¡Ore Yeyeo! Madre, puta, diosa: diferentes manifestaciones de la oricha Ochún en la producción cultural cubana

dc.contributor.committeeChairCole, George
dc.contributor.committeeMemberPerez, Genaro
dc.contributor.committeeMemberZamora, Jorge
dc.creatorMorales, Veronica
dc.creator.orcid0000-0001-7974-6427
dc.date.accessioned2022-09-12T15:27:03Z
dc.date.available2022-09-12T15:27:03Z
dc.date.created2022-08
dc.date.issued2022-08
dc.date.submittedAugust 2022
dc.date.updated2022-09-12T15:27:04Z
dc.description.abstractYoruba mythology has been preserved over time, from its origins in Africa, through its Transatlantic journey due to the slave trade, and through its establishment in the New World. One of the most revered female Yoruba deities is Ochún. This orisha has been an inspiration not only to practitioners but to artists through the centuries. The purpose of this project is to explore the different manifestations of this goddess within the Cuban cultural production of the 20th Century by focusing on the way she has been represented in music, literature, cinema, and in the Afro-Cuban oral traditions. The methodological tools used in this project include the works of William Doty, Joseph Campbell, René Girard, George Bataille, and Carl Jung. The patakís or oral legends will have a primary role in understanding the behavior of the Yoruba deities, mainly Ochún, who is the focus of this project. The major literary text analyzed in this dissertation are: Daína Chaviano’s Casa de Juegos, Carlos Felipe’s Requiem for Yarini, Pepe Carril’s Shangó de Imá, and Eugenio Hernández Espinosa’s María Antonia. This research is divided into five chapters. The first of them deals with the historical context of the Yoruba people and how, despite all the adversity they suffered, they were able to preserve their religion. The second chapter will develop the theoretical approach to this project. The third shows Ochún's personality as a sexual icon. The fourth chapter is focused on the orisha and her behavior as the mother of the Cuban people. Finally, the fifth chapter deals with the theme of ritual theater and its relationship with the orishas, highlighting Ochún.
dc.description.abstractEmbargo status: Restricted to TTU community only. To view, login with your eRaider (top right). Others may request the author grant access exception by clicking on the PDF link to the left.
dc.format.mimetypeapplication/pdf
dc.identifier.urihttps://hdl.handle.net/2346/90160
dc.language.isospa
dc.rights.availabilityRestricted to TTU community only.
dc.subjectSantería
dc.subjectPatakís
dc.subjectOchún
dc.subjectYoruba Mythology
dc.subjectRituals
dc.subjectErotism
dc.subjectCuban Ritual Theater
dc.subjectOrichas
dc.title¡Ore Yeyeo! Madre, puta, diosa: diferentes manifestaciones de la oricha Ochún en la producción cultural cubana
dc.typeDissertation
dc.type.materialtext
thesis.degree.departmentClassical Modern Languages and Literature
thesis.degree.disciplineSpanish
thesis.degree.grantorTexas Tech University
thesis.degree.levelDoctoral
thesis.degree.nameDoctor of Philosophy

Files

Original bundle

Now showing 1 - 1 of 1
No Thumbnail Available
Name:
MORALES-DISSERTATION-2022.pdf
Size:
1.35 MB
Format:
Adobe Portable Document Format

License bundle

Now showing 1 - 1 of 1
No Thumbnail Available
Name:
LICENSE.txt
Size:
1.85 KB
Format:
Plain Text
Description: