A representação do ator social latino-americano nas crônicas jornalísticas de Gabriel García Márquez
The beginning of the career of Colombian Nobel laureate Gabriel García Márquez was marked by the presence of journalism and literature which, in his case, have always gone hand in hand when it comes to the chronicle genre. It was from 1948 to 1952 that Gabo began his journalistic-literary career, pu...
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| Tipo de recurso: | tesis de maestría |
| Estado: | Versión publicada |
| Fecha de publicación: | 2021 |
| País: | Brasil |
| Institución: | Universidade Federal do Rio Grande do Norte (UFRN) |
| Repositorio: | Repositório Institucional da UFRN |
| Idioma: | portugués |
| OAI Identifier: | oai:repositorio.ufrn.br:123456789/48327 |
| Acceso en línea: | https://repositorio.ufrn.br/handle/123456789/48327 |
| Access Level: | acceso abierto |
| Palabra clave: | Crônicas Jornalismo-literário Gabriel García Márquez |
| Sumario: | The beginning of the career of Colombian Nobel laureate Gabriel García Márquez was marked by the presence of journalism and literature which, in his case, have always gone hand in hand when it comes to the chronicle genre. It was from 1948 to 1952 that Gabo began his journalistic-literary career, publishing his notes almost daily in Colombian newspapers. They are chronicles that transit between journalism and literature, the real and the fictional, and all of them carrying the magic of the writing of the man who, years later, would be considered one of the fathers of Latin American Magic Realism. In this dissertation, which analyzes a selection of these journalistic chronicles published in the book Obra periodística Vol.1: Textos costeños (1991), by the Colombian writer Gabriel García Márquez, we intend to analyze how the representation of the social actors present in the form of characters from the chronicles that make up this selection that goes from 1948 to 1952. This is a study based on bibliographic research, which uses, in addition to the book already mentioned, biographies about the author, Bachelard (1989), Bender and Laurito (1993), Candido (1989, 2011), Chiampi (1980), Cunha (1986), Franco (2004), Hall (2006), Moisés (2004), Moscovici (2015, 1978), Nitrini (2000), Sartre (1999), Soares ( 2002) and Vivaldi (1987) as a theoretical basis. It is possible to observe that García Márquez represented his characters from the observation of people who were part of his daily life and the day to day of the readers who read him, composing his texts in a way that Candido (1989) calls humanizing literature, that that has the role of making common people feel represented and identify with what is being read. García Márquez, in the early days of his career, was already writing about his people and for his people, bringing in his narratives the presence of historical events in the identity formation of America about whom/which he writes. |
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