| چکیده انگلیسی مقاله |
To the Iranian readers, Marquez's name is associated with magic realism and his novel " One Hundred Years of Solitude ". In the course of his writing career, Marquez altered the direction. One of the goals of the present study is to uncover the basics origins of his works and the historicism and humanism latent in them. Readers who are neither familiar enough with foreign languages nor the process of the formation and development of the novel just regard him as an author who is the product of Latin America's culture; such readers fail to take the genesis and origins of a literary work into account. Marquez, in particular, is an author the origins of whose works date back to 16th century. There seems another reason for their popularity which the present article intends to uncover: literary works of Latin America are the continuation of the great European and American belles-lettres. We do not wish to reduce the main aspect of his works, which is storytelling, to history or political philosophy; Marquez's expertise in storytelling and narration is more conspicuous. The purpose of this article is to focus more on the humanistic and historical aspects of his works. Introduction Usually, Iranian readers know Gabriel Garcia Marquez with One Hundred Years of Solitude and solely with the style of magical realism. While he changed the direction of his writing throughout his productive life while maintaining the same style. One of the points of our research is to show the main sources of his works, but the important point is to show the existence of historicism and humanism in his works. Often, Márquez is considered a product of the nineteenth century and Latin America, while his roots go back to the sixteenth century. Most Iranians believe that the reason for welcoming Latin American works in Iran is the existence of historical, political, economic, etc. similarities between Iran and Latin America, but we want to emphasize a very important point, which is that Latin American literary works are a continuation of the great European, American, and Russian works, including Gustave Flaubert, William Faulkner, Jean-Paul Sartre, Albert Camus, Ernest Hemingway, Leo Tolstoy, Fyodor Dostoevsky, etc. This article does not intend to reduce the main aspect of Marquez's works, which is writing, storytelling, fiction, and narration at the highest level, to history or political philosophy. Undoubtedly, the value of Márquez's storytelling is greater than other aspects and dimensions of his works, but it can also be said that his works are not just magical realism, and some of his works, such as The General in His Labyrinth, The Fall of the Autocrat, and even some parts of One Hundred Years of Solitude, can be read from the perspective of old historicism and new historicism, and interesting results can be reached. We show how he moved from a literature that included the study of Latin American history, culture, and politics (such as One Hundred Years of Solitude and The Autumn of the Patriarchs) to a different literature (such as Love in the Years of Cholera and The Memory of My Sorrowful Hearts): a literature that, while being able to show history, politics, society, and the way of life of all classes of society, included almost only humanistic concepts (education of the mind and soul or morality) in his novels. For the sake of the article, we will briefly mention François Rabelais, one of the greatest novelists of all time, to show one of Max's sources. By writing five books, he revolutionized both the way of writing in his time and changed the way of looking at the world through his criticism of the masters, the church, and official teachings. Rabelais's influence was so great in his time that French critics refer to him as a storm and a whirlwind (Julaud 2005: 92) Based on the teachings of the Renaissance, Rabelais placed great emphasis on the intellectual, moral, and physical education and training of humans, and in this way left a profound impact on the world of his time and even ours (Mikhail Bakhtin's most important book on public culture is about Rabelais and was influenced by his books. L'œuvre de François Rabelais et la culture populaire au Moyen Âge et sous la Renaissance, 1965). However, since he could not write realistically, he approached the world of giants with a satirical and humorous look (Gargantua and Pantagruel, two characters he created, became so famous in the world of literature that their names were later made into adjectives). We see the continuation of this attitude later in Cervantes' Don Quixote, Jonathan Swift's Gulliver's Travels, Lawrence Sterne's Tristram Shandy, Jacques Le Géza, and Denis Diderot's One