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5671
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1
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https://unesdoc.unesco.org/ark:/48223/pf0000098081
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en
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[] |
[] |
[] |
[
""
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https://unesdoc.unesco.org/ark:/48223/pf0000098146
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en
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dbpedia
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3
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https://robinlyons.co.uk/television-animation/
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en
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Television Animation – Robin Lyons
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en
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https://robinlyons.co.uk/television-animation/
|
Television Animation (as Producer)
SuperTed (1982 -1986) was the reason why Robin Lyons fell in love with animation. Having ghost written the SuperTed books for its creator, Mike Young, Robin helped found Siriol Animation in Cardiff to make the animated series for the Welsh language channel, S4C. He wrote all 36 episodes of the series made in the UK, directed the voices and produced the third series. 36 episodes were made in all. They were sold all over the world.
The series won a BAFTA for Best Animated Film and was heavily merchandised. It still has a cult following today.
Wil Cwac Cwac (1982 – 1986). At the same time as making SuperTed Siriol Animation made 30 x 5 minute episodes of Wil Cwac Cwac, a series based on characters from the classic Welsh album, Llyfr Mawr Y Plant. The series was directed by Beth McFall, written by Urien William and narrated by Myfanwy Talog. Hugely popular with Welsh speaking audiences, Wil Cwac Cwac was a commission from S4C and sold to more countries than SuperTed though it had less merchandising success. Robin Lyons was the Producer of all three series.
Sion Blewyn Coch/ Sion The Fox/ Fox Tails (1986 – 1988). After Wil Cwac Cwac Robin Lyons wrote and produced three half hour specials based on another character from Llyfr Mawr Y Plant, Sion Blewyn Coch. These were a commission from S4C and directed by SuperTed director, Dave Edwards. In English these were called A Winter Story, Easter Egg and Turkey Love. They were known collectively as Fox Tails.
Gerald Of Wales (1988) was a half hour special commissioned by S4C and Cadw (Historic Welsh Monuments) to celebrate the 800th anniversary of Gerald Cambrensis’ travels around Wales to drum up support for the crusades. The original material may be dry but the comic, child-friendly script, narrated by Max Boyce and animated in simple 2D, was anything but. Robin Lyons was the producer and contributed gags to the script.
Space Baby (1988) was a half hour pilot made for Hanna Barbera and was the last production of Siriol Animation. Written by Robin Lyons and Judy Rothman and produced by Robin the pilot was made into the series Fantastic Max by Hanna Barbera. By this time Siriol Animation was no more and Robin had no involvement in the series.
After Space Baby the directors of Siriol Animation went their separate ways and Robin Lyons formed Siriol Productions which made the features “The Princess And The Goblin” and “Under Milk Wood”. Shortly afterwards Robin Lyons created the studio grouping, EVA, with Jean-Francois Laguionie from La Fabrique (France), Pierre Levie from Sofidoc (Belgium) and Jürgen Egenolf from Egenolf und Jeske (Germany). This group made several coproductions and Robin Lyons coproduced (with Jean-François Laguionie) the special Santa and The Tooth Fairies (1991), the series Tales of the Tooth Fairies (1993 – 4) and the Channel 4 special Robert Creep: A Dog’s Life (1994) which was co-written by Robin Lyons and Andrew Offiler. These were all projects shaped creatively by La Fabrique.
Kersplat! (1991) was a live action series about comics for Channel 4 coproduced with Red Rooster. Robin Lyons and Andrew Offiler wrote the scripts and Siriol was the coproducer.
Santa’s First Christmas (1992) was a special also made with the EVA studio grouping but was very much a Siriol production. Written by Robin Lyons and Andrew Offiler and produced by Robin Lyons it was a coproduction for S4C, BBC, and WDR.
Romuald The Reindeer (1996) was a character that appeared in both Santa’s First Christmas and Santa and the Tooth Fairies. Robin Lyons and Andrew Offiler created a series for him which was made with the studio grouping but led creatively by Siriol. Nigel Planer was the voice of Romuald and Nigel’s brother Roger wrote the scripts and music. The series was shown on S4C and BBC in the UK and was nominated for a BAFTA award in 1996. Robin Lyons was the producer.
Billy The Cat (1996 – 1998) was a series based on the Belgian graphic novels by Stephen Desberg and Stéphane Colberg. The first series was produced by Robin Lyons and was made through the grouping but also with a Canadian coproducer. At 26 x 26′ this was the biggest series ever undertaken by Siriol Productions. Animation was done in Wales, France, Spain, Poland and Canada. The series was an international success but had little exposure in the UK. Siriol was not able to raise money in the UK and withdrew from the second series.
After Billy The Cat EVA, the studio grouping, started to disintegrate. Egenolf und Jeske had already become Cologne Cartoon and later became JEP Animation. Jean-François Laguionie left La Fabrique to concentrate on animated features. Pierre Levie continued working with Sofidoc until shortly before his death in 2010 at the age of 93.
From 1993 Siriol Productions had been working with DIC and Scottish Television (STV) on a series called The Hurricanes (1993-1997) and following the break-up of EVA it solidified its relationship with STV by selling it a minority stake in the company. With STV Siriol produced two series for ITV.
The Blobs (1997-8) was based on books published by Beano publisher D C Thomson and was about blobs of paint. Siriol made two series, both produced by Robin whose daughter Stella appears in the title sequence. The series was shown on ITV and S4C in the UK.
Meeow (1999-2000) was based on the Maisie books by Aileen Paterson and followed the adventures of the adventurous cat MaisieMac. If Wil Cwac Cwac was the most Welsh production Robin produced Meeow was the most Scottish. Narrated by Stanley Baxter it was immensely popular in Scotland in both English and Gaelic. Robin was the producer.
After Meeow! Siriol Productions severed their links with STV and made their first stop-motion series.
Hilltop Hospital (1999 – 2001). After SuperTed, Hilltop Hospital is probably the most successful animated series produced by Robin Lyons. Based on the books by Nicholas Allan, the series was coproduced with French studio, Folimage, and had an all star voice cast that included Brian Murphy, Celia Imrie, Kevin Whately and Paul Shane. It was sold extensively internationally and won several awards including Best European series at Cartoons On The Bay and in 1999/2000 a BAFTA for Best Preschool Animation. The series was made for ITV, France TV and ZDF.
The Drums Of Noto Hanto (2000) was a 15 minute film commissioned as part of S4C’s Tales of the World series. The story of how frantic drumming kept at bay marauding invaders was directed by Les Orton and produced by Robin Lyons.
Knife and Wife (2001) was a half hour Comedy Lab for Channel 4. Written by Paul Rose the film had voices by Ruth Jones, Terry Jones, Brian Murphy, Kevin Eldon and Jessica Stevenson. Robin Lyons was the producer.
Sali Mali (2001 – 2003) was a series simply animated in 2D animation based on the iconic Welsh language books by Mary Vaughn Jones. Narrated by Rhys Ifans and with a song sung by Cerys Matthews the series was shown on S4C in Welsh and Channel 4 in English. Robin Lyons was the producer.
