rafael Sánchez Ferlosio
3141:Sáinz, Enrigue (1980),
3113:Mujica, Héctor (1975),
3071:Fowler, Víctor (2004),
3009:Estudios carpenterianos
3007:Chaple, Sergio (2004),
2545:(Subscription required)
2307:, p. 100 cited in
2231:, p. 175 cited in
1248:The Harp and the Shadow
1240:The Harp and the Shadow
985:The Harp and the Shadow
816:was, "very poetic, but
781:El milagro de Anaquille
422:Residencia en la Tierra
402:Conocimiento de America
179:who greatly influenced
3607:20th-century essayists
3157:El "último" Carpentier
3064:Fama, Antonio (1995),
3037:, Tel Aviv University.
2965:Barroso, Juan (1977),
2919:Webb, Barbara (1992),
2863:Shaw, Donald, (1985),
2807:Janney, Frank (1981),
2793:Harvey, Sally (1994),
2581:Janney, Frank (1981),
2438:El reino de este mundo
2030:Paravisini-Gebert 2004
2018:Paravisini-Gebert 2004
1349:El reino de este mundo
1314:El reino de este mundo
1061:(1949) highlights the
1058:El reino de este mundo
1045:El reino de este mundo
867:El reino de este mundo
655:Colon Cemetery, Havana
615:Gabriel García Márquez
513:El Reino de Este Mundo
230:El reino de este mundo
155:Spanish pronunciation:
147:
135:1977
121:El reino de este mundo
100:Colon Cemetery, Havana
3692:Writers from Lausanne
3672:Magic realism writers
3315:Antonio Buero Vallejo
3134:Plaza, Sixto (1984),
3099:Mayo, Edmundo Gómez,
2993:Blanco, Luis (1970),
2846:Pérez Firmat, Gustavo
2836:Pérez Firmat, Gustavo
2714:Shaw, Donald (1985),
2678:Piper, David (1984),
2656:10.1353/ral.2004.0052
2561:10.1353/ncr.2005.0043
2540:Kaup, Monika (2005),
2525:Latin American Issues
1357:El siglo de las luces
971:Le Sacre du Printemps
951:El Recurso del método
899:El siglo de las luces
733:Concerts of New Music
638:étranger in 1979 for
601:and the ideas of the
588:El Siglo de las Luces
471:, and Walt Whitman's
427:Miguel Ángel Asturias
219:using the technique,
164:French pronunciation:
145:
3652:Cuban male novelists
3647:Cuban male essayists
3092:Martí, José (1974),
3087:Casa de las Américas
2981:Asedios a Carpentier
2891:Tusa, Bobs, (1982),
2821:King, Lloyd (1972),
2783:, New York: Garland.
2472:Asedios a Carpentier
2390:Carpentier, Alejo, (
1796:Gosser Esquilín 1997
1611:Mocega-González 1980
1425:Caribbean literature
1261:Christopher Columbus
861:Praised Be the Lord!