Hundred Years of Solitude. Marquez followed this same line of satire and humor, but eventually changed his direction. Another person who was very influential in creating characters like Don Quixote and Gulliver was Erasmus with his book In Praise of madness. Research Method Our research method will be library and analysis of his works. We have read all of Marquez's works, including his short stories and novels, several times from several different perspectives (humanism, formalism, narratology, structuralism, historicism, postmodernism), but in the end we limited ourselves to the criticism of historicism and humanism, and we have seen the characteristics of these two readings in Marquez's works sometimes abundantly and sometimes scarcely, and we have realized that Marquez's novel writing path also originated from Rabelais' novel writing path, namely humanism, while later he also leaned towards old and new historicism. Discussion In the history of literature, when critics have wanted to classify genres or writers, they have looked at similar characteristics and indicators in writers so that they can easily classify several very different writers under the same heading. Although these types of classifications cannot be very precise, because a writer like James Joyce or Samuel Beckett is sometimes considered a modern writer and sometimes a postmodern writer. But it seems that in the history of literature there is no other choice. For example, almost all writers of the early nineteenth century are called realists, or writers like Victor Hugo, Gustave Flaubert, and Charles Baudelaire are called romantics, despite the fact that these three writers are very different from each other, and of course they also have similarities. Therefore, at the beginning of the discussion, we will present two examples of the narrative style known as magical realism so that the reader can accurately distinguish the difference between this type of narrative, school, or approach to literature from other genres or different narrative styles, such as realism. Then, we will take a look at Marquez's works to demonstrate the humanistic and historicist perspective in his works. When Plinio Mendoza asked Marquez what was his intention when he wrote One Hundred Years of Solitude, Marquez answered: "I wanted to find a literary way to express all the experiences that had in a way affected me in my childhood." (Mendoza, 2014: 89). Mendoza was not convinced, saying: "Many critics believe that this book is a metaphor or an allusion to the history of humanity" (Ibid.). But Marquez does not accept his friend's words and says: "No, I just wanted to leave a literary image of my childhood world" (Ibid.). Then, Mendoza reminds Marquez of Marquez’s own words about what seemed to be regarding commitment, and says that you once said: "One Hundred Years of Solitude can be considered a narration of Latin America’s history." Marquez does not even accept his own words and expresses his understanding of commitment as follows: "What I am committed to is not the political and social reality of my country, but the entire reality of this world and the other world, without preferring or despising any aspect of this reality." (ibid: 71). What is more, Marquez himself Knows the impact of cultural and geographical (Caribbean) identity more important than foreign writers’ literary influence and says: "The Caribbean world taught me to see the truth from a different perspective and to accept that supernatural elements are part of our daily life" (ibid: 64). However, it is unlikely that Marx would have become such a great writer if he had not read the works of great writers such as Kafka, Hemingway, Faulkner, Sophocles, Borges, and others. While writing One Hundred Years of Solitude, Marquez was preoccupied from the beginning with the act of naming and creating knowledge (“The world was so new that many things lacked names, and in order to indicate them it was necessary to point with a finger”) (Marquez, 2013: 9); he did the same thing as Plato did in the Republic (Plato, 2013: 690). Later, great theorists like Baruch Spinoza followed this tradition by applying the rules of mathematics and geometry to ethics and then others like Kant and Hegel did the same in their philosophical works. As to the themes of Marquez's works, in his interview with Rita Guibert he said: loneliness was "the only theme I have dealt with" (Gebert, 2019: 446). From his earliest writings, he has dealt with power and loneliness, for example, the novel No One Writes to the Colonel is about power and the fight for freedom, which results in loneliness. The colonel and his wife are alone and had only one son who became a victim of power