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The purpose of this thesis is to examine the coexistence of time in Gabriel Garcfa Marquez's One Hundred Years of Solitude as a cause of the supernatural events, the hereditary memory, and the solitude and to examine the effects of this mythical time frame on character development, plot, narrative structure, and theme. The thesis is divided into five chapters. The first chapter introduces the parchments as creators of mythical time. The second, third, and fourth chapters investigate the effects of this unconventional time. Supernatural events, clairvoyance, and solitude are all examined as effects. The final chapter correlates the writing of the parchments with the writing of the novel and explains the effects of unconventional time on the reader. Thus, this thesis illustrates how the coexistence of time functions of two levels: the level of the parchments and the level of the novel.

En el presente trabajo se establecen relaciones de afinidad y oposición en la literatura colombiana entre los autores del siglo XIX, Jorge Isaacs y José Asunción Silva y Gabriel García Márquez y Álvaro Mutis del siglo XX. A partir de los conceptos de escritura e historia pretende demostrar que es posible hacer una lectura de las obras centrales de la literatura colombiana no sólo en términos temáticos, sino estéticos e ideológicos. Por consiguiente, a medida que nos vamos adentrando en la lectura de las obras propuestas se hace evidente la existencia de dos corrientes dentro de una misma literatura. Estas dos variantes de una misma literatura se sustentan a través del carácter crítico de la modernidad que posee dos modalidades: la concepción de la historia como una sucesión de etapas que necesariamente llevan a la perfección y la fragmentación que se produce en los intercambios simbólicos que lleva acabo cada sujeto y que ha sido expresada en términos de subjetividad. La primera representada por Isaacs y García Márquez de tendencia marcadamente regionalista y política, la segunda cosmopolita y desesperanzada representada por Silva y Mutis. / This thesis establishes relationships of likeness and opposition in the Colombian literature among the authors of the XIX century, Jorge Isaacs and José Asunción Silva, and Gabriel García Márquez and Álvaro Mutis of the XX century. Starting from the writing concepts and history is sought to demonstrate that it is possible to not only make a reading of the central works of the Colombian literature in thematic terms, but aesthetic and ideological. Consequently, as we go going into in the reading of the works literary proposals it becomes evident the existence of two currents inside oneself literature. These two variants of oneself literature is sustained through the critical character of the modernity that possesses two modalities: the history’s conception like a succession of stages that necessarily take to the perfection, and the fragmentation taken place in the symbolic exchanges that it takes finish each fellow and that it has been expressed in terms of subjectivity. The first one is represented markedly by Isaacs and García Márquez like a regional and politics tendency; the second, cosmopolitan and hopeless, represented by Silva and Mutis.

Temps de solitude et de patience, de silence et de lenteur : la dimension de l’attente amoureuse pourrait paraître un sentiment désuet, peut-être archaïque, donc vidé de sens à l’époque de la globalisation, de l’abolition des distances et de la vitesse des communications. Ses représentations romanesques au XXe siècle nous démontrent, au contraire, comment l’attente amoureuse peut se révéler un paradigme très intéressant pour comprendre, à travers la littérature, les contradictions de l’homme moderne. Le but de la présente étude comparatiste est de définir une sorte de « modèle » des représentations romanesques de l’attente amoureuse au XXe siècle à travers une comparaison entre trois grandes œuvres narratives du siècle passé : A la Recherche du temps perdu (1913-1927) de Marcel Proust, Joseph und seine Brüder (1933-1943) de Thomas Mann et El amor en los tiempos del cólera (1985) de G. García Márquez. En se fondant sur les réflexions sur l’attente amoureuse offertes par Roland Barthes (Fragments d’un discours amoureux, 1977 et Le discours amoureux, 2007) et en ouvrant la comparaison à d’autres textes romanesques et dramatiques du siècle passé, cette recherche se propose d’étudier le rapport entre le temps impalpable et suspendu de l’attente et les problèmes de la fiction romanesques, tel qu’il se présente dans tout au long du XXe siècle. / Love waiting is a time of patience and solitude, silence and slowness: it may seem like an obsolete and archaic sentiment, deprived of all meaning in the age of globalization, shortening of distance and rapidity of communications. Its representations in the 20th century novel, instead, show how the love waiting proves to be an interesting paradigm to understand the contradictions of contemporary humanity through the literature. This comparative research aims to define a sort of “model” of representations of the love waiting in the 20th century novel by the comparison between three important novels of the last century: Marcel Proust’s A la Recherche du temps perdu (1913-1927), Thomas Mann’s Joseph und seine Brüder (1933-1943) and Gabriel García Márquez’s El amor en los tiempos del cólera (1985). Drowing inspiration from Roland Barthes’ ideas about love waiting (Fragments d’un discours amoureux, 1977 and Le discours amoureux, 2007) and also widening the comparison to other narrative texts and pieces of the last century, this work aims to analyse the relation between the suspended and impalpable time of waiting on one side and the complex form of novel on the other side, as it occurs over the 20th century.

