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Gabriel Garcia Marquez's Chronicle of a Death Foretold and Franz Kafka's The Metamorphosis both place the protagonist in opposition to a prevailing family structure. At the same time, the family structure dictates personal identity, character traits, worldviews, and reactions to events. In Chronicle of a Death Foretold and in The Metamorphosis, personal identities are malleable and yet the changes that occur take place within a confining social structure at which family resides at the core. In Chronicle of a Death Foretold, Santiago Nasar is the death referred to in the title. Like Gregor Samsa in Kafka's Metamorphosis, Nasar has been unfairly stigmatized but neither receives help from his family. In fact, the family is presented as a source -- or at least an enhancer of -- suffering. Nasar in Chronicle of a Death Foretold and Samsa in The Metamorphisis share a common fate. They are isolated, ostracized, and stigmatized. They…
References
Christie, J.S. (1993). Fathers and virgins: Garcia Marquez's Faulknerian Chronicle of a Death Foretold. Latin American Literary Review 21(41): 21-29
Kafka, F. "The Metamorphosis." Retrieved online: http://www.gutenberg.org/files/5200/5200-h/5200-h.htm
Marquez, G..G. (1982). Chronicle of a Death Foretold. New York: Alfred Knopf.
Ryan. M.P. (1999). Samsa and Samsara: Suffering, Death, and Rebirth in "The Metamorphosis" The German Quarterly 72(2): 133-152.
Particularly the Caribbean. To grow up in such an environment is to have fantastic resources for poetry. Also, in the Caribbean, we are capable of believing anything, because we have the influences of [Indian, pirate, African, and European] cultures, mixed in with Catholicism and our own local beliefs. I think that gives us an open-mindedness to look beyond apparent reality (Sidelights, 2006).
Similarly, Love in the Time of Cholera, set between the decades f the 1870s and 1930s, tells the story of a man who waits over fifty-one years to be with the woman he loves. Not only is this a story of first love and its ability to transcend time and space, but of the true nature of that love and how, despite any number of intrusive events (wars, political issues, other relationships), this celebration of such feeling goes to the very heart Marquez's optimism about the human spirit.…
REFERENCES and WORKS CONSULTED
Abrams, M. (2004). A Glossary of Literary Terms, 8th ed. Heinle Press.
Bell-Villada, G., ed. (2005) Conversations with Gabriel Garcia Marquez. University Press of Mississippi.
Esquivel, L. (1998). Like Water for Chocolate. Anchor Books.
Hamilos, P. (April 2, 2009). "Gabriel Garcia Marquez, Literary Giant, Lays Down His
The use of Magical ealism by Marquez is a technique for writing that does not distinguish between what is real and what is fantastic and a "value literary label that has been applied to many writers." (Sickles, nd, p.24) it was the desire of Marquez to capture the voice of his grandmother in his writings. Marquez used Magical ealism in the incorporation of mythical elements into realistic fiction and thereby uncovers problems in Latin America both historically and in the present.
V. Politically Outspoken
Marquez was outspoken about politics and is well-known for his ideologies about politics and his background in journalism. Marquez was outspoken in the area of human injustices and was a supporter of leftist causes. While Marquez rejects literature that launches a social protest, just about all of his work addresses the same and it is stated that Marquez claimed to write 'socialist realism'. Selling a million…
References
Bell-Villada, GH (2010) Garcia Marquez: The Man and His Work. University of North Carolina Press. 1 Jan 2010.
Bloom, Harold (2007) Gabriel Garcia Marquez. Infobase Publishing. 2007.
Marquez, Gabriel Garcia (1994) Doce Cuentos Peregrinos. Penguin Books India. 1994.
Ortega, J. (2010) Gabriel Garcia Marquez and the Powers of Fiction. University of Texas Press. 1 Apr 2010.
Gabriel Garcia Marquez and Isabel Allende use unconventional story structures, complex themes, and characterizations to convey the social, political, and cultural realities of Latin America. One Hundred Years of Solitude traces the evolution of one town, through the eyes and soul of its most prominent family. In spite of the radical transformations that transpire over the course of one hundred years in the life of Macondo, Marquez shows that some things never change. In particular, social and political realities and the realities of human nature remain the same. Allende conveys a similar theme in The House of the Spirits. The del Valle family shares much in common with Marquez's Buendias family. Moreover, like One Hundred Years of Solitude, The House of the Spirits traces the evolution of a family within its social and political environment. Time is cyclical and nonlinear in both One Hundred Years of Solitude and The House…
Love Time Cholera
Gabriel Garcia Marquez. You focus detail analysis book
Sick Love
The principle theme of Gabriel Garcia Marquez' novel, Love in the Time of Cholera, is that love functions as a disease. There are a number of similarities between love and diseases such as cholera -- they each can infect the body, mind, and spirit, they are contagious, and ultimately they can consume people. The author presents numerous instances that validate this assertion. The vast majority of them involve the three principle characters of the novel, Dr. Juvenal Urbino, Fermina Daza, and Florentino Ariza. The author presents an interesting duality between the two men involved in this love triangle and their shared interest, Fermina, to illustrate the fact that romantic love is highly akin to disease. A thorough analysis of the relationship between the three characters with one another and with others demonstrates that this novel only associates…
Works Cited
Marquez, Gabriel Garcia. Love in the Time of Cholera. New York: Penguin Books. 1989. Print.
Finally, the entire fabric of the novel indicates how Columbia and Latin America altered through the 19th and early 20th centuries, and how the people changed as well. The families and characters of the story endure, and they represent the Latin American people - devoted to family, spiritual, independent, and proud. They represent the culture that has slowly died, and literally are a step back in time to look at the history of a country and its people, and how it alters through time. The family represents all the families in Latin America who have seen their way of life disappear to be replaced with something more modern, but far less magical and appealing. The book looks at history with a twist, and makes it much more enjoyable - even enchanting - to read.
