Colombian literature

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The Colombian literature is the Spanish-language literature Colombia and as such part of the Hispanic or (including Brazil) of the Latin American literature. In the 1960s, some Colombian authors achieved worldwide fame with their socially critical, partly magical realism narrative, which focuses on rural-archaic underdeveloped Colombia. So was Gabriel García Márquez in 1982 the Nobel Prize for Literature .

Early days

From the time before the Spanish conquest, only a few myths and chants of the indigenous peoples have survived (e.g. by Konrad Theodor Preuss ), and their authenticity is also not certain.

Juan Rodriguez Freyle

The beginning of Colombian literature can be traced back to the chronicles of the humanistically educated conquistador Gonzalo Jiménez de Quesada (1509–1579) and Juan Rodríguez Freyle (1566–1640) (called El Carnero , "The Mutton"). The latter also included fictional and satirical elements in his report on the indigenous people of the region, the founding of Bogotá and the subsequent conflicts, and painted a broad panorama of the country and its people. Since there was only a permanent printing press in Bogotá since 1777, the two chronicles fell into oblivion for a long time and were only published in 1952 and 1859 respectively.

As Colombian Homer was Juan de Castellanos -long (1522-1607) for its 113,000 verses, composed of many different epic about the conquest and the campaigns against the Caribs called. The potato ( papa ) is mentioned for the first time in this work .

The Jesuit Hernando Domínguez Camargo (1606-1659) was an extreme exponent of Gongorism ( Culteranismo ) in Colombia; his poetry seems inedible today. His contemporaries praised Juan Manuel García Tejada (1774–1869) as an important poet ; However, a large part of his work is lost. The self-taught poet and playwright Luis Vargas Tejada (1802–1829) died at a young age in the turmoil of the Revolutionary Wars; his Sainete (Schwank) Las Convulsiones in the tradition of Lope de Vegas and Carlo Goldonis made him known to this day.

There are also two women among the early Colombian authors: Josefa Acevedo de Gómez (1803–1861) wrote a history of Colombia and some biographies. Ana María Martínez de Nisser (1812–1872), a heroine of the civil war of 1840/41, fought on the government side and wrote a diary about it that was published in Bogotá in 1843 - probably the first Colombian book of non-religious content written by a woman has been.

romance

Even after the dissolution of Greater Colombia in 1830, a civil war situation remained latent, although there has been no military coup in Colombia since then (apart from an interregnum in the 19th century and the golpe by Rojas Pinilla in 1953). The extremely conservative-feudal south of the country, in which slavery was widespread, stood in opposition to the more liberal Bogotá and the radically liberal Atlantic coast. The intellectual life of Colombia in the early 19th century accordingly featured a broad spectrum of important authors. Many of these had come into contact with the ideas of the first generation of romantics in France. This included young landowners, diplomats who had traveled to Europe and emigrants who had fled to liberal England. Romantic ideas were mainly imported through translation activities, e.g. B. by José Fernández Madrid (1789-1830), who was a diplomat in London and made Victor Hugo , Chateaubriand and other authors known in Colombia. His tragedy Guatimoc bears witness to a romantic Indianism , from which the conservative Julio Arboleda (1817–1861) was inspired in his epic Gonzalo de Oyón (1858).

The lyrical work of José Joaquín Ortiz (1814–1892) marks the transition from classicism to romanticism . The first generation of Romanticism was shaped by the poet and writer José Eusebio Caro Ibáñez (1817-1853), a humanistically educated conservative thought leader and founder of the Conservative Party of Colombia, who had also lived in the United States for a time. The subjects of his poetry were God, woman, death, nature.

The leading mind of the second generation was the poet, storyteller, translator, editor and diplomat José Rafael de Pombo y Rebolledo (1833–1924), who lived in the USA for 17 years. His work shows great spontaneity, but is not worked through like Caros. In addition to these leading figures in Romanticism, Epifanio Mejia (1838–1913) and Miguel Antonio Caro (1843–1909), a Christian socialist, political publicist and important philologist, who significantly influenced the constitution of 1886 and later became president.

