Archivio per la tag 'Sobre'
Michelangelo y Lina Lopez en Dinero Como Loco
La comercialización agresiva del Internet significa la verdadera comercialización y promocion que excede cualquier expectativa de negocio. Un negocio necesita la comercialización feroz del Internet.
¿Pero hacerlo a bajo costo? ¿Es eso incluso posible? ¿Cómo puede algo tan agresivo ser economico?
Afortunadamente, usted puede servirse de la comercialización agresiva y barata del Internet . Esté afilado y alerta y sepa que entra en la industria en línea.
Las preguntas siguientes le ayudarán a discernir si sus páginas de internet elegidas para hacer la comercialización caben en la cuenta.
1. ¿La compañía ofrece diseño libre del Web site? Incluso si usted sabe su HTML, sigue siendo más recomendable si un equipo profesional lo hace para usted. Algunos sitios de la comercialización del Internet ofrecen diseño libre para cerciorarse de que su sitio cubren las necesidades.
2. ¿Cuántas palabras claves su Web site abastece? Tener demasiadas palabras claves o frases claves hará su gota de la graduación de la página. Crear Web sitios más pequeños con el contenido que acentúa solamente algunas palabras claves servirá de mas esfuerzo en la comercialización del Internet.
3. ¿Cómo la búsqueda motor-compatible es su Web site? La comercialización del Internet es ” acuñado de agressivo” solamente si es búsqueda del ciento por ciento motor-compatible. Hay cerca de 10 motores importantes de la búsqueda en línea y su sitio tiene que trabajar por consiguiente con él. Descubra si su sitio de la comercialización del Internet es experto en la optimización del Search Engine.
4. ¿Usted conoce a sus competidores? La comercialización agresiva comprable del Internet empuja su negocio adelante tomando la nota de sus competidores. El análisis y la evaluación de la competencia es obligatorio y debe imaginar sus defectos y ventajas sobre ellas. Si esta característica se excluye de su plan de comercialización del Internet, usted esta consiguiendo un reparto mediocre.
5. ¿Cuan eficiente es el plan de comercialización mensual? Generalmente, a usted se le pide un honorario mensual en el plan de comercialización. Para que un plan de comercialización sea eficiente, debe poner las cosas siguientes: desarrollo del Web page, intercambios del acoplamiento, contenido, actualizaciones y soporte técnico. Por supuesto, también incluidos son los SEO, el análisis de la competición y la densidad estándar de la palabra clave. Si ya procuró las respuestas correctas para las preguntas anteriores, usted puede finalmente decir: ” Ahora se que es Internet agresivo de bajo costo.
Michelangelo y Lina Lopez son los fundadores de la Universidad de la Ciencia del Internet y el blog DINEROCOMOLOCO.COM.
Tienen gran exito en su trabajo y viven en Tampa, FL. con sus 2 hijos.
Article from articlesbase.com
More Cosa Articles
Compra Venta de neumaticos online
Ya estamos en plena estaci?n de fr?o y nieve y con ello vemos como nuestro autom?vil no est? en plenas facultades para aguantar largos viajes y tiempos y sircumstancias adversas en la carretera Los neum?ticos no est?n en plenas facultades y es la pieza que mantiene la estabilidad del coche y y una parte que puede salvarte en situaciones de suelos y pisos resvaladizosLos neum?ticos son imprescindibles en plenas facultades para subir an esquiar y colocar las cadenas. Unas ruedas en mal estado significara perder tracci?n aun con cadenas y puede suponer un accidente.
Actualmente existen cantidad de p?ginas Web en las que encontrar ofertas en ruedas baratas con compra online con toda seguridad. Son compa??as aliadas con talleres mec?nicos, estas empresas env?an a tu taller de confianza la compra que se realiza por Internet de las ruedas baratas.
Es una buena manera para ahorrar unos euros en tu cambio de ruedas o neum?ticos. Visita la Web y enterate como pedir los neumaticos, en la mayor?a aparece un papel que puedes imprimir y apuntar los datos de tus neumaticos para comprarlos posteriormente. Ruedas baratas de todas las marcas, conocidas y desconocidas, se juntan en estas p?ginas que facilitan a los usuarios la compra de las ruedas para tener el coche en plena forma durante el duro invierno y la temporada de ski.Adem?s en ellas podr?s encontrar interesantes art?culos sobre ruedas y neum?ticos en general para que aprendas nuevas cosas que a lo mejor puedes aplicar a tu caso. Modelos de ruedas especiales para seg?n qu? usos, nuevos materiales para las ruedas y un sinf?n de informaci?n ?til.
Descubre de tu mano la compra venta de neumaticos online.
Article from articlesbase.com
Related Cosa Articles
The Merchant of Copan [In English and Spanish]
Advance: The ballgame at the Honduras courtyard in Copan, the year was 480 AD, Copan’s 3rd ruler, Mat Head, whom succeeded Quetzal Macaw, whom was the founder of the city is now the new ruler. Mat Head, was a female, the spouse of Quetzal Macaw, and here is where the story begins.
There was a main ballgame ready to start, the competition was extremely high, as usual you might say; that being, if the game was not played the world would end, so they believed, and so rain or shine it was to take place.
The opposing team had eleven players, all ornately dressed and painted for the competition. They had leather padding around their waists, over their shoulders, about their arms and legs; able to withstand the blows of the solid rubber ball. The weight of the ball was one kilo. The ball was now thrown into the play, and each player knew they could not let it touch the ground or their hands.
Mat Head was watching the game with intensity, knowing her sister was part of a bet of which, if the opposing team won, she’d be [she being: her sister] the property of a local merchant, a very wealthy merchant, the most wealthy merchant in all of the Copan Valley; she would be his property, to do with as he pleased; but if the merchant lost, he would lose all his properties to the brother-in-law, riches, and be vanished from the city of 27,000-inhabidents, Copan; perhaps to the Yucatan. It was not uncommon for such wagers; it was deadlier than the exhibitions at the Roman Coliseum, in Italy. That being, the losers of this game would forfeit their heads.