Fireman Sam (2003-2004). Robin set up a studio in Cardiff to produce what proved to be the last series of Fireman Sam made in stop motion animation. This was a revival of the series made by Bumper Films in the 1980’s. The series was sold successfully around the world but the rights owner, Hit Entertainment, decided to switch to computer generated animation when creating further series. Robin was nominated for a BAFTA for this series in 2003/2004.
Between 2003 and 2006 Robin produced two series of Bobinogs for BBC Wales. This was a simple, educational series for young children which enjoyed some success. It was directed by Mike Price.
Between 2003 and 2006 Robin Lyons produced two series of Bobinogs for BBC Wales. This was a simple, educational series for very young children which was very successful. It was directed by Mike Price.
During this period Siriol Productions was sold to Sleepy Kids plc which rebranded as Entertainment Rights plc. Robin Lyons was a director of this company but bought his company back in 2005 and rebranded it as Calon. The rejuvenated Calon made some live action programming for S4C – Bytis (Mascot and Me) Llew ap Blew and Camelot Codebreakers – before landing a live action network drama commission for Children’s ITV.
Help! I’m a Teenage Outlaw (2005 – 6) was initially a comic take on the story of the Welsh outlaw Twm Sion Cati and was developed by Robin’s niece, Holly Lyons. When it became clear that there was no appetite for the series in Wales the idea was broadened out and Holly brought in her husband, Andy Watts to help with the writing. The series was coproduced with CITV and Nickelodeon and shot in the Czech Republic. Robin Lyons was Executive Producer.
Psi – 5 (2007) was a standalone episode pilot made for S4C in an adventurous photo-montage style. Despite a good critical response on broadcast money was never found to make the series. Robin Lyons was the producer.
Hana’s Helpline (2007 – 2009) marked a return to stop-motion animation. A series about an agony aunt duck, Hana’s Helpline continued where Hilltop Hospital left off, using simple child-friendly comedy to tackle the day to day problems faced by children about to go to school. Whereas Hilltop Hospital dealt with everything from wetting the bed to organ transplants Hana’s Helpline had episodes about bullying, adoption and moving house. Hana’s Helpline sold around the world and won two BAFTA Cymru awards and a Broadcast award for Best Children’s programme. It was made for S4C, Channel Five and ZDF. Robin Lyons was the producer.
Zoo Factor (2010) was a puppet show initially developed for S4C but ultimately commissioned by CBBC. It was made in coproduction with Telegael in Ireland and marked the beginning of a relationship that continued with the second series of Igam Ogam, 390 and the feature Captain Morten and The Spider Queen. The puppetry was shot in Telegael’s studio in Connemara. The series was a parody of talent shows such as the X Factor but with a cast of animals. The head judge assessed most acts on the basis of whether they might be good to eat. Robin Lyons was Executive Producer.
Igam Ogam (2010 -11) (2013 -14) was produced in two 26 episodes with a gap in between. Made for S4C, Channel Five and ZDF the first series benefited from funding from European and Welsh government that was not available for the second series. Eventually Robin accepted an invitation from Telegael to set up a stop motion series in Connemara and the balance of the funding was found through sources in Ireland. Robin Lyons was the producer.
390 (2016) exists both as a series of short episodes and a half hour special. It is the brainchild of Italian animator Giovanni Scarfini with whom Robin worked for several years developing the concept which is about the kind of gadgets advertised in comics. The series was funded mainly by France TV’s web division with help from S4C, Samka Productions and Robin’s long term collaborators, Telegael. Robin produced the series which consists of a 6 x 3 min serial and six spoof advertisements for gadgets.
After 390 Robin’s focus has been on animated features and also on writing.
In 2020 Robin produced another series of Sali Mali updating the iconic Welsh figure and introducing other characters from the same stable. These include Tomos Caradog and Jaci Soch. The series was made entirely in Wales by artists working at home during the Coronavirus lockdown.
At present Robin’s focus is primarily on animated features, but he is developing two series for television: a comedy for 7-10 year olds called #NostoppingNora and an adaptation of the book Something Different
|
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https://www.manawa.com/en-GB/activity/france/la-ciotat/via-ferrata/via-corda-of-trou-souffleur-in-the-calanques-of-la-ciotat/14473
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en
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Via corda of Trou Souffleur in the calanques of La Ciotat
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https://res.cloudinary.com/manawa/image/private/c_fill,g_auto,h_630,w_1200,q_auto/15e19df1b55dc8445d31c2bd69557534
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Walk along the cliffs just a few meters above the Mediterranean Sea on the via corda course of the Trou Souffleur in La Ciotat! Best price guarantee. No fees!
|
en
|
/favicon.ico
|
Manawa
|
https://www.manawa.com/en-GB/activity/france/la-ciotat/via-ferrata/via-corda-of-trou-souffleur-in-the-calanques-of-la-ciotat/14473
|
Walk along the cliffs just a few meters above the Mediterranean Sea on the via corda course of the Trou Souffleur in La Ciotat!
In the heart of the Calanques National Park, east of Marseille, the via corda of the Trou Souffleur in La Ciotat offers a course mixing climbing and hiking on cliffs close to the sea. Between abseiling, climbing and a zipline traverse, you will have a fun and entertaining time with your friends and family, in a small group of 10 participants maximum!
A state-qualified guide will be there to ensure your safety all along the via corda of the Trou Souffleur, which you will be secured with a harness and 2 carabiners. Depending on the level of the group, you will be able to take more or less breaks during the activity, which will offer you superb panoramic views of the sea and the cliffs around the Trou Souffleur, a site so named because of the breath and noise caused by the crashing of the waves on the cliff.
If you are looking for a very accessible sport experience with some sensations in the Calanques National Park, the via corda of the Trou Souffleur in La Ciotat will seduce you!
|
||
5671
|
dbpedia
|
3
| 72
|
https://www.abebooks.com/9790006531646/Zoo-piano-Romuald-Twardowski/plp
|
en
|
At the Zoo (for piano)
|
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[] |
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[
"Antoni Cofalik",
"Antoni & Twardoski",
"Romuald Twardowski"
] | null |
At the Zoo (for piano) by Romuald Twardowski - ISBN 13: 9790006531646 - Bärenreiter
|
en
|
https://www.abebooks.com/9790006531646/Zoo-piano-Romuald-Twardowski/plp
|
A piano is a welcome visitor at the zoo. You don't have to be a lion of the keyboard to play this little collection. Antelope, reindeer, and elephants cluster around the young pianist.
The kangaroo takes bold leaps, the bear ambles with measured gait at a comfortable maestoso , the crocodile slithers in a smooth legato, and the beaver baffles the eye with dexterous nibbles. The player rides horseback on a pony with tiny staccato leaps, and grasshoppers set accents of their very own.