En el presente trabajo se establecen relaciones de afinidad y oposición en la literatura colombiana entre los autores del siglo XIX, Jorge Isaacs y José Asunción Silva y Gabriel García Márquez y Álvaro Mutis del siglo XX. A partir de los conceptos de escritura e historia pretende demostrar que es posible hacer una lectura de las obras centrales de la literatura colombiana no sólo en términos temáticos, sino estéticos e ideológicos. Por consiguiente, a medida que nos vamos adentrando en la lectura de las obras propuestas se hace evidente la existencia de dos corrientes dentro de una misma literatura. Estas dos variantes de una misma literatura se sustentan a través del carácter crítico de la modernidad que posee dos modalidades: la concepción de la historia como una sucesión de etapas que necesariamente llevan a la perfección y la fragmentación que se produce en los intercambios simbólicos que lleva acabo cada sujeto y que ha sido expresada en términos de subjetividad. La primera representada por Isaacs y García Márquez de tendencia marcadamente regionalista y política, la segunda cosmopolita y desesperanzada representada por Silva y Mutis. / This thesis establishes relationships of likeness and opposition in the Colombian literature among the authors of the XIX century, Jorge Isaacs and José Asunción Silva, and Gabriel García Márquez and Álvaro Mutis of the XX century. Starting from the writing concepts and history is sought to demonstrate that it is possible to not only make a reading of the central works of the Colombian literature in thematic terms, but aesthetic and ideological. Consequently, as we go going into in the reading of the works literary proposals it becomes evident the existence of two currents inside oneself literature. These two variants of oneself literature is sustained through the critical character of the modernity that possesses two modalities: the history’s conception like a succession of stages that necessarily take to the perfection, and the fragmentation taken place in the symbolic exchanges that it takes finish each fellow and that it has been expressed in terms of subjectivity. The first one is represented markedly by Isaacs and García Márquez like a regional and politics tendency; the second, cosmopolitan and hopeless, represented by Silva and Mutis.

Submitted by Neusa Fagundes (neusa.fagundes@unioeste.br) on 2017-09-28T17:54:25Z No. of bitstreams: 1 Kaline_Cavalheiro2017.pdf: 870951 bytes, checksum: 2d0d5cb52f9316a09479b95045a9c009 (MD5) / Made available in DSpace on 2017-09-28T17:54:25Z (GMT). No. of bitstreams: 1 Kaline_Cavalheiro2017.pdf: 870951 bytes, checksum: 2d0d5cb52f9316a09479b95045a9c009 (MD5) Previous issue date: 2017-02-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The autobiographical and self-written studies constitute a branch of the field of language studies, literature and the arts that has been increasing in recent decades. This genre of writing allows authors to reflect on the experience of writing, to trigger individual and collective memories, and at the same time to reflect on the work itself and literature. Latin American literature has been a fertile field for research with this focus, such as the work of Gabriel Garcia Marquez. The production of this genre presents us with a literary context that encompasses both critical writing and creative writing, in the texts the authors merge different styles of writing, allowing a hybrid text to appear. Reflecting on autobiographical and self-writing, the present research explores these genres where the fictional and historical merge to the example of autobiography, memory, reports, reports, interviews that reveal the subject writer. We take here the work of G. G. Márquez with the focus on the analysis of his autobiography Viver Para Contar (2002). As a complement to our analysis, in the scope of fictional writing we have the works A incrível e triste história da Cândida Erêndira e sua avó desalmada (1972), Relato de um Náufrago (1970) and Crônica de uma Morte Anunciada (1981) that contemplate aspects of Autobiography, collective memory and explore the data from the Colombian context and history. The study of these texts allows us to verify how G. G. Márquez re-elaborates the historicity of his time in the fictional works. From the readings and analyzes, we carried out a reflection on the potential of the autobiographical or self-written, together with the fictional texts, to understand the Latin American historical context and the role of intellectuals who have lived the history of Latin American dictatorships and Who had to reinvent themselves and reelabor strategies of writing and the expression of thought. Our contribution with the present research is that in observing the