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.
Gil Flores compares and contrasts the movie "El coronel no tiene quien le escriba," directed by the Mexican director, Arturo Ripstein, and the book that inspired the movie, by Gabriel García Márquez.
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.
García Usta states that even though Cartagena was where one of the fundamental periods in the literary and journalistic formation of Gabriel García Márquez, and even though Cartagena is the second most important stage -- real, fictional, or multipurpose-- after Macondo, it has been subtly disdained by the most divulged interpretation of his literary genesis.
"The writer contends that Colombian author and Nobel laureate Gabriel García Márquez presents a dismal social portrait of Latin America in several of his books, including the first volume of his memoirs, Living to Tell the Tale."
After admitting for a long time, and in some cases in a simple and compliant manner, the definition of Colombia as a "land of poets" and of Bogotá as "The Athens of South America," new writers and scholars put these concepts on trial and try to formulate a literary and different cultural conscience,while giving explanations to thought and the expressive forms of the past.
"He had always been the most disciplined of writers, sitting early in the morning before his trusty Macintosh, the magical, poetic words that have defined Latin America spilling from his head. That part never changed. But then Gabriel García Márquez, the 1982 Nobel laureate from Colombia and the foremost author in Latin America, learned in 1999 that he had lymphatic cancer."
Viewed on January 15, 2008. |The intertextual dispute has been widely studied by critics of the European and American schools, even though there are several divergent points when it comes to proportioning a concrete denomination, unique and valid in intertextuality.
It will not be of much surprise that Colombia, one of the most dangerous countries in the world, according to Gabriel García Márquez, finds itself in first place with a total of 972 kidnappings. Just as in the case of Gabriel García Márquez's News of a Kidnapping, the kidnappings are located in a gray area between politics and criminality, often being difficult to decide in which one it is classified, or if it's in both.
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.
Arango asserts that by trying to take on the theme of women in García Márquez, what stands out is the abundant absence of critical studies specific to the theme. In general, the themes most studied are social-historical affairs related to Latin American and Colombian history, intertextual relationships of style and the maturity of the author in the building of a national and popular art, and of course biographical themes.
The author discusses the presence of indigenous peoples, the Wayúu tribe, in the house where the author of Cien años de soledad grew up. In 1996, his sister, Ligia García Márquez confirmed these statements during an interview with Silvia Galvis.
Dubatti states that Of Love and Other Demons skillfully combines a fitted narration and a simple prose that privileges direct communication. He also continues to mention elements of García Márquez's works.
In all of the works of the famous Colombian author, Gabriel García Márquez, the theme of dreams is of outstanding importance in participating in magical realism. This article analyzes the use of dreams in the stories in Doce cuentos peregrinos.
"The majority of Gabriel García Márquez's novels and short stories are characterized by the unique coexistence of real and magical features. The Handsomest Drowned Man in the World is no exception. The author reveals through the main character's unexpected appearance on the scene, his giant-like traits, so reminiscent of Johnathan Swift's Gulliver's Travels, and his deistically heroic behavior, the magical elements of this short story that remind us of the tales of our childhood. And yet, the very setting in place, the description of the typically Latin American villager's behaviour and the distressing sorrow caused by the protagonist's death, make this masterfully-written literary work as realistic as any other short story in the realistic movement. García Márquez's literary achievement lies precisely in his ability to fuse such divergent characteristics inherent in the magical and realistic movements."
Munguía Zatarain's analysis is oriented towards the exploration of certain poetic features in some stories by Gabriel García Márquez; included in the collection are Los funerales de la Mamá Grande and La increíble y triste historia de la cándida Eréndira y de su abuela desalmada.
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.
Dabove says that García Márquez seems to be doing his own "critique of practical reasoning" with his "grouping" and his "evaluation." Nonetheless, to recognize La mala hora as a narrative project with capabilities of appeal, the author proposes to read it with Frederic Jameson's notion of "national allegory." With these purposes, Dabove continues his analysis.
"Explores the representation of power and in showing how the body can serve as a means to achieve everyone's desires, goals, and freedom in the novel The Incredible and Sad Tale of Innocent Eréndira and of Her Heartless Grandmother by Gabriel García MárquezS and the film "Eréndira," scripted by García Márquez. Master/slave theory in both texts. Representation of freedom for Eréndira. Battle for power and hegemony in the film and novel."