Each of these charming pieces poses a special technical task that young players can master playfully, almost effortlessly. Dry études become a thing of the past. Even the colourful illustrations by Marcin Bruchnalski reflect the character of the music.
|
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5671
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dbpedia
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0
| 66
|
https://m.facebook.com/groups/469283803082922/posts/1762469327097690/
|
en
|
Facebook
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[] |
[] |
[
""
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de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
| null | |||||||
5671
|
dbpedia
|
0
| 89
|
https://www.sortiraparis.com/en/articles/tag/christmas-and-holidays
|
en
|
Christmas and holidays
|
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Lumières en Seine at the Domaine de Saint-Cloud, the magical route - final days
Lumières en Seine is the sublime Festival of Lights that will once again illuminate the Domaine de Saint-Cloud, from November 17, 2023 to January 14, 2024. The program includes a magical stroll of almost 2km, to be enjoyed over the festive season.
Christmas 2023 in Paris: the Dior Yule log by Jean Imbert at 30 Montaigne
Celebrate the festive season with elegance and refinement thanks to the Dior Yule log, available at 30 Montaigne from December 15, 2023. A sweet couture creation by chefs Jean Imbert, Romuald Bizart and Camille Lochouarndévoile, for a highly stylish New Year's Eve meal.
12 websites to resell your Christmas gifts, without any fuss ...
Every year, Christmas presents are double or nothing. Sometimes a dream, sometimes the wrong thing, the presents aren't always pleasant surprises. So, to lighten the scowl on your face, we're secretly revealing the 12 best sites for reselling "poisoned" Christmas presents. To be consulted incognito ...
Christmas 2023: where to put your Christmas tree after the festivities in Paris?
Once the festive season is over, the City of Paris invites you to drop off your Christmas tree at one of the capital's many collection points, until January 20, 2024!
Hauts-de-Seine: Santa Claus authorized to travel by sleigh with his reindeer thanks to a decree
On the night of December 24th to 25th, all the children are impatiently waiting for Santa Claus to come and visit them, and to make it easier for him to get around, a mayor in the Hauts-de-Seine department has issued a decree authorizing him to travel around with his sleigh!
Christmas Brunch 2023 at Maison Villeroy
Maison Villeroy, a small, confidential pocket luxury hotel with a fine Michelin-starred restaurant, is offering us an exceptional lunch for the day after Christmas Eve, on Monday December 25, 2023.
Christmas 2023: every day, a new release unveiled in your Sortiraparis advent calendar
To tide you over until Christmas, Sortiraparis invites you to discover a new outing every day. From December 1 to 24, follow us to the restaurants, museums, theaters, fun experiences and monuments of Paris and the Île-de-France region!
D-118 before Christmas! Did you know? Where does the story of Santa Claus come from?
Every December 25, Santa Claus delights children by bringing them gifts by the thousands. But where does he come from and why is he red? We reveal the secrets of Santa's true story.
Léandre Vivier's magnificent Yule Log for Burgundy Paris 2023
Léandre Vivier, the talented Pastry Chef at the Burgundy Paris, unveils a superb, curvaceous Yule log for the 2023 festive season.
The exceptional Petit Train du Cheval Blanc Yule Log Paris 2023
For its 2023 Yule log, Cheval Blanc Paris is offering us a gourmet experience that takes us back to our childhood memories: an all-chocolate magic train, a delicious reinterpretation of traditional wooden toys, with a gourmet tribute to travel and hazelnuts.
Lenôtre's Bûche de Noël Luge by Etiennne Leroy and festive creations 2023
For the festive season of 2023, Maison Lenôtre takes us into a magical world. We discover the creation of Etienne Leroy, World Pastry Champion, a sublime Luge Yule Log filled with gifts. Discover the gourmet treats and festive creations in store this year from the famous house.
The crispy Lulu Yule log at the Lutetia Paris 2023 by Nicolas Guercio
Looking for an exquisite and unique Yule log for the festive season? Discover Nicolas Guercio's incredible creation for Hôtel Lutetia this year. The log, available by reservation only until December 22, 2023, will be retired at the Hotel Lutetia Paris on December 23 and 24, 2023.
Low-glycemic, gluten-free Yule logs from Belles Envies 2023
Les Belles Envies unveils 3 Yule logs for 2023, suitable for diabetics and gluten intolerants. Available in three new-to-Paris flavors, these low-glycemic delights promise to delight your taste buds this holiday season.
The Full Vanilla Christmas Log at the Royal Monceau Raffles Paris x Messika 2023 by Quentin Lechat
Le Royal Monceau - Raffles Paris, in collaboration with Messika, unveils a creation by Quentin Lechat: Full Vanille, recalling the codes of the Saint-Honoré. Vanilla lovers beware: you'll love this version with its different textures.
Nina Métayer's 2023 Christmas logs
For Christmas 2023, Nina Métayer unveils no less than 5 gourmet and original logs. A succulent signature log that enhances the aesthetics of the table, a gluten-free log that reveals itself in a gentle hum, and three classic logs that will also tickle the taste buds of the most gourmet palates.
Christmas 2023: Christmas market, indoor skating rink and family entertainment in Trappes
Come and discover the Féeries de Noël, a Christmas market, an indoor skating rink and lots of entertainment for the whole family!
Christmas and New Year's Eve at Parc Astérix 2023-2024
How about celebrating Christmas or New Year's Eve 2023-2024 in hotels or at Parc Astérix? Whether you're with the family, as a couple or with friends, here are some great ideas for a fun-filled evening and day out.
La Maison Louveciennes returns with its winter chalet and Mont d'Or raclette
La Maison Louveciennes is transformed into a high-altitude chalet for winter! Whether you're looking for raclette, Mont D'Or fondante or tartiflette in a mountain atmosphere, here's a spot just a few minutes from Paris that's sure to win you over.
Christmas vacations at Parc Astérix 2023-2024: light trail, ice rink, rides and shows
Parc Astérix is once again celebrating the magic of Christmas during the 2023 Christmas vacations. From December 23, 2023 to January 7, 2024, you're invited to discover the festive activities of the Gaulish Christmas at the theme park. Ice rink, sledges, trail of lights, hidden tavern and enchanting shows await you...
|
||||||
5671
|
dbpedia
|
0
| 82
|
https://www.blendernation.com/2011/12/16/french-blender-happy-christmas/
|
en
|
French Blender Happy Christmas!
|
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] |
[
"https://www.youtube.com/embed/-DTVRaTNV1c?feature=oembed"
] |
[] |
[
""
] | null |
[
"Bart"
] |
2011-12-16T00:00:00
|
A wonderful French Christmas animation, 100% Blender. Update: read about the story behind this animation. Mickaël Guédon writes…
|
en
|
BlenderNation
|
https://www.blendernation.com/2011/12/16/french-blender-happy-christmas/
|
A wonderful French Christmas animation, 100% Blender.
Update: read about the story behind this animation.
Mickaël Guédon writes:
On french TV, every end of the year, some special christmas ad jingles are broadcasted. This year, I've been involved in the team that made those through the 17mars studio. Every single bit of 3D has been done with Blender, from modelling to rendering.
