This dissertation employs an interdisciplinary approach to trace the history of exchange and influence between Cuban, French, and Francophone Caribbean artists in the twentieth century. I argue, first, that there is a unique and largely unexplored tradition of dialogue, collaboration, and mutual admiration between Cuban, French and Francophone artists; second, that a recurring and essential theme in these artworks is the representation of the human body; and third, that this relationship ought not to be understood within the confines of a single genre, but must be read as a series of dialogues that are both ekphrastic (that is, they rely on one art-form to describe another, as in paintings of poems), and multi-lingual. Finally, I contend that these translational relationships must be examined within the greater context of twentieth-century modernisms, particularly Surrealism. I apply critical, theoretical and philosophical frameworks articulated by Edouard Glissant, Antonio Benitez Rojo, and Maurice Merleau-Ponty to four case studies of inter-genre, inter-national, multilingual dialogues unfolding over the course of the century to reveal dynamic figurations of bodies that are at once visual, poetic and performative.
","abstract_html":"<p>This dissertation employs an interdisciplinary approach to trace the history of exchange and influence between Cuban, French, and Francophone Caribbean artists in the twentieth century. I argue, first, that there is a unique and largely unexplored tradition of dialogue, collaboration, and mutual admiration between Cuban, French and Francophone artists; second, that a recurring and essential theme in these artworks is the representation of the human body; and third, that this relationship ought not to be understood within the confines of a single genre, but must be read as a series of dialogues that are both ekphrastic (that is, they rely on one art-form to describe another, as in paintings of poems), and multi-lingual. Finally, I contend that these translational relationships must be examined within the greater context of twentieth-century modernisms, particularly Surrealism. I apply critical, theoretical and philosophical frameworks articulated by Edouard Glissant, Antonio Benitez Rojo, and Maurice Merleau-Ponty to four case studies of inter-genre, inter-national, multilingual dialogues unfolding over the course of the century to reveal dynamic figurations of bodies that are at once visual, poetic and performative. </p>","abstract_has_math":false,"creators":["Pedro, Laila"],"institution":"The Graduate School and University Center of The City University of New York","degree_name":"Doctor of Philosophy","degree_level":"Doctoral","degree_discipline":"French","degree_department":null,"school":null,"contributors":[],"advisors":["Mary Ann Caws"],"committee_chairs":[],"committee_members":[],"year":2014,"date_issued":"2014-06-03T07:00:00Z","date_published":"2014-06-03T07:00:00Z","updated_at":"2026-07-24T01:59:38Z","subjects":["English Language and Literature","History of Art, Architecture, and Archaeology","Latin American Languages and Societies","Latin American Studies","Aesthetics","Cuba","France","Painting","Poetry","Visual Culture"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://academicworks.cuny.edu/gc_etds/264","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Mary Ann Caws"]},{"key":"dc:creator","label":"Author","values":["Pedro, Laila"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2016-06-03T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["French"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Doctoral"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Doctor of Philosophy"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["The Graduate School and University Center of The City University of New York"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["English Language and Literature","History of Art, Architecture, and Archaeology","Latin American Languages and Societies","Latin American Studies","Aesthetics","Cuba","France","Painting","Poetry","Visual Culture"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://academicworks.cuny.edu/gc_etds/264"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This dissertation employs an interdisciplinary approach to trace the history of exchange and influence between Cuban, French, and Francophone Caribbean artists in the twentieth century. I argue, first, that there is a unique and largely unexplored tradition of dialogue, collaboration, and mutual admiration between Cuban, French and Francophone artists; second, that a recurring and essential theme in these artworks is the representation of the human body; and third, that this relationship ought not to be understood within the confines of a single genre, but must be read as a series of dialogues that are both ekphrastic (that is, they rely on one art-form to describe another, as in paintings of poems), and multi-lingual. Finally, I contend that these translational relationships must be examined within the greater context of twentieth-century modernisms, particularly Surrealism. I apply critical, theoretical and philosophical frameworks articulated by Edouard Glissant, Antonio Benitez Rojo, and Maurice Merleau-Ponty to four case studies of inter-genre, inter-national, multilingual dialogues unfolding over the course of the century to reveal dynamic figurations of bodies that are at once visual, poetic and performative.
"]},{"key":"dc:title","label":"Title","values":["Paris and Havana: A Century of Mutual Influence"]}]}],"canonical_facts":{"dc:contributor.advisor":["Mary Ann Caws"],"dc:creator":["Pedro, Laila"],"dc:date.available":["2016-06-03T07:00:00Z"],"dc:description.abstract":["This dissertation employs an interdisciplinary approach to trace the history of exchange and influence between Cuban, French, and Francophone Caribbean artists in the twentieth century. I argue, first, that there is a unique and largely unexplored tradition of dialogue, collaboration, and mutual admiration between Cuban, French and Francophone artists; second, that a recurring and essential theme in these artworks is the representation of the human body; and third, that this relationship ought not to be understood within the confines of a single genre, but must be read as a series of dialogues that are both ekphrastic (that is, they rely on one art-form to describe another, as in paintings of poems), and multi-lingual. Finally, I contend that these translational relationships must be examined within the greater context of twentieth-century modernisms, particularly Surrealism. I apply critical, theoretical and philosophical frameworks articulated by Edouard Glissant, Antonio Benitez Rojo, and Maurice Merleau-Ponty to four case studies of inter-genre, inter-national, multilingual dialogues unfolding over the course of the century to reveal dynamic figurations of bodies that are at once visual, poetic and performative.
"],"dc:identifier":["https://academicworks.cuny.edu/gc_etds/264"],"dc:subject":["English Language and Literature","History of Art, Architecture, and Archaeology","Latin American Languages and Societies","Latin American Studies","Aesthetics","Cuba","France","Painting","Poetry","Visual Culture"],"dc:title":["Paris and Havana: A Century of Mutual Influence"],"thesis:degree_discipline":["French"],"thesis:degree_level":["Doctoral"],"thesis:degree_name":["Doctor of Philosophy"],"thesis:institution_name":["The Graduate School and University Center of The City University of New York"]},"updated_at":"2026-07-24T01:59:38Z"}