Marcas de oralidad en los corridos surianos.

Within the large musical and literary genre of mexican ballads, there is a sub-genre called corrido suriano which was very popular during the 19th and early 20th centuries in the southern region of central Mexico. It's very well-known as ideological vehicle for the revolutionary movement lead by Emiliano Zapata. The corrido suriano is not alike the Spanish ballad neither does it derive directly from it. We try to demonstrate through the concepts of Paul Zumthor's oral poetry and Henri Meschonnic's orality that the southern songs were composed according to esthetical criteria inherited from the nahuatl poetical and euphonical codes even if they were written in Spanish. It is a mestizo cultural product which was sung in Spanish but following poetical rules inherited from the native culture. So forth, these southern ballads must not be analysed according to the usual literary tools of Spanish scholar culture, because they belong to the popular culture oral performance directed at an illiterate and bilingual public. The corrido's formulism recalls us the importance of the public presence in an "orality" situation and indicates us the socio-literary criteria we must use to analyse them. Thus we cannot judge the literary quality of the southern corridos according to the solely semantical and grammatical standards of Spanish language, because they were written for a public which dominated nahuatl esthetical rules still valid in their own mestizo culture. [ABSTRACT FROM AUTHOR]