501:Citadelle Laferrière
477:Ensayos Convergentes
159:[karpanˈtje]
3657:Cuban musicologists
3569:Cristina Peri Rossi
3475:José Emilio Pacheco
3433:José Jiménez Lozano
3350:Adolfo Bioy Casares
2877:Tusa, Bobs (1983),
2531:(2), archived from
2413:, Mexico: Siglo XII
1343:Influence of travel
1303:un estilo histórico
1236:El arpa y la sombra
1220:lo real maravilloso
1216:Lo real maravilloso
981:El arpa y la sombra
694:lo real maravilloso
682:lo real maravilloso
675:Lo real maravilloso
651:El arpa y la sombra
640:La harpe et l'ombre
473:Salute to the World
267:Carpentier died in
225:lo real maravilloso
221:lo real maravilloso
168:[kaʁpɑ̃tje]
3374:Mario Vargas Llosa
3362:Dulce María Loynaz
3333:Augusto Roa Bastos
3279:Juan Carlos Onetti
3032:2020-05-16 at the
2295:, pp. 110–111
2092:, pp. 302–303
2032:, pp. 115–116
1984:, pp. 293–294
1756:2007-11-25 at the
1353:Los pasos perdidos
1312:to the celebrated
1158:possibly contains
1063:Haitian Revolution
966:The Rite of Spring
931:Domenico Scarlatti
879:Los pasos perdidos
773:Three little poems
690:Haitian Revolution
630:. He received the
334:El Heraldo de Cuba
183:during its famous
148:
3667:Magazine founders
3589:
3588:
3522:Fernando del Paso
3510:Elena Poniatowska
3386:José García Nieto
3249:Jorge Luis Borges
3214:Laureates of the
2915:978-1-85566-107-3
2909:, Tamesis Books,
2772:978-0-8166-3229-9
2707:978-1-85566-107-3
2689:978-0-949819-49-9
2632:978-84-7908-476-9
2596:978-0-7293-0062-9
2512:978-0-8014-1029-1
2492:978-0-452-26866-1
2447:978-970-749-012-3
2420:La música en Cuba
2187:978-0-8387-5582-2
2160:978-0-231-50169-9
1699:La Musica en Cuba
1420:Latino literature
1203:
1202:
1195:
1160:original research
1122:Guerra del tiempo
1111:Guerra del tiempo
1094:The Music of Cuba
1090:La música en Cuba
1083:The Music of Cuba
1079:La música en Cuba
1072:Sans-Souci Palace
1037:The Music of Cuba
1033:La música en Cuba
1004:Guerra del tiempo
915:Concierto barroco
911:Concierto barroco
798:La Música en Cuba
688:, a novel of the
603:French Revolution
541:Life in Venezuela
535:La música en Cuba
406:Histoire de Lunes
400:under the title "
382:La Terreur á Cuba
340:Revista de Avance
248:New World Baroque
208:La música en Cuba
140:
139:
69:December 26, 1904
3699:
3632:Cuban communists
3563:Francisco Brines
3492:Ana María Matute
3457:Antonio Gamoneda
3421:Francisco Umbral
3380:Camilo José Cela
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3237:Alejo Carpentier
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12:
11:
5:
3705:
3703:
3695:
3694:
3689:
3684:
3679:
3674:
3669:
3664:
3659:
3654:
3649:
3644:
3639:
3634:
3629:
3624:
3619:
3614:
3609:
3604:
3594:
3593:
3587:
3586:
3584:
3583:
3577:
3575:Rafael Cadenas
3571:
3565:
3558:
3556:
3552:
3551:
3549:
3548:
3542:
3536:
3534:Sergio Ramírez
3530:
3524:
3518:
3516:Juan Goytisolo