In conclusion, this novel is a fresh way to look at Latin American history. Woven into…
References
Keen, Benjamin, ed. Latin American Civilization: History and Society, 1492 to the Present. 7th ed. Boulder, CO: Westview Press, 2000.
Kirkpatrick, F.A. Latin America: A Brief History. New York: Macmillan, 1939.
Marquez, Gabriel Garcia. One Hundred Years of Solitude. New York: Harper Perennial, 1970.
When the government is mentioned, it is certainly as an outsider that threatens the solitude of Macondo. The gypsies once again symbolize the irony of Macondo's position. Gypsies have experienced solitude both as self-imposed isolation from the rest of the world and also as external oppression. As travelers, gypsies lead a lifestyle that is qualitatively different from the more stable and modern societies. Because of this, gypsies have remained isolated -- their community has as much solitude as Macondo's. Early in the novel, Gypsy Melquiades states, "Science has eliminated distance…in a short time, man will be able to see what is happening in any place in the world without leaving his own house," (p. 3). Here, Gabriel Garcia Marquez coyly hints at the advent of television, which brings the world inside the person's living room. An individual does not need to leave the house to hear people talking, learn about…
Old Man With Enormous Wings
Gabriel Garcia Marquez's short story, "The Old Man with Enormous Wings," might from a plot summary appear to be a light fantasy story. However, closer examination shows that it is actually a very realistic piece of culturally accurate, albeit speculative, fiction. This story is very realistic because it shows the casual and reasonable way in which people are capable of accepting and integrating the absurd into their daily lives, acknowledges the lack of faith or curiosity which has perverted much of modern religion, and does all this without stepping outside the lines of realistic occurrence.
The casual and practical, if mundane, way in which the village people accept the appearance of a winged man in their midst demonstrates a keen understanding of the way in which most humans can accept the introduction of the absurd or unusual into their lives. One notices how in the…
Gabriel Garcia Marquez's short story "A Very Old Man ith Enormous ings" is a work written in the author's signature mode of magical realism: the story has the logic of a fable or a dream, even though it is narrated in the most matter-of-fact way possible. In this brief story, told with almost no directly quoted dialogue, we learn of the sudden appearance and sudden disappearance of the title character -- who is, quite literally, what the title describes -- in a small South American seaside village. However I hope to demonstrate through a close reading of several elements of the story -- through the descriptions of the old man (and what is presented as the literal truth of the story), through the reactions of the local priest Father Gonzaga (and the implied religious elements), and through the comparison with the spider girl in the second half of the story…
Works Cited
Garcia Marquez, Gabriel. "A Very Old Man With Enormous Wings." Web. Accessed 15 April 2014 at: http://www.ndsu.edu/pubweb/~cinichol/CreativeWriting/323/MarquezManwithWings.htm
This may be because of the fact that the author took it upon himself to reveal the names of the hostages who were killed and who were ultimately released. Since the main drama in the book is trying to imagine what will happen next, there is no fun in reading what has happened after knowing the ending of the book. (News of a Kidnapping) After reading the book, Villamizar had this to say: "It's unusual, but everything that happens in Columbia is unusual." (Gabriel Garcia Marquez: (www.levity.com)
Some of the other books authored by Gabriel Marcia Marquez are 'The Autumn of the Patriarch', which is a book based on the theme of decay, 'Leaf Storm', 'No one writes to the Colonel', 'Innocent Erendira ', 'In Evil Hour', "Chronicle of a death Foretold', and 'Love in the time of Cholera'. (Gabriel Garcia Marquez: (www.levity.com) Gabriel Garcia Marquez received a Nobel Prize…
References
Gabriel Garcia Marquez. Retrieved at http://www.themodernword.com/gabo/gabo_biography.html . Accessed on 1/13/2005
About 100 years of Solitude. Retrieved at http://www.gradesaver.com/ClassicNotes/Titles/solitude/about.html . Accessed on 1/13/2005
Gabriel Garcia Marquez. Retrieved at http://www.levity.com/corduroy/marquez.htm . Accessed on 1/13/2005
News of a Kidnapping, an Introduction. Retrieved at http://www.enotes.com/news-kidnapping/ . Accessed on 1/13/2005
Gabriel Garcia-Marquez was born on March 6, 1928 in Aracataca, Colombia. Raised by his grandparents in the remote isolated village, Marquez has become a literary celebration with such books as "One Hundred Years of Solitude" and "Love in the Time of Cholera," winning the Nobel Prize in literature in 1982 (Gabriel pg). He attended Universidad Nacional in Bogota and studied law at the Universidad de Cartagena. hile writing a column for El Universal in college, he became disinterested in law and began studying literature (Gabriel pg). He was honored by the Swedish Academy of Letters "for his novels and short stories in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent's life and conflicts" (Gabriel pg).
There is little doubt that Marquez's upbringing had a tremendous effect on his life. His grandfather, former Colonel Nicholas Ricardo Marquez Mejia, helped found the…
Works Cited
Biography: Gabriel Garcia Marquez." Nobel e-Museum. http://www.nobel.se/literature/laureates/1982/marquez-bio.html .
A accessed 06-22-2003).
Gabriel Garc'a Marquez." CNN Interactive. March 6, 1998. http://edition.cnn.com/books/news/9803/06/almanac.garcia.marquez / accessed 06-22-2003).
Marquez, Gabriel Garcia. "Serenade." The Modern Word. http://www.themodernword.com/gabo/gabo_serenade.html .
In the beginning of the story, Erendira must "bathe and overdress her grandmother, scrub the floors, cook lunch, and polish the crystal ware" (Marquez) every day. Erendira endures a difficult life for a fourteen-year-old girl, considering she was "too meek for her age" (Marquez). The life her grandmother makes her live is inhumane as she attempts to make Erendira pay for her mistake with prostitution. Erendira's prince does not arrive quickly and when he does, she leaves him. Here is where we see the story move from a fairy tale story to one that seeks to explain human behavior. Erendira takes care of herself with the money she feels she deserves. She decides to do so without a man and this makes the story modern while at the same time, very timeless, in that people are as unpredictable as they are predictable. Erendira is an independent woman in need to…
Works Cited
Kafka, Franz. "The Metamorphosis." The Norton Anthology of Short Fiction R.V. Cassill, ed.