"Living to Tell the Tale, an astonishing first volume of the memoirs of Nobel laureate Gabriel García Márquez, closes with the author at age 28 leaving Colombia for Europe, a two-week assignment he stretches to three years. He is more than a decade from the string of masterpieces that will begin with One Hundred Years of Solitude." -Mellen
"For longtime readers of Gabriel García Márquez, Living to Tell the Tale will be as welcome as a cool breeze, and cause the same sort of full-body shiver. The first volume of a projected autobiographical trilogy from the Colombian Nobel laureate, Living to Tell the Tale is genuinely surprising in what it reveals of the writer's early life, his writing, and how the two interweave." -Wiersema
Viewed on 24 January, 2008.||"The Autumn of the Patriarch, the second of Gabriel García Márquez's three masterworks, to this day remains something of a middle child: taken for granted, overlooked, misunderstood. One Hundred Years of Solitude (1967) is his best known novel, his most admired, most imitated and most honored. Love in the Time of Cholera (1985) is his most beloved, one of the great love stories of world literature. But The Autumn of the Patriarch (1975) is widely believed to be difficult, inaccessible and even unpleasant."
"So it's appropriate that this master synthesizer of high and popular culture, who wrote One Hundred Years of Solitude listening only to Debussy's preludes and the Beatles" "A Hard Day's Night," ends the first volume of his projected three-part memoir with a cliffhanger... The next installments may or may not appear-- García Márquez, 75, is recovering from cancer-- and though he's surely the world's most influential living writer, we may or may not stay tuned." -Gates
Viewed on July 8, 2004.||In homage to George Simenon, master of the police thriller, this article provides commentary on this book that brings together two tales, one of Gabriel García Márquez on a story of Simenon, and the other a tale written by Simenon.
"In these pages commentary will be made on the following: some millenarian visions of western culture; some characteristics of a potentially millenary society; the Colombia from the beginning of this century; and the Colombia of today. Some Colombian literature texts of the twentieth century will be commented on, and words spoken from some of our more renown cultural figures will be cited. All of this to obtain a possible explanation for the millenary impulse and its relationship with the present Colombia." -Palencia-Roth. Also published in El principio de la esperanza: ensayos-conferencias. Fundación para la Promoción de las Artes. Cali, Colombia: Carvajal Impresores, 1999, pp. 61-66.
Viewed on 24 January, 2008.||"With the upcoming memoirs of García Márquez, here we present some episodes of his life that have been ignored, starting with the reading of Cómo aprendió a escribir García Márquez, an investigation by author and journalist, Jorge García Usta."
"At the end of 2000, I spent three months traveling around Latin America-- Barranquilla, Cartagena, Bogotá, Mexico City-- to interview friends and relatives for an oral biography of Gabriel García Márquez. Autobiography is central to García Márquez's fiction, and I was curious how the people (many of whom make appearances in his work) who knew Gabriel García Márquez as a young man would remember him." -Silvana Paternostro
"John Sayles's film Lone Star provides insights relevant to the task of remapping "The South" within a broader hemispheric context. In his homage to the genealogical obsessions of such writers as Faulkner and García Márquez, Sayles explores the challenge posed by the determinism of a paternalistic past. The film stresses the paradoxical meaning of incest as reconciliation: history must be revisited precisely so that it can be rendered irrelevant to the task of re-imagining racial and regional identities in a plural America."
"This month, Gabriel García Márquez's Living to Tell the Tale (Vivir para contarla) comes to an American audience, neatly coinciding with a PEN American Center tribute to the author on November 5. Already a best seller in the Spanish-speaking world, this new work is the first volume in an epic trilogy of García Márquez's life."
García Marruz briefly discusses each of Gabriel García Márquez's important writings by intertwining them into one big story. She proceeds to compare García Márquez to Cervantes and other writers.
Toulouse, France : Institut d'etudes hispaniques, hispano-américaines et luso brésiliennes de l'université
Location:
Library, University of Illinois
Related Item Details:
(79) : 257-264
Notes:
Gilard mentions that "Relatos de un viajero imaginario," a text that appeared signed with the pseudonym of Lorenzo Magadalena, was García Márquez. This was initially published in El Espectador of Bogotá.