writing process of G. G. Márquez, we verified that there is a fusion and why not to say juxtaposition between the categories author, character and narrator in the confluence between autobiography, memory and fiction, by what we call autowriting , Being precisely this way of narrating quite expressive in the work of G. G. Marquéz. The theme of this dissertation proposes to reflect on the imbricated relationship between history and literature in the author 's work, a fabric that reveals several layers of the real, imagined, official history and personal memory. It attempts to present the author not only as a constructor of the literary work, but as a constructor of a critical thinking articulating work, social life and contemporary cultural practices together with his hybrid writing that goes from the real to the imaginary, memorialistic, historical, critical , Among other genres that are approaching. In order to carry out this study we reflect on the theories of autobiographical constructions, starting from the definitions of Philippe Lejeune (2008), deepening this theoretical basis, we advance to other approaches, like Paul Ricoeur (2007), Diana Klinger (2012), among others. These theoretical approaches illuminate the corpus selected for this research, as the self-writing in the process of reworking personal memory and the movement of history and its context captured. / Os estudos autobiográficos e da escrita de si constituem-se em uma vertente do campo dos estudos da linguagem, da literatura e das artes cada vez mais crescente nas ultimas décadas. Este gênero de escrita permite aos autores refletirem sobre a experiência da escritura, acionarem memórias individuais e coletivas e ao mesmo tempo refletirem sobre a própria obra e sobre a literatura. A literatura latino americana tem sido um campo fértil para pesquisas com este foco, a exemplo da obra de Gabriel Garcia Márquez. A produção deste gênero nos apresenta um contexto literário que abrange ao mesmo tempo uma escrita crítica e uma escrita criativa, nos textos os autores fundem diferentes estilos de escritas deixando aparecer um texto híbrido. Refletindo sobre autobiográficos e da escrita de si, a presente pesquisa explora estes gêneros onde o ficcional e histórico se fundem a exemplo de autobiografia, memória, relatos, reportagens, entrevistas que revelam o sujeito escritor. Tomamos, aqui, a obra de G. G. Márquez com o foco na análise de sua autobiografia Viver Para Contar (2002). Como complemento para nossa análise, no âmbito da escrita ficcional temos as obras A incrível e triste história da Cândida Erêndira e sua avó desalmada (1972), Relato de um Náufrago (1970) e Crônica de uma Morte Anunciada (1981) que contemplam aspectos da autobiografia e da memória coletiva e captam dados da história e do contexto colombiano. O estudo destes textos nos permite verificar como G. G. Márquez reelabora a historicidade de seu tempo nas obras ficcionais. A partir das leituras e análises realizamos uma reflexão sobre a potencialidade da autobiográfica ou escrita de si, em conjunto com os textos ficcionais, para a compreensão do contexto histórico Latino Americano e sobre o papel dos intelectuais que vivenciaram a história das ditaduras latino-americanas e que tiveram que se reinventar e reelaborar estratégias de escrita e expressão do pensamento. Nossa contribuição com a presente pesquisa é que observado o processo de escritura de G. G. Márquez, verificamos que há uma fusão e por que não dizer justaposição entre as categorias autor, personagem e narrador na confluência entre autobiografia, memória e ficção, por isso denominamos de autoescrita, sendo, justamente este modo de narrar bastante expressivo na obra de G. G. Márquez. O tema da presente dissertação se propõe a refletir sobre a relação imbricada entre história e literatura na obra do autor, um tecido que revela diversas camadas do real, do imaginado, da história oficial e da memória pessoal. Intenta-se apresentar o autor não apenas como um construtor da obra literária, mas como construtor de um pensamento crítico articulando obra, vida social e práticas culturais contemporâneas em conjunto com sua escrita híbrida que vai do real, ao imaginário, memorialístico, histórico, critico, entre outros gêneros que se aproximam. Para realizar este estudo refletimos sobre as teorias de construções autobiográficas, partindo das definições de Philippe Lejeune (2008), aprofundando esta base teórica, avançamos para outras abordagens, a exemplo de Paul Ricoeur (2007), Diana Klinger (2012), entre outros. Estas abordagens teóricas iluminam o corpus selecionado para esta pesquisa, a exemplo das escritas de si no processo de reelaboração da memória pessoal e do movimento da história e seu contexto captados.