New York W.W. Norton and Company. 1981.Print.
Marquez, Gabriel Garcia. "The Incredible and Sad Tale of Erendira." American Buddha Online.
Web. Site Accessed May 16, 2011. http://www.american-
philosophy of Seneca and Nietzsche
In Gabriel Garcia Marquez's the challenge.
From the birth of humankind, the individual's propensity to suffering has caused great turmoil, both on the individual level, and in societal discourse.
Two of the greatest issues within the problem of suffering, or of "difficulties," include the misguided notion that problems and pain are impediments to success, and the notion that inevitable suffering, whether from sudden chance, or deliberate action (although, that, too, is always influenced by chance), is just or unjust.
Fredrich Nietzsche, after spending the years of his youth under a mistaken belief in the avoidance of suffering though avoidance of life, reversed his position and, instead, championed the philosophy that suffering is good and inevitable, due to its purifying and improving influence upon life, understanding, and art. He writes that one must be someone who "no longer denies..."
Goodness, success, happiness arises out of the…
Strange Pilgrims by Gabriel Garcia Marquez
The use of the simile in "Strange Pilgrims"
Gabriel Garcia Marquez' use of similes in the "Strange Pilgrims" collection is intended to emphasize the surreal ideas that can be found throughout the stories. Marquez seemed determined to have his readers get a complex understanding of the concepts that he related to and thus used similes as a means to reach out to these respective people. The presence of this stylistic element in the collection of stories makes readers feel better-acquainted with emotions that characters experience.
From the very first story in the collection readers are presented with a series of similes that provide them with the ability to see things from the protagonist's perspective. This contributes to making them sympathize with him and with gaining a better understanding of his attitudes. It appears that Marquez used similes at this point with the intention of…
Works cited:
Marquez, Gabriel Garcia, "Strange Pilgrims," (Penguin Books India, 1994)
Seeing orld Another Perspective." "Half a Day" Naguib Mahfouz "Big Black Good Man" Richard right "A Very Old Man Enormous ings" Gabriel Garcia Marquez.
Particularities have always served as a tool for discrimination, given that the contemporary society has grown accustomed to treat people on account of their background and depending on the way that they look. Gabriel Garcia Marquez's 1955 short story "A Very Old Man ith Enormous ings" puts across an episode in the life of a Hispanic community that has come to express its discriminatory and exploitative nature consequent to encountering a distressed creature. The Native American saying "Never criticize another until you have walked a mile in his moccasins" partly explains Garcia Marquez's account. Fueled by folklore and as a result of seeing the opportunity to make easy money, the Pelayo and Elisenda do not hesitate to take advantage of the angel's state of decay, regardless…
Works cited:
1. Garcia Marquez, Gabriel. (1955). "A Very Old Man With Enormous Wings."
Ursula's daughter is also defined primarily in relation to gender, and her desire and her relationship, or lack thereof, with men. Unlike her life-sustaining mother, Amaranta never marries, and instead spends her entire life mourning her lost love. But Allende's main feminine romantic heroine, Alba, is not merely psychologically bruised by the loss of her love, but is physically tortured at the hands of Esteban Garcia, Esteban Trueba's illegitimate son. This occurred with great frequency in Chile during the time when this part of the novel is set. Although Alba is devoted to her husband Miguel, this devotion does not preclude Alba from having a strong voice and will and the ability to withstand disappointment, even torture. Unlike the perpetually forlorn Amaranta, Alba transcends all stereotypes and resolves to tell the story of her clan to the world to use her unhappiness in a productive manner, although she is also…
Works Cited
Allende, Isabel. The House of the Spirits. New York: Bantam, 1986.
Marquez, Gabriel Garcia. One Hundred Years of Solitude. New York: Perennial, 1998.
..just a bit... To keep the reader going. The men, at first, think the women are crazy in their actions. How could they be making such fools over a man they have never met? The men just want to get rid of him and once again live their lives as before.
Ah, said Marquez, but that is not going to be possible. The men, like the women, have seen his face. They know their lives are changed forever. Here was a man so much better than themselves -- Ashamed at his large size, yet willing to accept who and what he was.
Then the story begins to climb once again...another wave has hit the shore as the men and women get ready for the most splendid funeral. At last, he has to return to the water and they are so saddened. They weep. Now they see what their village is…
omen in Novellas
Gender, as opposed to the physical classification of sex, has always been based upon societal construct. The current psychology of the masses dictates what proper or improper behavior for the given genders is. Things have progressed, but there is still a vast difference between the roles and responsibilities of males and their female counterparts. The conflict of the modern age often stems from an intersection of gender and ethical dilemmas, both based upon societal rules. Fictional characters are written by flesh and blood human beings. Thus, the norms of the social order will bleed into their fictional creations. Female characters in a fictional work will have the same gendered notes as a human being. If they do not prescribe to the norms of their given gender, it is always for an artistic purpose which functions as the purpose of the piece. Gabriel Garcia Marquez's Chronicle of a…
Works Cited:
Kafka, Franz. "The Metamorphosis." Web. 2012. http://records.viu.ca/~johnstoi/stories/kafka-E.htm
Marquez, Gabriel Garcia. Chronicles of a Death Foretold. New York, NY: Vintage. 2003. Print.
Morrison, Toni. The Bluest Eye. New York, NY: Vintage. 2007. Print.
Expression of Love and the Rhetoric of Romance in Swann's ay And Love In The Time Of Cholera
Florentino Ariza in comparison to Charles Swann
Gabriel Garcia Marquez's "Love in the Time of Cholera" and Marcel Proust's "Swann's ay" both deal with romance as being a force that both benefits and damages people's mental status. hereas the devoted lover in "Love in the Time of Cholera," Florentino Ariza, puts across great dedication toward his loved one and their union, Charles Swann appears to be less interested in the emotional aspect of love, as he appears to respond to stimuli on the basis of his diplomatic character.
