This study is an exploration of the Cuban Revolution and Cuban poetry to illustrate the debate that revolutionary movements that evolve, develop and remain under the ideological umbrella of modernity do not achieve the open-inclusive and pluralistic society that they seek to establish. This is due to modernitys own desire for development and progress, which reduces the revolutionary movements efforts to limiting and exclusionary spacial/temporal parameters. This impossibility for a truly pluralistic society emerges also from modernitys inherent short reach and manipulation of memory. Through managing long and short memory, modernity seeks national unity under the premise that anything prior to the revolutionary movement was bad and that the only hope is in a future that only the revolution can provide. An in depth analysis of Cuban poetry written during the first two decades after the 1959 Revolution shows the impossibility of achieving a fully pluralist society that doesnt negate the co-existence of other cosmologies and cultural identities within that same society, and that doesnt disallow their membership into the national project.
The unfolding of the characteristics of two opposing poetry styles that emerged during the 1960s and 1970s will serve as the basis for this illustration and analysis. The two styles in question are Colloquialism, a free verse style promoted by the state as the preferred way to write poetry; and Tojosismo, a more metric rhyme verse that followed traditional styles, developed outside the limits of the center of power and excluded from it. The research determines how these two styles of poetry differed in form, and also in the extension of their memories, jumpstarting from the controversies behind the centrality of Colloquialism and the marginality of Tojosismo.
The study is a contextualization of Cubas poetry through this countrys social and political history, placing emphasis on the cultural policies established by Fidel Castro post the 1959 Revolution and the impact of such policies on the free production of poetry in the new revolutionary society.
| Identifer | oai:union.ndltd.org:PITT/oai:PITTETD:etd-02272008-175432 |
| Date | 10 June 2008 |
| Creators | Dieter, Gisela P. |
| Contributors | Gerald Martin, Andrew W. Mellon Professor, Hispanic Languages and Literatures, Ivania Del Pozo, Professor, Foreign Languages and Literatures - YSU, Dissertation Advisor: Dr. Jerome Branche, Associate Professor, Hispanic Languages and Literatures, Elizabeth Monasterios, Associate Professor, Hispanic Languages and Literatures |
| Publisher | University of Pittsburgh |
| Source Sets | University of Pittsburgh |
| Language | English |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | http://etd.library.pitt.edu/ETD/available/etd-02272008-175432/ |
| Rights | unrestricted, I hereby certify that, if appropriate, I have obtained and attached hereto a written permission statement from the owner(s) of each third party copyrighted matter to be included in my thesis, dissertation, or project report, allowing distribution as specified below. I certify that the version I submitted is the same as that approved by my advisory committee. I hereby grant to University of Pittsburgh or its agents the non-exclusive license to archive and make accessible, under the conditions specified below, my thesis, dissertation, or project report in whole or in part in all forms of media, now or hereafter known. I retain all other ownership rights to the copyright of the thesis, dissertation or project report. I also retain the right to use in future works (such as articles or books) all or part of this thesis, dissertation, or project report. |
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