Temporalidades Históricas, Literatura e Jornalismo Ficcionalizado na Obra de Gabriel García Márquez

Abstract

This research aims to reflect on writings and historical temporalities, experience and fictionalized time in the work of Gabriel García Márquez, in particular in the books The Story of a Shipwrecked Sailor (1955), Clandestine in Chile: The Adventures of Miguel Littín (1986) and News of a Kidnapping (1996). From these texts, the question is how, or from what literary strategies, did Gabriel García Márquez develop a literary writing articulated to the history of Latin America and the moments of silence for violence develop? How does the author work with the notions of historical time and fictionalized time? How does your experience as a journalist and literary writer interconnect in the construction of these narratives? What meanings do we produce? To reflect on the conceptions of historical temporalities in the work of Gabriel García Márquez, we seek critical theoretical support in the works of Josefina Ludmer (2007, 2013) and Beatriz Sarlo (2007). The critical voice of these thinkers presents an alternative for thinking about the temporalities of the present in relation to cultural, historical, artistic and political phenomena in the Latin American context. The challenge proposed here is the study of the narrative mode, understood by us as fictionalized journalism, present in the corpus delimited for this research. The challenge proposed here is the study of the narrative mode, understood by us as “Fictionalized Journalism”, present in the corpus delimited for this research. Gabriel García Márquez's narrative form is configured by a way of telling that occurs through a hybrid text, merging, in its structure, language of reporting and language of fiction. This way of narrating is related to the categories of time and writing, given the temporal arrow that comprises the periods from 1948 to 1957, known as “La Violencia” in Colombia; 1973 to 1990, Chilean military dictatorship; and 1972 to 1993, years in which the Medellín cartel operated in Colombia, historical temporalities present in the production of Gabriel García Márquez. The categories of time and writing, here marked, lead us to think about a third category, that of writer. To carry out this study, the conceptual formulations about time/temporality/space/time, experience and writing, found in the works of Santo Agostinho (1964), Walter Benjamin (1989, 1994), Henri Bergson (1990), Paul Ricoeur (1997, 2007), Giorgio Agamben (2007, 2012), Silviano Santiago (2000), Slavoj Žižek (2014), among others, were fundamental.