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Cette thèse se propose d'étudier la question du Bouc Emissaire dans les œuvres de Gabriel García Márquez. Le thème du Bouc Emissaire est étroitement lié aux personnages dont l'existence semble attachée à ce phénomène. Soumis à leur triste sort, il est difficile d'envisager les personnages de Gabriel García Márquez en dehors de ces cercles vicieux. L'auteur associe inconsciemment ou pas ce phénomène du Bouc Emissaire aux thèmes tels que ceux de la Maison, du Corps meurtri ou sublimé, de l'Identité, de l'Altérité... qui seront exploités tout au long de ce travail. Il est donc intéressant de se demander pourquoi l'auteur semble ressentir le besoin pressant et permanent de construire des sociétés fictives faites avec et par des personnages boucs émissaires. En se servant de l'écriture, l'auteur semble dévoiler et affronter son univers personnel, le monde, notre actualité. Aussi, ce travail compte bien interroger certains ouvrages de Gabriel García Márquez afin d'observer dans un premier temps les éléments nécessaires à la formation du Bouc Emissaire. Puis notre analyse nous permettra de voir comment se manifestent les phénomènes d'exclusion en parallèle avec les réalités sociétales, tout en gardant en toile de fond la vie de l'auteur. / This thesis proposes to study the issue of Scapegoat in the works of Gabriel García Márquez. The theme of the Scapegoat is closely related to characters whose existence seems attached to this phenomenon. Submitted to their fate, it is difficult to imagine the characters in Gabriel García Márquez outside these vicious circles. The author combines unconsciously or not this phenomenon Scapegoat themes such as those of the House, the bruised body or sublimate, Identity, Otherness ... of which will be used throughout this work. It is therefore interesting to ask why the author seems to feel the pressing need to build permanent and fictitious companies made with the characters and scapegoats. By using writing, the author seems to reveal and confront his personal universe, the world, our news. Also, this work intends to examine certain works of Gabriel García Márquez to observe in the first place the elements necessary for the formation of the Scapegoat. Then our analysis allow us to see how phenomena occur in parallel with the exclusion societal realities, keeping in the background the life of the author.

École de style, espace de mémoire et de réflexion, champ d’expérimentation de formes narratives, l'œuvre journalistique de Gabriel García Márquez affiche une indéniable ambition littéraire tout en gardant une valeur documentaire. En examinant les chroniques des Notas de Prensa 1980-84 et le reportage Noticia de un secuestro (1996), un constat général se dégage : la tentative de conversion esthétique que l'on trouve dans ces ouvrages vient confirmer ce qui était déjà une évidence dans la période initiale (1948-1961), la consolidation d'un espace singulier dans son œuvre se rapprochant de façon subsidiaire et non subalterne de ses travaux proprement littéraires. Cette recherche fusionnelle marque définitivement son reportage, car c'est dans ce domaine que l'investissement de la matière documentaire confine à la forme romanesque. Le facteur immuable du style serait la clé expliquant cette transposition des recours rhétoriques et narratifs dans la non-fiction. Par ce biais les échanges entre les deux domaines de son écriture s'avèrent plutôt fructueux; à terme, tous deux ciblent une vision poétique de la réalité et valident indépendamment leurs procédures de représentation. Mais cette tendance convergente n'est pas toujours exempte de zones de tension, surtout lorsque l'auteur se permet quelques écarts fictionnels dans ses chroniques. En revanche, dans le reportage qui se veut écrit comme un roman, la correspondance stricte avec l'enquête devient un impératif grandissant. Ainsi, son journalisme joue un rôle précurseur dans la presse colombienne tout en rejoignant un courant universel. / A stylistic school, a vehicle for recollection and reflection, an experimental field with narrative forms, Gabriel García Márquez’s journalistic works are characterised by both an undeniable literary ambition and genuine documentary value. An examination of the columns, Notas de Prensa 1980-84, and the reportage, Noticia de un secuestro [1996], leads to the following finding: the attempt at aesthetic transformation that runs throughout these works confirms what was already obvious in the initial period (1948-1961), the consolidation of a singular level in his work that approaches in a subsidiary but not subordinate manner his literary works proper. This quest can be seen definitively in all his reportage work, the area in which the approach to the documentary material borders on that of the novel form. The key to this transposition of rhetorical and narrative recourse to non-fiction would appear to be found in the style –its inalterable nature. It is in this way that the interplay between the two fields of his writing proves to be so rich; both ultimately strive for a poetical vision of reality and they independently validate their representative processes. However, this converging trend also contains some areas of tension, not least of which when the author allows himself to digress in his columns into what is nothing less than a brief sketch of a fictional work. In contrast, in the reportage intended to be written as a novel, a strict adherence to the investigation itself becomes increasingly crucial. It is in this way that his journalism can be seen as both a precursor in the Colombian press and as part of a universal current.