Classicism had discredited the writing of novels; these emerged increasingly since the 1860s. Soledad Acosta de Samper (1833–1913) lived temporarily in Europe in her youth. She covered a large number of novels and short stories, especially historical novels and those on the role of women, and published the family and women's magazine La Mujer . Like other romantic authors, she turned against the persecution of the Jesuits, who were viewed by the conservative- positivist state ideologues as an obstacle to (economic) "progress".

Costumbrismo

José María Vergara y Vergara (1831–1872) undertook the first attempt at a synthesis of the “national” (but until then in the Spanish tradition) Colombian literature.

Title page of the novel María (1899 edition) by Jorge Isaacs.

In the late 1860s, a conservative costumbrismo prevailed, the social basis of which was the agricultural highlands around Bogotá . One of the first Colombian costumbrian novels, Manuela by José Eugenio Díaz Castro , was published in 1858 as a serial in El Mosaico . It was conceived more as a series of sketches, but was celebrated as a kind of national novel, but also criticized for its dialect-colored, "incorrect" language. Díaz Castro himself worked as a tobacco farmer and trader and was despised by the Bogotá elite as a "man in a poncho ". The Colombian Costumbrists also include José Manuel Groot (1800–1878) and José Manuel Marroquín (1827–1908). The Romanian novel María (1867) by Jorge Isaacs (1837–1895), a romantic, partly autobiographical, simply constructed love story and one of the most widely read books in Latin America, achieved a particularly broad impact . Candelario Obeso 1849–1884, a Costumbrist poet and narrator, wrote in the Afro-Columbian dialect and translated numerous works from other languages. He is considered the first "poeta negrista" in Colombia. The late Costumbrists also include Efe Gómez (actually Francisco Gómez Escobar, 1873–1938) and Luis Carlos López (1879–1950), who described life in his hometown of Cartagena . Juan de Dios Uribe ("El indio Uribe", 1859–1900) was on the run for years as a representative of Christian-liberal socialism. As a publicist, comedy writer, storyteller and brilliant stylist, he fought against the long-standing Catholic-conservative hegemony of President Rafael Núñez, established in 1884 .

Tomás Carrasquilla (1910)

The self-taught José Asunción Silva (1865-1896), a forerunner of modernist poetry, lost a large part of his manuscripts to shipwreck. However, he paved the way for overcoming romanticism and costumbrismo. Tomás Carrasquilla (1858–1940) is on the threshold of social realistism or naturalism; his undeserved reputation as a provincial costumbrist rather damaged the spread of his numerous novels, which dealt with the situation of the mestizo and the blacks.

Modernismo and countercurrents

Modernismo

One of the early modernist prose writers was the Barcelona- born José María Vargas Vila (1860–1933). In 1885 he had to flee to Venezuela, where he published his first romantic works. In 1891 the self-taught went to New York, where he was friends with José Martí . In 1892 he took part in the revolution in Venezuela. Around 1900 he was one of America's most controversial authors: radically liberal, even anarchist, pathetic, anti-clerical and anti-despotic. Under Rafael Núñez he had to go into exile in San Cristóbal (Venezuela) , where he founded a radical exile magazine. In 1903 he was chosen for its imperialism critical writing off Ante Bárbaros expelled from the United States. Because of his novel Ibis (1900), which has cruel, hedonistic and misogynistic features, he was excommunicated by the Vatican . In some of his works he deals with the subject of homosexuality. In La muerte del cóndor (1925) he describes the life and death of the Ecuadorian President Eloy Alfaro .

Guillermo Valencia (1873–1943) brought modernism to formal perfection; his pictorial poetry is still influenced by romanticism and Parnassianism , but also by symbolism ( Ritmo , 1899). The lyric work Antonio Gómez Restrepos (1869–1947) can also be assigned to Parnassianism; he also wrote a solid literary history of Colombia. The extravagant and original lyric poet Miguel Ángel Osorio (pseudonym: Porfirio Barba Jacob, 1883–1942) lived mostly abroad and died in Mexico. Isaías Gamboa (1872–1904) traveled all over the Latin American continent; his modernist poetry, influenced by Rubén Darío , adapted its rhythm completely to the subject. Other representatives of symbolism were Luis Carlos López (1883–1950) and Julio Flórez (1867–1923).

