Relaciones intertextuales entre La casa de los espíritus, de Isabel Allende y Del amor y otros demonios, de Gabriel García Márquez

Se presenta un ejercicio analítico sobre las obras de arte literarias: La casa de los espíritus de Isabel Allende, y Del amor y otros demonios de Gabriel García Márquez, cuyo objetivo general es describir los elementos que configuran la relación intertextual entre ambas obras desde los ámbitos sociocultural, histórico y literario, en el contexto latinoamericano. La investigación se desarrolló con una perspectiva documental, enmarcada en el enfoque cualitativo desde el paradigma interpretativo. A pesar de la década de diferencia en que fueron escritas ambas obras, en ellas prevalecen preocupaciones, temas y manifestaciones culturales que nos dejan entrever los diálogos culturales e interculturales, siendo el amor uno de los elementos intertextuales de mayor relevancia, junto con el poder de la Iglesia Católica, el realismo mágico y el papel de la mujer.

Violencia y religación caribeña: Bicentenaire de Lyonel Trouillot

La literatura haitiana contemporánea ofrece una visión interior de una muy dinámica cultura, que requiere de una constante elaboración estética capaz que ofrecer líneas de sentido que permite un acercamiento a su complejidad. Este trabajo analiza la novela del escritor haitiano Lyonel Trouillot Bicentenaire (2004). Se trata de un autor que ha desarrollado toda su amplia trayectoria literaria, aún en crecimiento, dentro del país, lo cual no es un dato menor dado hay colegas de Haití que, por residir en el extranjero, han tenido el beneficio de medios de mayor circulación. El texto que nos ocupa ficcionaliza la jornada de protestas que tuvieron lugar en Puerto Príncipe el 1 de enero de 2004 —fecha en la que se conmemora el bicentenario de la declaración de la independencia haitiana— contra el presidente Jean Bertrand Aristide, quien finalmente abandonó el poder unos días después. No obstante, nuestro interés consiste en examinar vínculos intertextuales de muy variado tratamiento discursivo con textos caribeños (canciones interpretadas por Bob Marley, la novela Crónica de una muerte anunciada de Gabriel García Márquez y el drama Une tempête de Aimé Césaire como una estrategia religadora que procura inscribir la problemática de la violencia en el contexto mayor de la cultura del Caribe. Esa heterogeneidad no impide constatar dinámicas comunes que el texto de Trouillot busca poner en relación a partir de las remisiones a otros textos.

MAGICAL REALITY IN A. NURI NOVEL “PASSENGER OF HIS DESTINY”

The subject of analysis in the article is a different, magical reality in the novel by the modern Tatar Russian-speaking writer A. Nuri “Passenger of his destiny”, the ways of its creation and functioning at different levels of the artistic organization of the text. The complexity of external and internal boundaries is shown both in the space of the physical objective world, depicted in the novel, and in the consciousness of the protagonist, who is trying to understand the world and the nature of magical reality. If the world of physical reality is meaningful and logically cognizable, then dreams, hallucinations, secret signs become the methods of cognizing another reality. The author examines the influence of the works of Gabriel García Márquez, Miguel Angel Asturias, Salman Rushdie both at the level of macropoetics (the space-belt component of the novel) and at the level of micropoetics (images, episodes, motifs) on the artistic world of the novel. The article shows connections with oriental narrative discourse and fairy-tale imagery. Conclusions are drawn about the connection between the aesthetics of the novel and the aesthetics of magical realism.

As imagens no texto: entre García Márquez e Roberto Bolaño. Da alegoria do tempo ao universo das imagens

A leitura do conto Un señor muy viejo con unas alas enormes, de Gabriel García Márquez, parte da alegoria europeia do tempo e mostra, ao longo da análise do relato sobre a passagem dessa alegoria por um vilarejo do Caribe, que na memória cultural deste espaço não há lugar para o conceito de tempo europeu. Aberto assim o estudo e passando pela entronização como ícones das efígies oficiais dos pais da pátria, a partir de retratos de Simón Bolívar, e de metaficções como alegorias da nação, de crônicas e pinturas de paisagens, fecha-se o artigo com Cuando éramos inmortales, de Arturo Fontaine, onde é narrada uma aula de história da arte, na que as revolucionárias obras As meninas, de Diego Velázquez e Guernica, de Pablo Picasso, são usadas pelo professor ultraconservador para encenar o discurso da história da arte como enunciação de pretensos valores universais católicos. As interseções entre textos-imagens são vistos como tipos de representação e tipos culturais básicos, onde o decisivo parece ser a “relação infinita entre a linguagem e a pintura”, “o visível e o enunciável” (Foucault, As palavras e as coisas) e “a antinomia de palavra e imagem” como a priori histórico (Deleuze, Foucault), que ampararam o que se denomina “the pictorial turn”.

