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!
Comentario de Andi Arias
The essay is good, and it captures very well the theme of the novel, and the estructure us good
One Hundred Years of Magic Realism
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 the technique, and it is mandatory to analyze the 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. 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…” ("One Hundred Years of Solitude"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…”("One Hundred Years of Solitude"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.” ("One Hundred Years of Solitude"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.” ("One Hundred Years of Solitude"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.” ("One Hundred Years of Solitude"p.493) O; “…porque las estirpes condenadas a cien años de soledad no tenían una segunda oportunidad sobre la tierra.” ("One Hundred Years of Solitude"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 the technique, and it is mandatory to analyze the 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. 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…” ("One Hundred Years of Solitude"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…”("One Hundred Years of Solitude"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.” ("One Hundred Years of Solitude"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.” ("One Hundred Years of Solitude"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.” ("One Hundred Years of Solitude"p.493) O; “…porque las estirpes condenadas a cien años de soledad no tenían una segunda oportunidad sobre la tierra.” ("One Hundred Years of Solitude"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.
viernes, 16 de febrero de 2007
One Hundred Years of Magic Reality
Published in 1967, and Nobel Prize winner in 1982; Gabriel García Márquez´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 of Magic Realism at its best. Magic Realism is a narrative style that got to be known after 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; according to Jorge Gómez, in his essay “Aspectos Formales de la Narrativa” (2004); used it regarding Latin American Literature in 1948. As such; Magic Realism is a technique used in narrative, in which there is not a logical presence because, reality and fantasy join, taking each others place on occasions and creating as a consequence a narrative disorder. Taking these facts into account; “One Hundred Years of Solitude” and Magic Realism hold hands in almost every aspect, because it is possible to analyze the novel trough the technique, and it is mandatory to analyze the technique trough the novel, since they are so closely related.
domingo, 11 de febrero de 2007
Essay Final Version
Essay
UNIVERSIDAD PEDAGOGICA EXPERIMENTAL LIBERTADORINSTITUTO PEDAGÓGICO “RAFAEL ALBERTO ESCOBAR LARA”MARACAY. EDO ARAGUAReading and writing 1Sec. 801Scientific loveLove has been known by writers, singers and songwriters (Shakespeare, Lord Byron, The Beatles and others), as the most beautiful feeling of all. Getting flushed cheeks, sweaty hands and a racing heartbeat are some of the exterior signs of being in love. However, according to studies it is inside the body where chemical changes are being produced as signs that indicate internal variations. According to recent studies about this feeling, scientists have found that it is a succession of chemical reactions produced by hormones that are released by the hypothalamus into the brain. One of the best-known researchers in this area is Helen Fisher of Rutgers University in New Jersey, who in the year 2004 published a study titled “The Three Chemical stages of Falling in Love”. In this study, the author portrays love as the product of the interaction of several hormones in the brain; therefore love, more than a feeling is a biochemical reaction due to the specific effect some hormones have in the brain.One of the first hormones involved is dopamine, which has been commonly associated with the pleasure system of the brain, providing feelings of enjoyment and reinforcement to motivate a person to perform certain activities. It is also an important part of the biological drive to choose a mate, because love as a fact is a primitive drive like hunger and the biology of love helps account for how people focus on one particular person. Scientists studying the human brain base this view of love on observations of passionate behavior across cultures and most recently findings. In this same line, Helen Fisher did some research using magnetic resonance imaging (MRI) machines to peer into the brain of colleges students in the early stages of love. And obtained the first direct evidence that the mechanisms of love activate particular areas of the brain with a high concentration of dopamine and this hormone is closely tied to states of euphoria, craving an addiction. At the same time, dopamine in this stage is associated with another agent norepinephrine, and these two hormones can have effects like heightened attention and short-term memory, hyperactivity and sleeplessness. When people are first in love, couples show the signs of surging dopamine and norepinephrine; increased energy, less need for sleep or food, focused attention in the smallest details of the new relationship.On the other hand, people in love have been known to have low levels of