This anthology includes four works by Gabriel García Márquez: "La siesta del martes," "El ahogado más hermoso del mundo," "El rastro de tu sangre en la nieve," and "Sólo viene a hablar por teléfono." It also includes a short selection about Gabriel García Márquez on page 410.
"El meollo de la obra es que, cuando se haya leído una obra de García Márquez, tengamos, a nuestro alcance, todos o casi todos los detalles de la obra para poderlos usar más tarde, en el momento adecuado y con la garantía de la seriedad de nuestras citas o referencias. No es un libro para leerlo de un solo tirón. No. Esa no es la finalidad."
"Tampoco lo fue el anerior sobre la zoologia. Puede decirse, si con ello nos damos a entender mejor, que este libro es un libro 'referencial' o 'institucional' para una mejor memoria de las obras de GGM, y sea para propios o extraños de su obra."
Originally presented as the author's doctoral thesis at Universität Leipzig in 2003, this book discusses Latin American historical fiction, focusing on the named authors.
Secondary source, Dissertations and Theses on Gabriel García Márquez
Publication Date:
2005
Published:
New Haven, CT : Yale University
Location:
Library, University of Illinois
Notes:
"This dissertation argues that the recourse to romance in post-realist New World writing was accompanied by a re-conceptualization of the figure of the author. While it is true that American romance in its first incarnation exemplified the generic norms of romance, this dissertation focuses on a later generation of romancers, self consciously writing 'against' realism in an attempt to 'return' to romance. I dub this movement 'New World romance'; and hold that its primary innovation was to replace the traditional plot of romance of voyage, return and heterosexual union with a meta-textual plot that concerns the attempted but failed to return to the generic 'innocence' of traditional romance after the collapse of realism. In the process of writing back to romance, the writer sheds the figural trappings of the realist author and adopts a new identity. In 'the narrative of Arthur Gordon Pym of Nantucket' Edgar Allen Poe transforms realism from an epistemological project into a rhetorical ploy meant to dupe his readers. The author becomes a despotic figure, subjecting the reader to the tyranny of his fictions. Jorge Luis Borges explores the political consequences of such overweening authority in 'Tlon, Uqbar, Orbis, Tertius' and proposes instead a dialogical model of the writer: the author as translator. What happens when the real is no longer the exclusive property of an author, or even a government? Culture defines reality, and when cultures come into conflict, the 'Clash of civilizations' ensues. In 'El reino de este mundo' and 'Black Tambourine' Alejo Carpentier and Hart Crane manage 'the clash' by transcribing cultural conflict into musical form, thereby transforming the author into a jazzman. Finally, in 'Cien años de soledad' Gabriel García Márquez re-imagines the encounter between reader and text as the encounter between Echo and Narcissus. Arrogating upon himself the authority to condemn the reader to perpetual longing, García Márquez becomes a kind of deity, thereby adopting a role as author that reaches beyond realism, beyond romanticism to the very origins of literature in myth and romance."
Secondary source, Dissertations and Theses on Gabriel García Márquez
Publication Date:
2005
Published:
Alberta, Canada : University of Alberta
Location:
Library, University of Illinois
Notes:
(Abstract) "The themes of the death of authority and the loss of self are portrayed in postmodern world literature. Through five culturally specific novels, both the themes of the death of authority and the resulting idea of the loss of self are explored. Gabriel García Márquez, Jerzy Kosinski, Milan Kundera, J.M. Coetzee, and Haruki Murakami provide the novels, each of which presents the postmodern individual living in the world with no sense of authority and no sense of self. These individuals abandon their cultural and social roles in the attempt to find themselves. The individual's situation is understood through the radical theology of kierkegaard, Nietzsche, and Altizer and it's relationship to the deconstruction of Derrida and Barthes." (M.A. Thesis)
Secondary source, Dissertations and Theses on Gabriel García Márquez
Publication Date:
2005
Published:
Pennsylvania, United States : University of Pittsburg
Location:
Library, University of Illinois
Related Item Details:
346 p.
Notes:
(Abstract) "This dissertation examines one of the most dynamic fields of the recent literary production in Spanish language: the autobiographical discourse. It focuses on the notions of subjectivity, identity, temporality, truth, gender, race, ideology, image, memory, body, eroticism and ideology as represented in the symbolic space of autobiographical discourse of ten key authors (Reinaldo Arenas, Jorge Luis Borges, José Donoso, Salvador Elizondo, Gabriel García Márquez, Margo Glantz, Juan Goytisolo, Pablo Neruda, Severo Sarduy, Mario Vargas Llosa) of twentieth century literary tradition in Spanish/Latin American Literature." Ph.D. Dissertation.