One is perfectly able to observe and to understand the love that Florentino feels toward Fermina Daza, as the man expresses authentic romantic love. In contrast, the love that Swann puts across in regard to Odette appears to be without an actual bases, as…
Works cited:
Marquez, Gabriel Garcia, Love in the time of cholera, (Vintage, 2007)
Proust, Marcel, Swann's way, (Forgotten Books, 1934)
I did not find a quote for this, I came to deduce this as a result of reading through the book
I haven't found a quote here, this was also deduced from a larger part of the text
This appearance does not improve as the book progresses. Because their first set of knives is taken away, the twins go to the butcher Faustino Santos twice to have knives sharpened for the murder. In piecing together the story later on, the narrator says, "Faustino Santos told me that he'd still been doubtful, and that he reported it to a policeman who came by a little later to buy a pound of liver for the mayor's breakfast" (Marquez 53). He is doubtful, but he reports it to the police; he reports it to the police, but he still sharpens the twins' knives when they come back a second time. There is a vague sense of civic duty in the report, but a greater sense of curiosity and possibly even macabre justice in the butcher's actions. This is also shown by father Amador, who is asked to conduct the autopsy on…
Handsomest Drowned Man in the World by Gabriel Garcia Marquez
Point-of-View -- the author presents the perceptions of the villagers who live in isolation and are suddenly shaken by the arrival of someone so unlike them in stature and appearance. First, the women, then the men, construct an ideal from the tallness and overall attractiveness of the drowned man. He represents a myth, which mingles with their collective sense of reality and is moved by it. Even when they decide to throw him back into the sea as their burial tradition, they design their future according to the image of this admirable drowned man so that they too may one day be admired by others.
Genre -- Magical realism fuses magic and reality. The reality part is the everyday and routine ways of the villagers in the isolated island. The magic is the sudden arrival of the dead body of…
Introduction to Fiction by X.J. Kennedy and Dana Gioia, 2009. Pearson Higher
Education: Longman
Olsen, Tillie. "As I Stand Here Ironing." An Introduction to Fiction by X.J. Kennedy and Dana Gioia, 2009. Pearson Higher Education: Longman
Garcia Marquez explores the isolation, solitude, and melancholia experienced by the Macondo community, as a metaphor for a parallel isolation, solitude, and essential disconnectedness from the world as experienced by Colombia, and Latin America as a whole. Moreover, as in the life of that Latin American nation, non-reflective violence occurs again and again. Suppression of memory further isolates Macondo until eventually, Macondo creates a society (i.e., a reality) based (oxymoronically) on pure fantasy. Here, Garcia Marquez powerfully suggests how suppression of collective memory: of violence; invasion; challenges to collective identity; outside exploitation, and all else that serves to explain, for better worse, the history of a group, only deepens and increases inevitable disconnectedness within that place and its people.
orks Cited
Garcia Marquez, Gabriel. One Hundred Years of Solitude. Gregory Rabassa
Trans.). New York: Avon, 1971.
One Hundred Years of Solitude." Sparknotes. Retrieved May 11, 2005, at http://www.sparknotes.com/lit/solitude.htm.
Restorina, Maria…
Works Cited
Garcia Marquez, Gabriel. One Hundred Years of Solitude. Gregory Rabassa
Trans.). New York: Avon, 1971.
One Hundred Years of Solitude." Sparknotes. Retrieved May 11, 2005, at http://www.sparknotes.com/lit/solitude.htm .
Restorina, Maria R. "Gabriel Garcia Marquez and His Approach to History in One Hundred Years of Solitude." Retrieved May 11, 2005, from: www.loyno.edu/history/journal/1994-5/Estorino.htm
As a housewife confined mostly at home, the woman yearned to develop herself, to function as an able individual not just in her home but in her society as well. Thus, work became a symbolic manifestation of the woman's yearning for freedom: freedom from the oppressive label of being a housewife, and freedom from being limited and dictated what she needs to do and not do.
Human ignorance is highlighted in the story when, as the woman succumbed to the fixating task of "analyzing" and following the patterns of the yellow wallpaper, her husband thought her nervous breakdown has finally escalated into insanity. As the woman begins to consider the pattern a reflection of her own life, her family, particularly her husband John, began considering her condition as one of insanity: "At night...and worst of all by moonlight, it becomes bars!...I didn't realize for a long time what the thing…
Works Cited
Gilman, C.P. (1899). E-text of "The Yellow Wallpaper." Available at http://www.storybites.com/gilmanwallpaper.htm.
Marquez, G.G.E-text of "A Very Old Man with Enormous Wings." Available at http://www.salvoblue.homestead.com/wings.html .
The narrator becomes repulsed by Bartleby and decides that he must be suffering from some type of mental problem. The less the narrator knows about Bartleby the worse things seem to be for him. He wants to make sense of things. He wants it all to make sense. The conflict arises from his inability to do so. The narrator is simply being human in his desire to control and understand things but Kafka is demonstrating how we cannot always know everything and how we must be at peace with that, lest we become insane. It is also important to point out that some things are simply not meant to be known or completely understood. Kafka does not attempt to explain everything in this story because we often face situations that will never be truly understood.
Marquez demonstrates conflict and how it makes for interesting fiction by allowing the readers to…
Works Cited
Kafka, Franz. "The Metamorphosis." The Norton Anthology of Short Fiction R.V. Cassill, ed.
New York W.W. Norton and Company. 1981.
Gabriel Garcia Marquez's "Chronicle of a Death Foretold." Collected Novellas. New York:
Harper Perennial. 1990.
The one-time immigration lawyer moonlighted as an editor at the Latin American Review Press and was impressed with her boss, a 90-year-old woman. This experience has inspired Mahler, who eventually wants to have her own journal or press.