The spots are already on air, channel two (France 2).
|
|||||
5671
|
dbpedia
|
3
| 80
|
https://www.rottentomatoes.com/celebrity/laureline_romuald
|
en
|
Lauréline Romuald
|
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[] |
[] |
[
""
] | null |
[] | null |
Explore the filmography of Lauréline Romuald on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
|
en
|
https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
|
Rotten Tomatoes
|
https://www.rottentomatoes.com/celebrity/laureline_romuald
|
Let's keep in touch!
>
Sign up for the Rotten Tomatoes newsletter to get weekly updates on:
Upcoming Movies and TV shows
Rotten Tomatoes Podcast
Media News + More
Sign me up No thanks
|
||||
5671
|
dbpedia
|
1
| 60
|
https://www.artphotolimited.com/au-en/photo-gallery/romuald-pliquet
|
en
|
Romuald Pliquet Photography iconic pictures and posters
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[] |
[
""
] | null |
[] | null |
Shop Romuald Pliquet Photography iconic pictures and posters • Various sizes and framing options • Get delivered within 8 days • Premium quality printing • Upgrade your wall decoration
|
en
|
/assets-prod/favicon-dd08c0a9fcbb99c3563ac9eecc4b3a0b34c365e9d80940d0b7eb8d86e88357f3.ico
|
ArtPhotoLimited
|
https://www.artphotolimited.com/au-en/photo-gallery/romuald-pliquet
|
The self-taught photographer Romuald Pliquet is specialized in aquatic photography
of big surf. Nominated several times for the WSL Big Wave Awards, he does not hesitate to travel the world
to travel the world, accompanied by his aquatic chamber, to hunt and photograph the biggest
the biggest waves ever surfed by adrenaline professionals.
Privileged of the caravan of the world professional circuit of surfing, of which he makes the chronicles
for magazines and specialized websites, Romu is above all a passionate person. Very quickly, he built a vast network of
a vast network of international clients and collaborates with surf brands such as Hurley
and for many surf magazines and websites (Surfline, Surf Session, Surf Report
or Beachbrother).
Born in Brittany, Romu grew up on the coast of Finistère where his maritime training was shaped by the
shaped by the waves and tides of the Atlantic from an early age. Like any young Breton
like any young Breton who respects himself, his first steps were naturally on the decks of
and catamarans before anchoring them definitively in the pads of the surfboards and in the
surfboards and in the surf culture since the end of the 80's.
His ocean wanderings brought him to Tahiti where he joined the team of a famous surf brand as a rider and photographer.
team of a famous surf brand whose boss is none other than a legend of the surfing world
Robby Naish!
His reading of the wave and his knowledge of the placement of the riders allow him to immortalize
angles and his photos plunge us, for our greatest happiness, closer to the action and the heart of the
action and in the heart of the biggest and most dangerous tubes on the planet.
|
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5671
|
dbpedia
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3
| 96
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https://picclick.co.uk/Adventures-With-Romuald-The-Reindeer-VHS-VIDEO-145479801906.html
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en
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ADVENTURES WITH ROMUALD The Reindeer VHS VIDEO £19.99
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[] | null |
ADVENTURES WITH ROMUALD The Reindeer VHS VIDEO - £19.99. FOR SALE! VHS Video WILL NOT WORK ON AMERICAN OR CANADIAN PLAYERS 145479801906
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[] |
[
""
] | null |
[] |
2001-02-08T00:00:00
|
/favicon.ico
| null |
Ends 9.00.
Spider
Animated antics with the eight-legged character.
(R)
7.05 Polka Dot Shorts
Adventures in the polka-dot land of Roo.
(R)
7.15 The All-New Popeye Show
Three more misadventures with the spinach-guzzling sailor.
(R)
7.35 Rugrats
Animated double bill with the cute youngsters.
(R) (S)
8.00 Blue Peter
Children's magazine, presented by Konnie Huq, Liz Barker, Matt Baker and Simon Thomas.
(Shown yesterday at 5pm on BBC1)
(S) (W)
8.25 Monster Rancher
When their plane breaks down, Genki and his friends end up in an area controlled by arch baddie Pixie.
(S)
8.50 Romuald the Reindeer
Animation. Romuald becomes completely addicted to his computer game.
(Repeated at 1pm)
(R)
Twelve years ago a small patch of a strange gigantic seaweed appeared off the coast of Monaco.
Despite warnings from a marine biologist about its high toxicity, the seaweed was ignored by local authorities, and has now mutated into a phenomenon known as the "killer algae" which is choking all indigenous life. This documentary examines how a supposedly harmless plant has become a potential threat to global marine life.
See Choice.
(S) (W)
Killer algae websites - Webwatch: page 42
(Repeats are not indicated)
Open Science
12.30 What Have the Sixties Ever Done for Us?
12.40 Background Brief: Impact - Planet Earth
1.00 Final Frontier
1.30 Background Brief: First Came Dolly
1.45 What Have the Eighties Ever Done for Us?
2.00 Stress
(S)
2.30 Looking Glass World
(S)
3.00 Samples of Analysis
(S)
Curriculum Development
3.30 Explicit Learning Plus: Listen to This - the Pupil's Perspective
Languages
4.00 Get By in French: Part 1
Working In the Arts
5.00 Career Development
Open University
6.00 Restoring the Balance
(S)
6.30 Brief Encounter
(S)
Ends 7.00am.
|
|||||
5671
|
dbpedia
|
2
| 19
|
https://us.daum.fr/collections/eternal-rose-1
|
en
|
Eternal Rose
|
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|
http://us.daum.fr/cdn/shop/collections/La-Rose-Eternelle_c3b2d185-fa3e-4a27-8cfb-2902c91e932c_1200x1200.jpg?v=1553769850
|
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[] |
[] |
[
""
] | null |
[] | null |
The Maison Daum celebrates 140 years of French craftsmanship and presents the Eternal Rose. This graceful flower crystallizes a message of infinite love. The finely carved crystal rose in red or in a soft orange-pink tone unveils the subtlety and grace of the flower and is accentuated by the precious stem gilded in 24-
|
en
|
//us.daum.fr/cdn/shop/files/Logo_Daum_NOIR_63e80a7f-6c3c-46bb-b514-0499cb29f1e9_32x32.png?v=1613678342
|
Daum Inc
|
https://us.daum.fr/collections/eternal-rose-1
|
The Maison Daum celebrates 140 years of French craftsmanship and presents the Eternal Rose. This graceful flower crystallizes a
message of infinite love. The finely carved crystal rose in red or in a soft orange-pink tone unveils the subtlety and grace of the flower
and is accentuated by the precious stem gilded in 24-karat gold, revealing its exquisite delicacy.
This timeless rose, a token of everlasting love, conveys an unforgettable emotion.
