Quizás hoy sea el día en que todo se conecta
pero eres tu quien siempre me malinterpreta
ves en mi lo que quieres
mas no te importa quien soy
y en las noches cuando duermes
ignoras lo que esta a tu alrededor
quizas hoy sea diferente
y hoy comprenderas
que solamente me amas
porque nunca me tendras
jueves, 11 de junio de 2009
words by kadija! ;)
Now you've finally figured out
That I like the hidden doubt.
And being misunderstood
Is what makes me feel so good.
That I like the hidden doubt.
And being misunderstood
Is what makes me feel so good.
Crazy thoughts
...I'll make this painless;Try to be sweet.I could break your heart any day of the week....
miércoles, 28 de febrero de 2007
ONE HUNDRED YEARS OF MAGIC REALISM (REVIEWED)
UNIVERSIDAD PEDAGÓGICA EXPERIMENTAL LIBERTADOR
INSTITUTO PEDAGÓGICO “RAFAEL ALBERTO ESCOBAR LARA”
REPÚBLICA BOLIVARIANA DE VENEZUELA
READING AND WRITING I
AUTHOR: Jogrexi Quintana
PROFESSOR(S):
Manuel Arrioja
Diana Feliciano
ONE HUNDRED YEARS OF MAGIC REALISM.
Published in 1967, and Nobel Prize winner in 1982; Gabriel García Marquez’s “One Hundred Years of Solitude” is one of the most important pieces of Latin American literature. At the same time it is the novel that represents the narrative trend “Magic Realism” at its best. Being that Magic Realism is; according to Jorge Gómez Gímenez, in his essay “Aspectos Formales de la Narrativa” (2004); a narrative style that got to be known in the first half of the twentieth century, when it was first used by the Cuban novelist Alejo Carpentier; later on it would also be used by the Venezuelan writer Arturo Uslar Pietri; who used it regarding Latin American literature in 1948, and that as such is a technique in which there is not a logical narrative presence because, reality, and fantasy join together, taking each others place on occasions, and bringing as a consequence a complete narrative disorder. Taking all these facts into account; "One Hundred Years of Solitude" and Magic realism hold hands, given that it is possible to analyze the novel through this particular narrative technique, and it is mandatory to analyze the narrative technique through the novel, since it is its most vivid example.
It is in "One Hundred Years of Solitude" where; reality and fantasy combine on a perfect blend, making the difference between them unnoticeable because the same descriptive technique is used to narrate the real, as well as the unreal. This is the root of Magic Realism because, it is not just a narrative technique, it is the author’s personal way to find his a reality of his own. This is the quality that makes the work unique because, in between history, politics and social reality; the myth, the legend and the author’s own imagination join the mix, and develop a plot like no other, where there are no boundaries between real and unreal or, between life and death.
Gabriel García Márquez gets to master Magic Realism to perfection by using an impeccable combination of literary resources and figures. Such is the case of the time relation in the novel; which is cyclic and repetitive, where we find characters that are trapped in a never-ending time; where history repeat over and over until it reaches the end, and where past, present, and future co-exist and develop in some sort of parallel way.
This effect produced by the time line is complemented by the presence of a passive narrator; who tells the story and the facts without making a distinction between real and unreal, and without passing judgment. This narrator knows the whole story, from beginning to end, but does not give anything away, and is not disturbed by the facts; so he remains objective until the very end.