serotonin, which is one of love’s most important chemicals and has been associated with chemical imbalances such as depression, anxiety and insanity. This explains why people in love are usually depressed. These effects resemble drug effects on the brain, therefore they are bound to lose the kick and fade quickly in the first three years or so. Then the cravings, the depression and the anxiety go away and the brain activity goes back to normal.Now when it comes to the part of commitment and long lasting love there are two important hormones that are released by the nervous system that play a role in social attachments. These hormones are oxytocin and vasopressin. The first one is released by the hypothalamus gland by both sexes during orgasm and it is thought that promotes bonding between adults. Ergo the theory that “the more sex a couple has, the deeper their bond becomes” Fisher (2004). Vasopressin has a similar effect, it cements the bond between the two people, creates devotions towards the partner and the instinct to protect one another from new suitors (jealousy).In conclusion, as a result of biochemical reactions produced by hormones in the body, humankind enjoys this abstract feeling named love. Its effect has perhaps been overrated by the mind, since it has been proved that love, like many other phenomena has a scientific explanation
UNIVERSIDAD PEDAGOGICA EXPERIMENTAL LIBERTADORINSTITUTO PEDAGÓGICO “RAFAEL ALBERTO ESCOBAR LARA”MARACAY. EDO ARAGUAReading and writing 1Sec. 801Scientific loveLove has been known by writers, singers and songwriters (Shakespeare, Lord Byron, The Beatles and others), as the most beautiful feeling of all. Getting flushed cheeks, sweaty hands and a racing heartbeat are some of the exterior signs of being in love. However, according to studies it is inside the body where chemical changes are being produced as signs that indicate internal variations. According to recent studies about this feeling, scientists have found that it is a succession of chemical reactions produced by hormones that are released by the hypothalamus into the brain. One of the best-known researchers in this area is Helen Fisher of Rutgers University in New Jersey, who in the year 2004 published a study titled “The Three Chemical stages of Falling in Love”. In this study, the author portrays love as the product of the interaction of several hormones in the brain; therefore love, more than a feeling is a biochemical reaction due to the specific effect some hormones have in the brain.One of the first hormones involved is dopamine, which has been commonly associated with the pleasure system of the brain, providing feelings of enjoyment and reinforcement to motivate a person to perform certain activities. It is also an important part of the biological drive to choose a mate, because love as a fact is a primitive drive like hunger and the biology of love helps account for how people focus on one particular person. Scientists studying the human brain base this view of love on observations of passionate behavior across cultures and most recently findings. In this same line, Helen Fisher did some research using magnetic resonance imaging (MRI) machines to peer into the brain of colleges students in the early stages of love. And obtained the first direct evidence that the mechanisms of love activate particular areas of the brain with a high concentration of dopamine and this hormone is closely tied to states of euphoria, craving an addiction. At the same time, dopamine in this stage is associated with another agent norepinephrine, and these two hormones can have effects like heightened attention and short-term memory, hyperactivity and sleeplessness. When people are first in love, couples show the signs of surging dopamine and norepinephrine; increased energy, less need for sleep or food, focused attention in the smallest details of the new relationship.On the other hand, people in love have been known to have low levels of serotonin, which is one of love’s most important chemicals and has been associated with chemical imbalances such as depression, anxiety and insanity. This explains why people in love are usually depressed. These effects resemble drug effects on the brain, therefore they are bound to lose the kick and fade quickly in the first three years or so. Then the cravings, the depression and the anxiety go away and the brain activity goes back to normal.Now when it comes to the part of commitment and long lasting love there are two important hormones that are released by the nervous system that play a role in social attachments. These hormones are oxytocin and vasopressin. The first one is released by the hypothalamus gland by both sexes during orgasm and it is thought that promotes bonding between adults. Ergo the theory that “the more sex a couple has, the deeper their bond becomes” Fisher (2004). Vasopressin has a similar effect, it cements the bond between the two people, creates devotions towards the partner and the instinct to protect one another from new suitors (jealousy).In conclusion, as a result of biochemical reactions produced by hormones in the body, humankind enjoys this abstract feeling named love. Its effect has perhaps been overrated by the mind, since it has been proved that love, like many other phenomena has a scientific explanation
Andi Arias
Magella Caraballo
Israel Alvarez
Jogrexi Quintana
Oswaldo Mellado.
