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date: 15 September 2019

Abstract and Keywords

The chapter places renewed emphasis on the gender and racial dynamics in José Triana’s Medea in the Mirror (Havana, 1960). I argue that the Cuban author appropriates the image of Medea as a vengeful sorceress from Euripides’ eponymous play and constructs a heroine oscillating between antithetical ideological positions: man and woman, master and slave, self and other. Situating the play in its socio-political context, I maintain that the indeterminacy of Triana’s heroine, a mulatta named María for artistic and cultural reasons, is symptomatic of Cuba’s liminal position and the collapse of hierarchical distinctions with the advent of the Revolution in 1959, a temporal border that marked the beginning of a new era and caused the blurring of social boundaries. Triana, I conclude, revisits the Medea myth and uses it as a vehicle for raising questions about the abuse of power and the continuous suppression of black agency under Fidel Castro.

Keywords: José Triana, Medea in the Mirror, Fidel Castro, Cuban Revolution, Euripides, Medea, racial dynamics

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