In the 1920s, the literary avant-garde of Colombia gathered in Barranquilla and Medellín , but did not achieve the importance of its contemporaries in Mexico, Cuba or Argentina. The versatile writer José Eustasio Rivera (1888–1928) became famous for his only novel, La Vorágine (German: “The Strudel”, 1924), which is set in the lowlands of the Amazon; it fluctuates between modernism and costumbrism, but follows a classic-ancient narrative structure. The realistic social accusation mixes with fictional elements.

After 1925, symbolism and modernism were followed by very different currents; (Neo) classicism played an important role in poetry, realism in novels and storytelling.

Social realism in the novel

Tomás Carrasquilla (1858–1940), a novelist who was originally caught up in naturalism , was deeply rooted in the province of Antioquía . His work, which strips off "exotic" elements of indigenism and shows the "cultural mestizization" of the rich and emerging province, was only received shortly before his death in the Spanish-speaking world. La Marquesa de Yolombó (1926) draws an exact, psychologically nunaced, subtly alienated picture of village society and its social stratification in a complex manner of representation. It can be considered a forerunner of modern Colombian literature, but received little attention during its lifetime.

Postmodernismo, classicism, avant-garde

Francisco de Asís León Bogislao de Greiff Haeusler

With modernism, León de Greiff (1895-1976), the co-founder of the Nietzsche and Baudelaire- inspired anti-clerical artist and literary movement Los Panidas (founded in Medellín in 1915 ), came from a Swedish-German immigrant family . He used aloof sobriety, self-irony and parody quotes as well as obscure terms as innovative stylistic devices. Occasionally he is referred to as a representative of a late neo-baroque culteranismo ; but a comparison with Fernando Pessoa is probably closer.

The work of the “postmodernist” loner Germán Pardo García (1902–1991), who lived in Mexico since 1931, has a romantic touch ; his themes were social injustice, loneliness, war and peace, and above all death. In his later prose works he emtmythizes the figure of the dictator.

The avant-garde began in Colombia late after 1925. B. by the communist lyricist Luis Vidales (1904–1990), whose masterpiece Suenan Timbres , which was valued by Jorge Luis Borges , was published in 1926, and by the authors gathered around the magazine Los Nuevos .

The Piedra y Cielos movement (the Piedracielistas ) of the authors born around 1910–1915 turned even more radically against the symbolist paradigm and aestheticism that were identified with the conservative politics of the first third of the century. This movement, which began programmatically in 1939, was under the influence of the Spaniard Juan Ramón Jiménez , whose book of the same name they owe their name to, and the creacionismo of the Chileans Vicente Huidobro and Pablo Neruda . They include Jorge Rojas (1911–1995), Arturo Camacho Ramírez (1910–1982) and the classicist poet Eduardo Carranza (1913–1985). The Piedracielistas also opened the way for the reception of French existentialism .

Despite certain points of contact with modernism, Aurelio Arturo (1906–1974), who came from the south of the country and whose work was influenced by Saint-John Perse , is one of the representatives of classicism. His lyrics are of great musicality; she draws her themes and sensory impressions from the natural environment, the elements of which - plants and animals - lead a life of their own and communicate with one another. His great nostalgic poem Morada al Sur ("Southern Apartment", 1945) only became popular in the 1980s; it gave the impetus to renew the Colombian poetry frozen in the “numbness of piedracielismo”.