This independent streak dates to her upbringing. "I was a very latchkey kid," she explains, and was raised by her siblings. As a result, she was a bit of a neighborhood terror as well. "I even had my own army of 1st graders that I made do push-ups and if they didn't, I sent them to jail, which was the jungle gym."
For now, however, her focus is on Emory and her family. She married her high school sweetheart, Andrew Mahler, and the couple now reside in Stockbridge. Anna wants to focus on building bonds with her students as well. "I hope to make lasting personal and professional relationships and contribute to…
Solitude Feminist Crit
The Power of the Feminine in Garcia Marquez's One Hundred Years of Solitude
Gabriel Garcia Marquez in his work One Hundred Years of Solitude (1967) spins a tale of postcolonial Columbia that will likely forever be thought of as a classic work of fiction, brought to light during what many think of a serious high point in Latin American Literature. The work is translated to many languages and even today sells a great many copies. (King) The development of the tale is that of the founding of a city by a single couple and all the ways in which this couple and their various offspring relate to the world, from within the scope of their town. The many generational tale encompasses a century and begins with the development of a core relationship, that between Jose Arcadio Buendia and his wife and cousin Ursula. This work will first…
Works Cited
Bellow Watson, Barbara, "On Power and the Literary Text" Signs, Vol. 1, No. 1 (Autumn, 1975), pp. 111-118.
Bloom, Harold, "Gabriel Garcia Marquez's 'One Hundred Years of Solitude'" Broomall, PA: Chelsea House, 2003.
Garcia Marquez, Gabriel "One Hundred Years of Solitude" New York:, NY, Harper and Rowe, 1970.
Hamilton, Carole. "Overview of 'One Hundred Years of Solitude'." Literature of Developing Nations for Students: Presenting Analysis, Context, and Criticism on Literature of Developing Nations. Ed. Elizabeth Bellalouna, Michael L. LaBlanc, and Ira Mark Milne. Vol. 2. Detroit: Gale Group, 2000. Literature Resource Center. Web. 3 Dec. 2011.
Conclusion
In order to fully understand the religious element in this novel one firstly has to understand the meaning and function of magical realism in the book. This novel explores the foundations of religion and religious experience in an unconventional way through the use of the technique of magical realism. This style reduces the distance that we normally expect between the supernatural and the natural. In other words, the book explores the religious not as a dimension that is outside or beyond the human, but rather an intimate and integral part of human life and experience.
Therefore, we can conclude that the way this novel explores the area of religion and the spiritual is decidedly unconventional. It could also be argued that the view of religion in this book is more 'primitive' or vital and older than the formal and conventional religions of the modern world. This can be seen…
Bibliography
"Acts of God." Foreign Policy Mar. 2001: 14.
Johnson C. Religion in One Hundred Years of Solitude and The Lost Steps. November 21, 2009. 1998.
Johnston I. On Marquez's One Hundred Years of Solitude. November 20, 2009.
Harvey, Graham. Animism: Respecting the Living World. New York: Columbia University Press, 2006.
Unconventional Children's Tale
"A Very Old Man ith Enormous ings: A Tale For Children" by Gabriel Garcia Marquez is a lot of things. It's a great story, it's a satire on organized religion, it's a perfect example of magical realism, and - to be brief - much more, but one thing it is not is a conventional tale for children.1
hen one thinks of children's tales, what does he/she think of? Perhaps the images that are conjured up are princes and princesses, magic castles, big bad wolves, etc. hat doesn't come to mind is a very old man with enormous wings, who is "dressed like a ragpicker" (Marquez, 1955, p. 337). And as Marquez (1955) tells the reader in further 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 had taken…
Works Cited
Boyle, T.C. (2003). "Gabriel Garcia Marquez." Arron Keesbury (Eds.), Doubletakes Paris of Contemporary Short Stories (p. 331). Massachusetts: Wadsworth Publishing.
Brookfield, S.D. "Contesting criticality: Epistemological and practical contradictions in critical reflection" in Proceedings of the 41st Annual Adult Education Research Conference (2000).
Marquez, G, C. (2003). "A Very Old Man with Enormous Wings: A Tale for Children" (1955). Arron Keesbury (Eds.), Doubletakes Paris of Contemporary Short Stories (p. 332-337). Massachusetts: Wadsworth Publishing.
Metcalfe, J., & Shimamura, A.P. (1994). Metacognition: knowing about knowing. Cambridge, MA: MIT Press.
An example of the characterization of Rebeca, who was adopted early on into the Buendia family, demonstrates that she is also unlike most other females depicted within One Hundred Years of Solitude. Although Rebeca is not as harsh towards her lovers as Amaranta is, she has her own idiosyncrasies that set her apart from the vast majority of other women outside of the family within this novel. It is worth noting that the power that many of the Buendia women are able to preserve and actuate at different times within this work of literature is best personified by Iguaran. Therefore, it is fairly interesting to note how Iguaran largely regards Rebeca as something of her protege in preserving this power in the tradition of the Buendia family, which the following quotation makes abundantly clear.
…only she, Rebeca, the one who had never fed of her milk but only of the…
Works Cited
Marquez, Gabriel Garcia. One Hundred Years of Solitude. New York: Perennial. 1998. Print.
They were zigzagging through the sugar cane field, a truly bizarre scene.
Also in Mendoza, it is a dark and evil scene as Mendoza's body is tied to the back of a donkey but the body kept sliding down under the donkey ("ass"). There is no respect for the dead here in this scene, and to take his bloody, muddy, and wet body to his wife's house, and throw it down in the threshold -- that is profoundly evil. He never had a chance, and now his family has to pay the price. The evil and "horrible grimace" that was on the face of the dead Mendoza must have been a terrible shock to his family and his children. His son (who had found what he thought was a corpse) now saw a real corpse, ironically the person he had seen earlier and mistaken for a corpse -- his own…
Works Cited
Bosch, Juan. (2001). Encarnacion Mendoza's Christmas Eve. In the Oxford Book of Caribbean Short Stories. Eds. Stewart Brown and John Wickham. New York: Oxford
University Press, pp. 70-79.
