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Se podría pensar que vincular la obra maestra Cien años de soledad de Gabriel García Márquez con cuestiones teológicas sería una locura. Sin embargo, en la novela del colombiano -como lo señalara Joaquín Marco en su Estudio introductorio a Cien años de soledad- "Aparecen abundantes elementos religiosos propios de la liturgia católica" que sugieren que no se trata de una simple casualidad; al contrario, todo parece que dichas referencias se dan con toda intención. En el presente trabajo, Ernesto García Uranga toma su lupa y emprende una búsqueda de las referencias a dogmas y devociones católicos presentes en Cien años de soledad. Usando como aval a la Teología histórica para justificar sus argumentos, el investigador se da a la tarea de demostrar que el novelista sudamericano desmitifica, de una manera deliberada, por medio de la parodia, ciertos dogmas y devociones impuestos a los creyentes católicos por el Magisterio de la Iglesia. En este ensayo de ninguna manera se sugiere que dichos dogmas y devociones deben ser eliminados de la cultura religiosa católica; en su lugar, García Uranga deja en claro que, según lo entiende, la verdadera finalidad de la desmitificación que lleva a cabo Gabriel García Márquez en Cien años de soledad es la de conferir a los mencionados dogmas y devociones una interpretación más humana y menos divina a la luz de la justicia social, pues en su forma actual carecen de verdadero significado para el piadoso católico, y, lo que es aún más grave, no encuentran apoyo en las Sagradas Escrituras. "Se requiere", dice el autor de este estudio -citando al decano de la Teología moral católica, profesor Bernard Häring- "de un luto por parte de la Iglesia, de la cabeza y sus miembros, por tantas doctrinas falsas que son constantemente reafirmadas". De lo contrario, si el Vaticano continúa haciendo gala de su terquedad, anteponiendo el Derecho canónico a los Evangelios para la conducción de la Iglesia, se expone a que muchos católicos simplemente le den la espalda. De ahí que sea imprescindible, remata el estudioso, que la Iglesia entienda, como lo puntualiza Leonardo Boff, que "el espíritu de la modernidad no se orienta por la autoridad, sino por la participación". En estos momentos de cambio las ovejas rehúsan permanecer quietas en su redil, ya no se les puede obligar a que crean ciegamente. De ahí que se da por sentado que "Los seres humanos libres" -como indica Mary E. Hines- "tienen el derecho a razones claras por las cuales se les exige creer".
The Foolish Children contains twenty-one micro-fiction stories by Ana Maria Matute in Spanish and in English translation. It was rated by the Nobel laureate Camilo Jose Cela as "the most important work written in Spanish by a woman since the Countess Emilia Pardo Bazan."
“The articles and columns in The Scandal of the Century demonstrate that his forthright, lightly ironical voice just seemed to be there, right from the start . . . He’s among those rare great fiction writers whose ancillary work is almost always worth finding . . . He had a way of connecting the souls in all his writing, fiction and nonfiction, to the melancholy static of the universe.” --Dwight Garner, The New York Times From one of the titans of twentieth-century literature, collected here for the first time: a selection of his journalism from the late 1940s to the mid-1980s--work that he considered even more important to his legacy than his universally acclaimed works of fiction. "I don't want to be remembered for One Hundred Years of Solitude or for the Nobel Prize but rather for my journalism," Gabriel García Márquez said in the final years of his life. And while some of his journalistic writings have been made available over the years, this is the first volume to gather a representative selection from across the first four decades of his career--years during which he worked as a full-time, often muckraking, and controversial journalist, even as he penned the fiction that would bring him the Nobel Prize in 1982. Here are the first pieces he wrote while working for newspapers in the coastal Colombian cities of Cartagena and Barranquilla . . . his longer, more fictionlike reportage from Paris and Rome . . . his monthly columns for Spain's El País. And while all the work points in style, wit, depth, and passion to his fiction, these fifty pieces are, more than anything, a revelation of the writer working at the profession he believed to be "the best in the world."
Born in Mexico City in 1914, writer, poet, and diplomat Octavio Paz won the Nobel Prize for Literature in 1990, eight years before his death in 1998. The Writing in the Stars explores Paz's life and ideas by establishing a dialogue between the structure and recurring images of his major poems and the ideas of Carl Jung. Although other literary critics have pointed to Jungian concepts in Paz, a comprehensive study on the subject has yet to be undertaken. Rodney Williamson takes up this challenge, adopting a Jungian perspective to explore successive phases of Paz's poetry. Williamson illustrates how archetypal images infuse Paz's early poetry and his surrealist period and shows how the circular structure of Paz's longer poems, such as 'Piedra de sol' and 'Blanco,' are based on the Eastern sacred circle or mandala, a major archetype of psychic wholeness in Jung. He argues that a grasp of the psychological importance of Jung's archetypes is essential to understanding the various syntheses of creative truth and existence sought by Paz at different defining moments of his career as a poet. The Writing in the Stars will prove fascinating to anyone interested in Latin-American literature, Jungian psychology, or critical theory.