But the Merchant of Copan, as I have said, was very rich so much so, he provided flint, lime, and pottery to the elite of the city, the whole city and thereabouts. And the Brother-in-Law of Mat Head was married to her sister, the most beautiful young woman in Copan.
The Merchant of Copan, had watched her at a number of previous games, and could never take his eyes off her beauty, her shape, and lusted after her with eyes like a hawk’s. To him, it was worth the chance to bet on the game, all or nothing; he didn’t know how much Mat Head’s brother-in-law cared or didn’t care for his wife, but he knew he was insatiable, and made the bet nonetheless and he accepted it; thus, his instincts were correct; for he could not longer withstand the burning pain he had inside of him watching her walk among the temples of Copan, and wishing she belonged to him, at any price, and a hungry soul will do most anything to impede that hunger.
–The ballgame had started, as I had already said, and the ball was in the air; some of the players were kicking their feet, and thrusting their hips, as they knocked the ball back and forth, in the I-shaped field, 25-meters long, 10-meters wide; all the players not wanting the ball to touch the ground, which would end the game, and eleven-heads would be severed.
All of a sudden the game stopped…a silence took hold of everyone, eyes were being shut by eleven players; oh it was a great thing to die, to be sacrificed for the game, but on the other hand, it would have been better to have to do it at a later date, I’m sure most of the players felt that way.
The spectators took in a deep breath to see who won and lost. History would not favor the brother-in-law today, unfortunate for his wife to be sure. Yes, yes, fortune smiled on the Merchant of Copan; I’m sure my readers are now downtrodden on this matter but it is as it is what I can say.
Thus, the lucky fella grabbed her like a wild monkey grabbing a banana out of the feeder’s hands, and rushed her to his domicile. He threw her on the bed like an animal pelt, his eyes sparked with lust and passion, and he melted into her body like heat on ice; if anything, she was hurt beyond all understandings.
‘How could he do this?’ she moaned as this fat, ugly and rigid man pouncing on her. Yet she told herself, at least he wanted her. He was willing to give all his money for her; whereas, her husband sold her for a game ticket, and a bet. It was beyond her youthful comprehension.
Several years passed, and the fat old merchant got fatter and older, but other than being over lustful over her, he was a good provider, and gave her all she wished for. She became well known as a business woman, and at his 67-birthday, he died on the bed, as I suppose he wished it to be. Consequently, she was now the inheritor of the estates he once own, for there were no children involved.
She then made a deal with her ex-husband, knowing he liked to gamble, and wanted money. She made the same bet, well almost, a similar kind of bet anyway with him, as the Merchant of Copan had done before; she bet all her properties on the next game, that her team would win, and should he lose, her ex-husband, he’d have to give up his head, like the losing team had to. Well, he felt he could win her back should he lose the bet or win, and thus, took his chances and made the bet. But again, life did not favor him, he was not meant to be a gambler for sure, and after losing he begged her for his life, to take him back, saying in essence, they both could enjoy the riches she acquired, and their old position in the kingdom.
Oh gosh, she was such a caretaker, and told him she’d go home and think about it and make up her mind tomorrow. Well, he thought that was fine, at least it seemed better than losing his head today, and just the fact she was thinking about it was enough to enlighten him, feeling he would have the final victory, and that was the one that counted, he’d have her back and the treasures, what more could he ask for.
But as I had told you before, fate was not always in his pocket, that night the ruler, Mat Head, asked for the head of her Brother-in-law, being he had lost the bet. He begged for her to wait for her sister tomorrow and she’d strengthen it all out, but she said:
“A bet is a bet…and it must be paid.”
Can’t remember what else she said but his head was off within a heartbeat.
Upon Mat Head’s sister’s return the following morning, she asked for her ex-husband, and found out by her sister, the Mat Head, she had beheaded him. She cried a tear, a very big tear, and then smiled at Mat Head.
Dedicated to Jorge, 7/3/05
Spanish Version
Versión en Español
El Mercader de Copan
[480 Después de Cristo]
Avance: Juego de pelota en el patio de Copan en Honduras, el año era 480 después de Cristo, el 3er gobernador de Copan era Mat Head, quien sucedió a Quetzal Macaw, quien fue el fundador de la ciudad ahora el nuevo gobernador. Mat Head, era una mujer, la esposa de Quetzal Macaw, y aquí es donde la historia comienza.
Había un juego de pelota principal listo a comenzar, esta competencia era extremadamente interesante, como siempre podrías decir; esto es, si el juego no era llevado a cabo, el mundo se terminaría, o eso era lo que ellos pensaban, y entonces lloviera o soleara éste debía jugarse.
El equipo contrario tenía once jugadores, todos adornadamente vestidos y pintados listos para la competencia. Ellos usaban algo acolchado hecho de cuero alrededor de sus cinturas, sus hombros, sus brazos y piernas; que les permitiría soportar los golpes de la pelota de caucho sólido. La pelota pesaba un kilo. La pelota ahora fue lanzada en el juego, y cada jugador sabía que no podían dejar que ésta tocara tierra o sus manos.
Mat Head miraba el juego con intensidad, sabiendo que su hermana era parte de una apuesta en el cual si el equipo contrario ganaba, ella (su hermana) pasaría a ser propiedad de un comerciante local, un comerciante muy rico, el comerciante más rico en todo el Valle de Copan; ella pertenecería a él para hacer lo que a él le antojara. Pero si el equipo contrario perdía el comerciante perdería todas sus propiedades, que pasarían a manos de su cuñado, sus riquezas, y sería expulsado de la ciudad de 27,000 habitantes, Copan; quizás a Yucatán. Esto no era raro en esta clase de apuestas; esto era más mortal que las exposiciones en el Coliseo romano, en Italia. Esto era, los perdedores de este juego perderían sus cabezas.
Pero el Comerciante de Copan, como ya lo había dicho, era muy rico tanto que él proporcionó sílex, cal, y cerámica a la elite de la ciudad, a la ciudad entera y sus alrededores. Y el cuñado de Mat Head estaba casado con su hermana, la joven más hermosa en Copan.