Marquez, Gabriel Garcia. (2001). The Last Voyage of the Ghost Ship. In the Oxford Book of Caribbean Short Stories. Eds. Stewart Brown and John Wickham. New York: Oxford
University Press, pp. 148-152.
As Yu Tsun himself describes the glum setting of his train trip:
There was hardly a soul on the platform. I went through the coaches; I remember a few farmers, a woman dressed in mourning, a young boy who was reading with fervor the Annals of Tacitus, a wounded and happy soldier.
The coaches jerked forward at last. A man whom I recognized ran in vain to the end of the platform. It was Captain Richard Madden. Shattered, trembling, shrank into the far corner of the seat, away from the dreaded window.
Moreover, Yu Tsun's final train ride toward killing and being killed is not even anything of a labyrinthine (or even mildly interesting) journey through the likes of gardens, or along forking paths. Instead, this is just a straight, direct, well-worn; non-ambiguous shot to another non-descript, poorly lighted train station replete with more dim lighting and plenty of shadows…
S. responded to the Great Depression by electing FDR, who brought out his Alphabet Programs which were supposed to put the nation back to work with public works projects. When that failed to restore the economy, the world elected to start with a new war: WWII. Germany had been buried by the Western powers following WWI -- and now the country threatened to assert itself once more. Russia was in the middle of its own revolution: Stalin was liquidating the kulaks and rounding others up and shipping them off to the Gulag. That did not help Russia's economy any more than FDR's Alphabet program -- but it did not matter: war was on the horizon. Japan was being strangled by Western powers: the American military-industrial-congressional complex essentially forced Japan to attack -- and then sat back and let it happen when Japan finally decided to bomb Pearl Harbor. Thus, America…
The play was the thing wherein I caught the conscience of the king -- that means I knew he was guilty.
San: Even if he was guilty, what did killing him serve? All there was left was a court in total disarray and a lot of dead bodies. You say your revenge had a purpose, but it didn't really. Revenge is only undertaken for personal motives -- being drunk and angry because you think someone took your sister's virginity, for instance. It has nothing to do with anything loftier. Indeed, it is this very perspective which produces the type of collective bloodlust that would seize my life. You have made yourself an executioner, perhaps as mad with assurance of his deeds as were those first committed some wrong.
Ham: That's not true! There was a method to my madness. I needed to make a point -- a very long point…
Such practices led to the growth of foreign loans and investment to Chile, which were stopped during Allende's office, but at the same time it led to the domination of foreign capital in economy sector and weaking positions of national production. Mining industry was privatized by big American corporations, which restored their traditional influence in this sector:
Pinochet's neoliberal economic policies' benefits have been sharply contested. In 1973, unemployment was only 4.3%. Following ten years of junta rule in 1983, unemployment skyrocketed to 22%. eal wages declined by more than 40%. In 1970, 20% of Chile's population lived in poverty. In 1990, in the last year of Pinochet's dictatorship, poverty doubled to 40%.[2] Between 1982 and 1983, the GDP dropped 19%. In 1970, the daily diet of the poorest 40% of the population contained 2,019 calories. By 1980 this had fallen to 1,751, and by 1990 it was down to…
References
Petras, James Leiva, Fernando Ignacio Democracy and Poverty in Chile: The Limits to Electoral Politics Westview Press, 1994
Pinera, Jose Latin America: a way out. An article from: The Cato Journal January 1, 2003 p.409
Constable, Pamela Valenzuela, Arturo A Nation of Enemies: Chile under Pinochet Norton, 1991
Hewitt, Kenneth Between Pinochet and Kropotkin: State Terror, Human Rights and the Geographers
Toni Morrison's Beloved
This story works to capture the essence of slavery's aftermath for its characters. It tells a truth created in flashback and ghost story. It aims to create mysticism only memory can illustrate. "The novel is meant to give grief a body, to make it palpable" (Gates, 29). The characters are trapped in the present because they are imprisoned by the horrors of slavery. They are literally held hostage in their home, isolated from the outside world. In many ways Beloved represents a geographically realistic neo-slave narrative by presenting in flashback the experiences of Sethe. This story also has the fantastic element of a ghost who later becomes flesh and bone. The paragraphs below explore the characters memories and the magical realism of a ghost.
Memory affects the character of Sethe in a way that illustrates the pain and grief of her past enslavement. Sethe is living with…
Works Cited
Gates, Henry Louis and Appiah, K.A., ed. Toni Morrison: Critical Perspectives Past and Present. New York: Amistad Press, Inc., 1993.
Morrison, Toni. Beloved. New York: Penguin Books, 1987.
Visual Imagery and Qualitative Dimensions of Life & Consciousness in Visual Art
Throughout history all cultures have produced works of art. The impulse to create as a means of personal expression and to stimulate the imagination of viewers is universal and perpetual. In their various manifestations, the arts play an important role in defining culture by presenting intelligent viewpoints of our present state of being, and by serving as a record of our past. The visual arts are a repository of those qualitative dimensions of life, which enhance our consciousness through the use of visual imagery.
The most exquisite expression of the self is through art, be it literature, history theatre, painting, sculptor and so on. From the wondrous Egyptian pyramids to the majestic statue of liberty, from eloquent Greek writer Homer - who produced masterpieces like the Odyssey - to 20th century literati like Palestinian journalist Edward Said -…
Works Cited
1) A short history of English literature: Pages124 & 125. Sylvan Barnet
2) History of English literature: Pages123 & 127. Legouis & Cazamain
3) An Introduction to Fiction, Drama and Poetry: Pages 355 to 361. Kennedy Gioia
Art and the Humanities -
Leaf Storm
About the Author
The short story Leaf Storm is written by Gabriel Garc'a Marquez. He was born in 1928, Columbia. Being the finest man of letters of Latin America, he was regarded by many as one of the greatest writers of the twentieth century (Powells. Com).