Second Draft
Second Draft
UNIVERSIDAD PEDAGOGICA EXPERIMENTAL LIBERTADOR
INSTITUTO PEDAGÓGICO “RAFAEL ALBERTO ESCOBAR LARA”
MARACAY. EDO ARAGUA
Reading and writing 1
Sec. 801
Second Draft (Developmental Paragraph)
Love has been known by writers, singers and songwriters (Shakespeare, Lord Byron, The Beatles and others), as the most beautiful feeling of all. Flushed cheeks, clammy hands and a racing heart beat are some of the outward signs of being in love. But it is inside the body where definite chemical changes are being produced as signs that indicate internal variations. According to recent studies about this feeling, scientists have found that it is a succession of chemical reactions produced by hormones that are released by the hypothalamus into the brain. One of the best known researchers in this area is Helen fisher of Rutgers University in New Jersey, who in the year 2004 published a study titled “The Three Chemical stages of Falling in Love”. In this study the author portrays love as the product of the interaction of several hormones in the brain; therefore love, more than a felling is a biochemical reaction due to the specific effect some hormones have in the brain.
One of the first hormones involved is dopamine, which has been commonly associated with the pleasure system of the brain, providing feelings of enjoyment and reinforcement to motivate a person to perform certain activities. It is also an important part of the biological drive to choose a mate, because love as a fact is a primitive drive like hunger and the biology of love helps account for how people focus on one particular person. This view of love is based on observations of passionate behavior across cultures and most recently findings by scientists studying the human brain. In this same line Helen Fisher did some research using magnetic resonance imaging (MRI) machines to peer into the brain of colleges students in the early stages of love, and obtained the first direct evidence that the mechanisms of love activates particular areas of the brain with a high concentration of dopamine and this hormone is closely tied to states of euphoria, craving an addiction. At the same time dopamine in this stage is associated with another agent norepinephrine, and this two hormones can have effects like heightened attention and short term memory, hyperactivity and sleeplessness. When people are first in love, couples show the signs of surging dopamine and norepinephrine; increased energy, less need for sleep or food, focused attention in the smallest details of the novel relationship.
On the other hand, people in love have been known to have low levels of serotonin, which is one of love’s most important chemicals and has also been associated with chemical imbalances such as depression, anxiety and insanity. This explains why people in love are usually depressed. These effects resemble drug effects on the brain, therefore they are bound to lose the kick and fade quickly in the first three years or so. Then the cravings, the depression and the anxiety go away and the brain activity goes back to normal.
Now when it comes to the part of commitment and long lasting love there are two important hormones that are released by the nervous system that play a role in social attachments. These hormones are oxytocin and vasopressin. The first one is released by the hypothalamus gland by both sexes during orgasm and it is thought that promotes bonding when adults are intimate. Ergo the theory that the more sex a couple has, the deeper their bond becomes. Vasopressin has a similar effect, it cements the bond between the two people, creates devotions towards the partner and the instinct to protect one another from new suitors (jealousy).
Andi Arias
Magella Caraballo
Israel Alvarez
Carmen Quintana
Oswaldo Mellado.
UNIVERSIDAD PEDAGOGICA EXPERIMENTAL LIBERTADOR
INSTITUTO PEDAGÓGICO “RAFAEL ALBERTO ESCOBAR LARA”
MARACAY. EDO ARAGUA
Reading and writing 1
Sec. 801
Second Draft (Developmental Paragraph)
Love has been known by writers, singers and songwriters (Shakespeare, Lord Byron, The Beatles and others), as the most beautiful feeling of all. Flushed cheeks, clammy hands and a racing heart beat are some of the outward signs of being in love. But it is inside the body where definite chemical changes are being produced as signs that indicate internal variations. According to recent studies about this feeling, scientists have found that it is a succession of chemical reactions produced by hormones that are released by the hypothalamus into the brain. One of the best known researchers in this area is Helen fisher of Rutgers University in New Jersey, who in the year 2004 published a study titled “The Three Chemical stages of Falling in Love”. In this study the author portrays love as the product of the interaction of several hormones in the brain; therefore love, more than a felling is a biochemical reaction due to the specific effect some hormones have in the brain.
