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El ensayo que ahora publicamos es el que fi- libro Ti,entos E diferenci,as con el nombre "De lo real maravillosamente [szcl americagura en el 1. Lo remoto. Lo distante, Lo di,sti,nto. He visto, desde los ma- 1. Pero no estoy seguro de haberlas entendido. Me falta, para ello, w enterldi,mi,ento de los tertos. Me he emocionado gratamente ante paisajes tan sosegados, tan deslindados por Ia.
Para ellos el arte verdadero sigue siendo rigurosam ente no fi, g ur ati,uo, mantenido a una altanera distancia de donde se polemiza en tomo areali,smos harto manoseados Conocer esos signos hubiese sido mi deseo. Las columnas rostrales que se alzabanjunto al Neva eran de mi propiedad. Pero la curiosidad no es premiada, en muchos casos, con un cabal entendi,mi,ento.
No hay piedra muda en Praga para el entendedor a medias palabras. Vi la posibilidad de establecer ciertos sincronismos posibles, americanos, recurrentes, por encima del tiempo, relacionando esto con aquello, el ayer con el presente. Asimismo el viaje del personaje, desde Toscana a Nomega, sobre el manto de 40 a una bruja.
A cada paso hallaba lo real marauilloso. Ensayos De Alejo Carpentier November Alejo Carpentier Ensayos Selectos November Alejo Carpentier - Ecue-yamba-o December Lo Real Maravilloso Americano November Renato Canova M Post December Estatuto Da Pmrn Atualizado October
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I was incredibly interested in delving into further research of Magical Realism and its origin mainly as it relates to Latin America and within the work of Marquez. This was inspired by the question of whether or not this literary style is something which allows the reader to absorb the difficult and traumatic history of the country. Every source that I began looking into stated it was something which originally had German roots after the influence of Franz Roh who referred to art within this category. However, it became a literary tool within Latin America within the s and began being increased in its use by varying authors after this time. An interesting autobiographical component regarding Marquez which most likely had a large emphasis on his storytelling habits is the fact that he had an intensive relationship with his grandmother growing up who instilled the value of storytelling in him. Storytelling is something that can be naturally extravagant and vivid with imagery — sometimes blurring the lines of reality. Additionally, I see magical realism as an escape for both the audience and the writers who depended upon it heavily to manifest much of their personal lives.
Alejo Carpentier: "de Lo Real Maravilloso-americano"
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