3512:
3506:
3500:
3494:
3487:
3485:
3481:
3480:
3478:
3477:
3471:
3465:
3459:
3453:
3447:
3441:
3435:
3429:
3423:
3416:
3414:
3410:
3409:
3407:
3406:
3400:
3394:
3388:
3382:
3376:
3370:
3368:Miguel Delibes
3364:
3358:
3352:
3345:
3343:
3339:
3338:
3336:
3335:
3329:
3327:María Zambrano
3323:
3321:Carlos Fuentes
3317:
3311:
3305:
3303:Ernesto Sabato
3299:
3297:Rafael Alberti
3293:
3287:
3281:
3274:
3272:
3268:
3267:
3260:
3258:
3256:
3255:
3245:
3239:
3233:
3226:
3224:
3220:
3219:
3213:
3211:
3210:
3203:
3196:
3188:
3182:
3181:
3174:
3167:
3160:
3153:
3146:
3139:
3132:
3125:
3118:
3111:
3104:
3097:
3090:
3083:
3076:
3069:
3062:
3055:
3048:
3045:
3038:
3019:
3012:
3005:
2998:
2991:
2984:
2977:
2970:
2963:
2956:
2949:
2941:
2940:
2936:
2935:
2928:
2917:
2903:
2889:
2875:
2861:
2843:
2833:
2826:
2819:
2805:
2791:
2784:
2777:
2774:
2760:
2746:
2731:
2730:
2725:
2722:
2721:
2720:
2711:
2706:
2693:
2688:
2675:
2650:(2): 114–127,
2636:
2631:
2618:
2609:
2600:
2595:
2578:
2555:(2): 107–149,
2537:
2516:
2511:
2496:
2491:
2476:
2467:
2457:
2456:
2452:
2451:
2446:
2433:
2424:
2415:
2406:
2398:
2388:
2376:
2375:
2370:
2367:
2365:
2364:
2352:
2337:
2333:Wakefield 2004
2325:
2313:
2297:
2285:
2273:
2269:Wakefield 2004
2261:
2257:Wakefield 2004
2249:
2245:Wakefield 2004
2237:
2233:Wakefield 2004
2221:
2219:, pp. 3–4
2217:Wakefield 2004
2205:
2201:Wakefield 2004
2193:
2186:
2166:
2159:
2139:
2124:
2106:
2094:
2082:
2070:
2058:
2054:Wakefield 2004
2046:
2042:Wakefield 2004
2034:
2022:
2010:
1998:
1986:
1974:
1958:
1946:
1935:
1923:
1911:
1899:
1887:
1872:
1860:
1848:
1837:
1822:
1810:
1799:
1788:
1774:
1761:
1740:
1729:
1712:
1703:
1690:
1688:, p. 131.
1678:
1666:
1654:
1642:
1630:
1615:
1603:
1591:
1579:
1560:
1548:
1536:
1524:
1507:
1477:
1473:Wakefield 2004
1461:
1457:Wakefield 2004
1439:
1437:
1434:
1433:
1432:
1427:
1422:
1417:
1412:
1406:
1405:
1389:
1386:
1368:
1365:
1344:
1341:
1277:
1274:
1272:
1269:
1243:
1233:
1201:
1200:
1155:
1153:
1146:
1140:
1130:
1118:
1108:
1086:
1076:
1052:
1042:
1041:
1040:
1029:
1028:
1026:
1022:
1021:
1011:
1000:
999:
997:
993:
992:
978:
958:
948:
908:
896:
886:
883:The Lost Steps
876:
864:
857:¡Écue-Yamba-O!
853:
852:
850:
842:
839:
792:
789:
713:
710:
677:
672:
670:
667:
579:
576:
551:The Lost Steps
542:
539:
488:
485:
443:Théâtre Beriza
320:
317:
285:
282:
280:
277:
273:Colon Cemetery
258:Lisandro Otero
138:
137:
129:
128:Notable awards
125:
124:
117:
113:
112:
107:
103:
102:
97:
93:
92:
86:(aged 75)
82:April 24, 1980
80:
76:
75:
58:
54:
53:
45:
44:
41:
15:
13:
10:
9:
6:
4:
3:
2:
3704:
3693:
3690:
3688:
3685:
3683:
3680:
3678:
3675:
3673:
3670:
3668:
3665:
3663:
3660:
3658:
3655:
3653:
3650:
3648:
3645:
3643:
3640:
3638:
3635:
3633:
3630:
3628:
3625:
3623:
3620:
3618:
3615:
3613:
3610:
3608:
3605:
3603:
3600:
3599:
3597:
3582:
3578:
3576:
3572:
3570:
3566:
3564:
3560:
3559:
3557:
3553:
3547:
3546:Joan Margarit
3543:
3541:
3537:
3535:
3531:
3529:
3525:
3523:
3519:
3517:
3513:
3511:
3507:
3505:
3501:
3499:
3498:Nicanor Parra
3495:
3493:
3489:
3488:
3486:
3482:
3476:
3472:
3470:
3466:
3464:
3460:
3458:
3454:
3452:
3448:
3446:
3442:
3440:
3439:Gonzalo Rojas
3436:
3434:
3430:
3428:
3424:
3422:
3418:
3417:
3415:
3411:
3405:
3404:Jorge Edwards
3401:
3399:
3395:
3393:
3389:
3387:
3383:
3381:
3377:
3375:
3371:
3369:
3365:
3363:
3359:
3357:
3353:
3351:
3347:
3346:
3344:
3340:
3334:
3330:
3328:
3324:
3322:
3318:
3316:
3312:
3310:
3306:
3304:
3300:
3298:
3294:
3292:
3288:
3286:
3282:
3280:
3276:
3275:
3273:
3269:
3264:
3254:
3253:Gerardo Diego
3250:
3246:
3244:
3243:Dámaso Alonso
3240:
3238:
3234:
3232:
3231:Jorge Guillén
3228:
3227:
3225:
3221:
3217:
3209:
3204:
3202:
3197:
3195:
3190:
3189:
3186:
3179:
3175:
3172:
3168:
3165:
3161:
3158:
3154:
3151:
3147:
3144:
3140:
3137:
3133:
3130:
3126:
3123:
3119:
3116:
3112:
3109:
3105:
3102:
3098:
3095:
3091:
3088:
3084:
3081:
3077:
3074:
3070:
3067:
3063:
3060:
3056:
3053:
3049:
3046:
3043:
3039:
3036:
3035:
3031:
3028:
3023:
3020:
3017:
3013:
3010:
3006:
3003:
2999:
2996:
2992:
2989:
2985:
2982:
2978:
2975:
2971:
2968:
2964:
2961:
2957:
2954:
2950:
2947:
2943:
2942:
2938:
2937:
2933:
2929:
2926:
2922:
2918:
2916:
2912:
2908:
2904:
2902:
2901:84-7274-090-0
2898:
2894:
2890:
2888:
2887:84-7274-099-4
2884:
2880:
2876:
2874:
2873:0-8057-6606-5
2870:
2866:
2862:
2859:
2855:
2851:
2847:
2844:
2841:
2837:
2834:
2831:
2827:
2824:
2820:
2818:
2817:0-7293-0062-5
2814:
2810:
2806:
2804:
2803:1-85566-034-2
2800:
2796:
2792:
2789:
2788:Cuban Studies
2785:
2782:
2778:
2775:
2773:
2769:
2765:
2761:
2759:
2758:0-313-23923-1
2755:
2751:
2747:
2745:
2744:0-292-78009-5
2741:
2737:
2733:
2732:
2728:
2727:
2723:
2717:
2712:
2709:
2703:
2699:
2694:
2691:
2685:
2681:
2676:
2673:
2669:
2665:
2661:
2657:
2653:
2649:
2645:
2641:
2637:
2634:
2628:
2624:
2619:
2615:
2610:
2606:
2601:
2598:
2592:
2587:
2586:
2579:
2570:
2566:
2562:
2558:
2554:
2550:
2543:
2538:
2535:on 2002-07-18
2534:
2530:
2526:
2522:
2517:
2514:
2508:
2504:
2503:
2497:
2494:
2488:
2484:
2483:
2477:
2473:
2468:
2464:
2459:
2458:
2454:
2453:
2449:
2443:
2439:
2434:
2430:
2425:
2421:
2416:
2412:
2407:
2404:
2399:
2389:
2386:
2382:
2378:
2377:
2373:
2372:
2368:
2361:
2356:
2353:
2349:
2344:
2342:
2338:
2334:
2329:
2326:
2323:, p. 116
2322:
2317:
2314:
2311:, p. 110
2310:
2306:
2301:
2298:
2294:
2289:
2286:
2283:, p. 109
2282:
2277:
2274:
2270:
2265:
2262:
2258:
2253:
2250:
2246:
2241:
2238:
2234:
2230:
2225:
2222:
2218:
2214:
2209:
2206:
2202:
2197:
2194:
2189:
2183:
2179:
2178:
2170:
2167:
2162:
2156:
2152:
2151:
2143:
2140:
2135:
2128:
2125:
2120:
2113:
2111:
2107:
2104:, p. 304
2103:
2098:
2095:
2091:
2086:
2083:
2080:, p. 136
2079:
2074:
2071:
2067:
2062:
2059:
2055:
2050:
2047:
2043:
2038:
2035:
2031:
2026:
2023:
2020:, p. 114
2019:
2014:
2011:
2008:, p. 249
2007:
2002:
1999:
1996:, p. 126
1995:
1990:
1987:
1983:
1978:
1975:
1971:
1967:
1962:
1959:
1955:
1950:
1947:
1944:
1939:
1936:
1933:, p. 217
1932:
1927:
1924:
1921:, p. 156
1920:
1915:
1912:
1909:, p. 105
1908:
1903:
1900:
1896:
1891:
1888:
1884:
1879:
1877:
1873:
1869:
1864:
1861:
1857:
1852:
1849:
1846:
1841:
1838:
1834:
1829:
1827:
1823:
1819:
1814:
1811:
1808:
1803:
1800:
1797:
1792:
1789:
1784:
1778:
1775:
1771:
1765:
1762:
1759:
1755:
1752:
1744:
1741:
1738:
1733:
1730:
1727:
1719:
1717:
1713:
1707:
1704:
1700:
1694:
1691:
1687:
1682:
1679:
1676:, p. 77.
1675:
1670:
1667:
1664:, p. 31.
1663:
1658:
1655:
1652:, p. 32.
1651:
1646:
1643:
1640:, p. 45.
1639:
1634:
1631:
1627:
1622:
1620:
1616:
1612:
1607:
1604:
1601:, p. 43.
1600:
1595:
1592:
1589:, p. 42.
1588:
1583:
1580:
1576:
1571:
1569:
1567:
1565:
1561:
1558:, p. 18.
1557:
1552:
1549:
1546:, p. 33.
1545:
1540:
1537:
1534:, p. 24.
1533:
1528:
1525:
1522:, p. 19.
1521:
1516:
1514:
1512:
1508:
1504:
1498:
1496:
1494:
1492:
1490:
1488:
1486:
1484:
1482:
1478:
1474:
1470:
1465:
1462:
1458:
1454:
1449:
1447:
1445:
1441:
1435:
1431:
1428:
1426:
1423:
1421:
1418:
1416:
1413:
1411:
1408:
1407:
1403:
1392:
1387:
1385:
1382:
1378:
1377:Robert Desnos
1374:
1366:
1364:
1362:
1358:
1354:
1350:
1342:
1340:
1338:
1334:
1330:
1326:
1322:
1317:
1315:
1311:
1306:
1304:
1300:
1296:
1291:
1287:
1283:
1275:
1270:
1268:
1266:
1262:
1258:
1254:
1250:
1249:
1241:
1237:
1234:
1232:
1229:
1225:
1221:
1217:
1212:
1208:
1205:Carpentier's
1197:
1194:
1186:
1183:November 2021
1176:
1172:
1168:
1162:
1161:
1156:This section
1154:
1145:
1144:
1138:
1134:
1131:
1129:
1127:
1123:
1116:
1112:
1109:
1107:
1104:
1099:
1098:Music of Cuba
1095:
1091:
1084:
1080:
1077:
1075:
1073:
1069:
1068:Haitian vodou
1064:
1060:
1059:
1055:Carpentier's
1050:
1046:
1043:
1038:
1034:
1031:
1030:
1027:
1024:
1023:
1019:
1018:Other Stories
1015:
1014:Otros relatos
1012:
1009:
1005:
1002:
1001:
998:
996:Short stories
995:
994:
990:
986:
982:
979:
976:
972:
968:
967:
962:
959:
956:
952:
949:
946:
945:
940:
936:
932:
928:
924:
920:
916:
912:
909:
906:
905:
900:
897:
894:
890:
887:
884:
880:
877:
874:
873:
868:
865:
862:
858:
855:
854:
851:
848:
847:
846:
840:
838:
836:
832:
828:
824:
819:
815:
811:
807:
806:lo afrocubano
802:
799:
790:
788:
784:
782:
778:
774:
770:
766:
762:
758:
754:
750:
746:
742:
738:
734:
730:
726:
725:Amadeo Roldán
721:
719:
711:
709:
707:
703:
699:
695:
691:
687:
683:
676:
673:
668:
666:
664:
663:
658:
656:
652:
647:
645:
641:
637:
633:
629:
624:
622:
621:
616:
612:
608:
604:
600:
599:Enlightenment
596:
594:
589:
585:
577:
575:
573:
572:Latin America
569:
565:
564:
559:
554:
553:takes place.