Each piece is created with the passion of our skilled craftsmen, and numbered by hand.
|
||
5671
|
dbpedia
|
3
| 55
|
https://en.wikipedia.org/wiki/Tales_of_the_Tooth_Fairies
|
en
|
Tales of the Tooth Fairies
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
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[
""
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[
"Contributors to Wikimedia projects"
] |
2015-02-21T21:50:51+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Tales_of_the_Tooth_Fairies
|
No.TitleOriginal air date1"Mission: Toothbrush"7 September 1993 ( )
The Tooth Mice are sent in bad weather to deliver toothbrushes to twins with bad teeth.
2"The Silver Sleighbell"14 September 1993 ( )
The Tooth Mice deliver to an eskimo sleighbells for his dog sled, aided by the clumsy reindeer Romuald.
3"The Golden Scissors"21 September 1993 ( )
The Tooth Mice deliver to a girl named Fabienne a small pair of scissors.
4"Flying Feathers"28 September 1993 ( )
The Tooth Mice procure a goose feather to substitute a feather pen for a fountain pen specially for a girl named Anna.
5"A Proud Candle"5 October 1993 ( )
The Tooth Mice venture in a flooding storm to give a boy named Vincent a special flashing candle, with help from a stray cat named Rammy.
6"Magic Chimes"12 October 1993 ( )
The Tooth Mice pick a rare bluebell flower for a girl named Sophie, almost getting caught by an owl, but rescued by Arthur.
7"Jonathan Loses His Tooth"19 October 1993 ( )
The Tooth Mice bring an absent-minded boy named Jonathan a special diary, and in the process get the tooth mouse teacher her job back.
8"Stolen Present"9 November 1993 ( )
As the Tooth Mice try to deliver a whistle for a boy named Fabian, it is taken by Ronald Rat, but Arthur helps them recover it.
9"The Bell Doll"16 November 1993 ( )
Gisele does not return from her tooth exchange job, so Arthur delivers a bell doll to a girl named Emily and rescues Gisele from a cage.
10"The Book of Leaves"23 November 1993 ( )
As the Tooth Mice deliver a leaf book to a girl named Sandree, Marad the Buzzard captures Gisele, but Gisele soothes her to sleep with the book.
11"Mr. Sun, Mrs. Rain"30 November 1993 ( )
The Tooth Mice bring a girl named Audrey a comb, but have trouble as Audrey's pet cat shows up.
12"Sky Scraper"7 December 1993 ( )
The Tooth Mice go to the 60th floor of a sky scraper to bring a boy named Charles a clockwork bird, running into Roland Rat on the way.
13"Cat's Enough"14 December 1993 ( )
|
||||
5671
|
dbpedia
|
3
| 14
|
https://archive.org/details/adventureswithromualdthereindeer1999ukvhs
|
en
|
Adventures With Romuald The Reindeer (1999 UK VHS) : BBC Video : Free Download, Borrow, and Streaming : Internet Archive
|
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[
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[] | null |
(c) S4C
|
en
|
Internet Archive
|
https://archive.org/details/adventureswithromualdthereindeer1999ukvhs
|
Search the history of over 866 billion web pages on the Internet.
Search the Wayback Machine
Search icon An illustration of a magnifying glass.
Save Page Now
Capture a web page as it appears now for use as a trusted citation in the future.
Please enter a valid web address
|
|||||
5671
|
dbpedia
|
0
| 16
|
https://en.wikipedia.org/wiki/Tales_of_the_Tooth_Fairies
|
en
|
Tales of the Tooth Fairies
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
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] |
2015-02-21T21:50:51+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Tales_of_the_Tooth_Fairies
|
No.TitleOriginal air date1"Mission: Toothbrush"7 September 1993 ( )
The Tooth Mice are sent in bad weather to deliver toothbrushes to twins with bad teeth.
2"The Silver Sleighbell"14 September 1993 ( )
The Tooth Mice deliver to an eskimo sleighbells for his dog sled, aided by the clumsy reindeer Romuald.
3"The Golden Scissors"21 September 1993 ( )
The Tooth Mice deliver to a girl named Fabienne a small pair of scissors.
4"Flying Feathers"28 September 1993 ( )
The Tooth Mice procure a goose feather to substitute a feather pen for a fountain pen specially for a girl named Anna.
5"A Proud Candle"5 October 1993 ( )
The Tooth Mice venture in a flooding storm to give a boy named Vincent a special flashing candle, with help from a stray cat named Rammy.
6"Magic Chimes"12 October 1993 ( )
The Tooth Mice pick a rare bluebell flower for a girl named Sophie, almost getting caught by an owl, but rescued by Arthur.
7"Jonathan Loses His Tooth"19 October 1993 ( )
The Tooth Mice bring an absent-minded boy named Jonathan a special diary, and in the process get the tooth mouse teacher her job back.
8"Stolen Present"9 November 1993 ( )
As the Tooth Mice try to deliver a whistle for a boy named Fabian, it is taken by Ronald Rat, but Arthur helps them recover it.
9"The Bell Doll"16 November 1993 ( )
Gisele does not return from her tooth exchange job, so Arthur delivers a bell doll to a girl named Emily and rescues Gisele from a cage.
10"The Book of Leaves"23 November 1993 ( )
As the Tooth Mice deliver a leaf book to a girl named Sandree, Marad the Buzzard captures Gisele, but Gisele soothes her to sleep with the book.
11"Mr. Sun, Mrs. Rain"30 November 1993 ( )
The Tooth Mice bring a girl named Audrey a comb, but have trouble as Audrey's pet cat shows up.
12"Sky Scraper"7 December 1993 ( )
The Tooth Mice go to the 60th floor of a sky scraper to bring a boy named Charles a clockwork bird, running into Roland Rat on the way.
13"Cat's Enough"14 December 1993 ( )
|
||||
5671
|
dbpedia
|
3
| 43
|
http://awards.bafta.org/award/1997/childrens/childrens-animation
|
en
|
BAFTA Awards
|
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""
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en
|
http://awards.bafta.org/sites/default/files/bafta-awards-favicon.ico
| null |
BAFTA Guru
BAFTA Guru is BAFTA’s content hub for career starters packed full of inspirational videos, podcasts and interviews. Whether you’ve taken your first steps in the industry or are just starting out, you’ll find plenty here to motivate and help you along the way.
|
||||||
5671
|
dbpedia
|
2
| 5
|
https://www.netjuggler.net/En/buy/reindeer-mascot.html
|
en
|
High Quality and Customizable
|
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[] |
[] |
[
""
] | null |
[] | null |
Discover the Romuald the reindeer mascot, ideal for livening up your Christmas events. French manufacturing, machine washable.
|
en
|
/apple-touch-icon.png
|
https://www.netjuggler.net/En/buy/reindeer-mascot.html
|
This Romuald the reindeer mascot is sold individually. It includes a plush body, head, matching gloves, and over-boots to keep your shoes on.
Details of the Reindeer Romuald Mascot
The Romuald the reindeer mascot is a charming and attractive costume, perfect for livening up your Christmas events and shows. Representing a reindeer with its beautiful brown and white coat and its large majestic antlers, this mascot is ideal for adding a festive and warm touch to your end-of-year celebrations. Whether for Christmas markets, parades or commercial events, Romuald the reindeer will captivate young and old.