Essay writing

The linguist Baldomero Sanín Cano (1861–1957) published a. a. literary history essays and is considered the founder of Colombian literary criticism . Fernando González Ochoa (1895–1964), religious critic philosopher and essayist influenced by Carrasquilla and Friedrich Nietzsche , exerted great influence on Nadaísmo , the Latin American variant of existentialism of the 1960s , through his student Gonzalo Arango . Jorge Zalamea (1905–1969) was an essayist, art critic and diplomat. But he became known for his polemical poems against tyranny ( El gran Burudún-Burundá ha muerto , 1952). The extensive essayistic work of Germán Arciniegas (1900–1999) includes brilliant historical and sociological essays on the culture, history and social structure of Latin America from the perspective of a “world history from below” (German: cultural history of Latin America 1966). Topics were the role of students in history and the question of justice in an ethnically heterogeneous society - especially justice for the Indians. Later he developed a conservative attitude.

The modern Colombian theater

Antonio Álvarez Lleras (pseudonym: Joaquín Zuluaga , 1892–1956) , who was also successful abroad, is considered to be the founder of modern Colombian theater in the 1940s . Ciro Mendía (1892–1979), poet and playwright, established the theater in the province as well. Luis Enrique Osorio (1896–1966) emerged as a comedy writer especially with political satires. Enrique Buenaventura (1925–2003), founded the experimental theater in Cali in 1955 and made a name for himself with over 60 plays as a innovator of Colombian theater after the civil war. The author and director Andrés Caicedo (1951–1977), who also wrote short stories ( Los serves de caperucita 1970, “The Teeth of Little Red Riding Hood”), took a stand against magical realism and founded the Cineclub in Cali, which he held for a discussion , Experimentation and performance facility with charisma. Since the 1950s, the theater replaced poetry, which lost much of its importance.

The civil war 1948–1953 and the time after: "Generación del boom"

The murder of the left-wing populist presidential candidate Jorge Eliécer Gaitán in April 1948 in Bogotá was the spark that set the powder keg off. The civil war ( La Violencia ), which was already raging in rural areas between liberals and conservatives , was now carried into the cities and raged until 1953, when it was interrupted by the coup of the populist army leader Rojas Pinilla, which in turn was followed by a military junta. The civil war killed tens of thousands and laid the groundwork for the FARC's revolt in the 1960s. This was also reflected in the literature. Most of the authors turned to the political and social realities of Colombia: the archaic conditions in the country, the underdevelopment and the excessive use of violence by large estates and the military. Some of these authors achieved world fame and a large international reading audience.

Typewriter by Gabriel García Márquez in the Colombian National Library

This generación del boom includes the novelist, essayist, publicist and diplomat Eduardo Caballero Calderón (1910–1993), whose style is characterized by precision and “efficiency”. His satirical novel El buen salvaje (1966) is about a young writer who wants to write a great novel in Paris, but only manages to create a diary that is at the same time a reflection of the history and politics of Colombia. The boom generation also includes the doctor and narrator Manuel Zapata Olivella (1920–2004), the long-time exiled novelist and creative narrator of life in his homeland, the Andes , Manuel Mejia Vallejo (1923–1998), the writer and journalist Álvaro Cepeda Samudio ( 1926–1972) and above all Gabriel García Márquez (1928–2014), the author of rural-archaic Colombia and main exponent of a magical realism through which costumbrismo was finally overcome. His main work Hundred Years of Solitude combined the oral tradition of pre-Columbian cultures with European ( Charles Dickens , Tolstoy , Kafka ) and American narrative traditions ( William Faulkner ) and was immediately attributed to world literature by critics . Cepeda Samudia, who lived in the USA from 1948 until his death, was also influenced by Faulkner, William Saroyan and Truman Capote ; he is considered to be the founder of an independent urban “Caribbean” style. His only influential novel, La casa grande (1962), is about the military massacre of the United Fruit Company's striking banana workers in Ciénaga in 1928.