552:
548:
540:
538:
536:
532:
528:
523:
521:
519:
514:
510:
506:
502:
498:
494:
486:
484:
480:
478:
474:
470:
466:
465:
460:
456:
452:
448:
447:Amadeo Roldán
444:
440:
434:
432:
431:Pablo Picasso
428:
424:
423:
418:
413:
409:
407:
403:
399:
395:
391:
387:
383:
379:
375:
371:
365:
362:
361:Robert Desnos
357:
355:
350:
344:
342:
341:
336:
335:
330:
326:
318:
316:
313:
311:
307:
302:
297:
295:
291:
283:
278:
276:
274:
270:
265:
263:
259:
254:
249:
245:
240:
238:
237:
232:
231:
226:
222:
218:
213:
212:Afro-Cubanism
209:
205:
204:music of Cuba
200:
198:
194:
190:
186:
185:"boom" period
182:
178:
174:
169:
160:
152:
144:
133:
130:
126:
123:
122:
118:
116:Notable works
114:
111:
108:
104:
101:
98:
96:Resting place
94:
90:
81:
77:
74:, Switzerland
73:
59:
55:
51:
46:
39:
34:
30:
26:
22:
3642:Cuban exiles
3451:Sergio Pitol
3427:Álvaro Mutis
3291:Luis Rosales
3236:
3177:
3170:
3163:
3156:
3149:
3142:
3135:
3128:
3121:
3114:
3107:
3100:
3093:
3086:
3079:
3072:
3065:
3058:
3051:
3041:
3025:
3015:
3008:
3001:
2994:
2987:
2980:
2973:
2966:
2959:
2952:
2945:
2931:
2920:
2906:
2892:
2878:
2864:
2857:
2853:
2849:
2839:
2829:
2822:
2808:
2794:
2787:
2780:
2763:
2749:
2735:
2715:
2697:
2679:
2647:
2643:
2622:
2616:(in Spanish)
2613:
2604:
2584:
2572:, retrieved
2552:
2548:
2533:the original
2528:
2524:
2501:
2481:
2471:
2462:
2437:
2429:Razón de ser
2428:
2419:
2410:
2402:
2395: 1970s
2384:
2380:
2362:, p. 67
2360:Navarro 1999
2355:
2350:, p. 62
2348:Navarro 1999
2328:
2316:
2300:
2288:
2276:
2271:, p. 49
2264:
2259:, p. 10
2252:
2240:
2224:
2208:
2196:
2176:
2169:
2149:
2142:
2133:
2127:
2118:
2097:
2085:
2073:
2068:, p. 50
2061:
2056:, p. 56
2049:
2044:, p. 58
2037:
2025:
2013:
2001:
1989:
1977:
1972:, p. 39
1970:Navarro 1999
1961:
1949:
1943:Navarro 1999
1938:
1931:Navarro 1999
1926:
1919:Navarro 1999
1914:
1907:Navarro 1999
1902:
1890:
1885:, p. 43
1883:Navarro 1999
1868:Navarro 1999
1863:
1856:Navarro 1999
1851:
1845:Colchie 1991
1840:
1835:, p. 25
1833:Navarro 1999
1820:, p. 12
1813:
1802:
1791:
1777:
1769:
1764:
1743:
1737:Prix Médicis
1732:
1706:
1698:
1693:
1681:
1669:
1657:
1645:
1633:
1628:, p. 69
1613:, p. 54
1606:
1594:
1582:
1577:, p. 34
1551:
1539:
1527:
1502:
1464:
1370:
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1356:
1352:
1348:
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1336:
1332:
1328:
1324:
1320:
1318:
1313:
1310:Ecue-Yamba-O
1309:
1307:
1302:
1298:
1294:
1279:
1246:
1245:
1239:
1235:
1227:
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1078:
1056:
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1032:
1017:
1013:
1007:
1003:
984:
980:
973:, ballet by
970:
964:
