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Netflix’s series adaptation of One Hundred Years of Solitude premieres December 11, 2024! One of the twentieth century’s enduring works, One Hundred Years of Solitude is a widely beloved and acclaimed novel known throughout the world and the ultimate achievement in a Nobel Prize–winning career. The novel tells the story of the rise and fall of the mythical town of Macondo through the history of the Buendía family. Rich and brilliant, it is a chronicle of life, death, and the tragicomedy of humankind. In the beautiful, ridiculous, and tawdry story of the Buendía family, one sees all of humanity, just as in the history, myths, growth, and decay of Macondo, one sees all of Latin America. Love and lust, war and revolution, riches and poverty, youth and senility, the variety of life, the endlessness of death, the search for peace and truth—these universal themes dominate the novel. Alternately reverential and comical, One Hundred Years of Solitude weaves the political, personal, and spiritual to bring a new consciousness to storytelling. Translated into dozens of languages, this stunning work is no less than an account of the history of the human race.
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".
In this exhaustive and enlightening biography—nearly two decades in the making—Gerald Martin dexterously traces the life and times of one of the twentieth century’s greatest literary titans, Nobel Prize-winner Gabriel García Márquez. Martin chronicles the particulars of an extraordinary life, from his upbringing in backwater Colombia and early journalism career, to the publication of One Hundred Years of Solitude at age forty, and the wealth and fame that followed. Based on interviews with more than three hundred of Garcia Marquez’s closest friends, family members, fellow authors, and detractors—as well as the many hours Martin spent with ‘Gabo’ himself—the result is a revelation of both the writer and the man. It is as gripping as any of Gabriel García Márquez’s powerful journalism, as enthralling as any of his acclaimed and beloved fiction.
This Handbook offers a comprehensive examination of Gabriel García Márquez's life, oeuvre, and legacy, the first such work since his death in 2014. It incorporates ongoing critical approaches such as feminism, ecocriticism, Marxism, and ethnic studies, while elucidating key aspects of his work, such as his Caribbean-Colombian background; his use of magical realism, myth, and folklore; and his left-wing political views. Thirty-two wide-ranging chapters coverthe bulk of the author's writings, giving special attention to the global influence of García Márquez.
"Esta compilaciaon de artaiculos que fueron publicados por el autor en los diarios, La Informaciaon de Santiago, Diario Libre y en 'Clave Digital' entre Julio de 2007 hasta la desapariciaon de este aultimo en Agosto de 2010, contiene una selecciaon de temas nacionales e internacionles."
Much good criticism of Mrquez came in the wake of One Hundred Years of Solitude and the perception of his fiction has been dominated by that novel. It seemed the implicit goal to which the earlier fiction has been striving. By concentrating on the later novels, including The General in his Labyrinth, this study brings out the internal dialogue between the novels so that One Hundred Years of Solitude then stands out, like Don Quixote in Cervantes' oeuvre, as untypical yet more deeply representative. Behind the popular impact of its 'magical realism' lies Mrquez' abiding meditation on the nature of fictional and historical truth.
This is the first monograph to consider the significance of madness and irrationality in both Spanish and Spanish American literature. It considers various definitions of ‘madness’ and explores the often contrasting responses, both positive (figural madness as stimulus for literary creativity) and negative (clinical madness representing spiritual confinement and sterility). The concept of national madness is explored with particular reference to Argentina: while, on the one hand, the country’s vast expanses have been seen as conducive to madness, the urban population of Buenos Aires, on the other, appears to be especially dependent on psychoanalytic therapy. The book considers both the work of lesser-known writers such as Nuria Amat, whose personal life is inflected by a form of literary madness, and that of larger literary figures such as José Lezama Lima, whose poetic concepts are suffused with the irrational. The conclusion draws attention to the ‘other side’ of reason as a source of possible originality in a world dominated by the tenets of logic and conventionalised thinking.
The dispassionate intellectual examination of the concepts of death & dying contrasts dramatically with the emotive grieving process experienced by those who mourn. Death & dying are binary concepts in human cultures. Cultural differences reveal their mutual exclusiveness in philosophical outlook, language, and much more. Other sets of binaries come into play under intellectual consideration and emotive behavior, which further divide and shape perceptions, beliefs, and actions of individuals and groups. The presence or absence of religious beliefs about life and death, and disposition of the body and/or soul, are prime distinctions. Likewise the age-old binary of reason vs. faith. To many observers, the topic of death and dying in the Hispanic cultural tradition is usually limited to that of Mexico and its transmogrified religious festival day of Dia de los Muertos. The studies presented in the ten chapters, and editorial introductions to the themes of the book, seek to widen this representation, and set forth the implications of the binary aspects of death and dying in numerous cultures throughout the so-called Hispanic world, including indigenous and European-derived beliefs and practices in religion, society, art, film & literature. Contributions include engagement with the pre-Hispanic world, Picassos poetry, cultural norms in Cuba, and the literary works of Jorge Luis Borges and Gabriel Garcia Marquez. Underlying the arguments presented is Saussurean structuralist theory, which provides a platform to disentangle cultural context in comparative settings.