Made available in DSpace on 2015-06-17T19:33:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-05-27. Added 1 bitstream(s) on 2015-06-18T12:47:48Z : No. of bitstreams: 1 000829460.pdf: 322357 bytes, checksum: d142f4c0eaa0599f1057003e8393edad (MD5) / Este trabalho tem por objetivo estudar Crônica de uma morte anunciada do autor colombiano Gabriel García Márquez. Essa narrativa é construída através de relatos que nos proporcionam o entendimento dos fatos que levam a personagem principal à morte. Analisamos a Crônica sob a perspectiva das narrativas de testemunho bem como da crônica (AIO: 2007), pois percebemos que existem características de ambos os tipos textuais na obra de García Márquez, o que a torna, portanto, a nosso ver, uma narrativa que apresenta a fusão de diferentes características textuais, uma vez que nos apresenta os testemunhos do narrador e das personagens que vivenciaram os acontecimentos fúnebres daquela segunda-feira, através da ficcionalização de um fato cotidiano. Esse hibridismo se acentua quando vemos que há sempre um mistério rondando a narrativa, já que a mesma apresenta características próximas ao romance policial (BOILEAUNARCEJAC: 1991), fornecendo-nos, assim, a tríade típica desse gênero: o criminoso, a vítima e o crime. Analisamos também as memórias individuais e coletivas (HALBWACHS: 2006; BOSI: 2003) apresentadas pelo narrador e pelas personagens. O narrador nos apresenta não somente as visões das personagens, mas também suas impressões pessoais acerca da história, deixando, portanto, suas marcas dentro da narrativa / The object of this research is to study the Chronicle of a Death Foretold written by the Colombian Gabriel García Márquez. This literary work is composed by accounts which provide the understanding of the facts about the death of the main character present in this narrative. It is analyzed from the perspectives of witness narratives and chronicle (AIO: 2007), because it is possible to notice that this both textual types exist in the Chronicle of a Death Foretold, demonstrating that this narrative contains different textual characteristics. The mixture of these textual characteristics is observed in the narrator and in the characters evidences of their mournful experiences through the daily events fictionalization. This hybridism is intensified because there is always a mystery around the narrative as it is also observed in detective novels (BOILEAU-NARCEJAC: 1991), in which there is the triad: victim, criminal and the crime. It is also analyzed the individual and collective memories presented by the narrator and the characters, as studied by (HALBWACHS: 2006; BOSI: 2003). In Chronicle of a Death Foretold, the narrator presents not just the characters views, but also his own impressions about the whole story, leaving his point of view about the narrative

Orientador: Leandro Karnal / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-31T17:33:12Z (GMT). No. of bitstreams: 1 Brichta_Laila_M.pdf: 6547634 bytes, checksum: e914c5620215488abde4cea738f9daa2 (MD5) Previous issue date: 2002 / Resumo: A presente dissertação objetiva analisar o romance El Otoño del Patriarca, de Gabriel García Márquez, buscando nessa obra reflexões sobre a escrita da história. Partimos da idéia de que história e literatura são disciplinas distintas, porém com uma série de semelhanças que legitimam ambas a elaborarem o passado, escrevendo-o e dessa forma interpretando-o. Nesse romance, García Márquez abordou o poder institucional em sua manifestação autoritária; a personagem principal foi inspirada nos ditadores latino americanos e a ambientação da narrativa é a América Latina. Buscamos em nossa leitura observar a construção da história recente de nosso continente; tentamos ler as propostas de interpretação histórica que o romance nos incita a fazer. Nossa preocupação maior foi mostrar que o poder centrado inicialmente na personagem do patriarca é extremamente complexo e apresenta-se de diversas formas, manifestando-se em muitas personagens. O patriarca seria uma alegoria do poder na América Latina, assim como a representação ora de uma individualidade, ora de uma estrutura desse mesmo poder / Abstract: This thesis has the purpose of analysing the novel El Otono del Patriarca, by Gabriel García Marquez, attempting to its considerations about the writing of history. Even considerating