Regarding the literary figures; they give the novel its fantastic reality, and its dynamism. Given how the author uses a very significant amount of them; the ones highlighted are the most unusual ones. For instance, the oxymoron; it uses words that do not relate because they form a contradiction; “…arrastrada por su familia para separarla del hombre que la violó a los catorce años y siguió amándola hasta los veintidós…” (García Márquez p.40); under regular basis, love is never related to rape. The novel also presents the use of synesthesia, which in a metaphoric kind of way, presents sensations from one sense to another; “…el rumor glacial de sus riñones…”(García Márquez p.40). The anaphora is, yet another figure that serves to the purpose of Magic Realism through emphasizing certain words, to elevate the meaning of what is being said; “… le prometían por los caminos de la tierra y los caminos del mar, para dentro de tres días, tres meses o tres años.” (García Márquez p.40-41).In addition, the simile, also appears on the novel, making comparisons that create an impression and leave a certain image in the mind of the reader; “La mujer soltó una risa expansiva que repercutió en toda la casa como un reguero de vidrio.” (García Márquez p.37); and also a not so well-known figure; such as the epiphonema, which is a phrase that carries a premonition and a message within its content; “…El primero de la estirpe esta amarrado de un árbol y al útimo se lo están comiendo las hormigas.” (García Márquez p.493) O; “…porque las estirpes condenadas a cien años de soledad no tenían una segunda oportunidad sobre la tierra.” (García Márquez p.495).
On top of all the aspects previously mentioned, the main feature of "One Hundred Years of Solitude" which is also the main feature of Magic Realism is the possibility of locating the narrated facts on an actual historic period of time. In the case of the novel, it can be placed in a period of Colombian history that goes from mid ninetieth century to mid twentieth century, where the civil wars between federal régime and the liberal régime took place, this was also the time of the rise and default of the fruit company, that mistreated its employees; mistreat that led to the strike, that ended on a massacre like the one depicted by García Márquez on the novel. However, these aspects that content the real part of the novel, are filled with characters that are unique and repetitive at the same time, because, no matter how different these characters are from each other; all of the six generations of the Buendía family have a characteristic feature that is their resignation to solitude, and through the succession of facts that compound their lives; the merge between reality and fantasy that epitomizes Magic Realism is achieved.
INSTITUTO PEDAGÓGICO “RAFAEL ALBERTO ESCOBAR LARA”
REPÚBLICA BOLIVARIANA DE VENEZUELA
READING AND WRITING I
AUTHOR: Jogrexi Quintana
PROFESSOR(S):
Manuel Arrioja
Diana Feliciano
ONE HUNDRED YEARS OF MAGIC REALISM.
Published in 1967, and Nobel Prize winner in 1982; Gabriel García Marquez’s “One Hundred Years of Solitude” is one of the most important pieces of Latin American literature. At the same time it is the novel that represents the narrative trend “Magic Realism” at its best. Being that Magic Realism is; according to Jorge Gómez Gímenez, in his essay “Aspectos Formales de la Narrativa” (2004); a narrative style that got to be known in the first half of the twentieth century, when it was first used by the Cuban novelist Alejo Carpentier; later on it would also be used by the Venezuelan writer Arturo Uslar Pietri; who used it regarding Latin American literature in 1948, and that as such is a technique in which there is not a logical narrative presence because, reality, and fantasy join together, taking each others place on occasions, and bringing as a consequence a complete narrative disorder. Taking all these facts into account; "One Hundred Years of Solitude" and Magic realism hold hands, given that it is possible to analyze the novel through this particular narrative technique, and it is mandatory to analyze the narrative technique through the novel, since it is its most vivid example.
It is in "One Hundred Years of Solitude" where; reality and fantasy combine on a perfect blend, making the difference between them unnoticeable because the same descriptive technique is used to narrate the real, as well as the unreal. This is the root of Magic Realism because, it is not just a narrative technique, it is the author’s personal way to find his a reality of his own. This is the quality that makes the work unique because, in between history, politics and social reality; the myth, the legend and the author’s own imagination join the mix, and develop a plot like no other, where there are no boundaries between real and unreal or, between life and death.
Gabriel García Márquez gets to master Magic Realism to perfection by using an impeccable combination of literary resources and figures. Such is the case of the time relation in the novel; which is cyclic and repetitive, where we find characters that are trapped in a never-ending time; where history repeat over and over until it reaches the end, and where past, present, and future co-exist and develop in some sort of parallel way.
This effect produced by the time line is complemented by the presence of a passive narrator; who tells the story and the facts without making a distinction between real and unreal, and without passing judgment. This narrator knows the whole story, from beginning to end, but does not give anything away, and is not disturbed by the facts; so he remains objective until the very end.