Some of the authors belonged to the Grupo de Barranquilla , founded in 1940 , an intellectually extremely influential group of authors, journalists and artists. a. Gabriel García Márquez, Álvaro Cepeda Samudio, Germán Vargas and Alfonso Fuenmayor. This group, which had published Crónica magazine since 1940 and disbanded in the late 1960s, also played a role in García Márquez's “One Hundred Years of Solitude” in the form of the “four friends” in Macondo, the fictional setting of the novel. García Márquez was closely connected to the narrator and poet Álvaro Mutis (1923–2013), whose work has received numerous awards, including a. by the Cervantes Prize 2001. Another important social realist of the 1960s and 1970s was the Bogotá-based author and director Fernando Soto Aparicio , who addressed the country's social conflicts and excesses of violence.

For the important literary magazine Mito , founded in 1955 by Jorge Gaitán Durán and Eduardo Cote Lamus , García Márquez a. a. also the Spanish poet and writer José Manuel Caballero Bonald , who lived in Colombia in the early 1960s, where he published his first novel.

But also aesthetic counter-movements against the more or less realistic style of the group of Barranquilla and a few solitary authors should be mentioned. Gonzalo Arango Arias (1931-1976) founded the provocative anti-clerical-atheist Nadaísmo ("nothing-ism") movement around 1957 , which was based on French existentialism and, in particular, the philosophy of Fernando González Ochoas. His works were still banned in the 1920s by the Archbishop of Medellín - allegedly under threat of the death penalty. Rafael Humberto Moreno Durán (1945–2005) represented a neo-cultural style and parodyed historical rhetoric. Even Pedro Gómez Valderrama (1923-1992) wrote historical novels in neo-baroque style. Álvaro Escobar-Molina (* 1943), who has lived in Paris for many years, describes the loss of traditional ways of life in the Andes due to the civil war. As an opponent of enlightened rationalism, Nicolás Gómez Dávila (1913–1994), who described himself as a “reactionary”, found his means of expression primarily in aphorisms . In Germany his work was u. a. received by Botho Strauss . Antonio Mora Vélez (* 1942) is one of the fathers of Colombian science fiction . Carlos Arturo Truque (1927–1970) was influenced by the American short story with its laconic dialogue . Zacarías Reyán (* 1948) dedicated himself to epic poetry .

The 1970s and 1980s: "Generación desencantada"

Until the mid-1980s, all possible forms of opposition were seen as evidence of covert guerrilla activity. The most important issues of the disappointed generation after 1970 and of the so-called post- Macondismo were the big city and the violence, the constant political incapacitation and the constant support of the conservatives by the Catholic Church. Luis Fayad reestablished the tradition of urban literature, the focus of which was no longer on the poor districts sketched in naturalistic fashion, but on the growing middle class of Bogotá. Héctor Sanchez (* 1941) describes the growing decomposition of the city. The authors who are critical of capitalism include Nicolás Suescún (* 1937), the repeatedly politically persecuted activist and author of the popular telenovela El Bazar de los Idiotas Gustavo Álvarez Gardeazábal (* 1945), Gonzalo García Valdivieso (* 1943), the one for homosexual rights enters, and Oscar Collazos (1942–2015), who analyzes the psychological problems of young workers in his work. Collazos lived u. a. in Cuba and in West Berlin for 10 years. Germán Espinosa (1938–2007) described the bloody history of the Inquisition and the life of the upper classes in Bogotá with satirical influences . Raúl Gómez Jattín (* 1945), a poète maudit , wrote about madness, drugs, loneliness. Fernando Valleja's (* 1942) books deal with politics, violence, sexuality and death in Medellín and the surrounding area, but above all with his own life, as he mostly writes in the first person and intersperses his autobiography with fictional elements. In 2007 he emigrated to Mexico after living, writing and making films there for 30 years.

Fanny Buitrago (* 1946), who belongs to the group of Barranquilla, whose carnival often forms the background for her stories , was drawn to Nadaísmo, which had already become quiet again at the end of the 1960s . She openly avoids political issues, but deals with the effects of violence on families and ironizes the folly of unconditional love and female consumption of telenovelas . Laura Restrepo (* 1950) wrote non-fiction books on political topics; she had to go into exile at times. María Elvira Bonilla (* 1955) works as a journalist, editor ( El Espectador , Internet portal Las dos Orillas ) and author ( Jaulas 1983, German "Käfige"). Triunfo Arciniegas (* 1957) writes and illustrates books for children and young people.