As a journalist he started his writing career and later became the author of several works of fiction and nonfiction including, One Hundred Years of Solitude and Love in the Time of Cholera. Furthermore, in 1982, he was awarded the Nobel Prize for Literature (Powells. Com).
Overview of the Story:
Marquez's first novel Leaf Storm & Other Stories has its settings in the Macondo that was one of the wrecked and isolated places, which existed in the poverties loneliness when a company of the banana pulled up and went way (Powells. Com). This author revolves the story around the relationship between the…
Works Cited
The Powells. Com. Leaf Storm, and Other Stories by Gabr Garcia Marquez. www.powells.com
In Pritchett, V.S. The Myth Makers: Literary Essays. New York: Random House, 1979. Criticism on Leaf Storm.
Fefferman, Stanley. Literature Annotations.
A www.endeavor.med.nyu.edu.Literature, Arts & Medicine Database. November, 8, 1995. 47th Edition- October 2002
Families are united and in many cases, all family members live under the same roof which also applies to the case of the Buendias.
The men in the novel, from Jose Arcadio who founds, together with his wife, the town of Macondo, to Aureliano Babilonia i.e. The last generation, are marked by a homogenous fate in the sense that none of them are able to escape the repetitiveness of their ancestors' fate. Despite the fact that they all express amazing energies, and are doted with intelligence and passion, they are all unable to concretize their dreams and projects, and to achieve any kind of long-term success. Violence is an important part of these men's temperament; they are all prone to anger and violent behavior. Even when these episodes of anger do not occur, their lives are overtaken by irrational violence which interrupts their lives.
The male characters in One Hundred…
16. The theme of incest is connected to the theme of solitude, and are both consistent throughout the entire novel. Incest marks the Buendia family on two levels, and deepens their feeling of isolation and solitude. Above all else, incestuous relations are to be kept private because they are not sociably acceptable, hence those engaged in such relations must keep to themselves, and are thus unable to develop deep and meaningful relations with the world around them. This also applies to the Buendia family. They are solitary and eventually become disengaged with their surroundings. Also, the prophecy of Ursula in the beginning of the novel comes true, and at the very end of the story, a Buendia is born with the tail of a pig. This is a profoundly metaphorical image: the tail of a pig is a sign of the sin committed by the parents of the child. The fact that the child is born with a tail is both a sign of his parents' sin and of the fact that he is a result of the sin committed, one which he or she cannot escape; the child is physically marked hence emotionally scarred for life.
In One Hundred Years of Solitude, incest is at the beginning of everything as far as the plot of the novel. The first to have an incestuous relationship are Ursula and Jose Arcadio Buendia whose families will interbreed over decades. Incest shuts the Buendia men inside the boundaries of their own women-mothers-daughters, unable to love anyone else; fratricide is the way in which men finally end up contacting other men, under the mask of death and violence. The Buendia men cannot be saved because they do not learn from their mistakes, and are unable to assume responsibility for their actions. The act of incest has the emotional and psychological effect of making prisoners out of the Buendia men; they are caught in a situation which repeats itself generation after generation. Amaranta Ursula and Aureliano are the sixth - and final - Buendia generation to commit the sin of incest. They actually perform an investigation as to their ancestors in their attempt to determine whether or not they are related. Although no other Buendia has done this before them, they are not thorough and readily "accept the version of the basket" (Marquez: 415) meaning what is convenient to them. The couple are given the chance to break the incestuous cycle but take the easy path instead which leads to their destruction when their child is born with the tail of a pig.
Garcia Marquez, Gabriel. One Hundred Years of Solitude. Perennial, 1998
Angela knows she cannot change this social perception of gender roles, and gives the first name that comes to mind because she realizes that she is in the position of sentencing that man to death, and probably tries to save the man who had actually dishonored her.
Guilt is a major theme in the novel, and is closely linked to the theme of fate. In fact, this inextricable link explains why Santiago is killed although so many characters know about the Vicario twins' intentions in advance: "There had never been a death more foretold" (Marquez: 50). Angela is both guilty and innocent because although she falsely accuses Santiago and sentences him to death, she cannot avoid giving her brothers the name of the man who had dishonored her. She is persecuted by her family, beaten and questioned so she must provide a name. Bayardo is also guilty because he is…
Fate also plays an important role in Santiago's death. The implacability of fate is tackled with irony by Marquez. First of all, everyone in town including his close ones know about the Vicario brothers' intentions to kill him, everyone except Santiago himself since no one actually warns him. Secondly, there is never any proof that Santiago is responsible for dishonoring Angela; furthermore, the brothers do not even bother to ask him what had happened, and simply take what their sister tells them as the absolute truth. What is more, the narrator tells us that Angela and Santiago were never seen together in public, and that he considered her a "fool" (Marquez: 251). In addition, Santiago Nasar and Angela Vicario belong to different social classes in a society where social class determines identity hence a romance between the two seems highly unlikely. The narrative voice gives the impression that Angela Vicario names Santiago in order to protect someone she really loves i.e. The man who had actually deflowered her.
Through the literary technique of foreshadowing, the narrator tries to convince his readers that Santiago's fate dictates his death. From this point-of-view, the fact that so many characters could have prevent the killing but did not has a double meaning. The townsfolk know about the brothers' plan to murder Santiago, but are not able to stop them; at a first look, this might indicate that Santiago's fate was indeed implacable. However, at a closer examination of the text, one must acknowledge that none of the characters make any kind of effort to intervene; moreover, they all appear to be too busy with their own lives to care about another's. Marquez's irony suggests that the role of fate might not be as strong as the townspeople think it is. They are all morally responsible for Santiago's death; the townsfolk either remain passive and uninterested whether he lives or dies or, even worse, endorse the murder as an act of vengeance and a question of honor. Marquez alters the initial relationship between guilt and fate; in the end, the narrative voice suggests that the murder could have been prevented, and that perhaps fate is not the only responsible factor. In this sense, the townspeople choose to believe the murder was foretold because blaming fate is better than blaming themselves.