El Comerciante de Copan, la había mirado en un número de juegos anteriores, y nunca podía sacar sus ojos de su belleza, su forma, y lujuriaba detrás de ella con ojos como de halcones. Para él, era valiosa la posibilidad de apostar en el juego, todo o nada; él no sabía cuánto el Cuñado de Mat Head se preocupaba o no se preocupaba por su esposa, pero él sabía que él era insaciable, e hizo la apuesta sin embargo y él la aceptó; así, sus instintos eran correctos; por que él no podía soportar más el dolor ardiente que sentía dentro de si mismo al mirarla caminar entre los templos de Copan, y deseando que ella le perteneciera, a cualquier precio, y un alma hambrienta hará algo más para impedir aquella hambre.
– El juego de pelota había comenzado, como ya lo dije, y la pelota estaba en el aire; algunos jugadores estaban pateando, y empujando sus caderas, mientras ellos golpeaban la pelota hacia adelante y hacia atrás, en el campo de forma de “I”, de 25 metros de largo, 10 metros de ancho; todos los jugadores queriendo que la pelota no tocara el suelo, el cual terminaría éste, y once cabezas serían cortadas.
De repente el juego se detuvo…un silencio se apoderó de cada uno, los once jugadores cerraban sus ojos; ah! era una gran cosa morir, ser sacrificado por el juego, pero por otra parte, habría sido mejor tener que morir más adelante, la mayoría de los jugadores sintieron de esta forma, estoy seguro.
Los espectadores respiraron profundamente para ver quién ganó y quién perdió. La historia no favorecería al cuñado hoy, lamentablemente para su esposa por seguro. Sí, sí, la fortuna sonrió al Comerciante de Copan; estoy seguro que mis lectores están ahora oprimidos sobre esta materia pero esto es como es, que puedo decir.
Así, el muchacho afortunado la agarró como un mono salvaje agarrando un plátano de las manos del alimentador, y apresuradamente la llevó a su domicilio. Él la lanzó sobre la cama como una piel de animal, sus ojos brillaban con lujuria y pasión, y él se derritió en su cuerpo como el calor sobre el hielo; si algo, ella fuera herida más allá de todo entendimiento.
‘¿Cómo podría él hacer esto?’ Ella gimió, mientras este hombre gordo, feo y rígido se le echaba encima. Sin embargo ella se dijo que al menos él la quería. Él estaba dispuesto a dar todo su dinero por ella; mientras que su marido la vendió por un boleto de juego, y una apuesta. Esto estaba fuera de su joven entendimiento.
Varios años pasaron, y el viejo comerciante se volvió más gordo y más viejo, pero aparte de ser lascivo sobre ella, él era un buen proveedor, y le dio todo lo que ella deseaba. Ella se hizo conocida como una mujer de negocio, y en su 67 cumpleaños, él murió sobre la cama, como supongo él deseó que esto fuera así. Consiguientemente, ella era ahora la heredera de las propiedades que él una vez tenía, porque no habían hijos implicados.
Entonces ella hizo un trato con su ex-marido, sabiendo que a él le gustaba jugar, y que quería el dinero. Ella hizo la misma apuesta, bien casi la misma, una clase similar de apuesta con él de todos modos, como el Comerciante de Copan había hecho antes; ella apostó todas sus propiedades sobre el siguiente juego, que su equipo ganaría, y si él perdía, su ex-marido, él tendría que ser decapitado, así como el equipo vencido. Bien, él sintió que él podría reconquistarla así perdiera o ganara la apuesta, y así él acepto la apuesta. Pero otra vez, la vida no lo favorecería, él no fue hecho para ser un jugador, por seguro, y después de perder él la rogaba perdonara su vida, que lo aceptara de nuevo, diciendo en esencia, que ambos podrían disfrutar de la riqueza que ella había adquirido, y su vieja posición en el reino.
Ah ¡mi Dios!, ella era tan cuidadosa, que le dijo que iría a su casa y que pensaría en esto y lo decidiría al día siguiente. Bien, él pensó que esto estaba bien, al menos eso le pareció mejor que perder su cabeza hoy, y solamente el hecho de que ella lo pensaría era bastante para iluminarlo, sintiendo que él tendría la victoria final, y que era él quien contaba, él la tendría de vuelta y los tesoros, que más podría él pedir.
Pero como ya lo había dicho antes, el destino no siempre estaba en su bolsillo, esa noche el gobernador, Mat Head, pidió la cabeza de su cuñado, como que él había perdido la apuesta. Él pidió que ella esperara por su hermana hasta el día siguiente y que ella lo arreglaría todo, pero ella dijo:
“Una apuesta es una apuesta…y ésta deber ser pagada”.
No puedo recordar que más dijo ella, pero su cabeza fue cortada en un segundo.
Cuando la hermana de Mat Head volvió a la mañana siguiente, preguntó por su ex-marido, y descubrió por su hermana, Mat Head, que ella lo había decapitado. Ella gritó un rasgón, una lágrima muy grande, y luego sonrió a Mat Head.
Dennis Siluk, you can see his most recent book “Spell of the Andes,” at most of your internet sites, like http://www.abe.com; it will be featured in the Huancayo, Peru Correo, newspaper, July 9, a review of the book, and on the internet for those interested; [http://www.Correo.com] – It will presented at the Ricardo Palma House, in Lima in October, by Luis Guillermo Guedes, Director. Dennis lives both in Lima, and Minnesota part of each year and is working on another book called, “Curse of the Abyss Worm.”
Article from articlesbase.com
Find More Cosa Articles
Facebook (FB) Super Fan Page Review and Coupon Discount
Facebook (FB) Super Fan Page Review and Coupon Discount.
Here is the Facebook (FB) Super Fan Page Coupon and Discount: Now, you can get Facebook (FB) Super Fan Page Coupon and Discount with the blow link, and the Coupon is from internet or official website, it is a good way that you can buy the cheap goods from Facebook (FB) Super Fan Page.
