Viaje a la Semilla es un cuento publicado en 1944 por Alejo Carpentier. Alejo Carpentier nació el 26 de diciembre de 1904 y falleció el 24 de abril de 1980. Alejo fue un novelista y narrador cubano que influyo notablemente en la literatura latinoamericana durante el “BOOM” latinoamericano. La critica lo considera uno de los escritores mas importantes del siglo veinte en lengua castellana, su estilo incorpora varias dimensiones y aspectos de la imaginación para recrear la realidad, elementos que contribuyeron a su formación y uso de lo real maravilloso. El cuento comienza con un ventarrón que empieza a desaparecer las cosas, las estatuas cobran vida, es así como se llega a una casa donde se esta velando a una persona que resulta ser …show more content…
La estructura temporal del relato invita al lector a reflexionar sobre los momentos placenteros de la existencia. Pero al final le advierte al lector que existe un final inevitable. Centrándonos en el principio de la narración, en donde el Don Marcial comienza muerto, es decir, en un vacío, la nada, y termina de la misma forma antes de su nacimiento, siendo nada. Bajo mi punto de vista este autor también quiere hacer referencia de una u otra forma al regreso a nuestros orígenes , en donde el final es nuestro principio y viceversa , y si lo llevamos de un punto de vista literario , Alejo Carpentier , marca un inicio y a la vez un final con la creación de esta narración debido a que con esta narración prácticamente pone fin a un tipo de literatura un tanto más criollista , local y que marco los primeros inicios de nuestra literatura debido a las influencias Europeas de la época, marcando un cambio en la narración Latinoamérica , es decir que este libro marca un principio o una antesala de lo que será el boom del realismo mágico en las décadas siguientes en Sudamérica , en síntesis , este libro es uno de los primeros exponentes del género real mágico y real maravilloso , queriendo marcar ese principio de un nuevo género con esta obra.
Anteriormente, nombramos la presencia del realismo mágico en nuestra obra, la pregunta es ¿Cómo? , simplemente por los siguientes conceptos que podemos identificar en nuestra obra y que son conceptos básicos
Matthew Restall, a Professor of Latin American History, Women’s Studies, and Anthropology at Pennsylvania State University. He also serves the Director of the university’s Latin Studies. Throughout “Seven Myths of the Spanish Conquest,” he discusses many false truths that have been passed down through history. For instance, he discusses, “The Myth of Exceptional Men.” “The Myth of Spanish Army,” and “The Myth of Completion.” For the sake of time, I will discuss three myths that correlate with class lectures and serve as the topic of this paper, “The Myth of Exceptional Men,” “The Myth of the King’s Army,” and the “Myth of the White Conquistador.” It should be noted that Restall speaks to his audience assuring us that his “...his purpose is not to degenerate this technique of historical writing completely...Nor do I mean to create a narrative in which individual action is utterly subordinated to the larger structural forces and causes of social change.” (4). He states that his intentions are to react to more than just the works of Columbus, Pizzaro, and Cortez.
For decades, the history of Latin America has been shrouded in a cover of Spanish glory and myth that misleads and complicates the views of historians everywhere. Myths such as the relationship between natives and conquistadors, and the individuality of the conquistadors themselves stand as only a few examples of how this history may have become broken and distorted. However, in Seven Myths of the Spanish Conquest Matthew Restall goes to great lengths to dispel these myths and provide a more accurate history of Latin American, in a readable and enjoyable book.
Caminero-Santangelo, Marta. 2007. On Latinidad: U.S. Latino Literature and the Construction of Ethnicity. Gainesville, FL: University Press of Florida.
Demetria Martínez’s Mother Tongue is divided into five sections and an epilogue. The first three parts of the text present Mary/ María’s, the narrator, recollection of the time when she was nineteen and met José Luis, a refuge from El Salvador, for the first time. The forth and fifth parts, chronologically, go back to her tragic experience when she was seven years old and then her trip to El Salvador with her son, the fruit of her romance with José Luis, twenty years after she met José Luis. And finally the epilogue consists a letter from José Luis to Mary/ María after her trip to El Salvador. The essay traces the development of Mother Tongue’s principal protagonists, María/ Mary. With a close reading of the text, I argue how the forth
“Beautiful and Cruel” marks the beginning of Esperanza’s “own quiet war” against machismo (Hispanic culture powered by men). She refuses to neither tame herself nor wait for a husband, and this rebellion is reflected in her leaving the “table like a man, without putting back the chair or picking up the plate (Cisneros 89).” Cisneros gives Esperanza a self-empowered voice and a desire for personal possessions, thing that she can call her own: Esperanza’s “power is her own (Cisneros 89).” Cisneros discusses two important themes: maintaining one’s own power and challenging the cultural and social expectations one is supposed to fulfill. Esperanza’s mission to create her own identity is manifest by her decision to not “lay (her) neck on the threshold waiting for the ball and chain (Cisneros 88).” Cisneros’ rough language and violent images of self-bondage reveal the contempt with which Esperanza views many of her peers whose only goal is to become a wife. To learn how to guard her power
In my analysis of this novel, The Adventure of Don Chipote or, When Parrots Breast-Feed by Daniel Venegas, I kept in mind that Nicolás Kanellos put great effort into getting this novel circulated in Spanish and in English. Kanellos argues that Spanish-language immigrant novels more accurately present the “evils” of American society such as oppression of the immigrant workers and deconstructs the myth of the American Dream, which permeates in English-language ethnic autobiographies. I believe Kanellos felt so passionately about circulating this particular novel was due to the fact that in Venegas’ novel we see clear representations of the three U.S. Hispanic cultures that Kanellos presents which are the native, the immigrant, and the exile cultures.
