2014 “Parodying the Popular: A Comparative Study of the Afro-Cuban Literary Imaginary of Guillermo Cabrera Infante and Carleton Beals.” Hipertexto, Volume 20, Summer 2014, 84-104.
2011 “Argentine Anthropophagy: Carnal and Cultural Encounters in Carlos Balmaceda’s Manual del canibal.” Chasqui: revista de literatura latinoamericana, Volume 40, Number 2, 160-170.
2010 “Cosas cubanas: economía, ideología y estética de la cultura material cubana.” Espéculo: Revista de estudios literarios (Universidad Complutense, Madrid, Spain), Volume 44, March-June Issue, 2010. Web. [Web Post of Article Fragment: www.cubamaterial.com (February 21st, 2014)
2009 “Afro-Cuban Havana, 1930s: Walker Evans and Carleton Beals in The Crime of Cuba (1933)” Caribe: Revista de cultura y literatura, Volume 12, Summer 2009, 81-101.
2006 “Discourses of/on Nostalgia: Cuban America’s Real and Fictional Geographies” Letras Hispanas Volume 3, Issue 1, Spring 2006. Web.
[Cited: Diversión: Play and Popular Culture in Cuban America. NYU Press, 2017.]
[Cited: Doctoral Dissertation by Virginia Camila Tuma (Duke University). “The Cuban Diaspora & the Question of Nostalgia” (2017).
[Cited: “Cuba No; Miami Sí: Cuban Americans Coping with Ambiguous Loss.” By Rose M. Pérez in Journal of Human Behavior in the Social Environment, Volume 25, Issue 1, 2015, pp. 50-66.]
[Cited: “Craft of Memory” By René Morales in Amelia Peláez: Craft of Modernity in exhibition catalog of the Pérez Art Museum Miami (PAMM), 2014.]
[Cited: “Paradise Lost: Older Cuban American Exiles’ Ambiguous Loss of Leaving the Homeland.” By Rose M. Perez in Journal of Gerontological Social Work, Volume 56, Number 7, 2013, pp. 596-622.]
[Cited: “Caribbean Bodyscapes: The Politics of Sacred Citizenship and the Transpersonal Body.” By Josune Urbistondo. University of Miami, Dissertation, 2012.]
[Cited: “Messy Moods: Nostalgia and Other Nagging Feelings in Oscar Hijuelos’s Mambo Kings Play Songs of Love.” By Maya Horn in Latino Studies, Volume 7, Number 4, 2009, pp. 499-514.]
[Cited: “Annual Bibliography of Works About Life Writing, 2006-2007.” By William Todd
Shultz in Biography, Volume 30, Number 4, 2008, pp. 512-632.]
2005 “Political Aesthetics in Contemporary Cuban Filmmaking: Fernando Pérez’s Madagascar and La vida es silbar.” Ciberletras 13: 1-4. Web.
[Cited: “Beyond the Visual City: The Sound of Space in Fernando Pérez’s Suite Habana.” By Tania Gentic in Hispanic Review, Volume 82, Number 2, Spring 2014, pp. 199-220.}
[Cited: “The Culturally Charged Iconography of Benny Moré: A Socialist Tool or the Dawn of a New Era?” By Patricia L. Swier in Letras Hispanas, Volume 9, Number 2, Fall 2013, pp. 5-22.
[Listed: http://filmstudiesforfree.blogspot.com/2009/08/studies-of-third-cinema-and-anti.html]
[Listed: “Recent Work in Cuban Studies” Cuban Studies, Volume 38, 2007, p. 225.]
2005 “Materializing Havana and Revolution: Cuban Material Culture.” Studies in Latin American Popular Culture 24, 161-177.
[Cited: Culture and the Cuban State: Participation, Recognition and Dissonance Under Communism by Yvon Grenier. Lanham: Lexington Books, 2017.]
[Cited: Doctoral Dissertation by Virginia Camila Tuma (Duke University). “The Cuban Diaspora & the Question of Nostalgia” (2017).
[Cited: Reconnecting Cuba’s Waterfront: An Urban Strategy for Post-Revolution Havana. By Natalie Gualy. Dissertation, 2013.]
[Cited: Remembering Angola: Cuban Internationalism, Transnational Spaces, and the Politics of Memories. By Marisabel Almer. University of Michigan, Dissertation, 2011.]
[Cited: “Inventado: Between Transnational Consumption and the Gardening State in Havana’s Urban
Spectacle.” By Sam Binkley in Cultural Studies-Critical Methodologies, Volume 9, Number 2, 2009, pp. 321- 344.]
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