Cabañas Bravo examines the representation of violence in three Colombian narrative works: La virgen de los Sicarios (1994) by Fernando Vallejo, Noticia de un secuestro (1996) by Gabriel García Márquez, and Rosario Tijeras (1999) by Jorge Franco Ramos. Precisely, the hitman figure becomes an allegoric figure, through which the complexities of the issue of violence in society are explored. These narrative works recompose the contradictions, hypocrisies and tricks of the moral and social codes of Colombia, as well as offering new interpretations of the hitman as a symptom of deeper sociopolitical issues. This literature demythifies the causes of violence, deconstructing the myths created by the elite class.
Washington, DC : Woodrow Wilson International Center for Scholars
Location:
Library, University of Illinois
Related Item Details:
21(3) : 130
Notes:
"Focuses on the views of novelist Gabriel García Márquez as written in Press/Politics journal about the pernicious effect of tape recorders on journalism. Advantage of tape recorder on radio interviews, disadvantages of tape recorders in journalism."
Kowalski discusses the purchase of Cambio 16, a Colombian magazine by Gabriel García Márquez and a group of journalists. He also brings out the financial problems suffered by the magazine. Concludes with comments from the magazine's publisher Patricia Lara."
Santiago, Chile : Universidad de Chile, Facultad de Filosofía y Humanidades, Departamento de Literatura
Location:
Library, University of Illinois
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(61) : 145-185
Notes:
"This article represents an "analysis" and "interpretation" (Kayser) of García Márquez, particularly of his most famous novel. The psychosemantics in the title already reveals the power of myth, displayed in the archetype (Jung) of Macondo, Úrsula, of Time, etc. The perspective applied to the novel includes and integrates psychohistorical, psychomythological and ethnopsychological dimensions, clearly in the vanguard of contemporary psychology. This interpretation not only appeals to Freud and Jung, but also to the psychological and social sciences of the Latin America of today." -Abstract at the end of article
This is the real story that originated as a movie script, then as a movie, then became a journalistic article, and finally a literary story. This article tells the story of how Un cuento peregrino by García Márquez came to be what we know today.
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.
Lewis suggests several books that have been especially selected for their currency of pertinence to events or people in the news. These include Teaching as a Subversive Activity by Postman and Charles Weingartner, Nickel and Dimed: On (Not) Getting By in America by Barbara Ehrenreich, and One Hundred Years of Solitude by Gabriel García Márquez.
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.
"First there will be a brief technical outline of the relationship between fiction and history, for which I owe a good part of my reflection to the work of Paul Ricoeur, as well as to authors such as Hayden White, Le Goff, Roger Chartier, Frederick Jameson, Beatriz Sarlo, Roberto Schwarz and Antonio Cándido. Secondly, I will present an outline focusing on Colombian literature, still in process, from two novels, Pax by José María Rivas Groot y Lorenzo Marroquín, and One Hundred Years of Solitude by Gabriel García Márquez. I am unsure how conscious is the relationship between the two, but what is certain is that the first influences the intention of the second."
"A multicultural and pluriethnic country like Colombia, composed of regions so varied and governed by a political-administrative system so centralized and which needs such substantial changes, requires a history of its literature concomitant with its nature and the cultural processes that are occurring here. As a symbolic meditation on a society and as an expression of its individual and collective realities, literature plays a determining role in the configuration of our identities. To advocate this will better equip us to enter into a dialogue with all the cultures of this planet, an option that is today possible thanks to the communication revolution which has made a reality of the global village spoken by McLuhan."
"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.
"Penetrating analyses of novels and short stories by the most eminent writers of today: Sábato, Cortázar, Onetti, Roa Bastos, Arguedas, Vargas Llosa, García Márquez, Carpentier, Yáñez, Rulfo, and others."
Also published in English in the Paris Review (no. 166, 2003). In November 2000, Paternostro landed in Barranquilla from New York. Her mission was not to write the counterpart of Gabriel García Márquez's memoirs, but to reconstruct Gabriel García Márquez's life by a rich American magazine, that probably didn't know that Gabriel García Márquez himself was writing his memoirs. This extensive article narrates the story and findings of Paternostro while in Colombia.