Regarding the literary figures; they give the novel its fantastic reality, and its dynamism. Given how the author uses a very significant amount of them; the ones highlighted are the most unusual ones. For instance, the oxymoron; it uses words that do not relate because they form a contradiction; “…arrastrada por su familia para separarla del hombre que la violó a los catorce años y siguió amándola hasta los veintidós…” (García Márquez p.40); under regular basis, love is never related to rape. The novel also presents the use of synesthesia, which in a metaphoric kind of way, presents sensations from one sense to another; “…el rumor glacial de sus riñones…”(García Márquez p.40). The anaphora is, yet another figure that serves to the purpose of Magic Realism through emphasizing certain words, to elevate the meaning of what is being said; “… le prometían por los caminos de la tierra y los caminos del mar, para dentro de tres días, tres meses o tres años.” (García Márquez p.40-41).In addition, the simile, also appears on the novel, making comparisons that create an impression and leave a certain image in the mind of the reader; “La mujer soltó una risa expansiva que repercutió en toda la casa como un reguero de vidrio.” (García Márquez p.37); and also a not so well-known figure; such as the epiphonema, which is a phrase that carries a premonition and a message within its content; “…El primero de la estirpe esta amarrado de un árbol y al útimo se lo están comiendo las hormigas.” (García Márquez p.493) O; “…porque las estirpes condenadas a cien años de soledad no tenían una segunda oportunidad sobre la tierra.” (García Márquez p.495).
On top of all the aspects previously mentioned, the main feature of "One Hundred Years of Solitude" which is also the main feature of Magic Realism is the possibility of locating the narrated facts on an actual historic period of time. In the case of the novel, it can be placed in a period of Colombian history that goes from mid ninetieth century to mid twentieth century, where the civil wars between federal régime and the liberal régime took place, this was also the time of the rise and default of the fruit company, that mistreated its employees; mistreat that led to the strike, that ended on a massacre like the one depicted by García Márquez on the novel. However, these aspects that content the real part of the novel, are filled with characters that are unique and repetitive at the same time, because, no matter how different these characters are from each other; all of the six generations of the Buendía family have a characteristic feature that is their resignation to solitude, and through the succession of facts that compound their lives; the merge between reality and fantasy that epitomizes Magic Realism is achieved.
ONE HUNDRED YEARS OF MAGIC REALISM (REVIEWED)
UNIVERSIDAD PEDAGÓGICA EXPERIMENTAL LIBERTADOR
INSTITUTO PEDAGÓGICO “RAFAEL ALBERTO ESCOBAR LARA”
REPÚBLICA BOLIVARIANA DE VENEZUELA
READING AND WRITING I
AUTHOR: Jogrexi Quintana
PROFESSOR(S):
Manuel Arrioja
Diana Feliciano
ONE HUNDRED YEARS OF MAGIC REALISM.
Published in 1967, and Nobel Prize winner in 1982; Gabriel García Marquez’s “One Hundred Years of Solitude” is one of the most important pieces of Latin American literature. At the same time it is the novel that represents the narrative trend “Magic Realism” at its best. Being that Magic Realism is; according to Jorge Gómez Gímenez, in his essay “Aspectos Formales de la Narrativa” (20004); a narrative style that got to be known in the first half of the twentieth century, when it was first used by the Cuban novelist Alejo Carpentier; later on it would also be used by the Venezuelan writer Arturo Uslar Pietri; who used it regarding Latin American literature in 1948, and that as such is a technique in which there is not a logical narrative presence because, reality, and fantasy join together, taking each others place on occasions, and bringing as a consequence a complete narrative disorder. Taking all these facts into account; "One Hundred Years of Solitude" and Magic realism hold hands, given that it is possible to analyze the novel through this particular narrative technique, and it is mandatory to analyze the narrative technique through the novel, since it is its most vivid example.
