Abstract:

The use of anonymity and pseudonyms is a recurring practice among writers from different periods, genres, countries, and literary currents. The reasons for this practice range from modesty to prejudice, the search for fame, or even a simple whim. While some pseudonyms are familiar and endearing—Fernando Pessoa, Virginia Woolf, and Pablo Neruda, for example—, others, like the Cuban playwright Justo Eleboro, are lost in the annals of Caribbean and island literature. This article explores the brief work of Eleboro, a 19th-century Literary costumbrismo playwright whose dramaturgy constitutes a denunciation of colonialism, racism, slavery, and the phallocentric regimentation of gender roles. With an interdisciplinary perspective that combines historiographical and political analysis, this essay reads Eleboro's plays from the moment of the discovery of his true identity—Magín Robert—, which had been buried in a pseudonym for more than a century. An understanding of the latter's political and revolutionary militancy is crucial to the process of contextualizing his work and making it visible.

摘要：

使用匿名和假名是来自不同时期、流派、国家和文学潮流的作家之间反复出现的做法。这种做法的原因多种多样，从谦虚到偏见、对名望的追求，甚至是一个简单的心血来潮。虽然有些化名是熟悉和可爱的——例如 Fernando Pessoa、Virginia Woolf 和 Pablo Neruda——但其他人，如古巴剧作家 Justo Eleboro，则在加勒比海和岛屿文学的编年史中消失了。本文探讨了埃莱博罗 (Eleboro) 的简短作品，埃莱博罗是一位 19 世纪的文学服装主义剧作家，其戏剧构思构成了对殖民主义、种族主义、奴隶制和以阳具为中心的性别角色管制的谴责。这篇文章以结合史学和政治分析的跨学科视角，阅读了 Eleboro' 从发现他的真实身份 - Magín Robert - 的那一刻起，他的戏剧就一直以笔名掩埋了一个多世纪。了解后者的政治和革命战斗力对于将他的作品语境化并使其可见的过程至关重要。