One of the first hormones involved is dopamine, which has been commonly associated with the pleasure system of the brain, providing feelings of enjoyment and reinforcement to motivate a person to perform certain activities. It is also an important part of the biological drive to choose a mate, because love as a fact is a primitive drive like hunger and the biology of love helps account for how people focus on one particular person. This view of love is based on observations of passionate behavior across cultures and most recently findings by scientists studying the human brain. In this same line Helen Fisher did some research using magnetic resonance imaging (MRI) machines to peer into the brain of colleges students in the early stages of love, and obtained the first direct evidence that the mechanisms of love activates particular areas of the brain with a high concentration of dopamine and this hormone is closely tied to states of euphoria, craving an addiction. At the same time dopamine in this stage is associated with another agent norepinephrine, and this two hormones can have effects like heightened attention and short term memory, hyperactivity and sleeplessness. When people are first in love, couples show the signs of surging dopamine and norepinephrine; increased energy, less need for sleep or food, focused attention in the smallest details of the novel relationship.
On the other hand, people in love have been known to have low levels of serotonin, which is one of love’s most important chemicals and has also been associated with chemical imbalances such as depression, anxiety and insanity. This explains why people in love are usually depressed. These effects resemble drug effects on the brain, therefore they are bound to lose the kick and fade quickly in the first three years or so. Then the cravings, the depression and the anxiety go away and the brain activity goes back to normal.
Now when it comes to the part of commitment and long lasting love there are two important hormones that are released by the nervous system that play a role in social attachments. These hormones are oxytocin and vasopressin. The first one is released by the hypothalamus gland by both sexes during orgasm and it is thought that promotes bonding when adults are intimate. Ergo the theory that the more sex a couple has, the deeper their bond becomes. Vasopressin has a similar effect, it cements the bond between the two people, creates devotions towards the partner and the instinct to protect one another from new suitors (jealousy).
Andi Arias
Magella Caraballo
Israel Alvarez
Carmen Quintana
Oswaldo Mellado.
Development Paragraph First Draft
Development Paragraph First Draft
These recent studies reveal that it is basically a rush of dopamine and serotonin that directs a trigger to the brain causing the sensation of feeling in love and with that also comes sexual desire. Love can be driven by the sex hormones testosterone and estrogen. Although testosterone is not confined only to men, it plays a major role in the sex drive of women. When people fall in love they can not think about anything else but their love. They might even lose their appetite and need less sleep, preferring to spend hours at a time daydreaming about their new lover.
In the attraction stage, a group of neuron-transmitters called “monoamines” play an important role: Dopamine – also activated by cocaine and nicotine- produces a sense of happiness and excitement; Norepinephrine – otherwise known as adrenaline- it makes us sweat and gets the hearth racing; and Serotonin- one of love’s most important chemicals and one that may actually makes us feel out of control.
One of the first hormones involved is dopamine, which has been commonly associated with the pleasure system of the brain, providing feelings of enjoyment and reinforcement to motivate a person to perform certain activities. It is also a love hormone that is an important part of the biological drive to choose a mate, because love as a fact is a primitive drive like hunger and the biology of love helps account for how people focus on one particular person. This view of love is based on observations of passionate behavior across cultures and most recently findings by scientists studying the human brain. In this same line Helen Fisher did some research using magnetic resonance imaging (MRI) machines to peer into the brain of colleges students in the early stages of love, and obtained the first direct evidence that the mechanisms of love activates particular areas of the brain with a high concentration of dopamine and this hormone is closely tied to states of euphoria, craving an addiction. At the same time dopamine in this stage is associated with another agent norepinephrine, and these two hormones can have effects like heightened attention and short term memory, hyperactivity and sleeplessness. When people are first in love, couples show the signs of surging dopamine and norepinephrine; increased energy, less need for sleep or food, focused attention in the smallest details of the novel relationship.
