Para traer a la próxima clase (14 de abril):
Para traer a la próxima clase (14 de abril):
•18-20 páginas: segundo borrador con
MLA
Para traer a la próxima clase (14 de abril):
•18-20 páginas: segundo borrador con
MLA
•En una hoja separada: abstracto y titulo
•España es (era) diferente: futuras proyecciones turísticas
•Jóvenes de alto riesgo: las causas, las soluciones y los resultados del proyecto VIA en
ROCA
•Quisqueyanos soñando: el camino entre Santo Domingo y los Estados Unidos
•¿Ama de casa o mujer profesional?: los retos de la mujer hoy en día
•La polémica de la educación bilingüe
•Energía eólica: ¿teoría, ficción o realidad alternativa?
•Tecnología como parte de la educación primaria
•Segregación entre las mujeres y los hombres en el campo de la salud
•¿Por qué lo entendo, pero no lo falo?: entre el español y el portugués
•La terapia danza/movimiento: ¿reconstrucción del individuo?
•La Torre de Babel: sobre las herramientas de comunicación entre lenguajes
•Español: Económicamente, la opción correcta en la preparación de los estudiantes para el
mundo de trabajo en los EE.UU.
•La edad y el periodo crítico: Obstáculo en la adquisición de una segunda lengua
•Dora, Diego, y yo: la importancia del idioma español y métodos para mejorarlo en el
sistema educativo de Massachusetts
•Importancia y efectos que provee la educación bilingüe a temprana edad
•El problema del racismo en las escuelas secundarias de Boston y la solución de los
conceptos de Satyagraha de Mahatma Gandhi
However, it is in the realm of what magical realism does that Warnes
finds fault with Faris’s approach. He sees in her development of magical
realism’s “cultural work,” an abandonment of the critical precision used in
defining the term (Warnes 10). In its place, Warnes argues Faris uses a too
sweeping argument when she states that magical realism performs a
“remystification of narrative” where the western reader is “enchanted” and
finds “a kind of shamanistic narrative healing” which fulfills “a manifestation
of a personal cultural need for a sense of contact with cosmic forces” thus
providing a “curative voice” and a “healing fiction” (Warnes 10 quoting Faris).
While admitting some magical-realist fiction may have this quality (he uses
Laura Esquival’s Como agua para chocolate as an example), Warnes does not agree
with Faris’s conclusion which he summarizes thus: “all magical realism,
regardless of context or authorial intention, necessarily play these roles
because of its form” (Warnes 10). Said simply, according to Warnes, Faris
reached this errant and over-encompassing conclusion by no longer keeping
her arguments within a historical and textual critical context which had proved
invaluable in the early part of her study.
Over several years Carpentier published various pieces engaging both linear and
cyclical notions of history. In El reino de este mundo linear history forms the backdrop to
the narration while the cyclical, particularly the protagonist’s repeated enslavement and the
multiple slave revolts, exercises greater influence over the characters’ lives. Within a
narration containing these alternative approaches to history, it is no coincidence that
Carpentier placed in the novel’s exact midpoint a moment of carnival when
Con el gobierno de Rochambeau los últimos propietarios de la lanura, perdida la
esperanza de volver a bienestar de antaño, se entregaron a una vasta orgía sin coto
ni tregua. Nadie hacía caso a los relojes, ni las noches terminaban porque hubiera
amanecido. (Carpentier 70)
It is as if the novel’s structure is suggesting that the space located in the middle of the
linear and the cyclical is one of chaos where time no longer matters. Yet time does matter,
and very much so for Carpentier who worked to expand the conception of history as a
linear progression to also make room for an alternative notion of cycles where certain
events, at their core, are related to that which have happened before with only the
superficial details changing. El reino de este mundo, like “Historia de lunas” before it, seems
to suggest primacy for the cyclical take on history as it relegates the linear to an influential,
but background role. With this Carpentier is promoting the long ignored Afro-Caribbean
culture as a genuine voice and his engagement with their historical worldview is a vehicle
through which his fiction sets the scene for the elucidation of, what was for Carpentier, an
Afro-Cuban voice.
Sturrock, John. Paper Tigers: The Ideal Fictions of Jorge Luis Borges. Oxford: Clarendon Press,
1977. Print.
Süskind, Patrick. Perfume. London: Penguin Books, 1987. Print.
Todorov, Tzvetan. “Macondo a Paris.” Littérature latino-américaine d’aujourd’hui. Paris: Union
Générale D’Éditions, 1980. 316-320. Print.
---. The Fantastic – A Structural Approach to a Literary Genre. Trans. Richard Howard.
Cleveland and London: The Press of Case Western Reserve University, 1973.
Print.
Uslar Pietri, Arturo. Letras y hombre de Venezuela. Madrid: Editorial Mediterráneo, 1974.
---. "Realismo mágico." Godos, insurgentes y visionarios. Barcelona: Seix Barral, 1986. 133-40.
Valbuena Briones, Angel. Literatura hispanoamericana. Barcelona: Editorial Gustavo Gili,
1967. Print.
---. "Una cala en el realismo mágico." Cuadernos americanos 166.5 (1969): 233-41.
Vargas Llosa, Mario. “García Márquez: Historia de un deicidio.” Obras completas. Vol. VI.
Barcelona: Círculo de Lectores, 2006. 109-698. Web. 23 Nov. 2009.
Velayos Zurdo, Óscar. El diálogo con la historia de Alejo Carpentier. Barcelona: Ediciones 62,
1985. Print.
Walker, Janet A. Rev. of Ordinary Enchantments – Magical Realism and the Remystification of
Narrative by Wendy B. Faris. Comparative Literature Studies. 44.4 (2007): 510-514.
Print
Warnes, Christopher. “Magical Realism and The Legacy of German Idealism.” Modern
Language Review 101 (2006): 488-98. Web. 31 Oct. 2009.