NetJuggler analysis of the Renne Romuald Mascot
I find this mascot of Romuald the reindeer particularly captivating and well designed. It is ideal for creating a warm and festive atmosphere during Christmas events. Customers appreciate its softness to the touch and the quality of manufacture, as well as the possibility of machine washing it, which greatly facilitates its maintenance. Made in France, this mascot is the result of high-quality craftsmanship.
Who is the Renne Romuald Mascot for?
This mascot is aimed at a wide audience, including event organizers, schools, shopping centers, businesses wishing to attract attention during Christmas promotions, as well as party entertainers. It is ideal for various contexts such as village festivals, commercial events or educational events. Its festive and attractive appearance makes it a popular choice for any type of holiday event.
Customizable mascots
We offer customization services for our mascots, allowing you to choose fur and clothing colors according to your preferences. To discuss the options available or to obtain more information, please contact us by email or telephone.
Artisanal confection in Auvergne
Our mascots are made in Auvergne by qualified craftsmen. These products reflect French know-how, with a strong commitment to quality and sustainability. We use high quality materials, all from reliable sources within the European Union.
Inventory management and preparation times
Due to the handmade nature of our mascots, preparation may require a little more time than for other items available on our site, particularly for custom orders. To guarantee availability and delivery times, we advise you to contact us in advance, especially for urgent orders.
|
|||||
5671
|
dbpedia
|
2
| 97
|
https://www.behindthename.com/names/origin/germanic/8
|
en
|
Germanic Origin Names (page 8)
|
https://www.behindthename.com/favicon.ico
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] | null |
[
"Mike Campbell"
] | null |
A list of names in which the origin is Germanic (page 8).
|
en
|
/favicon.ico
| null |
the letters in the pattern are compared to the letters in the name
* is a wildcard that matches zero or more letters
example: *oo* matches names which contain oo
_ is a wildcard that matches exactly one letter
example: __z matches names which have two letters and then z
separate search terms with spaces
search for an exact phrase by surrounding it with double quotes
this field understands simple boolean logic
force a term to be included by preceding it with a + sign
force a term to be excluded by preceding it with a - sign
expand search to include grammatical forms: attempt to include grammatical forms of the meanings
example: speak includes spoke
expand search to include close synonyms: attempt to include synonyms of the meanings
example: brave includes courageous
expand search to include search narrower synonyms: attempt to include subclasses of the meanings
example: reptile includes turtle
expand search to related names: allow related names to inherit the meaning of the main form
the description is the meaning and history write-up for the name
separate search terms with spaces
search for an exact phrase by surrounding it with double quotes
example: "lord of the rings" matches names from the novel 'The Lord of the Rings'
this field understands simple boolean logic
force a term to be included by preceding it with a + sign
force a term to be excluded by preceding it with a - sign
example: +greek +(legend myth) -zeus matches Greek names of myths or legends not about Zeus
ignore name meanings: keywords from the name meanings are ignored
see the pronunciation key for a guide on how to write the sounds
sounds can only be searched in names that have been assigned pronunciations
* is a wildcard that will match zero or more letters in the pronunciation
example: *lee matches names which end with the sound lee
_ is a wildcard that will match exactly one letter in the pronunciation
example: __z matches names which have two letters and then a z
(s) matches exactly one syllable in the pronunciation
example: (s)(s)ra matches names which have two syllables and then the sound rah
(c) matches a consonant
(k) matches a consonant or consonant cluster
(v) matches a vowel
(p) matches a plosive or stop consonant
(f) matches a fricative consonant
(n) matches a nasal consonant
case sensitive: check this if you wish distinguish between unstressed lowercase sounds and stressed uppercase sounds
|
|||
5671
|
dbpedia
|
0
| 61
|
http://awards.bafta.org/award/1997/childrens/www.bafta.org/guru
|
en
|
Children's in 1997
|
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[] |
[] |
[
""
] | null |
[] | null |
en
|
http://awards.bafta.org/sites/default/files/bafta-awards-favicon.ico
| null |
BAFTA Guru
BAFTA Guru is BAFTA’s content hub for career starters packed full of inspirational videos, podcasts and interviews. Whether you’ve taken your first steps in the industry or are just starting out, you’ll find plenty here to motivate and help you along the way.
|
||||||
5671
|
dbpedia
|
2
| 78
|
https://ijmphotography.net/tag/galerie-hab/
|
en
|
Galerie HAB – IJM Photography
|
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2023-05-28T16:36:06+02:00
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Posts about Galerie HAB written by Ian J Myers
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en
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IJM Photography
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https://ijmphotography.net/tag/galerie-hab/
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My Dear Reader, welcome to yet another article where I will try to find something interesting or witty to tell you. I have neglected you over August, but as most French people do, I closed shop and was on holiday. Since Covid and the world going base over apex, my company has decided that we only need three weeks’ holiday in August compared to the more traditional four weeks. I am about to sing the praises of my wife, so for those of you who hate the luvvy-duvvy side of things, turn away now. I take it you have all turned away.
For the first ten days of my holidays, I was camping in my living room. My wife and I literally carried our bed downstairs and set up camp. That was the less agreeable part of those first ten days. However, my wife had decided to decorate our bedroom and change all the furniture and replace it with nice new furniture from the infamous Swedish flat-pack place that we all know. I have a love-hate relationship with flat packs. Firstly, they’re heavy and hardly fit into the car without all the seats down and your wife in the back of the car telling you how to drive, you bloody moron! Secondly, they take up an awful amount of space in the garage whilst your wife gets to grips with decorating the room. Painting the ceiling, putting up wallpaper you agreed to ages ago because it’s easier and you love avoiding conflict. You don’t sleep well because everything feels strange in the living room and it’s hot too. Thirdly, they have to be taken upstairs to be put together and there’s always something missing, and you know it’s going to be your fault, you useless fool!
Anyway, with the help of friends, my son, and a mad screaming bitch, sorry, wife, we now have a haven of peace. We not only have a haven of peace, but fitted wardrobes that took three days to put together, but look great, and I have a cabinet for all my photography gear and, most importantly, a desk.
She is a champion, and let me assure you all, she has become human again! It has been a life-changer.
During the pre-let’s get this done otherwise I’ll go mad, clear out, we found some films that needed to be developed. You do not know what might lurk on those reels of film, but you tell yourself that you must have taken them, so it shouldn’t be too bad. I took in 9 rolls of film in. I was told by the amiable lady that if any of them hadn’t been exposed that there would be no charge for the development. Seems fair.
I returned to get the films and the contact sheets. That still sweet lady told me I would be in for a surprise! She was right. I looked through the sheets of paper and saw images of my son, who was still a toddler, and having baths, and being dried by his mother and his godmother. It took me right back to the end of the last century! My beard was in colour in those days!