Get the Facebook (FB) Super Fan Page Coupon and Discount…
About The Facebook (FB) Super Fan Page: El reloj avanza, y no para. Si tú quieres probar el éxito DEBES tomar ACCIóN ahora…
Y recuerda, mientras más temprano actúes, más aventajado estarás sobre tu competencia.
?Por qué dejar que los días pasen, ahora que SABES que éxiste una manera más fácil y una fuente de TRáFICO y ventas interminable, para un afiliado, un comerciante… TODO desde Facebook?
Para aquellos que deseen hacer oidos sordos e ignorar este hecho, terminarán PERDIENDO y terminarán haciendo las cosas más dificiles de lo que deberían ser.
Pasó lo mismo cuando apareció Google AdWords… Me resistí a creer que era simple, y justo cuando me convencí de entrar, Google ya lo había empezado a complicar todo…
Y por eso es que cuando apareció Facebook nos metimos DE INMEDIATO… y por eso pensamos que tu también deberías hacerlo… Después de todo, el internet siempre está evolucionando, y tu necesitas EXPLOTAR estas oportunidades mientras que están ahí, en tus NARICES…
…aprovecha mientras se pueda y luego NUNCA te preocupes si es que ya no sirve en el futuro, por que tu habrás sacado provecho de la situación y habrás ganado dinero!
En este momento, es lo que tus competidores están haciendo…
Robando TUS comisiones de afiliado, TUS clientes y haciendo el dinero que debió haber estado en TU cuenta bancaria…
Get More detial for Facebook (FB) Super Fan Page…
It is my Facebook (FB) Super Fan Page Review, if you don’t agree with me and you can post your review below.
I think that Facebook (FB) Super Fan Page may is the leader company or supplier relative to other company in the world. First, the Facebook (FB) Super Fan Page’s product or service that is so good and different from the other company, I like it so much. second, the quality of Facebook (FB) Super Fan Page’s product or service is very good, and it is batter than other company. Third, the Facebook (FB) Super Fan Page’s after-sales service is the best and quickest.
Article from articlesbase.com
Un video per spiegare ai bambini come si fanno le pellicce, e chi erano.
Video Rating: 4 / 5
Gabriel Garcia Marquez’s `Del Amor y Otros Demonios’ : An Unwritten History of a People and Land
Gabriel Garcia Marquez’s `Del Amor y Otros Demonios’ : An Unwritten History of a People and Land
Gabriel Garcia Marquez maintains that he writes history, not fiction, that his novels are about the unwritten history of his people and land. Needless to say, the fantastical context in which his stories unfold, and which constantly defy readers’ credulity, make the Columbian novelist’s contention quite hard to accept. How is it possible to read One Hundred Years of Solitude as the history of the Columbian banana massacres of 1928, or Del Amor y Otros Demonios, as the history of colonialism and the true story of Saint Cajetan of Thiene and his well-recorded relation with the Augustinian nun, Laura Mignani? Yet, Marquez has repeatedly affirmed that his works are historical, that they tell the history of events as they were seen, understood and remembered by those who lived through themOfficial Columbian, Latin American history, as Marquez has persistently and repeatedly maintained, is a watered down version of the truth; it is a history written by, and for, those in power, designed, not to preserve the truth but, to sustain the power holders of the present and preserve the legend and memory of those of the past. Official history, within the parameters of such concerns, is a politically motivated re-telling of the truth which deliberately displaces the people, those who have lived through and experienced history and, challenges the national memory. As Marquez has often said, his works are designed to resurrect the true history, the version of history which official history has tried to bury. As such, he encourages readers to approach his works as realistic and truthful renditions of historical events. In Del Amor y Otros Demonios, the focus of this research, Marquez quite openly demands this of his readers. Just in case they fail to comprehend the narrative as the `true’ history of the interrelationship between the church and colonialism, between religion and the immiseration of countless of innocents, he alternately alludes to and explicitly names real historical characters. Few of his Latin American readers would not recognise Cayetano as a clear allusion to Saint Cajetan and, his protagonist’s surname, Delaura, as a reminder of his relationship with Sister Laura Mignani; a relationship which is echoed by Cayetano and Sierva Maria’s.
Should readers, despite their fantastical context and content, accept Marquez’ narratives as history, which Shaw concedes they could very well be, they need to reserve judgement on the manner in which Marquez remembers, interprets and presents history. Indeed, Marquez does not simply engage in the transmission of an alternative version of history but deconstructs official history in the process. His doing so, however, should not be interpreted as a disregard for, and a displacement of, fact but of the presentation of fact from within the magical realist context. Although the presentation of fact through the medium of a magical realist narrative persistently challenges the reader’s credulity, an analysis of the theoretical and definitional parameters of the genre, followed by a close textual analysis of Del Amor y Otros Demonios from within the matrix of magic realism, with specific focus on his treatment of place, dreams and memory, will lend to the conclusion that Marquez’s narratives represent a history as remembered and told by the people; a history infused with myth and supposition but, a history nonetheless.
As a literary and artistic genre, magic realism is apparently plagued by its insistent use of supplementation as a literary strategy for the improvement of the realist text. The boundaries framing realism so constrained many artists and burdened them with the nagging difficulty of how to compromise between realism and their own creative desires and inclinations that the movement towards magic realism was instigated. Supposedly, this genre expresses both the seen and the unseen realities, the historical memories which make and shape a people and the myths and superstitions which dominate their worldview. Magic realists contend that realism never allowed them the leeway to express reality’s multiple dimensions, further asserting that, as a linguistic and literary medium, it constrained their creativity. Magic realism supposedly overcomes realism’s boundaries and limitations and seems to displace its predecessor’s shortcomings through the conveyance of textual apparitions, ephemeral and ambiguous themes and images which cast a confusing and somewhat dark shadow over everyday life and its most mundane tasks. The magic realist text is, itself, somewhat akin to a fantastical apparition which, even as readers recognize the magical imagination which informs it, detect its underlying realism. In essence, the magic realist have been able to achieve this effect, have succeeded in enveloping readers in an alternate world where myth and history co-mingle and the boundaries between fact and fiction are fluid, because they have determinedly sought the overcoming of textual limitations. Magic realists, in other words, and chief amongst them Jorge Luis Borges and Gabriel Garcia Marquez, have contributed to the supplemental discourse that is magic realism through the infusion of a sense of textual magic in their own narratives.