Este libro contiene 350 cuentos de 50 autores clásicos, premiados y notables. Elegida sabiamente por el crítico literario August Nemo para la serie de libros 7 Mejores Cuentos, esta antología contiene los cuentos de los siguientes escritores: - Abraham Valdelomar - Antón Chéjov - Antonio de Trueba - Arturo Reyes - Baldomero Lillo - César Vallejo - Charles Perrault - Edgar Allan Poe - Emilia Pardo Bazán - Fray Mocho - Gustavo Adolfo Bécquer - Horacio Quiroga - Joaquín Díaz Garcés - Joaquín Dicenta - José Martí - José Ortega Munilla - Juan Valera - Julia de Asensi - Leonid Andréiev - Leopoldo Alas - Leopoldo Lugones - Oscar Wilde - Ricardo Güiraldes - Roberto Arlt - Roberto Payró - Rubén Darío - Soledad Acosta de Samper - Teodoro Baró - Vicente Blasco Ibáñez - Washington Irving - Alfred de Musset - Marqués de Sade - Saki - Marcel Schwob - Iván Turguéniev - Julio Verne - Émile Zola - Villiers de L'Isle Adam - Mark Twain - León Tolstoi - Ryunosuke Akutagawa - Ambrose Bierce - Mijaíl Bulgákov - Lewis Carroll - Arthur Conan Doyle - James Joyce - Franz Kafka - H. P. Lovecraft - Machado de Assis - Guy de Maupassant
A splendid collection of short stories from the author of the New York Times bestselling novel The Handmaid’s Tale—the inspiration behind the award-winning Hulu original series. Margaret Atwood brings her singular voice to this unforgettable volume of short stories filled with rare intensity and exceptional intelligence. With brilliant flashes of fantasy, humor, and unexpected violence, the stories reveal the complexities of human relationships and bring to life characters who touch us deeply, evoking terror, laughter, compassion and recognition—and dramatically demonstrate why Margaret Atwood is one of the most important writers in English today.
Beseeched by his dying mother to locate his father, Pedro Paramo, whom they fled from years ago, Juan Preciado sets out for Comala. Comala is a town alive with whispers and shadows--a place seemingly populated only by memory and hallucinations. 49 photos.
Benito Pérez Galdós, considered Spain’s most important novelist after Cervantes, wrote 77 novels, several works of theater and a number of other tomes during his lifetime (1843–1920). His works have been translated into all major languages of the world, and many of his most highly regarded novels, those of the contemporary period, have been translated into English two, three and even four times over. Of the few “contemporary novels” of Galdós that until now have not come to light in English, The Forbidden is certainly among the most noteworthy. The story line concerns a wealthy philanderer, José María Bueno de Guzmán, who attempts to buy the favors of his three beautiful married cousins. He is successful with the first, Eloísa, a grasping materialist who falls deeply in love with him. Then he rejects her in order to attempt to seduce the youngest, Camila. Meanwhile, the third, the pseudo-intellectual María Juana, jealous, seduces José María. But it is Camila, healthy, impetuous and wild, who resists his temptations and holds our attention. The novelist and critic Leopoldo Alas, Galdós’s contemporary, calls her “the most feminine, graceful, lively female character that any modern novelist has painted.” As a naturalistic study, in the manner of Balzac in particular, principal characters of Galdós’s other novels (El doctor Centeno, La de Bringas, La familia de León Roch) become fleetingly visible in The Forbidden. In addition, the entire Bueno de Guzmán family gives evidence of the naturalistic emphasis on heredity: they all display certain physical or mental disorders. Eloísa has a morbid fear of feathers, María Juana often feels that she has a tiny piece of cloth caught in her teeth, José María suffers bouts of depression, an uncle is a kleptomaniac, one of the relatives writes letters to himself, etc. At the same time, this novel shows the foibles of Spanish society where status is determined by one’s associates, by the wearing of finery, and by living on borrowed money. In their history of Spanish literature, Chandler and Schwartz call Galdós “the greatest novelist of the nineteenth century and the only one who deserves to be mentioned in the same breath with great novelists like Balzac, Dickens and Dostoievsky.” The Forbidden, written at the height of the author’s creative powers, is a major work and its publication for an English-speaking audience is long overdue.