Le mythe de l’enfant dans Douze contes vagabonds de Gabriel García Márquez

Cet article se propose d’analyser, au moyen de la sociologie de la littérature, la perception que l’écrivain colombien Gabriel García Márquez a de l’enfant à travers les contes de l’anthologie Douze contes vagabonds (1992). La création esthétique de cet auteur se nourrit de fond en comble du réalisme magique et peint le personnage de l’enfant, à la fois, comme une merveille et une calamité. L’image que le narrateur présente des petits enfants varie d’un conte à l’autre et suscite la curiosité de la science littéraire. Ainsi, dans certains contes l’enfant est peint comme une bénédiction de Dieu, un symbole d’humilité, le lieu de la présence de l’innocence, de la sagesse et de la sainteté. Cependant dans d’autres contes, il est décrit comme objet de terreur épouvantable

Una visión general sobre los errores en dos versiones árabes de la novela “El amor en los tiempos del cólera”

Este breve estudio expone algunas erratas gramaticales y semánticas en dos versiones árabes de la novela El amor en los tiempos de cólera del gran novelista colombiano Gabriel García Márquez, las dos versiones árabes son: la versión 1 (por el traductor Saleh Almani) y la versión 2 (por el traductor Ahmed Magdi). Identifica estas erratas explicando cada caso de ambas versiones. Además determinar la versión más aceptable y satisfactoria

The Later Work of Gabriel García Márquez

If the Bolívar novel embodies the collective memory of a region in a manner spare yet ingenious, the novelist’s other major late work tends toward personal memory. In Of Love and Other Demons, García Márquez comes as close to magical realism as in any work since the short stories and One Hundred Years of Solitude and reaffirms the multiracial and Caribbean character of the author’s own definition of Spanish America. In News of a Kidnapping, García Márquez ventures onto the territory of drug cartels and violence, which became the preoccupation of the next generation of Colombian writers, relating this material from the deadpan, appalled stance that is as characteristic of his viewpoint as the mesmeric incantations so commonly associated with him. In Memories of My Melancholy Whores, a late in life moral transformation redeems a lifetime of iniquity and testifies to the strangeness of the new territory of extreme old age, in a sense as unexplored a country as Macondo once was. In Living to Tell the Tale, García Márquez reflects upon the first half of his own life. Unlike in the case of Bolívar, García Márquez did not get to tell the ending of the story, leaving later writers and readers to do so in their own minds, as the great master had done for the General.

The Arabs and Gabriel García Márquez

In 2014, newspapers across the Spanish-speaking world covered how the international press paid tribute to García Márquez. Particular attention was given to the extensive eulogies in the Arab press. A special homage was paid to the author’s memory in Saudi Arabia, where the Third South American-Arab Countries Summit was being held at the time. This was not Naguib Mahfuz; this was García Márquez. How was it possible for a Latin American author to become that popular across the Arab world? How was it possible for his novels to be referenced naturally in popular Arab films such as The Embassy in the Building (2005)? Was all this simply due to the fact that in postindependence Latin America, particularly since the 1940s, there has been a growing de-orientalist discourse? Or did García Márquez craft a particular dialogue with the internal and external Arabs? With all this in mind, and by drawing on Latin American (de)orientalism in the works of Kushigian, Nagy-Zekmi, and Tyutina, among others, this article analyzes the dimensions and implications of García Márquez’s depiction of the internal Arab (immigrant in Latin America) in some of his novels as well as his dialogue with the external Arab (the Arab world) in some of his press articles.

Fictions of Difficult Love in García Márquez

Following Denis de Rougemont’s pithy assertion at the beginning of his influential Love in the Western World: “Happy love has no history,” Gabriel García Márquez explores through much of his work what he calls “difficult loves” and the artistic as well as ethical paradoxes they entail. As De Rougemont suggests, the first and most obvious way in which love can be “difficult” is the unhappiness and pain caused by love as eros, or amorous passion. The Swiss thinker then contrasts eros with the Christian concept of agape, or brotherly love, which he views as a remedy to the often-destructive effects of passion. This article argues, however, that García Márquez’s concept of “difficult loves” encompasses both forms of love, and with regard to agape, underscores that the search for empathy in a world ruled by violence and power can be just as fraught as the passion of erotic love to those who seek it out. Can literature give rise to empathy, or is fiction condemned to merely repeat violence even while denouncing it? Through a succinct commentary on the love theme in works from García Márquez’s middle and late periods, from One Hundred Years of Solitude and Innocent Eréndira to Chronicle of a Death Foretold, Love in the Time of Cholera, and News of a Kidnapping, this article traces the Colombian Nobel Prize winner’s implicit reflections about literature’s possible role in fostering social harmony and human empathy in the face of violence, political oppression, and selfishness.

Spain in the Making and Reception of García Márquez’s Works

Gabriel García Márquez is one of the most beloved and read writers of the last century in Spain. Yet his early literary works went almost unnoticed for more than a decade among Spanish publishers, critics, and readers. The success of One Hundred Years of Solitude and subsequent works transformed him into a popular bestselling writer and iconic figure in that country. Using little-known and new sources, including documents from contemporary reviews and readers’ reactions as well as the author’s archives, this article studies the reception of García Márquez’s works and his rise to stardom in Spain. Key to the successful response to his oeuvre were (1) the literary education of the author, which allowed him to develop a writing style with appeal to Spanish audiences; (2) the diffusion and consecration of the New Latin American Novel (aka Boom novel) during a crisis in Peninsular fiction; (3) the modernization of Spain’s book industry, which benefited the promotion of García Márquez’s works among the rising middle classes; and (4) the writer’s involvement in the country’s cultural and political affairs during its transition to and consolidation of democratic rule. The intersection of these threads resulted in the appropriation of García Márquez as a Spanish writer and his transformation into one of Spain’s cultural icons. This article builds on analytical tools developed by the fields of cultural sociology and the history of reading practices.