history and literature as distinct disciplines, we can say that several similarities legitimize both to rebuild the past, by the use of words, so giving it an interpretation. In this novel, García Marquez depicted the institutional might in its dictatorial manifestation; the main character was inspired in the latin american dictators and the scenery is Latin America. We tried to observe in our reading the construction of the recent history of our continent; we tried to pick up the proposals of history interpretations raised by the book. The main concern was to show that the power, in the beginning centralized in the character of the patriarch, is highly complex and it is presented in many ways, having repercutions in many other characters. The patriarch could be seen as an allegory of the power in Latin America, representing first an individuality, then the structure of this same power / Mestrado / Mestre em História

This thesis interrogates García Márquez’s representations of sexualities in the following selected novels: Chronicle of a Death Foretold (1981); The Autumn of the Patriarch (1975); One Hundred Years of Solitude (1967); The Sad and Incredible Tale of Innocent Erendira and her Heartless Grandmother (1972); and Memories of My Melancholy Whores (2004). It is argued here that García Márquez’s employment of the sexuality motif enables him to delve into many worldwide current concerns such as the irrelevance of some socio-cultural sexual practices; commercial sexual exploitation of children; the different manifestations of prostitution; and female powerlessness under autocratic rule. Earlier literary critics have tended to narrowly interpret García Márquez’s employment of the sexuality motif as just a metaphor for colonial exploitation of the colonised. The study also explores the writer’s artistic role and concludes that García Márquez speaks against commercial sexual exploitation of children as he concurrently speaks on behalf of children so exploited. Similarly, the writer speaks on behalf of prostituted womanhood by showing how prostitutional gains do not seem to cascade down to the prostitutes themselves. García Márquez also invests female sexual passivity as a coping mechanism against a dictator’s limitless power over the life and death of his citizens. However, the writer also constructs female agency that grows from the rejection of an initial victimhood to develop into an extremely flawed and corrupt flesh trade that co-opts and indentures children into sex work with impunity. Thus the study breaks new ground to show that García Márquez’s representations of different sexualities are not merely soft porn masquerading as art. His is a voice added to the worldwide concerns over commercial sexual exploitation of children in the main and also the recovery of a self-reliant female self-hood that was previously inextricably bound to male sexual norms. Quite clearly, García Márquez demonstrates that female prostitution is driven by a lack of social safety nets, a lack of other economically viable options and also a distinct lack of educational opportunities for female economic independence, hence the flawed female agency. / English Studies / D. Litt. et Phil. (English)

This dissertation analyses the violence of patriarchal culture as it is staged in three twentieth century texts: the Colombian writer Gabriel Garcia Marquez's Chronicle of a Death Foretold (1981), the South African novelist Mark Behr's The Smell of Apples (1993) and the American film Night of the Hunter (1954) directed by Charles Laughton. Each of these works focuses on the induction of the boy child into culture and the trauma attendant on this process of accession. The thesis is that if culture is violent then it must follow that damage is done to the developing subject in the process of its construction by the cultural forces that shape masculinity. The theoretical grounding of the analysis is derived from two main sources: Jacques Derrida's account of the violence of culture in Of Grammatology (1976) and the analysis of patriarchy and the Oedipal development of the boy child into manhood found in the work of Freud and Lacan. Derrida is used for his thinking on the inherently violent nature of culture and the way in which cultural discourse is structured through binary dualisms. The three chosen works all critique and dismantle binarist