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942:
918:
914:
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805:
803:
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764:
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732:
728:
722:
718:Pablo Casals
715:
701:
693:
685:
681:
679:
674:
660:
659:
650:
648:
639:
636:Prix Médicis
625:
618:
590:
587:
584:Fidel Castro
581:
567:
561:
557:
555:
550:
544:
534:
524:
515:
512:
493:Louis Jouvet
490:
481:
476:
472:
468:
462:
458:
442:
438:
435:
420:
417:Pablo Neruda
414:
410:
405:
401:
397:
393:
389:
385:
381:
377:
373:
369:
366:
358:
354:Ecué-Yamba-O
353:
345:
338:
332:
329:La Discusión
328:
325:La Discusión
324:
322:
314:
309:
305:
298:
287:
266:
247:
241:
234:
228:
224:
220:
207:
201:
197:Fidel Castro
177:musicologist
150:
149:
119:
84:(1980-04-24)
32:
28:
21:Spanish name
3622:1980 deaths
3617:1904 births
3463:Juan Gelman
3398:José Hierro
3285:Octavio Paz
2923:, Amherst:
2335:, p. 9
2247:, p. 3
2235:, p. 5
2203:, p. 1
1748:(in French)
1723:(in French)
1626:Janney 1981
1475:, p. 6
1469:Belnap 1993
1459:, p. 5
1453:Belnap 1993
1402:Cuba portal
1381:Primitivism
1299:un espíritu
1259:to beatify
1008:War of Time
917:; English:
841:Major works
835:Contredanse
831:Contradanza
531:Cuban music
106:Nationality
3596:Categories
3540:Ida Vitale
3469:Juan Marsé
3022:Corry, Leo
2850:Ese idioma
2574:2010-12-03
2369:References
2213:Piper 1984
1710:Echevarría
1686:Bergh 1972
1674:Bergh 1972
1662:Bergh 1972
1650:Bergh 1972
1638:Bergh 1972
1599:Bergh 1972
1587:Bergh 1972
1556:Bergh 1972
1544:Bergh 1972
1532:Bergh 1972
1520:Bergh 1972
1373:Surrealist
1367:Surrealism
1331:; and the
1301:, and not
1295:el barroco
1265:Last Rites
1167:improve it
939:Stravinsky
827:Afro-Cuban
818:lo guajiro
814:lo guajiro
810:lo guajiro
737:Stravinsky
611:guillotine
607:leitmotifs
578:Later life
527:journalist
451:Stravinsky
253:Surrealist
246:style, or
187:. Born in
65:1904-12-26
29:Carpentier
2854:Symposium
2672:162578400
2569:145345077
2485:, Plume,
2455:Secondary
2385:The Chase
2321:Kaup 2005
2309:Kaup 2005
2293:Kaup 2005
2281:Kaup 2005
2134:The Chase
2119:The Chase
1701:. Mexico.
1286:Mannerist
1228:The Chase
1211:The Chase
1171:verifying
1137:The Chase
893:The Chase
749:Malipiero
547:Venezuela
459:Le Vaudou
370:Documents
3030:Archived
3024:(2020),
2381:El acoso
1754:Archived
1388:See also
1257:Leo XIII
1224:El Acoso
1207:El Acoso
1133:El Acoso
1103:criollos
1035:(1946) (
1016:(1984) (
1006:(1956) (
989:Columbus
983:(1979) (
963:(1978) (
953:(1974) (
944:Motezuma
913:(1974) (
901:(1962) (
891:(1956) (
889:El acoso
881:(1953) (
869:(1949) (
859:(1933) (
783:(1929).