Secondary source, Dissertations and Theses on Gabriel García Márquez
Publication Date:
2005
Published:
Hong Kong, Peoples Republic of China : University of Hong Kong
Location:
Library, University of Illinois
Notes:
(abstract) "This study examines the concepts of the archive and the manuscript, and how they are playfully raided by Barges, Puig and Márquez in Cervantes' shadow. At the same time, this study is on narrative theory, and also looks at Cervantes' influence on Latin American writers." Ph.D. Dissertation.
Secondary source, Dissertations and Theses on Gabriel García Márquez
Publication Date:
2005
Published:
California, United States : Stanford University
Location:
Library, University of Illinois
Related Item Details:
243 p.
Notes:
(Abstract) "This dissertation studies how textual representation can transform violence into a force that consolidates the affective and normative structures of a community. In the works studied here, violence is portrayed as a destructive and frightening phenomenon, but also as an experience of survival that strengthens communal ties. My analysis is based on theories of the nation as an entity constructed through narratives of violence, and my focus is Colombia, a country with a conflictive process of national consolidation...works included here are a textbook compiled in 1910 to teach national history in secondary schools, a sociological study of violence as a national problem from 1962, two early novels by Gabriel García Márquez, two compilations of testimonial narratives, by Alfredo Molano and Patricia Lara, a novel by Fernando Vallejo and another by Laura Restrepo." Ph.D Dissertation.
"According to many testimonies, like García Márquez's exact contemporary the Mexican Carlos Fuentes or the Colombian critic many years younger than both, Michael Palencia Roth, 'Cien años de soledad (One Hundred Years of Solitude)' is the one novel where Latin Americans recognize themselves instantly: their own social, cultural reality, their families, and the history of their countries. It is also the mirror in which a generation of Europeans and North Americans, by the millions, since its publication, have discovered the magical reality of an exotic continent, and a taste for its hallucinatory literature. Are they reading the same novel?"
This book makes references to Gabriel García Márquez on pages 3, 6, 7, 8, 9, 10, 13, 62, 63, 64, 65, 69, 74, 76, 85, 238, 270-275, 279-280, 305, 308, 310, 315.
The the following novels are mentioned:
"El amor en tiempos del cólera" ("Love in the Time of Cholera) 88.
"Cien años de soledad" ("One Hundred Years of Solitude") 2, 5, 15, 59, 61, 62, 63, 74, 85, 86, 94, 239, 258-267, 291, 302, 306, 308, 310.
"Crónica de una muerta anunciada" ("Chronicle of a Death Foretold") 88, 266.
"El coronel no tiene quien le escribe" ("No One Writes to the Colonel)62.
"Los funerales de la Mamá Grande" ("Big Mama's Funeral") 74.
"La hojarasca" 265.
"La mala hora" ("In Evil Hour") 62, 74.
"El Otoño del patriarca" ("The Autumn of the Patriarch") 10, 62, 265.
"This article is about the role of García Márquez and particularly macondismo as an ideology in establishing the canonic validity of vallenato as a folk genre from the Colombian Caribbean. García Márquez's chronicles of the early 1950's are seen as foundational texts on the aesthetics and value of vallenato; texts which influence subsequent writings on the topic. One of the main topics explored is how these texts acquire canonic validity through the success of One Hundred Years of Solitude. It is then that macondismo - the Latin Americanist celebration of magical realism - becomes an interpretive metaphor for Colombia, and vallenato music becomes the sonorous emblem of this metaphor. This occurs through García Márquez's writings, his multiple interventions in Colombian vallenato festivals, and the way vallenato is subsequently taken by a journalistic elite of the country as representing a macondian sonorous paradigm. The article explores how these different elements coalesce in constructing a genealogy of aurality for vallenato, setting the parameters of its interpretive significance through multiple processes of folklorisation of the genre."
Copenhagen, Denmark : Institut d'études romanes de l'Université de Copenhague
Location:
Library, University of Illinois
Related Item Details:
40(2) : 274-88
Notes:
"Este artículo presenta un análisis de 'Relato de un náufrago,' opúsculo híbrido de la primera etapa de la obra de Gabriel García Márquez, en el contexto genérico de la llamada narrativa de naufragios. Partiendo de una observación sobre el renovado interés por la literatura de naufragios, se revisan algunos ejemplos históricos de esta forma textual que hacen eco en la obra. A pesar de la presencia del naufragio como 'tema' en la literatura e historiografía hispanoamericanos, llama al atención la ausencia de un género específico para su representación narrativa, algo que sí se da en la tradición portuguesa. Es la tesis del presente trabajo que 'Relato de un náufrago' representa una reinvención de la narrativa de naufragios para las letras hispanoamericanas, poniéndola a la vez al tanto con el contexto político y literario del siglo XX."