thinking as a move towards imagining a less destructive discursive order. The Oedipal narrative, as a myth which describes and explains the forces shaping the male child in the process of acculturation, exemplifies and illustrates cultural violence: As expounded by Freud and Lacan, the Oedipal myth is one which underpins all three of the chosen works. Derrida, Freud and Lacan have been very usefully mediated by several cultural critics and therefore extensive use is made of commentaries by Kaja Silverman, Frank Krutnik and Madan Sarup. Slavoj Zizek's interpretations of Lacan have also yielded much that is interesting about the nature of the Law of the Father and consequently reference is made to his ideas, principally in Chapter Four.This dissertation analyses the violence of patriarchal culture as it is staged in three twentieth century texts: the Colombian writer Gabriel Garcia Marquez's Chronicle of a Death Foretold (1981), the South African novelist Mark Behr's The Smell of Apples (1993) and the American film Night of the Hunter (1954) directed by Charles Laughton. Each of these works focuses on the induction of the boy child into culture and the trauma attendant on this process of accession. The thesis is that if culture is violent then it must follow that damage is done to the developing subject in the process of its construction by the cultural forces that shape masculinity. The theoretical grounding of the analysis is derived from two main sources: Jacques Derrida's account of the violence of culture in Of Grammatology (1976) and the analysis of patriarchy and the Oedipal development of the boy child into manhood found in the work of Freud and Lacan. Derrida is used for his thinking on the inherently violent nature of culture and the way in which cultural discourse is structured through binary dualisms. The three chosen works all critique and dismantle binarist thinking as a move towards imagining a less destructive discursive order. The Oedipal narrative, as a myth which describes and explains the forces shaping the male child in the process of acculturation, exemplifies and illustrates cultural violence: As expounded by Freud and Lacan, the Oedipal myth is one which underpins all three of the chosen works. Derrida, Freud and Lacan have been very usefully mediated by several cultural critics and therefore extensive use is made of commentaries by Kaja Silverman, Frank Krutnik and Madan Sarup. Slavoj Zizek's interpretations of Lacan have also yielded much that is interesting about the nature of the Law of the Father and consequently reference is made to his ideas, principally in Chapter Four. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.

Magical realist fiction is marked by a striking abundance of animals. Analysing magical realist novels from Australia and Canada, as well as exploring the influence of two seminal Latin American magical realist narratives, this thesis focuses on representations of animals and animality. Examining human-animal relationships in the postcolonial context reveals that magical realism embodies and represents an idea of feral animality that critically engages with an inherently imperialist and Cartesian humanism, and that, moreover, accounts for magical realism's elusiveness within systems of genre categorisation and labelling. It is this embodiment and presence of animal agency that animates magical realism and injects it with life and vibrancy. The magical realist writers discussed in this dissertation make use of animal practices inextricably intertwined with imperialism, such as pastoral farming, natural historical collections, the circus, the rodeo, the Wild West show, and the zoo, as well as alternative animal practices inherently incompatible with European ideologies, such as the Aboriginal Dreaming, Native North American animist beliefs, and subsistence hunting, as different ways of positioning themselves in relation to the Cartesian human subject. The circus is a particular influence on the form and style of many magical realist texts, whereby oxymoronically structured circensian spaces form the basis of the narratives‟ realities, and hierarchical imperial structures and hegemonic discourses that are portrayed as natural through Cartesian science and Linnaean taxonomies are revealed as deceptive illusions that perpetuate the self-interests of the powerful.