563:santería
522:(1949).
306:Carteles
290:Lausanne
189:Lausanne
91:, France
72:Lausanne
19:In this
2939:Spanish
2729:English
2664:3821348
2374:Primary
1337:criollo
1333:criollo
1329:criollo
1325:criollo
1282:Baroque
1276:Baroque
1253:Pius IX
1165:Please
923:Vivaldi
823:criollo
753:Poulenc
741:Milhaud
455:Poulenc
439:Yamba-O
244:Baroque
33:Valmont
25:surname
3579:2023:
3573:2022:
3567:2021:
3561:2020:
3544:2019:
3538:2018:
3532:2017:
3526:2016:
3520:2015:
3514:2014:
3508:2013:
3502:2012:
3496:2011:
3490:2010:
3473:2009:
3467:2008:
3461:2007:
3455:2006:
3449:2005:
3443:2004:
3437:2003:
3431:2002:
3425:2001:
3419:2000:
3402:1999:
3396:1998:
3390:1997:
3384:1996:
3378:1995:
3372:1994:
3366:1993:
3360:1992:
3354:1991:
3348:1990:
3331:1989:
3325:1988:
3319:1987:
3313:1986:
3307:1985:
3301:1984:
3295:1983:
3289:1982:
3283:1981:
3277:1980:
3247:1979:
3241:1978:
3235:1977:
3229:1976:
2913:
2899:
2885:
2871:
2815:
2801:
2770:
2756:
2742:
2704:
2686:
2670:
2662:
2629:
2593:
2567:
2509:
2489:
2444:
2184:
2157:
1290:Rococo
1025:Essays
935:Wagner
927:Handel
849:Novels
669:Themes
310:Social
294:Havana
193:Havana
3555:2020s
3484:2010s
3413:2000s
3342:1990s
3271:1980s
3223:1970s
2668:S2CID
2660:JSTOR
2565:S2CID
1436:Notes
1271:Style
757:Satie
745:Ravel
712:Music
497:Haiti
269:Paris
173:Cuban
110:Cuban
89:Paris
3251:and
2911:ISBN
2897:ISBN
2883:ISBN
2869:ISBN
2813:ISBN
2799:ISBN
2768:ISBN
2754:ISBN
2740:ISBN
2702:ISBN
2684:ISBN
2627:ISBN
2591:ISBN
2507:ISBN
2487:ISBN
2442:ISBN
2182:ISBN
2155:ISBN
1288:and
1280:The
1255:and
937:and
929:and
755:and
453:and
398:Imán
390:Imán
372:and
331:and
308:and
301:Cuba
279:Life
79:Died
57:Born
2848:. "
2652:doi
2557:doi
1297:as
1169:by
27:is
3598::
2838:.
2666:,
2658:,
2648:35
2646:,
2563:,
2551:,
2547:,
2529:13
2527:,
2523:,
2392:c.
2340:^
2109:^
1875:^
1825:^
1715:^
1618:^
1563:^
1510:^
1480:^
1443:^
969:;
925:,
751:,
747:,
743:,
739:,
657:.
537:.
479:.
260:,
206:,
162:,
3207:e
3200:t
3193:v
3180:.
3173:.
3166:.
3159:.
3152:.
3145:.
3138:.
3131:.
3124:.
3117:.
3110:.
3103:.
3096:.
3082:.
3075:.
3068:.
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3044:.
3018:.
3011:.
3004:.
2997:.
2990:.
2983:.
2976:.
2969:.
2962:.
2955:.
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2934:.
2927:.
2654::
2559::
2553:5
2190:.
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1190:(
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1181:(
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1124:(
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1092:(
1085:)
1081:(
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1047:(
1020:)
1010:)
991:.
977:)
957:)
947:.
907:)
885:)
875:)
863:)
771:(
763:(
731:(
595:)
591:(
520:)
516:(
233:(
153:(
67:)
63:(
35:.
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