Although the rationale behind the term `magic realism’ is evident from the above stated, it has been the subject of controversy and disagreement ever since it was first introduced by Franz Roh in the 1920s. Referencing a “counter-movement” in art wherein “the charm of an object was rediscovered” by expanding the parameters of realism,magic realism eventually found its home among the Latin American writers. Their almost instantaneous attraction to, and embrace of, magic realism was engendered by their conviction that they had finally found an artistic genre which allowed them the creative expression of the “marvellous reality” particular to their own culture, history and world view.
In order to better comprehend the implications of the asserted while, at the same time, contextualise magic realism vis-à-vis realism, it would be useful to define the latter in relation to the former. According to Roh, realism’s reliance on history was transformed into a dependency upon myth and legend by the magic realists; its mimetic style was replaced by both the fantastic and supplication; the familiarity which realism engenders among readers was displaced by de-familiarity within the context of magic realism; realism’s empirical and logical perspective was, almost violently, set aside for mysticism and magic; realism’s narrative style was replaced with meta-narration and its commitment to closure and reduction was exchange for open-ended expansiveness; realism’s naturalism became magic realism’s romanticism and its proclivity for framing the narrative within a rational cause and effect structure was replaced with imagination and negative capability. Indeed, the one appears the very antithesis of the other culminating in magic realism’s transforming “daily life into eerie forms.”
In tracing the rise of the genre in Latin America and, indeed, in defending its adoption by many of the continent’s creative artists, Flores assets that it was engendered by the “effort to account for a narrative that could simply be considered fantastic.” Magical realist narratives do “not depend either on natural or physical laws or on the unusual conception of the real in Western culture,” because it is a text “in which the relations between incidents, characters, and settings could not be based upon or justified by their status within the physical word or their normal acceptance by bourgeoisie mentality.” Even while conceding to the fantastic within this genre, Luis Leal, however, maintains a distinction between fantastical literature and magic realism:
“El realismo mágico no puede ser identificada ni con literatura fantástica ni con literatura sicológica, pero tampoco con el surrealismo o la literatura hermética que describe Ortega. Realismo mágico no se vale, como el sobrer-realismo, de motivos oníricos; tampoco desfigura la realidad o crea mundo imaginados, como lo bacín los escriben literatura fantástica o ciencia ficción; tampoco da importancia al análisis sicológico de los personajes, ya que no trata de explicar las motivaciones que los hacen actuar o que les prohíben expresarse.”
The variances in boundaries only serve to exemplify the difficulties inherent in defining magic realism. Indeed, unlike other genres, whether classicism, romanticism or realism, magic realism defies definitional delimitations, just as it does the persistent attempts of critics to pin it down.
Magic realism may be an autonomous and viable literary genre but the interrelationship between surrealism and magic realism has led to confusion regarding the boundaries between them, especially as magic realists have exhibited a proclivity towards the production of works which echo both. Alejo Carpentier, one of the leading Latin American magic realists, for example, can quite validly be categorised as a surrealist. In his insistence upon the “marvellous American reality,” Carpentier betrays the Latin American preference for an ontological outlook towards the textual enterprise, an outlook infused with both surrealism and magic realism. As Eschevvaria writes,
“The Latin American writer preferred to place himself on the far side of the borderline aesthetics described by Roh – on the side of the savage, of the believer, not on the ambiguous ground where miracles are justified by means of a reflexive act of perception, in which the consciousness of distance between the observer and the object, between the subject and that exotic other, generates estrangement and wonder.”
Some, as Carpentier, have interpreted this borderline as a shared and fluid boundary with surrealism while others, such as Borges and Gabriel Garcia Marquez have interpreted it as an explicit demarcation between magic realism and surrealism. Indeed, while Marquez succumbs to the concept of magic realism as fundamentally expressive of the inherent Latin American fantasia and, within the context of his narratives, constantly investigates and interrogates the very notion of the `real,’ he departs from surrealism and, instead, embraces a super-realism which becomes his brand of magic realism.
As a magical realist who seeks the expression of the super-real, Marquez employs a wide array of supplemental strategies for the intensification of the textual forces which enter into the production of a narrative which totters between realism and fantasy; which expresses an unreal reality wherein fact becomes fiction and myth becomes history but which, paradoxically enough, allow the reader an identification of the real and draws him/her into the text by weaving a sense of familiarity, even as it repels him/her from the narrative through de-familiarity. Consequently, when Shaw writes of Del Amor y Otros Demonios that “even if it is true, as [Marquez] has insisted […], that everything he has written is based on reality, we have to avoid jumping to conclusions about his treatment of [reality].’ We should not judge the text for what we may see as the distortion of reality and the deconstruction of history but need to evaluate it on its own terms, terms set by Marquez and by the genre which he embraced. Illustrating the stated through an analytical discussion and textual analysis of Del Amor y Otros Demonios, with specific focus on the use of imagery, the extent to which Marquez creates a shadowy world of reality intermingled with fantasy, a world in which myth and history alternate complement and challenge one another, shall be exposed.
In immediate comparison to modern and post-modern literature wherein writers afford little time or space to the description of place, Gabriel Garcia Marquez devotes considerable time to the precise and articulate description of place. Indeed, critics have maintained that Marquez-ian place is the focal point of his literary productions insofar as they play a profound role, not in the delimitation of the story’s locus but, in the development of plot, theme, character and, most importantly, the creation of symbols and myths. Del Amor y Otros Demonios exemplifies this wherein the aforementioned are expressed within the matrix of a complex interplay of multivalent narrative elements where images of place coalesce with visual-spatial imagery to produce a complex matrix of symbolic space which simultaneously defines and borders the narrative’s ethical and affective values.