Encouraged by all this photographic success, I went out and took even more photos. For those of you who follow me on Twitter, or Instagram you will have seen the stories and saw the cameras for the day: the Mamiya C220, and the Pentax ME Super, which were both gifts from a former teacher, and now a friend of mine! Merci Mr McM!
I do like taking photos and using cameras. There’s something I don’t think you knew!! It was good to be back out. I am now double jabbed. Thank you to that lovely lady at the chemists who reassured me and said that I wasn’t the only guy in the world that has a phobia of injections. Not only am I double jabbed, but I also have my Covid Passport, so I can go to the pub again without having part of my brain scraped out by a nurse with a long plastic thingy! I have rejoined the general population.
If you’re wondering what the French title of this article is doing there, let me explain. Quickly though, I’m already at 750 words here. The Rentrée is the re-entry into normal daily life after the summer holidays where people just weren’t there. The children go back to school. Those of use in employment, go back to that employment. Our extracurricular activities start again. Last night was my first wind band rehearsal in over a year (thank you, COVID), and it feels as if some relative normality has come back into my life.
Back to the photos. I shot the square photos on the Mamiya C220, using Ilford HP5+ film shot at box speed, developed in Ilfosol 3, and I took the other photos on the Pentax ME Super, using Fomapan 100 film developed in the same chemistry. Fine grain with the Fomapan and not something I’m used to, but a change is good, right? Oh, and I took them at the Hangar à Bananes, and HAB Gallerie in Nantes.
This time last week I was looking forward to getting out with my camera (I’ll let you guess which one) and getting me some art! The sun was guaranteed, and temperatures were on the up. I would get my art and go to the pub for a pint or two with friends.
On the Gram I had seen quite a few photos taken in the Castle Courtyard showing art inspired by French decolonialisation, and the Atlantic Slave Trade, by the Benin artiste Romuald Hazoumé. The Expo is open to the public until the 14th November 2021 in the Castle. Romual Hazoumé, born in 1962 in Benin, creates sculptures using plastic jerry cans, giving a subtle critique of political figures and political systems in modern Africa.
Hazoumé recycles matter, junk, and objects that have served their purpose, which he uses in the original state, or deformed to represent his vision of society, events, or planet-wide concerns. The artist revisits History, conserving a present link to the news. His research is shown in monumental and hard-hitting works of art, showing his militantism against all forms of slavery, corruption, traffic, that are translated into witness of what is happening right now in the world.
The question of migrationary fluxes and their consequences, questions the western world, and the African continent, and asks further questions about egalitarian exchange, has become central to his more recent works.
I therefore think about slavery and our role in it: the original African slave trade, followed by the Arab slave tribe, followed by the European slave trade, and eventual abolition, in Europe and our Colonies, and taken up again in Africa with migrations due to war and economics. We hear all kinds of tales about Africans being sold to Libyans so the migrants “can repay their debt,” and then hope for a better life if they survive the crossing of the Mediterranean. Some don’t make it and are washed up tragically on our shores. The image of the three-year-old boy who washed up dead, Alan Kurdi, near Bodrum broke all our hearts and brought the war in Syria to the headlines, and especially the human cost of this war. I’m not saying that the migrant crisis is the same as the slave trade, but there are parallels.
I was always aware of the salve trade, having been brought up in Hull, where our local MP, William Wilberforce, was responsible for the abolition of slavery in the British Empire with the Slave trade Act in 1807. This always gave me a real sense of pride of being from Hull! France was to wait until 1815, with the decree coming into force in 1826. We would have to wait until 1848 for emancipation in the French colonies.
The Act created fines for ship captains who continued with the trade. These fines could be up to £100 per enslaved person found on a ship. Captains would sometimes dump captives overboard when they saw Navy ships coming in order to avoid these fines. The Royal Navy, which then controlled the world’s seas, established the West Africa Squadron in 1808 to patrol the coast of West Africa, and between 1808 and 1860 they seized approximately 1,600 slave ships and freed 150,000 Africans who were aboard. The Royal Navy declared that ships transporting slaves would be treated the same as pirates. Action was also taken against African kingdoms which refused to sign treaties to outlaw the trade, such as “the usurping King of Lagos”, who was deposed in 1851. Anti-slavery treaties were signed with over 50 African rulers.
In the 1860s, David Livingstone’s reports of atrocities within the Arab slave trade in East Africa stirred up the interest of the British public, reviving the flagging abolitionist movement. The Royal Navy throughout the 1870s attempted to suppress “this abominable Eastern trade”, at Zanzibar in particular. In 1890 Britain handed control of the strategically important island of Heligoland in the North Sea to Germany in return for control of Zanzibar, in part to help enforce the ban on slave trading.
How sad they would be to see the world today! The Artists shown in the Expo, created works to show modern slavery, one of the works being based on the story of Alan Kurdi, which is a dice, where people put their faith in their God, and try and make it to a better life in Europe, seen as this Eldorado where they will be free. Sometimes I think the only difference between them and my own story is that I was born in a different country. We may worship God in different ways, but when it comes down to it, we all have the same aspirations, a better life for our children, to be able to feed, clothe, and give them a roof over their heads.
That was a pretty intense introduction and not as comical as some of my other articles, but this is a serious matter, I’ll get less serious in the next paragraph. We cannot but feel something deep inside us whilst contemplating these works of art. Put yourself in the position of a Syrian parent and it just comes home to you…
I will try and get a little less heavy, and continue the story of my day. I left the castle and walked up towards the Cathedral, thinking that the Psalter’s Garden would be a lovely place to have a modest picnic, and reflect on what I had just seen. I didn’t have anything to eat, but knew where I could change that. There is a lovely bakery that makes really amazing sandwiches. Trigger warning. I am about to tell a Dad joke. Why do you never go hungry in the desert? Because of all the sand which is there… You know what? I’m not even sorry. So I went back to the Garden, with food this time, which helps a picnic be a picnic. I found a bench, parked my backside on it. So relieved that it didn’t make any noise as I sat down. This garden is one of the favourite places of a friend of mine who has consented to be a guest writer on my blog. As I ate I transferred the photos from my camera onto my phone so I could create a story of the day for the Gram, which would go on to be a series of reels (short videos for Instagram).
I had eaten, thrown my trash into the bin, and headed off to get on a bus. Yes, me, on a bus. For the last 20 years, and country living, public transport has become a rare occurrence. You know how satisfying a pint of beer that somebody bought for you is? Or how sweet the pint offered by the pub landlord? I think you do. It is always sweeter and finer and so satisfying. Well, somebody in the city council here in Nantes had the brilliant idea of making public transport free on a weekend. What a wonderful idea! Now public transport isn’t beer, which I’m sure you, Dear reader, are well aware of, but there was a certain satisfaction of being able to get on a bus and not have to use a ticket, and knowing that a ticket inspector would not inspect the ticket that you didn’t use. In my life I have learnt to savour these small mercies offered to us.