Gabriel García Márquez évoque dans son œuvre un espace géographique et culturel particulier à partir duquel il pense le monde : la Caraïbe. Au moyen d’un nouveau langage élaboré à partir des modes d’expression esthétiques qu’il juge consubstantiels à cette réalité, García Márquez met son œuvre au service de la reconnaissance de la spécificité géographique et culturelle de la Caraïbe, et du continent latino-américain. Leur singularité est le produit de leur complexe processus historique : l’histoire doit être relue et réécrite. L’enjeu de la création de García Márquez est de transcrire sa réalité, de la poétiser. Lieu devenu mythique, la Caraïbe est aussi et surtout un espace sentimental : l’intrusion constante de la prospection autobiographique transforme l’œuvre de García Márquez en un espace de mémoire, de réflexion et d’imagination qui sont actionnées par la nostalgie. D’un récit à un autre, l’identité culturelle de la Caraïbe se construit et construit celle de l’écrivain. L’affirmation constante de la spécificité de la réalité culturelle est le facteur primordial qui oriente et impose le défi créatif. La portée universaliste de son œuvre réside au sein même de son processus créatif : si le discours identitaire ramène toujours vers le particulier, la création esthétique projette l’œuvre vers la sphère de l’universel. La diversité culturelle de la Caraïbe est mise en scène au travers d’images qui sont révélatrices de la manière dont García Márquez pense cette présence plurielle. Point de départ de toute réflexion comparatiste, l’étude de la dimension étrangère dévoile des dimensions mythologiques et symboliques qui sont communes à d’autres cultures. / In his work, Gabriel García Márquez recalls a particular geographical and cultural space, the Caribbean, through which he apprehends the world. By way of a new language developed through means of aesthetic expressions that he deems inherent to his reality, García Márquez puts his writing at the service of the recognition of the geographical and cultural specificity of the Caribbean and the Latin American continent in general. Their singularity is the product of their complex historical process: the history must be read again and rewritten. García Márquez’s challenge in creation is to transcribe his reality, to poeticize it. Transformed into a mythical place, the Caribbean is first and foremost a sentimental space: the constant intrusion of autobiographical exploration transforms the literary and journalistic work of García Márquez into a realm of memory, reflection, and imagination that are driven by nostalgia. From one story to another, the cultural identity of the Caribbean is built and builds with it that of the writer. The constant affirmation of that particular cultural reality is the primary factor that guides and imposes the creative challenge. The universal scope of his work lies within his creative process: if the identity discourse always brings back to the particular, the aesthetic creation projects the work into a universal sphere. The cultural diversity of the Caribbean is mirrored through images indicative of the manner in which García Márquez considers and enhances that plural presence. As a starting point for any comparative thinking, the study of the foreign dimension reveals mythological and symbolical dimensions that are common to other cultures.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura

Dissertação apresentada ao Programa de Pós-Graduação Interdisciplinar em Estudos Latino-americanos da Universidade Federal da Integração Latino-Americana, como requisito parcial à obtenção do título de Mestre em Estudos Latino- Americanos. Orientador: Prof. Dr. Bruno López Petzoldt. / Submitted by Luis Eduardo Pereira (l.edupereira@hotmail.com) on 2017-04-26T16:56:49Z No. of bitstreams: 1 Dissertação revisada FINAL.pdf: 2370088 bytes, checksum: 58526bd349803aebf251cf28cba29ce1 (MD5) / Approved for entry into archive by Nilson Junior (nilson.junior@unila.edu.br) on 2017-04-26T17:24:24Z (GMT) No. of bitstreams: 1 Dissertação revisada FINAL.pdf: 2370088 bytes, checksum: 58526bd349803aebf251cf28cba29ce1 (MD5) / Made available in DSpace on 2017-04-26T17:24:24Z (GMT). No. of bitstreams: 1 Dissertação revisada FINAL.pdf: 2370088 bytes, checksum: 58526bd349803aebf251cf28cba29ce1 (MD5) Previous issue date: 2017-04-26 / The main object of study assumed in this paper are the media and semiotic dialogues of the relationship literature-cinema having cultural contexts as backround. From multiple factors and study models which include cinema, the aim is to analyze the movement of the creative process between the works "La increíble y triste historia de la cándida Eréndira y su abuela desalmada" (1972) by García Márquez and the film Eréndira (1983) by Ruy Guerra. In addition to looking after a relationship of analysis in which the film is only based on the story, it is sought to think how the cultural contexts of the artists and the potential representatives of the media resignify readings that are materialized by creating an interpenetration of the artistic discourses. Therefore, this paper strives to present cross-readings that make it possible to understand treatments of cultural issues in the story from the point of view of cinematographic resources and the same in reverse. / O objeto central de estudo assumido neste trabalho são os diálogos midiáticos e semióticos da relação cinema-literatura. Essa relação principal será observada tendo como pano de fundo representações ligadas ao imaginário cultural latino-americano. A partir de múltiplos fatores e modelos de estudo que incluem o cinema, busca-se analisar o movimento do processo criativo entre as obras “La increíble y triste historia de la cándida Eréndira y de su abuela desalmada” (1972), de García Márquez, e o filme Eréndira (1983), de Ruy Guerra. Para além de cuidar de uma relação de análise na qual o filme é apenas baseado no conto, busca-se pensar como os contextos culturais dos artistas e os potenciais representativos das mídias em jogo ressignificam leituras que se materializam criando uma interpenetração dos discursos artísticos. Portanto, o presente trabalho empenha-se em apresentar leituras cruzadas que possibilitam compreender o tratamento de questões culturais representadas no conto pelo ponto de vista dos recursos cinematográficos e o mesmo ao revés.