100 Años de Soledad Gabriel García Márquez

793 Words2 Pages
bulb-icon

Recommended: A short history of Latin American literature

Vine a Comala porque me dijeron que acá vivía mi padre, un tal Pedro Páramo. Mi madre me lo dijo. Y yo le prometí que vendría a verlo en cuanto ella muriera. Le apreté sus manos en señal de que lo haría; pues ella estaba por morirse y yo en plan de prometerlo todo.” (Rulfo, 1). Mexicano y escritor, Juan Rulfo sin duda de los mejores escritores que ha tenido México y Latinoamérica, el junto con otros autores son parte del “PreBoom Literario” con su segunda obra “Pedro Páramo” el cual fue uno de los libros con mas ventas en el mundo. Por otra parte, Gabriel García Márquez, colombiano y Nobel de Literatura (1982), por su obra “100 años de soledad.” Ambas obras literarias muestran la marginación, la falta de identidad, desigualdad social y muchos problemas sociales.

“En América Latina, lo maravilloso se encuentra en vuelta de cada esquina, en el desorden, en lo pintoresco de nuestras ciudades... En nuestra naturaleza... Y también en nuestra historia.” (Carpentier, 1). Lo anterior como lo plantea Alejo Carpentier, en su frase, es realismo mágico, este método, fue utilizado por ambos autores los cuales describen en sus novelas como fueron los hechos de acuerdo a la época y país en los que vivieron y “pintan” la realidad de una manera “mágica”.

Cien años de soledad es una novela en la que describe a dos familias quienes tienen cosas en común de alguna u otra manera que van pasando por generaciones. Gabriel García Márquez autor considerado del “Boom Literario” se enfoca desde mi punto de vista en Aureliano Buendía y su vida que a mi parecer hace una especie de biografía del personaje. “Muchos años después, frente al pelotón de fusilamiento, el coronel Aureliano Buendía había de recordar aquella tarde remota en que su padre lo llevo a ...

... middle of paper ...

...en que fueron influenciados por Franz Kafka en su obra “La Metamorfosis”.

Aunque también Juan Rulfo inspiro a García Márquez para su gran obra maestra que lo llevo a ganar un premio Nobel de Literatura. Con el método del “Realismo Mágico” García Márquez y Juan Rulfo crearon un ambiente donde la realidad de aquella época la hicieron fantasía, llevando a nosotros los lectores a un mundo único y ficticio sobre la realidad.

Bibliografía.

García Márquez, Gabriel, “Cien años de Soledad”, Buenos Aires, Arg., Sudamericana, 1967.

Rulfo, Juan, “Pedro Páramo”, México D.F., Fondo de Cultura Económica, 1955.

BBC Mundo. (2004). Alejo Carpentier Cumple 100 años. 23 de Marzo de 2014, de BBC Sitio web: http://news.bbc.co.uk/hi/spanish/misc/newsid_4126000/4126885.stm

Maria Àngels Viladot Presas. (2010). Lengua y comunicación intergrupal. Barcelona: UOC. (Inspiriado en Tajfel)

Show More
Related

  • An Analysis of Aria: A Memoir of a Bilingual Childhood by Richard Rodriguez

    807 Words  | 2 Pages

    As a young child, Rodriguez finds comfort and safety in his noisy home full of Spanish sounds. Spanish, is his family's' intimate language that comforts Rodriguez by surrounding him in a web built by the family love and security which is conveyed using the Spanish language. "I recognize you as someone close, like no one outside. You belong with us, in the family, Ricardo.? When the nuns came to the Rodriquez?s house one Saturday morning, the nuns informed the parents that it would be best if they spoke English. Torn with a new since of confusion, his home is turned upside down. His sacred family language, now banished from the home, transforms his web into isolation from his parents. "There was a new silence in the home.? Rodriguez is resentful that it is quiet at the dinner table, or that he can't communicate with his parents about his day as clearly as before. He is heartbroken when he overhears his mother and father speaking Spanish together but suddenly stop when they see Rodriguez. Thi...