Telling the hi-story of the eighteenth century Marques de Casalduero’s twelve-year old daughter, Sierva Maria de Todos los Angeles, Del Amor y Otros Demonios is, in essence, the story of confused familial and marital relations, distorted relations between man and religion and male and female. It is, to a degree, an other-worldly narrative which manages to deeply shake and disturb readers because, within the context of its repulsive defamiliarisation, it is familiar. The Marquez is described as follows:
“no daba señales de nada. Creció con signos ciertos de retraso mental, fue analfabeto hasta la edad de merecer, y no quería a nadie.”
His wife, who had chased him prior to marriage for the sole purpose of having a child is “para atraparlo por vida,”and later, “se había borrada del munda por el abuso de la miel fermentada y las tabletas de cacao.”Within the matrix of the described familial unit and the characters and relationships which dominate it, Sierva Maria is practically abandoned, and grows up in her father’s courtyard among his African slaves, speaker their language and worships their gods.
One day, while visiting the market, Sierva is very slightly nipped in the ankle by a rabid dog. The wound, nothing more than a scratch, heals but the local Catholic bishop persuades the Marquez that his daughter is, indeed, infected with rabbis, and that the former is nothing other than a dreaded manifestation of demonic possession. As don Torbio de Caceres y Virtudes tells the Marques, “entre las muchas astucias de demonio es muy frecuenté adoptar la apariencia de una enfermedad inmunda.”Sierva Maria is subsequently locked up in the convent, in preparation for her exorcism. There she meets the priest assigned to her exorcism and, unaccountably, the two fall in love. Their affair, which in typical Marquez-ian fashion, is never consummated, is discovered and culminates in padre DeLaura’s being defrocked, and subjected to a lifetime of service at the local leprosarium. Trapped in a straitjacket, a shaved, purged and emaciated Sierva Maria endures five days of exorcism but tragically dies just before the sixth. Within the context of the stultifying atmosphere of colonial Cartagena, described as ” sumergida en su marasama de siglos,” this fantastical, super-real tragedy unfolds in a triad of place, which arguably symbolize the trinity: the Casalduero mansion (the father), bishop Toribio de Caceres’ palace (bishopp as son of God, the earthly, and distorted, embodiment of Christ and his message); and the Convento de Santa Clara (the Holy Spirit) where, after enduring five days of intense torture (comparable to Christ’s scourging) Sierva Maria’s spirit is released.
Whereas the plot unfolds from without the Casalduero mansion, all of plot, theme and character development are inextricably linked to this particular locus. As readers discover, the mansion “había sido el orgullo de la cuidad hasta principios de siglo. Ahora estaba arruinada y lóbrega, y parecía en estado de mudanza por los grandes espacios vacíos y las muchas cosas fuera de lugar … todo estaba saturado por el relente opresivo de la desidia y las tinieblas.” The negative impression, communicated in the quoted passage, is later fortified through repeated references to the mansion as “la tenebrosa mansión”and “la casa sórdida” to name but two examples. In various passages and phrases, such as the quoted, the mansion is depicted, not as an inanimate structure but as a dark force which not only casts a sinister shadow on all within it but, on its surroundings as well. Indeed, by describing the house as sinister, sordid, tenebrous and lazy, to name but a few of the adjectives used, Marquez is effectively defying the reader’s classic conceptualisation of mansions as brick, stone and mortar and seeks a projection of the aforementioned as a sinister and autonomous entity whose tentacles spread to touch those around it with misfortune and ill-fate. When Sierva Maria ventures just outside the house and is slightly nipped by a dog, setting in motion the tragedy which follows, the reader finds himself slowly descending into a state of belief; he finds his protective armour of disbelief gradually dissipating and begins to question, although hesitatingly, whether indeed, the house commands a sinister presence and has the power to touch those in its vicinity with ill-fate. Marquez is slowly drawing us into his world of magical realism.
That the mansion commands those within and without it, that it influences their psychological development, shapes their personality and determines their state of mind, is affirmed and reinforced through multiple passages in the narrative. The way in which Bernarda and Ygnacio react to Servia Maria’s troubles is communicated through their choice of dwelling within the mansion itself. Ygancio, feeling that he is losing control of his family and life attempts to regain control through a failed attempt to assume control over the house, “ël marques … anuncio … su determinación de asumir con mano de Guerra las riendas de la casa.”His life, which is wildly slipping out of his locus of control, is symbolically represented by the house which is, or has, similarly fallen from beyond his control. Interestingly, however, in the quoted expression of his determination to regain control of his house, and by association, his life, military imagery is used, effectively depicting the house as a wild and fierce entity which has to be violently conquered. Indeed, the linkage between both his house and his life slipping from beyond his control, reaffirms earlier suspicions that the mansion is exerting a dark and mysterious influence over events and once the house is conquered, the Marquez life will be, once again, ordered. This is not an inanimate object but a dangerous and sinister entity. Hence, the Marquez reacts to his daughter’s troubles by inadvertently maintaining the mansion’s culpability, seemingly believing that the resolution of the first lies in assuming control over the second. Marquez is not only stretching the readers’ imagination but is challenging us to enter into the narrative’s superreal world and, in so doing, embrace Coleridge’s `willing suspension of disbelief.’
Bernarda similarly reacts. She initially attempts to distance herself from the troubling events which are unfolding by locking herself in her room, by isolating herself from her external surroundings. It is a useless endeavour as the problem lies, not with the outside world but, with the house. Therefore, she eventually leaves the mansion “para no volver.”
Just in case readers fail to comprehend just how menacing a force the mansion is, Marquez suggests that the house murdered Sierva Maria’s mother, the Marquez’ first wife. One day, while on the asylum terrace, perfecting her musical skills as she is accustomed to doing, Dona Olalla is struck dead by a bolt of lightening. In response, the Marqués “se refugio en la hamaca … bajo los naranjos del huerto.”The house kills his first wife, drives his second wife away, destroys and kills his daughter and, quite literally, lays him, the Marques, on his back. Hence, images of the reclining Marquez are repeated throughout the novel.