and government. One Hundred Years of Solitude is also about power and loneliness, history and death. The Autumn of the Patriarch is completely related to the power and dictatorship and the dictator's loneliness. Also, The General in His Labyrinth has loneliness as its topic. Interestingly, in this novel, on the surface the general is never alone and is never left alone, but he is actually alone. This novel is a battle for liberation from colonialism and exploitation. Grandmother's Funeral is again about power. The Incredible and Sad Tale of Innocent Eréndira and her Heartless Grandmother is again about power and hatred of power, but at the same time it is also about escape from power and exploitation through power; here all its characters are lonely as well. However, Love in the Time of Cholera is related to love and youth, old age and death. After years of writing about power and loneliness, Marquez writes about love in this novel, something that he elevates in Memories of My Melancholy Whores. This short novel is about love and old age. In his book Myself with Others, when Carlos Fuentes talks about One Hundred Years of Solitude, he also mentions Erasmus, which shows his influence: "We find out in García Márquez's book that from the Age of Enlightenment onwards, Europe has become a disenchanted Latin America: law, science, aesthetics and progress were now the lost jewels of Latin America hanging on Europe's neck. We expected from the West a picture that would fix our image forever, or an ice that burns as much as its coldness, but it became clear to us that this notion of progress and the names associated with it are illusory: this is the world's largest diamond. Gipsy answered: "No, this is ice.' (Fuentes, Carlos 1400: 239) Conclusion As we said, Marquez has gone through a tortuous path for reasons such as living in Europe for a long time and studying world literature extensively, and having a deep awareness and knowledge of Latin America. When he was young, he read the literature of countries such as Germany, France, Russia, and the United States carefully and extensively, and was initially strongly influenced by them. We see this same influence in his early works. But later, he wanted to introduce Latin American literature, culture, social and political history, and worldview, and bring it into the global cycle of world culture and literature, which now every enlightened and fair critic admits to his success in this task. Despite his skill and mastery of literature, he always had a corner of his eye on the history of humanity, especially the cultural and social history of Latin America, and sometimes this corner of his eye increased in size and became the basis of his work. However, when Marquez reflects on history, his view is more social, political, and cultural history, even when he was writing The General in His Labyrinth. Of course, he sometimes writes the history of thought. Ultimately, we can identify three periods for his creative period. The first period is influenced by world literature (the novel The Storm of Leaves). The second period focuses more on Latin America (One Hundred Years of Solitude), but the third period is both global and more literary (My Memory of My Sad Sweethearts). References Fuentes, C. (2005). Myself with Others: Selected Essays by Carlos Fuentes, Translated with Abdollah Kowsari, Tehran: Tarh-e- Nov. Guibert, R. (2020). Interview with seven Latin American writers, translated by Nazi Azima, Tehran: Agah. Julaud, J. J. (2005). La littérature pour les nuls, Editions First, Paris. MacMurray, G. (1994). Gabriel Garcia Marquez, translated by Minoo Moshiri, Tehran: Kahkeshan. Marquez, G. G. (1979). The Autumn of the Patriarch, translated by Hossein Mehri, Tehran: Amir Kabir. Marquez, G. G. (1992). The General in his Labyrinth, translated by Reza Falsafi, Tehran: Soroosh. Marquez, G. G. (2016). One Hundred Years of Solitude, translated by Kaveh MirAbbasi, Tehran: Ketabsarsy-e-Nik. Marquez, G. G. (2022). Love in the Time of Cholera, translated by Bahman Farzaneh, Tehran: Ghoghnus. Mendoza, P. (2015). El Olor de la Guayaba: Conversations with Gabriel Garcia Marquez, translated by Mehdi Nouri and Nazanin Deyhimi, Tehran: Mahi Payandeh, H. (2018). Literary Criticism and Theory, Tehran: Samt Publication. Plato. (2001). Collected Works, translated by Mohammad Hassan Lotfi, Tehran: Kharazmi Publishing. Ploetz, D. (2013). Gabriel Garcia Marquez, translated by Zahra Salemi, Tehran: Ketab-e-Parseh. Saadat, E., Seyyed Hosseini, R. (2007). Dictionary of works, Introducing the Written Works of the World's Nations from the Beginning to the Present Day, Tehran: Soroosh. 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