    Read More

  • Junot Diaz's Otravida, Otravez: The Ever Present Past

    939 Words  | 2 Pages

    Junot Diaz’s “Otravida, Otravez” depicts a perspective of life where one’s present and future always reflects their past in some way. Diaz’s representation of symbolic figures, convey how a person’s past can be carried into the future. Diaz’s use of symbolic figures includes the dirty sheets washed by Yasmin, the letters sent by Virta to Ramon, and the young girl who begins working with Yasmin at the hospital. These symbolic figures and situations remind the readers that the past will always play a major role in one’s present. Additionally, Diaz’s word choice, where Spanish words appear in many different parts of the reading, suggests that indirectly, one’s past habits are not easily broken.

    Read More

  • Tlilli Tlapalli The Path Of The Ink Analysis

    534 Words  | 2 Pages

    All in all Anzaldua's essay is very motivating and “colorful”, due to her utilization of metaphors she uses give the reader gains insight into her writing process, most of all into the process of connecting images and building ideas. However Anzaldua's use of language and style, the transition from English to Spanish and back again in particular, may create confusion for certain readers, who are not familiar with the different

    Read More

  • Analysis Of Diles Que No Me Maten By Juan Rulfo

    1646 Words  | 4 Pages

    it is unmistakable that life situations inspired Juan Rulfo to write this story. He like no other person had a greater understanding of how to portray the theme of family especially missing a father as a role model, death, survival and revenge. Moreover, through the use of local Mexican language it furthermore developed the society in which peasants had to live during the post-revolution. Additionally Juan Rulfo tries to add all five senses in the story forming magical realism and a vivid picture that the readers can understand. Overall, the readers learn a lot about peasant’s approach to life after revolution that the main drive was

    Read More

  • Magical Realism in Gabriel Garcia Marqez's A Very Old Man with Enormous Wings

    1066 Words  | 3 Pages

    The controversy surrounding Magical Realism makes the classification of what is and what is not Magical Realism very difficult. Gabriel Garcia Marquez, a famous Latin American author, has written many pieces of what is generally conceived to be Magical Realism. Marqez's "A Very Old Man with Enormous Wings" fulfills every characteristic of Magical Realism..

    Read More

  • Jorge Luis Borges

    528 Words  | 2 Pages

    Each one, despite being fiction, is a painting of his experiences, and the cultures of Buenos Aires. Among his themes are myths passed down through the families in his country. I thought that the stories that were contained in this collection were very educational. When finally taking a minute to analyze, and find deeper meaning to the tales, I discovered that they all posses what he has known in his life. He is easily distinguishable in his works.

    Read More

  • The Imaginary Comparison of A Very Old Man With Enormous Wings and The Handsomest Drowned Man In The World

    1036 Words  | 3 Pages

    Giants and Angels roam the pages of Gabriel Garcia Marquez’s stories, “A Very Old Man With Enormous Wings”, and “The Handsomest Drowned Man In The World”, creating the perfect scene for magical realism. Many of the elements within these stories coincide with each other; this has everything to do with the overall component of magical realism, which binds together similarities and sets apart differences. The theme of each story can be found within the other and can stand by itself to represent the story it belongs to, the settings are similar in location and the ability to change but different in their downsides and the writing style is so similar it is complicated to find any differences. Marquez is a master story-teller whose works of art can only be compared with each other.

    Read More

  • Magic Realism in Marquez´s Un Señor Muy Viejo con Alas Enormes

    1096 Words  | 3 Pages

    In 1949, Dana Gioia reflected on the significance of Gabriel García Márquez’s narrative style when he accurately quoted, “[it] describes the matter-of-fact combination of the fantastic and everyday in Latin American literature” (Gioia). Today, García Márquez’s work is synonymous with magical realism. In “Un Señor Muy Viejo con Alas Enormes,” the tale begins with be dramatically bleak fairytale introduction:

    Read More

  • A Very Old Man With Enormous Wings

    518 Words  | 2 Pages

    Style: The typical Magical- Realistic story of García Márquez placed in a familiar environment where supernatural things take place as if they were everyday occurrences. Main use of long and simple sentences with quite a lot of detail. "There were only a few faded hairs left on his bald skull and very few teeth in his mouth, and his pitiful condition of a drenched great-grandfather took away and sense of grandeur he might have had" (589).