It is in "One Hundred Years of Solitude" where; reality and fantasy combine on a perfect blend, making the difference between them unnoticeable because the same descriptive technique is used to narrate the real, as well as the unreal. This is the root of Magic Realism because, it is not just a narrative technique, it is the author’s personal way to find his a reality of his own. This is the quality that makes the work unique because, in between history, politics and social reality; the myth, the legend and the author’s own imagination join the mix, and develop a plot like no other, where there are no boundaries between real and unreal or, between life and death.
Gabriel García Márquez gets to master Magic Realism to perfection by using an impeccable combination of literary resources and figures. Such is the case of the time relation in the novel; which is cyclic and repetitive, where we find characters that are trapped in a never-ending time; where history repeat over and over until it reaches the end, and where past, present, and future co-exist and develop in some sort of parallel way.
This effect produced by the time line is complemented by the presence of a passive narrator; who tells the story and the facts without making a distinction between real and unreal, and without passing judgment. This narrator knows the whole story, from beginning to end, but does not give anything away, and is not disturbed by the facts; so he remains objective until the very end.
Regarding the literary figures; they give the novel its fantastic reality, and its dynamism. Given how the author uses a very significant amount of them; the ones highlighted are the most unusual ones. For instance, the oxymoron; it uses words that do not relate because they form a contradiction; “…arrastrada por su familia para separarla del hombre que la violó a los catorce años y siguió amándola hasta los veintidós…” (García Márquez p.40); under regular basis, love is never related to rape. The novel also presents the use of synesthesia, which in a metaphoric kind of way, presents sensations from one sense to another; “…el rumor glacial de sus riñones…”(García Márquez p.40). The anaphora is, yet another figure that serves to the purpose of Magic Realism through emphasizing certain words, to elevate the meaning of what is being said; “… le prometían por los caminos de la tierra y los caminos del mar, para dentro de tres días, tres meses o tres años.” (García Márquez p.40-41).In addition, the simile, also appears on the novel, making comparisons that create an impression and leave a certain image in the mind of the reader; “La mujer soltó una risa expansiva que repercutió en toda la casa como un reguero de vidrio.” (García Márquez p.37); and also a not so well-known figure; such as the epiphonema, which is a phrase that carries a premonition and a message within its content; “…El primero de la estirpe esta amarrado de un árbol y al útimo se lo están comiendo las hormigas.” (García Márquez p.493) O; “…porque las estirpes condenadas a cien años de soledad no tenían una segunda oportunidad sobre la tierra.” (García Márquez p.495).
On top of all the aspects previously mentioned, the main feature of "One Hundred Years of Solitude" which is also the main feature of Magic Realism is the possibility of locating the narrated facts on an actual historic period of time. In the case of the novel, it can be placed in a period of Colombian history that goes from mid ninetieth century to mid twentieth century, where the civil wars between federal régime and the liberal régime took place, this was also the time of the rise and default of the fruit company, that mistreated its employees; mistreat that led to the strike, that ended on a massacre like the one depicted by García Márquez on the novel. However, these aspects that content the real part of the novel, are filled with characters that are unique and repetitive at the same time, because, no matter how different these characters are from each other; all of the six generations of the Buendía family have a characteristic feature that is their resignation to solitude, and through the succession of facts that compound their lives; the merge between reality and fantasy that epitomizes Magic Realism is achieved.
INSTITUTO PEDAGÓGICO “RAFAEL ALBERTO ESCOBAR LARA”
REPÚBLICA BOLIVARIANA DE VENEZUELA
READING AND WRITING I
AUTHOR: Jogrexi Quintana
PROFESSOR(S):
Manuel Arrioja
Diana Feliciano
ONE HUNDRED YEARS OF MAGIC REALISM.