The mansion is not just the locus of action but a sinister and malevolent force whose decaying, dark and disordered nature influences the personalities and fate of those who dwell within it. On the most elemental of levels, the decrepit mansion mirrors the decrepit Marquez and, as a symbol of colonial politico-economic power, is infused with multiple symbols and contrasting motifs. Indeed, the mansion symbolises both exile and displacement, and freedom and enslavement, to name but two of those contrasting motifs. More importantly, all of the mansion’s inhabitants, the Marquez, his two wives and his daughter, undergo periods of voluntary and involuntary exile, as allowed or imposed upon them by the mansion itself.
The second locus of action, the palacio is as malevolent and shadowy as was the mansion. Described as “el mas antiguo de la ciudad,” it is comprised of ” dos pisos de espacios enormes y en ruinas.” Its dark corridor, the palacio’s main vein, is full of “hasta la fachada imponente de piedra labrada y sus portones de maderas enterizas revelaban los estragos del abandono.” Full of dark, empty and uninhabited places, readers are told that “el resto del edificio eran once aposentos clausurados, donde se acumulaban los escombros de dos siglos.” The palacio, therefore, is not only largely uninhabited and deserted but it repels life. Full of the rubbish of the centuries, it embraces the dead, the rotting and the decaying while it repels life, vitality, the present and the young. It should not be forgotten that the decision to exorcise Sierva Maria, to sap the life out of her, was made at the palacio and by its similarly decaying resident, the bishop.
Just as the mansion affected its inhabitants, the palacio affects its resident. The bishop, like the Marquez, is seemingly controlled by his place of dwelling; its decaying and polluted air is mirrored within the depths of the bishop’s very being and compels him to condemn life and love. Furthermore, just like the mansion did with the Marquez, the palacio effectively drains the life and will out of the bishop and, quite literally, lays him on his back, whereby, in many of the scenes where he figures, the bishop is in a reclining position.
The palacio, just as the mansion, is not a mere inanimate dwelling but a dark and shadowy force which casts a sinister influence and effect upon those who reside within it and come into contact with it. The palacio, quite literally, repels life and functions as the locus from which life is condemned and the young are claimed for torturous exorcisms. Marquez does not give his readers the opportunity to ignore either locus or the comfort of regarding them as structures of mortar, stone and brick. They are infused with a powerful and highly malevolent life force which affects the actions of their inhabitants and thus, makes them responsible for the tragedy of lost life and love which follows.
The third locus of action, the convento de Santa Clara, is where Sierva Maria finds both love and death. The readers’ initial impression of it is both negative and disturbing:
“Había relámpagos y truenos remotos en el horizonte, el cielo estaba encapotado, y el mar áspero. A la vuelta de la esquina les salio al paso el conventote Santa Clara, blanco y solitario, con tres pisos de persianas azules sobre el muladar de una playa.”
Again,
“Al final de todo, lo mas lejos posible, y dejado de la mano de Dios, había un pabellón solitario que durante sesenta y ocho anos sirvió de cárcel a la Inquisición, y seguía siéndolo para clarisas descarriadas. Fue en la ultima celda de ese rincón de olvido donde encerraron a Sierva Maria …”
As evident in the quoted passages, the convent is depicted as a sinister force, overlooking the city below. It is a fortress in which life is imprisoned and gradually drained. Indeed, as it watches over the city, and observes the inhabitants below, it seemingly selects its sacrificial victims, drawing on their life force to retain its own vitality. The passing historical reference to the Inquisition is highly disturbing, all the more so when Marquez reminds his readers that Sierva Maria is imprisoned in one of the convent’s forgotten corners and will soon, in the name of religion, be subjected to the same torture and agonizing death that the Inquisition’s victims had suffered centuries earlier. In these passages and many others, the convent, thus, emerges as the penultimate force of darkness; a living entity which has, across the centuries, claimed countless of innocent lives for its own sustenance. Sierva Maria is just one in the convent’s long line of victims.
Sierva Maria attempts to challenge the convent by bringing life, love and light to its dark cells. When padre Cayetano, her exorcist/inquisitor, first enters her cell, it “exhalo un vaho de podredumbre” as Sierva María was “generaba su propio muladar.”However, she is the force of life and love in this place and soon, Padre Cayetano falls in love with her. When that happens, the cell “ella mantenía la celda limpia y en orden para cuando el llegaba con la naturalidad del marido que volvía a casa.” She affects a transformation in her surroundings and during the exorcism is, at one point, able to temporarily defeat the bishop, the senatado. Indeed, she engages in a shouting match with the bishop, causing him to fall from his chair, although she is, hersekf, tied down, emaciated and terrified. Servia Maria is able to temporarily halt the exorcism ritual, stay her own death: “se derrumbo de bruces, como un pescado en tierra, y la ceremonia termino con un estrépito colosal.”
Sierva Maria battles the convent itself, the sinister force which it represents. While she is ultimately loses the war, her love and life, she does win a couple of battles. The interplay between the convent and Sierva Maria only confirms the reader’s ever-deepening suspicions regarding this place; it is not an inanimate architectural structure but something immensely more sinister. As he repeatedly does throughout the narrative, Marquez forces the reader to question the limits of his/her own conceptualisation of the real; to engage in the interrogation, not just of the concept but, of their own understanding of it. Indeed, as occurs countless times throughout, he wretches away our disbelief and draws us into a world in which `unseen’ realities are visibly, and disturbingly, clear.
Proceeding from the above, the reader can quite safely assume that places, as recalled and presented by Marquez, appear as the very antithesis of fact and history. The sinister life given to the three places described, the three loci of the narrative’s action, cannot be true and, to even suspect a grain of truth to any of this, the reader must do one of two things. He/she must either suspend disbelief or make a distinction between the types of memories from which history is produced. Both Bergson and Proust maintained that the memory which informs official history is distinct from that which informs works of fiction. The one is a voluntary and conditioned memory, in which things are remembered sequentially while the other is an involuntary memory where things are remembered in a disjointed manner, often lending to the formation of remarkable associations between diverse events and the imposition of fantastical/mythical interpretations upon them. Marquez, similar to all magical realists, opts for involuntary memory, lending to the presentation of a history which defies the official national memory and the limits of our credulity. Were readers, however, to suspend their disbelief and realise that Marquez’ presentation of the three loci, and his projection of them as sinister beings as opposed to inanimate structure, mirrors the way in which involuntary memory informed the manner in which events were recollected and passed down across the generations, we may very well begin to understand that Marquez’s presentation of place, as discussed above, is not as incredulous as it should be.