Garcia Marquez, Gabriel. Chronicle of a Death Foretold. Knopf Publishing Group, 2003.
society in which Angela Vicario and Bayardo San Roman lived? Use specific examples from the book to illustrate your points.
The society in which Angela Vicario and Bayardo San Roman lived can best be described as a small Latin American community with traditional values. Everyone in the town knows each other by name, and knows each others' business. It is also a relatively stratified society with a coded social hierarchy. One's position in society is determined by gender and class, as well as family name.
For example, the plot is driven by the story of Bayardo San Roman coming to the town in order to find a bride. This represents the patriarchal culture in which both the protagonists live. Furthermore, the fact that Angela's family was poorer than Bayardos also reveals the importance of social class. Everyone ends up knowing the personal business of the couple, including intimate details such…
extend the lines, if necessary, without being wordy.
Three specific instances of irony in "Where Are You Going, Where Have You Been" are:
a) ____The title: no one ever asks Connie these questions.
b) ____Connie is the one preyed upon in this tale, but she invites in this demonic provocation.
c) Arnold Friend's remark about holding her so tight she won't try to get away because it will be impossible, is an ironic remark as it represents much of the symbolism at work throughout the story.
In "Young Goodman Brown," a) Brown represents ____The easily corruptible human.
b) the forest represents ____The practice of evil.
c) the peeling, cacophonous sounds represent ____Temptation
3. Explain the mother's attitude towards Emily in "I Stand Here Ironing"; what specific EVIDENCE supports your position? ____The mother's attitude towards Emily in the story is one of distance, rather than motherly attention. She regards Emily as…
References
Hawthorne, N. (2012). Young Goodman Browne. New York: Start Publishing .
Joyce, J. (2010). Dubliners. London: Cricket Books.
Marquez, G. (1993). The Handsomest Drowned Man in the World. New York: Paulinas.
Oates, J. (1994). Where are You Going? Where have you been? Trenton: Rutgers University Press.
But nobody believed this blatant lie when news spread of our triumphant uprising in the southern plains. It was all part of my plan, to fight the government with my own propaganda. To make myself into a mysterious hero, whose actual existence or mere fabrication was never known. I would be the hidden crusader, making appearances here, winning a battle there, and then disappearing until the next uprising. By one day I was victorious in Vilanueva, the next bitterly defeated in Guacamayal. I was eaten alive by Motilon Indians, only to be found dead a backwater village swamp and rising victorious again in Urumita. The result was is vast increase in my causes popularity and in the sizes of our military recruits.
Yet, I soon became an outcast in my own party, who were giving up on total victory and settling for the consultation prize of gaining token representation in…
Nevertheless, Aureliano falls in love with Remedios Moscote, daughter of magistrate' head Don Apolinar Moscote. They become close to each other, but Aureliano, exhausted by prolonged scientific findings falls into insanity for quite a long time, having horrible visions about his future. Aureliano marries Remedios when she reaches puberty age and they live happily in the house of Aureliano's parents. Remedios raises Aureliano's illegitimate son from Pilar Ternera. Rebecca and Pietro Crespi start preparation for wedding ceremony but Remedios dies suddenly and the whole family is in mourning. Mourning is broken by the return of Jose Arcadio, who had changed much and became a tattooed masculine man. Jose Arcadio has affair with Rebecca, which later turns into marriage and exile caused by the will of his outraged mother Ursula. Meanwhile Pietro and Amaranta Buend'a experience revival of feelings for each other.
Solitude and grief of Aureliano caused by the death…
Good Man is Hard to Find
For the purposes of this essay, I chose Flannery O'Connor's short story "A Good Man is Hard to Find." "A Good Man is Had to Find" is an apt topic for research such as this, because the ambiguity of the story's position regarding a grandmother ultimately responsible for the death of her entire family leads to a wide variety of possible readings, each with its own adherents and defenders. Upon reading this story, I immediately questioned the grandmother's role in the story, and especially whether or not the story portrayed her in a positive or negative light, because although at points in the story she appears positive in contrast to the other characters, she is ultimately shown to be reactive, shortsighted, and altogether incapable of protecting either her family or herself. Using Google Scholar, I searched for academic essays and books discussing "A Good…
Works Cited
Bandy, Stephen . "One of my babies": the misfit and the grandmother." Studies in Short Fiction.
Winter. (1996): 1-7. Print.
Desmond, John. "Flannery O'Connor's Misfit and the Mystery of Evil." Renascence: Essays on Values in Literature. 56. (2004): 129-37. Print.
Evans, Robert C. "Cliches, Superficial Story-Telling, and the Dark Humor of Flannery
However, in line with the Paz prompt at the outset of this discussion, Keats merely uses this tradition as a bridge on which to extend toward motivation on behalf of the evolving form. The subject matter is where this work takes a step toward modernity. The manner in which Keats describes the reality of dying is startling for its time primarily because it lacks religiosity. In describing death, the poet tells, "where youth grows pale, and spectre-thin, and dies; / here but to think is to be full of sorrow / and leaden-eyed despairs; / here beauty cannot keep her lustrous eyes, / or new Love pine at them beyond to-morrow."
The notion of discussing death from a decidedly humanistic rather than spiritual perspective is more daring and innovative than perhaps we are won't to give credit for. It is remarkable that the poet would invert a steadfastly traditional form…
Works Cited:
Dickinson, E. (1862). #303 (the Soul Selects Her Own Society). Poets.org.
Eliot, T.S. (1917). The Love-Song of J. Alfred Prufrock. University of Virginia. Online at http://people.virginia.edu/~sfr/enam312/prufrock.html
Keats, J. (1819). Ode to a Nightingale. Arthur Quiller-Couch, ed. 1919. The Oxford Book of English Verse: 1250 -- 1900.