The Colloquialism is a Cuban literary movement of the twentieth century which prevailed in poetry verse conversational tone that is predominant language used by almost the majority of the population in non – formal aspects, when talking to with friends or family .
This mode of expression was defended by a large part of the generation of Cuban writers, those born in the 50s. However, it reached its greatest peak in the 70s, it was used to promote the identity values of the Cuban people, being one of the works Most outstanding of his harvest the book “Motivos de son” by the Cuban national poet, Nicolás Guillén .
Summary
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- 1 Background
- 2 Features
- 3 The stage of “post-colloquialism
- 4 Sources
Background
With the revolutionary process of 1959 , a new period for Cuban literature was established in Cuba , where different generations of writers with a diverse range of styles converged. These authors are integrated by the revolutionary fact, so they begin a search and experimentation of techniques and styles to consolidate a simple literary expression that allows them to better communicate with the people, their main interest being to enhance the Cuban Revolution , as well as to carry out a revision criticism of the past.
According to Roberto Fernández Retamar these poets:
“They wanted to overcome the hermetic language of some authors from origins and unlock the neo-romantic language.”
features
The literary trend called colloquialism surpassed the 60s as the Cuban intellectual, Juan Marinello , asserts , although in the 70s it was still very strong among a majority of poets who remained faithful to colloquial content assumptions always seeking to express the historical as daily, to say the transcendent of those special circumstances of history through a direct and easy to understand language.
These poets link the conversational tone as something new with the classical forms, they combine the wild and the urban pair. Although they repudiate the classical forms of the tenths and the sonnet). In this type of poetry, themes related to: the family, the ontological self, death, childhood, the insular landscape and the philosophical or political cut can be found with increasing intensity. Guillermo Rodríguez Rivera on the prevailing colloquialism at this time warns:
“… a strong use of lexicalized phrases, expressive ease, narrativity, influence of popular lyrics songs (boleros and nueva trova), a certain humanism and urban language”
In the second half of 1970, colloquialism gave symptoms of exhaustion, but it did not dissolve thanks to the presence of the conversational tone as a constructive factor in the poem. In the late 70s, poets readapted an intimacy supported by the conversational, but they did take up the classic forms of the language and compositions such as the sonnets and the tenth .
Cuban colloquialist poetry also reiterated expressive modes, lexical-syntactic stereotypes and tropological resources and in it, prosaicism reached such a peak that the poem began to be more narrative than lyrical. With this, colloquialism gradually lost its hegemony, without, curiously, being replaced by any other current or predominant line.
The stage of “post-colloquialism
The emergence of new classes of poets in the 1980s further diminished the colloquialist prominence and favored diversity . A multi-thematic poetry was developed , including the experimentation of languages and structures. At the same time that the great masters of the national lyric were physically disappearing, a strong movement of poets was growing throughout the country.
The later generation tends to react against the dominant colloquialism at the moment that it emerges, through the classical forms, the most accentuated intimacy, the return to the themes of nature , recognizing José Lezama Lima as a teacher , as well as other originist poets. .