That Marquez’s narrative and his presentation of reality, of fact, emerge from within the parameters of involuntary memory, infused with the earlier discussed elements of magical realism, is informed by involuntary memory and is affirmed through the dream image which occurs three times in the narrative. This image, which appears to Delaura in the form of a dream, prior to his meeting with Sierva Maria, is immediately linked to the unfortunate young protagonist:
“Delaura había sonada que Sierva Maria estaba frente a la ventana de un campo nevado, arrancando y comiéndose una por una las uvas de un racimo que tenia en el regazo. Cada uva que arrancaba retoñaba en seguida en el racimo. En el sueno era evidente que la niña llevaba muchos anos frente a aquella ventana infinita tratando de terminar el racimo, y no tenia prisa, porque sabia que en la ultima uva estaba la muerte.”
As is ultimately revealed, the window through which Sierva Maria looks out onto the frozen fields is the window of the Salamabca seminary from which Delaura and the bishop used to, years earlier, look out of onto the same scene. Later, when incarcerated in her cell awaiting her exorcism, Sierva Marie makes a passing remark which indicates that she has had that same vision/dream. As she tells Delaura, “He conocido la nieve,”further explaining that in one of her dreams, “estaba frente a una ventana donde caía una Nevada intense, mientras ella arrancaba y se comía una por un alas uvas de un racimo que tenia en el regazo.”The reader experiences an incomprehensible déjà vu; Sierva Maria is not only describing Delaura’s dream image but is claiming it as her own, using many of the same words and descriptors which Delaura had earlier employed. When the dream image reoccurs for the third and final time, it heralds Sierva Maria’s imminent death:
“… volvio a sonar con la ventana de un campo nevado, donde Cayetano no estaba ni volveria a estar nuncia. Tenia en el regazo un racimo de uvas doradas que volvian a retonar tan pronto como se las comia. Pero esta vez las arrancaba una por una, sino de dos en dos, sin respirar apenas por las ansias de ganarle al racimo hasta la ultima uva.”
Granted that in this version of the dream, as dreamt by Sierva Maria, there is a small variation on the original, the main point here is that dreams and images are co-mingling. Delaura’s dream is shared and repeated by Sierva Maria and, testing the limits of credulity even further, the place within which the dream unfolds is real for Delaura but imaginary for Sierva Maria.
This cannot be history and can hardly be categorized as factual or realistic yet, Marquez insists that, as with all his narratives, it is. Indeed, he even frames the story within a factual context. The Prologue is clearly dated 1949 and depicts the reporter/narrator as recounting his visit to the Santa Clara convent, which was being converted into a luxury hotel and there, witnessing the opening of crypts and being witness to an amazing discovery in one of them:
“… una cabellera viva de un color de cobre intenso se derramo fuera de la cripta. El maestro de obra quiso sacarla por completa con la ayuda de sus oberos, y cuanto mas tiraban de ella mas larga y abundante parecía, hasta que salieron las ultimas hebras todavía prendidas a un cráneo de niña … extendida en el suelo, la caballera esplendida media veintidós metros con once centímetros.”
The narrator then tells of a mythical tale his grandmother spoke of when he was a child; the legend of “una marquesita de doce anos cuya cabellera le arrastraba como una cola de novia, que había muerto de mal de rabia.” The discovery made in the crypt puts a new twist on the legend. The discovery is factual evidence that the grandmother’s legend was not a mythical tale, after all, but history which, due to its incredulity, was told as fiction.
A new reporter, a source of authority and credibility, is the narrator of this fantastical tale; the reporter tells us that a corpse has spouted hair and that hair is a heavy mane of rich copper. We begin to wonder whether, indeed, any of this can be true. Throughout the narrative, this question constantly repeats itself, ultimately taking us to the point where we can no longer separate fact from fiction, history from myth. Marquez insists that this is history and, as recounted, we disturbingly suspect that this may, indeed, be fact/history.
Throughout the narrative, history mingles with myth and facts become coterminous with history. Shaw tells us that Marquez insists that he was writing facts and warns us against jumping to hasty conclusions regarding his treatment of them. On the literary and theoretical levels, we understand that history and facts were conveyed through the devices particular to magic realism. On another level, however, we come to understand that reality is far more complex than we can ever imagine it and that history speaks only of the believable facts, and excludes those which the generations could find unbelievable. As Shaw advices, no hasty conclusions regarding Marquez treatment of fact and history shall be made but we may, nonetheless, affirm that reality is like an iceberg whereby only an eight is visible to the naked eye, and the remainder is shrouded beneath icy and unfriendly deep waters.
Bibliography
Echevarria, Roberto Gonzales. Alejo Carpentier. Texas: University of Texas Press, 1990.
Flores, Angel. “Magical Realism in Spanish American Fiction,” Hispania, 38 (1955).
Monegal, Rodríguez. “Lo Real y lo Maravilloso en El Reino de Este Mundo,” Revista Iberoamericana, 37(1971).
Posaa-Carbo, Eduardo. ”Fiction as History: The bananeras and Gabriel Garcia Marquez’ One Hundred Years of Solitude,” Journal of Latin American Studies, 30, 2(1998.
Roh, Franz. German Art in the 20th Century . New York: Greenwich, 1968.
Shaw, Donald. A Companion to Modern Spanish American Fiction. London: Tamesis, 2002.
Toukey, Ann. “Notes on Involuntary Memory in Proust.” The French Review, 42, 3 (Spring, 1974).
Zuluaga, .Conrado. Puerta abierta a Gabriel Garcia Marquez: aproximacion a la obra del Nobel colombiana. Barcelona: casiopea, 2001.
Article from articlesbase.com
Find More Cosa Articles
