This article analyzes the continuous presence of Darwinian elements in Gabriel García Márquez's works. For example, how the writer reduces and at the same time expands his pertinence. Almarza reflects on Gabriel García Márquez's texts, characters who live in the sun, humidity, rain and sea. The rain, the heat, and the humidity come to be the omnipresent element in his texts. It is a genetic mark; for Dostoyevsky this mark was the weight of individual conscience and for Balzac it is money or the inheritance of the characters, but for Gabriel García Márquez the genetic mark is the climatic presence of the Caribbean in his narrative creatures.
The author chooses to analyze how after Gabriel García Márquez won the Nobel prize, his novel reaches a broad diffusion, almost losing its roots, thus becoming pertinent that these be traced, reconstructing, piece by piece, the passionate process with which a writer comes to be who he is, in a continuous counterpoint of exploration of the reality and assimilation of the literary forms that allow him to express himself.
Medellín, Colombia : Editorial Universidad de Antioquia
Location:
Library, University of Illinois
Related Item Details:
436
Notes:
"Este cursillo va a tratar de una tésis sobre la formación de la literatura, apoyada fundamentalmente en textos de la novelística de García Márquez, lo cual indica usar un tanto a García Márquez como ejemplo para la demostración de una teoría literaria. Ahora bien, los textos fundamentales que vamos a trabajar son 'La hojarasca', 'El coronel no tiene quién le escriba', y 'Cien años de soledad'; además usaremos, desde luego, algunos otros materiales que pertenecen a cuentos o diversas fuentes e informaciones que reseñaré directamente y por extenso si es necesario."
Williams reviews major Colombian novels published during the 1970s, pointing out the influence of Cien años de soledad on Colombian writers, especially in the use of humor. He also states that El otoño del patriarca was the most important novel of the 1970s, which show a complex narrative technique. In it, García Márquez leaves behind Macondo and its inhabitants.
Pittsburgh, PA : Instituto Nacional de Literatura Iberoamericana
Location:
Library, University of Illinois
Related Item Details:
68(201) : 1067-1080
Notes:
Olsen analyzes the African presence in Del amor y otros demonios, in which this culture takes a very central and explicit role, unlike in his other narrative works. This essay proposes that the novel, by giving a multitude of colonially-marginalized characters a voice, participates in a project to question colonialism and modernity that has traditionally silenced and excluded these groups in Latin American literary works.
This essay discusses Gabriel García Márquez's first volume of his memoirs, Vivir para contarla, and goes into deeper analysis of what constitutes a memoir. The author also discusses Gabriel García Márquez's genius at keeping the reader hooked onto his book.
"To debate, question, and revise the past and the future of literary reality goes beyond making an inventory of works and authors. It requires making a better appraisal in order to highlight Colombian literature in the context of its historiography to attempt to convert these literary histories into the history of a culture." Escobar Mesa notes the importance of García Márquez as a pioneer in magical realism and its effect on literature.
Bertussi briefly analyzes the poetry and fiction of several well-known 19th and 20th century Latin American writers to explore the role of literary texts in the liberation process and social transformation. At issue are the definitive, inspirational, galvanizing, informative, cathartic, and transformational powers of Latin American literature and legacy of poetry and fiction in Latin America. All these are recorded through the works of Argentinean poet Jose Hernandez (1834-1886), Chilean poet/writer Pablo Neruda (1904-1973), and Brazilian novelist Jose Lins Do Rego (1901-1957), and the still active literary figures of Peruvian writer/politician Mario Vargas Llosa, Colombian novelist Gabriel García Márquez, and Chilean novelist Isabel Allende. All are examined as agents of social transformation who identify and disseminate the human rights movements at work in their respective nations.
The first volume of the memoirs of the Colombian writer Gabriel García Márquez, Vivir para contarla, first appeared on December 10, 2002 in its German translation, Leben, um davon zu erzählen. It was sold out even before it was on sale because of the amount of reserves done.
Viewed on 24 January, 2008.|Gabriel García Márquez completely neglects the expositions of nominalism and in One Hundred Years of Solitude and proposes a system of characters founded on the conception of realism, this is, one in which the axiollogy appears natural and undissolubly linked to the name.