In the late 1980s, postmodernism found its way into Colombian literature. The drug and rock culture became the subject of Rafael Chaparro Madiedo (1963-1995), who was influenced by Andrés Caicedo . In 1992 he received the national literature award for his only novel ( Opio en las nubes , "Opium in the Clouds"). After his death - probably for the first time in Colombia - his virtual fan base gathered on social networks.

Since 1990: “Literatura narco” and violence in the big city

Since the 1990s, the international exchange of Colombian authors, which previously was mostly reserved for diplomats and exiles, has intensified. Tomás González (* 1950), philosopher and barman from Medellín, lived as a translator in the USA for 19 years and returned to Colombia in 2002. Several of his books influenced by Gabriel García Márquez and Julio Cortázar have been translated into German. In Para antes el olivo (1987; Eng . “The silted up time”, 2010) he addresses the violent experiences of the 20th century that have faded over time; but he avoids exoticism and the mythization of violence. Hector Abad (* 1958) returned from exile in Italy, where he had gone after the murder of his father, a human rights activist, and began to write novels in which he addressed the resolution of faith and writing crises ( Basura , 2000; Angosta , 2003). In Germany he was best known for El olvido que seremos ("Letters to a Shadow") and La oculta .

William Ospina

William Ospina (* 1954), who also lived temporarily in Europe, published literary and historical essays, poems and a trilogy of novels about the Spanish conquest of Colombia and Venezuela, influenced by the great epic of Juan de Castellanos . In his most recent work, El año del verano que nunca llegó (2015), which was published on the 200th anniversary of the Tambora eruption in Indonesia, he lets Lord Byron , Percy Shelley and his wife Mary experience the catastrophic summer of 1815 on Lake Geneva , in which they cannot leave the house for days. In this mysterious atmosphere he creates the monster Frankenstein . The books by the early successful and often awarded Evelio Rosero (* 1958), translated into many languages ​​and also into German, dismantle national myths and shrines ( Los soldados , 2003; La carroza de Bolívar , 2012). His topics are the current situation of young people, the clerical character of the educational system or the constant threat of kidnapping . Rosero has also written children's books. Jorge Franco (* 1962) , who received several literary awards and was popular among young readers, published short stories and novels about drug wars and contract killings, which were also filmed . Drugs and sex are also topics of the novel “The man with the magic camera” (German 2019) by Pedro Badran (* 1960), who comes from a Syrian-Palestinian immigrant family. Another representative of the urban literature of the terribly beautiful capital Bogotá, also revered by young readers, is Mario Mendoza (* 1964).

Juan Gabriel Vásquez (* 1973) lived in Barcelona for a long time. He vehemently opposes the exoticism of magical realism, which is still e.g. B. in the work of Tomás González (* 1950), and against the idealization of rural Colombia. With great narrative finesse, he dedicates himself to the history and present of Colombia. For El ruido de las cosas al caer (2010: Eng . “The sound of things when falling”, 2014), a literary appraisal of the drug wars of the 1980s, which connects contemporary and family history, he received major international literary prizes. Several other of his books have also been translated into German, such as Los informantes (2004, German: "The Informants" 2010) and "The Secret History of Costaguanas" (2016), which describes the historical upheavals and catastrophes in Colombia at the time the Panama Canal was planned with the connects the adventurous life story of a fictional narrator, whose account was allegedly plagiarized by Joseph Conrad in his novel Nostromo .

With his political satires, the internationally active journalist Juan Antonio Ungar (* 1972) is one of those authors who “break up and leave behind the hermeticism of García Márquez or Vargas Llosa with images of globalized, dynamic, loud, dirty and violent emerging market cities”. Max Vergara Poeti (* 1983) is a successful Italian-Colombian short story author, essayist and translator who also writes in English and publishes his texts primarily in newspapers.