These recent studies reveal that it is basically a rush of dopamine and serotonin that directs a trigger to the brain causing the sensation of feeling in love and with that also comes sexual desire. Love can be driven by the sex hormones testosterone and estrogen. Although testosterone is not confined only to men, it plays a major role in the sex drive of women. When people fall in love they can not think about anything else but their love. They might even lose their appetite and need less sleep, preferring to spend hours at a time daydreaming about their new lover.
In the attraction stage, a group of neuron-transmitters called “monoamines” play an important role: Dopamine – also activated by cocaine and nicotine- produces a sense of happiness and excitement; Norepinephrine – otherwise known as adrenaline- it makes us sweat and gets the hearth racing; and Serotonin- one of love’s most important chemicals and one that may actually makes us feel out of control.
One of the first hormones involved is dopamine, which has been commonly associated with the pleasure system of the brain, providing feelings of enjoyment and reinforcement to motivate a person to perform certain activities. It is also a love hormone that is an important part of the biological drive to choose a mate, because love as a fact is a primitive drive like hunger and the biology of love helps account for how people focus on one particular person. This view of love is based on observations of passionate behavior across cultures and most recently findings by scientists studying the human brain. In this same line Helen Fisher did some research using magnetic resonance imaging (MRI) machines to peer into the brain of colleges students in the early stages of love, and obtained the first direct evidence that the mechanisms of love activates particular areas of the brain with a high concentration of dopamine and this hormone is closely tied to states of euphoria, craving an addiction. At the same time dopamine in this stage is associated with another agent norepinephrine, and these two hormones can have effects like heightened attention and short term memory, hyperactivity and sleeplessness. When people are first in love, couples show the signs of surging dopamine and norepinephrine; increased energy, less need for sleep or food, focused attention in the smallest details of the novel relationship.
Corrected Paragraph
corrected paragraph
English VI Sec:801
English VI Sec:801
Authors:Caraballo MagellaArias AndiAlvarez IsraelMellado OswaldoQuintana Jogrexi
INTRODUCTORY PARAGRAPHLove has been known by writers, singers and songwriters (Shakespeare, Lord Byron, The Beatles and others), as the most beautiful feeling of all. Flushed cheeks, clammy hands and a racing heart beat are some of the outward signs of being in love. But it is inside the body where definite chemical changes are being produced as signs that indicate internal variations. According to recent studies about this feeling, scientists have found that it is a succession of chemical reactions produced by hormones that are released by the hypothalamus into the brain. One of the best known researchers in this area is Helen fisher of Rutgers University in New Jersey, who in the year 2004 published a study called “The Three Chemical stages of Falling in Love”. In this study the author portrays love as the product of the interaction of several hormones in the brain; therefore love, more than a felling is a biochemical reaction due to the specific effect some hormones have in the brain.
Introductory Paragraph First Draft
What is the origin of sexual instincts?. Does it have a chemical explanation?. Are feelings involved? or is it just about hormones?.
Acording to several studies the root of emotions, including sexual instincts, is about hormones. This hormones affect the primitive brain or the hipotalam.
And what about love?.
When it comes to love so much has been said about it, but again studies reveal that it is basically a rush of dopamine and serotoninel that directs a trigger to the brain causing the sensation of feeling in love and with that also comes sexual desire. Although is not necessary to feel in love in order to want to have sex, it has more to do with reproductoty instincts which are seen on animals as well.
The purpose of this essay is to define what are all the other hormones that provoque reactions and what are these reactions.
Carmen Quintana
Israel Alvarez
Andi Arias
Magella Caraballo
Acording to several studies the root of emotions, including sexual instincts, is about hormones. This hormones affect the primitive brain or the hipotalam.
And what about love?.
When it comes to love so much has been said about it, but again studies reveal that it is basically a rush of dopamine and serotoninel that directs a trigger to the brain causing the sensation of feeling in love and with that also comes sexual desire. Although is not necessary to feel in love in order to want to have sex, it has more to do with reproductoty instincts which are seen on animals as well.
The purpose of this essay is to define what are all the other hormones that provoque reactions and what are these reactions.
Carmen Quintana
Israel Alvarez
Andi Arias
Magella Caraballo
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