Figueroa recounts his travels to Colombia and Ecuador in search of information pertaining to his dissertation. He argues that "realismo mágico and indigenismo have been appropriated in a nationalistic way in Ecuador and Colombia since the 1970s."
Purdue, IN : CLCWeb: Comparative Literature and Culture
Location:
Library, University of Illinois
Notes:
Viewed on 24 January, 2008.|Vega-Gonzalez makes a comparison between García Márquez's One Hundred Years of Solitude and Toni Morrison's Song of Solomon in terms of memory and family history.
Rama discusses the process of transculturation in Latin American narrative, which occurred when the urban, modernist literary movements of fantastic and critical realist literature challenged the prevailing regionalist literary movement in the 1930s. Although initially hostile to this foreign and urban encroachment, regionalist authors developed a literature that rearticulated their cultural structure but maintained its rural orientation, thus enacting a model of "cultural plasticity" in which the traditional and the new are integrated. The modernist interest in fantastic literature, for example, led regionalist authors to reexamine mythical sources that had been hidden by their preference for social realism. A brief reading of works by Jose Maria Arguedas, Juan Rulfo, Joáo Guimaráes Rosa, and Gabriel Garcia Marquez exemplifies this process of transculturation.
A passage from Gabriel Garcia Marquez's novel, Leaf Storm (1957), is used as an example to explain transculturation literature. The naturalist voice of the narrator is substituted for an "outward and inward vision," allowing the villager's perspective on modernization to coexist with an external view of events. Garcia Marquez's techniques provoke observations about literary historiography as the movement of culture, tradition, and institutions rather than as a project of classification.
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.
Bogotá, Colombia : Instituto de Estudios Politicos y Relaciones Internacionales, Universidad Nacional de Colombia
Location:
Library, University of Illinois
Related Item Details:
43 : 100-112
Notes:
This article views Gabriel Garcia Marquez's (1972) "La increible y triste historia de la cándida Erendira y su abuela desalmada (The Incredible and Sad Tale of Innocent Erendira and her Heartless Grandmother)" as not simply rhetoric but a portrait of the human experience of power. The story, style, structure, and social geographical context of the book are contrasted with those of other works by García Márquez. The psychology of the grandmother in the books is tied to that of the mythical dictator in El otoño del patriarca (The Autumn of the Patriarch; the author modeled this personality type on numerous Latin American and historical dictators, with parts drawn from Shakespeare and Italian neorealist films. Religious, sexual, and material symbols of power in the story are discussed.
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."
"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 book discusses the history and criticism in Latin American fiction in the 20th century and mentions Gabriel García Márquez on pages 11, 24-37, and 42-45.
San José, Costa Rica : Editorial de la Universidad de Costa Rica
Location:
Library, University of Illinois
Notes:
This book talks about love and betrayal within Latin American literature and film. The book has a section entitled "García Márquez en el cine: la primera pasión." The book includes a list of GGM books that have been adapted into film (347), as well as copies of the film poster for "Crónica de una muerte anunciada" (1986).
Madrid, Spain : Insula, Librería, Ediciones y Publicaciones, S.A.
Location:
Library, University of Illinois
Related Item Details:
62(723) : pp. 6
Notes:
"Bercht en 'Los negocios del señor Junio César' nos decía que los grandes hombres se han esforzado siempre por ocultar el verdadero móvil de sus actos. Sin lugar a dudas, Julio César era un gran hombre, y quizás por esta razón García Márquez habría de afirmar que aprendió mucho de él, esto es, que aprehendió los modos de actuación que adoptó su fascinante delirio de dictador. García Márquez hubiera quierido crear un personaje como el Julio César en la literatura (1), pero Roma no es el Caribe y sus dictafores no son [grandes hombres]. Lo único que permanece invariable en ambos casos es el enigma del poder, su delirio. Entonces, la pregunta se precipita: por quéno se cuentan siempre las mismas historias del mismo modo?"
This is an article in a weekly encyclopedia of World Literature put out by Asahi Shinbunsha. This issue deals with history and criticism of Latin American literature and focuses on García Márquez and Manuel Puig, both popular in Japan.