Film, television, theater

At the moment there are clear thematic and stylistic parallels between Colombian literature and film. The authors try to use new media and at the same time to cast off the oppressive media dominance of the USA. Jorge Alí Triana (* 1942) should be mentioned as a screenwriter and playwright . He wrote about 30 television series and also worked in New York and Cuba. He currently directs the Teatro Nacional de Colombia . The numerous other theaters are not publicly funded. The Umbral Teatro in Bogotá, founded in 1992 by Ignacio Rodríguez and Carolina Vivas Feria under its director Carolina Vivas Ferreira , has earned a special reputation . In April 2017, the second theater biennial took place in Bogotá, where 150 pieces were performed.

Book market

The reading public of the middle class, which is growing rapidly despite one to two million illiterates, is turning more and more to target group-specific literature; however, literature is still held in high regard. After Argentina and Mexico, Colombia is the third largest book producer among the Spanish-speaking countries in Latin America; Many books by authors from the smaller states of Central America are also published here. In 2009, nearly 12,400 books (including reprints) were published by 139 active publishers; total publisher sales in 2008 were nearly $ 150 million.

literature

  • Colombian literature. In: The Brockhaus Literature. Volume 2, Mannheim 1988, p. 387.
  • Michael Rössner: Latin American literary history. 2nd, expanded edition. Stuttgart, Weimar 2002, ISBN 3-476-01858-X .
  • Robert L. Sims: Columbia. In: Concise Encyclopedia of Latin American Literature. Routledge, London 2000.
  • Raymond Leslie Williams: The Colombian Novel: 1844-1987. University of Texas Press, 1991 and 2010.
Anthologies
  • Jennifer Gabrielle Edwards (Ed.): The Flight of the Condor. Stories of Violence and War from Colombia. University of Wisconsin Press, 2007, ISBN 978-0-299-22363-2 . (e-book, English)
  • Peter Schultze-Kraft (ed.): The duel: Colombia in stories by the best contemporary authors. (= Modern storytellers of the world). Erdmann, Tübingen 1969.
  • Peter Schultze-Kraft (Ed.): And dreamed of life. Stories from Colombia. Zurich 2001, ISBN 3-85990-004-8 . (74 short stories from the 20th century)

See also

Web links

Commons : Literature of Colombia  - collection of images, videos and audio files

Individual evidence

  1. ↑ Biografia y Vidas Juan de Castellanos biografiayvidas.com, accessed June 11, 2019 (Spanish)
  2. ↑ Rössner, 2002, p. 163 f.
  3. ↑ Rössner, 2002, p. 165.
  4. ↑ RL Williams 2010, p. 56 ff.
  5. ↑ Historia de la literatura columbiana. 3. Edition. Bogotá 1953–1954, 4 volumes.
  6. ↑ Rössner 2002, p. 315 f.
  7. ↑ Rössner 2002, p. 315.
  8. ↑ On this section cf. Michael Rössner: Latin American literary history. Springer Verlag, 2016, p. 316 ff.
  9. ^ Aurelio Arturo in Poetry International Web
  10. ↑ Text and reception of the poem on revistaarcadia.com (Spanish)
  11. ↑ Short biography on www.ecured.com
  12. ↑ Rössner 2002, p. 444.
  13. ^ Alvaro Pineda-Botero: Del mito a la posmodernidad. La novela colombiana de finales del siglo XX. Bogotá 1990.
  14. ↑ German: Antonio Ungar: Three white coffins. Frankfurt 2012.
  15. ^ Review note in: Süddeutsche Zeitung , September 24, 2012.
  16. ^ Tobias Wenzel: Theater in Colombia: Dangerous excursion into the city area. In: deutschlandfunkkultur.de, July 25, 2015.
  17. ↑ Festival FESTIBIENAL DE TEATRO de Bogotá , accessed June 11, 2019 (Spanish).
  18. ↑ Marco Thomas Bosshard (Ed.): Book market, book industry and book fairs in Germany, Spain and Latin America. Münster 2015, p. 83.