In this article, “The Myth of the Latin Woman” Cofer has talked about many incidents from her life where she was talked about, from a young girl the adult life. Ortiz Cofer is so ardent about this topic of stereotyping Latin women because she was a native women of the Puerto Rico area who really grew up in the United States. There is how she witnessed firsthand how hurtful stereotyping could be. In “The Myth of the Latin Woman”, She has repeated use of Spanish words in the essay to shows her audience how proud she is of the Latin heritage. she continuously uses other words, such as Puerto Rican, and Latina to stress the names she heard growing up. Because she has been brought up to love her Latin culture, she was often stereotyped here in the United States. As you can see, this is why she became so involved with trying to bring people so much awareness to the
Art Spiegelman’s Maus, is a unique way of looking at history. Through the use of comics, Spiegelman allows the reader to draw their own conclusions within the parameters of the panes of the comic. Unlike reading a textbook in which the author describes every detail about the subject matter, comics allow for the reader to draw their own conclusions from the information given to them. Also by reading a serious comic such as Maus, we are able to break away from
Many of Mario Vargas Llosa’s younger literary publications were laced with Marxist critiques of a transitioning Latin American society in the 20th century, and though on the surface, “Los Cachorros” may seem little more than a fictional coming of age narrative, the allegorical short story is no exception. Told through an encyclopaedic tour of Lima’s urban spaces, a pack of boys’ transition into young men and their interactions with the city reflect both the rigidity and fragmentation of the Peruvian community as a whole. With particular reference to chapter five, this essay will explore the cities implicit influence on the characters’ fulfilment of heteronomous social identities, and Vargas Llosa’a use of specific literary devices to
Latin American literature is perhaps best known for its use of magical realism, a literary mode where the fantastical is seamlessly blended with the ordinary, creating a sort of enhanced reality. Though magical realism is practiced by authors from other cultures, the works of authors Salman Rushdie and Toni Morrison, for example, are notable examples of non-Latin works in which magical realism has been used to both great effect and great celebration, it is in the works of Latin American authors where the style has flourished and made its mark on the literary world. Yet even in Latin American works we can find many different kinds of magical realism, all used to achieve a different end. In the works of the Cuban poet and novelist
Horacio Quiroga and Edgar Allan Poe are two of the most influential writers in history. They both wrote disturbing stories that are based upon their similarly rough lives. In fact, Quiroga has been referred to as “The Poe of Latin America” (Niece 1). However, it is important to note that although these authors have many similarities, they also have several significant differences, both in their writing and in their personal life stories.
Although Azuela leaves out some true historical events, the appendix comments on how Azuela’s unique and descriptive style of writing still leaves a meaningful connection between the novel and the reader. For example, in one passage, Azuela describes the Villista airplanes in action, referring to them as something the peasants in Mexico can relate to. He first compares them to a canoe, then to an automobile, and then to bombs to the act of feeding chickens. However, it is important to note that Villa and his legendary Division del Norte are never seen in the novel, but the
In this essay, he linked the concept of thingness with nearness and describing that how a thing is related to its already existing conditions of fourfold. This essay is somehow different for people who got modern western education because the writer has used a strange technique that anyone who reads the text feels as if that the writer is his philosophical guide.
The border between the United States of America and Mexico always had been always a theme for a lot of discussions. And, in the book “Sunshine/Noir II” Juanita Lopez and Michael Cheno described, through texts, their point of view about the topic. Both authors represent that the control of the border has become way more restrict and militarized. In that sense, Michael Wickert presents his idea in a poem form, text named “The border Is a Fight”, that describes the dramas of a Mexican family that has to cross the border every day in a hope to get a better future. Whereas, Juanita Lopez demonstrates it through an essay that uses personal narratives of the author’s relatives to illustrate her point of view. Therefore, the both authors exploit their point of views using different text forms, and figurative images, like metaphors and personification, for delivering their ideas in the way they do.
In the essay “Straw into Gold: The Metamorphosis of the Everyday” (1984), Sandra Cisneros, nationally known Mexican-American author, uses an informal tone and fragment sentences such as “ I’d never seen anybody make corn tortillas. Ever” (1226) to help create a voice