    Read More

  • Analysis of Garbriel Garcia Marquez

    720 Words  | 2 Pages

    In the short story “ Artificial Roses” by Gabriel Garcia Marquez, Marquez explores guilt, and its relationship with the church, as well as in the family structure. In the story there are two main characters. Mina, a young woman, who makes a living by creating roses, out of paper and wires, and her blind grandmother. The first thing you learn about the pair is that they share a room. There is an obvious sense from Mina that she feels her personal space is invaded by her blind grandmother. As noted in the film old women are the ones who tell the stories, and have “magical powers.” But Mina is unaware of her grandmothers power of perception, and in the story Mina learns that her grandmother is quite aware of Mina’s actions. The story is essentially a battle of wits, and undeniable guilt, between the two.

    Read More

  • Analizando El Poema Desde el Puente Martin Peña de Julia de Burgos

    2595 Words  | 6 Pages

    Leer la poesía de Julia de Burgos es abrirse paso a un mundo de emociones, luchas y temas múltiples. En sus tres poemarios, la poeta inaugura un estilo y unas temáticas que en ocasiones coinciden y en otras se apartan de los poetas entre los que convivió (López Jiménez, "Julia de Burgos” 141). Julia buscó abrirse paso hacia nuevas formas de escritura y trazar rutas alternas a los cánones establecidos, tanto por sus contemporáneos como por la tradición literaria. Poema en veinte surcos, su primer libro publicado en 1938, representa ese anhelo de trazar múltiples rutas mediante las cuales pueda realizar una búsqueda de nuevas voces, perspectivas y temáticas. Precisamente, en la poesía de Julia, sobre todo la de su primer poemario, se advierte un deseo de definirse y afirmar sus principios poéticos y políticos. Según Ivette López Jiménez, muchos poemas de su primer libro se destacan porque “se alejan de las fórmulas de la poesía criollista” y porque en ellos “la voz se afirma como una ‘rama desprendida’ o como ‘brote de todos los suelos de la tierra... de todos los hombres y de todas las épocas” (“Julia de Burgos” 143). Hay pues, un intento por alejarse de los discursos autorizados, lo que la lleva a identificarse con los espacios y los sujetos marginados. Desde esta perspectiva, Julia de Burgos pasa a ocupar el rol de “poeta cívico” y su discurso a ser uno de denuncia y protesta. Por ello, propone una reconsideración de los espacios marginales, del “otro” con el objetivo de traerlos a primer plano. Con esto, establece una “actitud a la avanzada del pensamiento y de las costumbres, sobre todo lo relacionado con los cambios necesarios en la sociedad”, en palabras de Manuel de la Puebla (16).

    Read More

  • Magical Realism in The Garden of Forking Paths

    1320 Words  | 3 Pages

    Simpkins, Scott. "Sources of Magic Realism/Supplements to Realism in Contemporary Latin American Literature." Magical Realism. Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris. Durham, N.C.: Duke UP, 1995: 145-157.

    Read More

  • Marquez

    974 Words  | 2 Pages

    In conclusion Gabriel Garcia Marquez was a man shaped by his family, time, and location. Had one of these changed he would not have been the writer of magical realism. Although his grandparents had a tremendous amount of influence on the upbringing of Gabriel Garcia Marquez, the cultural aspect of his life had a slightly greater deal to do with how he came about. For example, had he never read Metamorphosis by Kafka, he might have stayed with the law. It is apparent that timing was everything to do with who Gabriel Garcia Marquez is today.

    Read More

  • La Importancia De Los Sueños En La Noche Boca Arriba Y El Etnógrafo

    1624 Words  | 4 Pages

    Los sueños han sido considerados un elemento místico a través de diversas culturas y épocas, una forma de llave astral con la capacidad de guiarnos ya sea a dimensiones paralelas, a un viaje introspectivo a lo más profundo de nuestro ser e incluso a predecir el futuro. La utilización e interpretación de los sueños ha cautivado al ser humano y tanto Borges como Cortázar no son la excepción; en sus obras "El etnógrafo" y "La noche boca arriba" respectivamente, los author

    Read More

  • One Hundred Years of Solitude: Linear and Circular Time

    678 Words  | 2 Pages

    Cien Anos de Soledad Style in Gabriel Garcia Marquez's One Hundred Years of Solitude is closely linked to myth. Marquez chooses magic realism over the literal, thereby placing the novel's emphasis on the surreal. To complement this style, time in One Hundred Years of Solitude is also mythical, simultaneously incorporating circular and linear structure (McMurray 76).

    Read More

More about 100 Años de Soledad Gabriel García Márquez

Open Document