Published in 1967, and Nobel Prize winner in 1982; Gabriel García Marquez’s “One Hundred Years of Solitude” is one of the most important pieces of Latin American literature. At the same time it is the novel that represents the narrative trend “Magic Realism” at its best. Being that Magic Realism is; according to Jorge Gómez Gímenez, in his essay “Aspectos Formales de la Narrativa” (20004); a narrative style that got to be known in the first half of the twentieth century, when it was first used by the Cuban novelist Alejo Carpentier; later on it would also be used by the Venezuelan writer Arturo Uslar Pietri; who used it regarding Latin American literature in 1948, and that as such is a technique in which there is not a logical narrative presence because, reality, and fantasy join together, taking each others place on occasions, and bringing as a consequence a complete narrative disorder. Taking all these facts into account; "One Hundred Years of Solitude" and Magic realism hold hands, given that it is possible to analyze the novel through this particular narrative technique, and it is mandatory to analyze the narrative technique through the novel, since it is its most vivid example.
It is in "One Hundred Years of Solitude" where; reality and fantasy combine on a perfect blend, making the difference between them unnoticeable because the same descriptive technique is used to narrate the real, as well as the unreal. This is the root of Magic Realism because, it is not just a narrative technique, it is the author’s personal way to find his a reality of his own. This is the quality that makes the work unique because, in between history, politics and social reality; the myth, the legend and the author’s own imagination join the mix, and develop a plot like no other, where there are no boundaries between real and unreal or, between life and death.
Gabriel García Márquez gets to master Magic Realism to perfection by using an impeccable combination of literary resources and figures. Such is the case of the time relation in the novel; which is cyclic and repetitive, where we find characters that are trapped in a never-ending time; where history repeat over and over until it reaches the end, and where past, present, and future co-exist and develop in some sort of parallel way.
This effect produced by the time line is complemented by the presence of a passive narrator; who tells the story and the facts without making a distinction between real and unreal, and without passing judgment. This narrator knows the whole story, from beginning to end, but does not give anything away, and is not disturbed by the facts; so he remains objective until the very end.
Regarding the literary figures; they give the novel its fantastic reality, and its dynamism. Given how the author uses a very significant amount of them; the ones highlighted are the most unusual ones. For instance, the oxymoron; it uses words that do not relate because they form a contradiction; “…arrastrada por su familia para separarla del hombre que la violó a los catorce años y siguió amándola hasta los veintidós…” (García Márquez p.40); under regular basis, love is never related to rape. The novel also presents the use of synesthesia, which in a metaphoric kind of way, presents sensations from one sense to another; “…el rumor glacial de sus riñones…”(García Márquez p.40). The anaphora is, yet another figure that serves to the purpose of Magic Realism through emphasizing certain words, to elevate the meaning of what is being said; “… le prometían por los caminos de la tierra y los caminos del mar, para dentro de tres días, tres meses o tres años.” (García Márquez p.40-41).In addition, the simile, also appears on the novel, making comparisons that create an impression and leave a certain image in the mind of the reader; “La mujer soltó una risa expansiva que repercutió en toda la casa como un reguero de vidrio.” (García Márquez p.37); and also a not so well-known figure; such as the epiphonema, which is a phrase that carries a premonition and a message within its content; “…El primero de la estirpe esta amarrado de un árbol y al útimo se lo están comiendo las hormigas.” (García Márquez p.493) O; “…porque las estirpes condenadas a cien años de soledad no tenían una segunda oportunidad sobre la tierra.” (García Márquez p.495).
On top of all the aspects previously mentioned, the main feature of "One Hundred Years of Solitude" which is also the main feature of Magic Realism is the possibility of locating the narrated facts on an actual historic period of time. In the case of the novel, it can be placed in a period of Colombian history that goes from mid ninetieth century to mid twentieth century, where the civil wars between federal régime and the liberal régime took place, this was also the time of the rise and default of the fruit company, that mistreated its employees; mistreat that led to the strike, that ended on a massacre like the one depicted by García Márquez on the novel. However, these aspects that content the real part of the novel, are filled with characters that are unique and repetitive at the same time, because, no matter how different these characters are from each other; all of the six generations of the Buendía family have a characteristic feature that is their resignation to solitude, and through the succession of facts that compound their lives; the merge between reality and fantasy that epitomizes Magic Realism is achieved.
miércoles, 21 de febrero de 2007
Comment by Prof. Yvemar Peraza
Very interesting topic, easy to read, and I think that the essay estructure is perfect!
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