I was enjoying the ride so much that I actually missed my stop where I had to change busses. Normally this would send my anxiety into overdrive, but not today. I just got on the bus going the other way, and went back two stops. Changed busses, and arrived at the terminus, which was the Hangar a Bananes, where the big massive crane is, that you might have seen in some of my photos. As part of the Voyage à Nantes in 2011, the whole place has been given a new lease of life, and in the afternoon and early evening, it’s a great spot. You might want to avoid it at around 2am to 3am, as it can get a little worrisome. I, however, was there from about 2pm to 3pm, so unless a rather rotund gentleman wearing a Panama hat, and with a camera around his neck, scares you, then you’re fine!
You will however see the Anneaux de Buren, or the Buren Rings standing to attention in a long line that follows the river. Do not worry either, about, one ring ruling them all, stray Wizards telling you that you will not pass, or small people with very hairy feet trying to find a place to eat breakfasts… There will be people enjoying a drink and a bit to eat, or going to the Canteen for lunch or dinner, and if you further enough down you might be able to walk on the moon, visit the very depths of the ocean, and if you’re lucky, you might just be able to spot an elephant!
I was aiming for the HAB Gallerie, which is the Hangar à Bananes Gallerie. The clue is in the name. I wanted to go to see the exhibition with works by Gilles Barbier. Again, I had seen photos on the Gram, and wanted to see what all the fuss was about. It, too, was free, so why not. I’m not saying I had spent the day consuming art, but possibly, kind of. I’m not quite sure.
For the first time, the artist was showing his paintings of the “Pages du Dictionnaire” lifted from the Petit Larousse. Which is not the same as the Petitblond, but can be equally satisfying. Did you see that little play on words about beer there? You might have to speak French to get, so to all non Frenchie people, I apologise. I thought it was funny, and on a slightly higher level than the desert joke. Apparently, to get the most out of this blog you have to be a photo geek, into photography, and ever so slightly Francophile. If that is not you, then I hope you can find something that pleases you. I’m working with what I’ve got people!
So where was I? Yes, looking at a slightly surrealist exhibition, including huge paintings of the insides of a dictionary, cum encyclopedia, which for those born this century, is what old people used before Google! Shit I feel old all of a sudden! So these massive paintings of the 1966 edition, which are very detailed and as interesting to read as to contemplate. It’s an ongoing project and he’s got to P. As any one would after drinking all those Rousse beers! Hey, I found that funny!
Dear Reader, I am obviously a complete idiot, and because of my idiocy, you are about to get a different ending to this article as I didn’t press save, even though I was convinced that I had. I had even scheduled this article to come out at a certain time and end everything. Jesus saves, and so should I!
I think it was something along the lines of talking about the enigma that is the art of Gilles Barbier. It’s slowly coming back to me so you’ll get the main points. In the early 2000’s a company put out an advert saying that they would pay an obscene amount of money to the person that would get their logo tattooed on their forehead. The deed was done, and I was reminded of that when seeing one of Gille’s very realistic sculptures. It was as if the person had gone full hog and got tattoos of so many logos. The sculpture is of an old lady lying naked on a chaise long, covered in various logos. It was one of the most disturbing things I seen all day, and at the same time so fascinating. It really makes you think about the permanence of a tattoo, and makes you wonder what on earth people were thinking! It was like the ultimate corporate sell out. There were more sculptures of heads spewing forth diatribes, others of melted cheeses with philosophical quotes, and to finish, a sculpture made out of femurs and human hip bones. Talk about stripping ideas down to their very core.
If the purpose of Art is to make us question ourselves, or at least mark us in some small way, or even just not to allow us to pass by with indifference, then the Art in Nantes had fulfilled its role admirably. I’m really looking forward to the Voyage à Nantes 2021 and seeing what they have prepared for us! Nantes isn’t a perfect place, but they are good with culture, and free public transport on a weekend! Not sure about free beer though. They might not be ready for that even though quite a few Nantais might…
Right just to finish, as you might have guessed, the camera for the outing was the X100F. Last week I talked about the website FUJI X Weekly, and it’s author Ritchie Roesch, and I decided to try one of the recipes. Kodachrome, just the mere mention of it will make older photographers just get really nostalgic. Well the young Mr Roesch decided to take on a trip to Nostalgieville, and I thought I would give it a go. Most of you know that I am more into black and white photography than colour, but the blues of the sky, and the colours all around me, and the strong sunlight made me want to give it a try. Soooo, I did. I found the recipe to be more akin to Portra 160 and very slightly overexposed, just the way I would do if I were using the film. But I loved the results and will be using it more often during this summer period.
Thank you for humouring me and my quickly rewritten end to this article. See you next week, and we’ll see what I come up with!
Hello. I have a friend called Julie Dodge and she is a photographer in Brooklyn NY. I have asked her to mentor me and maybe put me in a different direction with my photography and help me develop as a photographer. She’s full of talent and is somebody that I admire greatly. She suggested that I write this article.
Did you see what I just wrote there? I said the holidays, not Christmas but the holidays. Does that mean that I’ve become all woke and don’t want to offend? Not bloody likely. Christmas has come and gone and now we’re in that holiday limbo, before New Year’s Eve but just after Christmas.
Even during winter I sleep with the window open so as not to be too hot in bed (and don’t go reading anything unto wards into that statement, this is not that kind of blog!!) and we have just come out of the other side of Storm Bella. At least according the noise of the wind. and not that wind either!
When I think back to two weeks ago, Christmas felt so far away. I had 36 hours left at work and the whole holiday thing just hadn’t sunk in at all. Christmas could have been 6 months away and it wouldn’t change a thing. 2020 has been weird like that for everyone. The Christmas tree was up and running at the very end of November as was quite common. Maybe just a way of people trying to find a modicum of normality since normality just ran away with the light beer virus and some guys getting freaky with a bat in China.
I listen to the radio at work which is a wonderful and a great way to stay up to date with things happening at home back in Brexit land. On BBC RADIO 2 (that I can’t help hearing the jingle in my head when I say it) they had decided that they would play only Christmas music on the 1st of December to usher in the Christmas Season. Best day ever at work! I love it. You’re constantly listening out for Whamageddon or All I want for Christmas is You. That music would accompany me throughout December and keep me going.
The factory was going to shut for Christmas and I would finish work on the Friday lunchtime of the 18th.
I had been doing a whole load of product photography for the company. They have an excel file showing all the references of all the hardware that we use and a photo of each article. However the photos they have are not up to the required standard. Crap would cover it too. I told my boss about this and said I could do a better job of it. They say that necessity is the mother of invention, and it would allow me to learn something new. I went onto Google, YouTube, and then on to Amazon to get a light box, which is a box of light which allows you to get a well lit photo of each screw, hinge, and other things that I don’t know how to translate into English. That’s not as bad as it seems. Everyone talks French at work. Strange isn’t it. The only English they all know is how to ask where Brian is. Brian is invariably in the kitchen. But not when I looked for him!
This also explains why I had my camera with me. As of the 15th of December we had finished with confinement and had now entered a new phase. No confinement but a curfew. They also said that the curfew would no be enforced for Christmas Eve which meant that people could spend Christmas together, but would be enforced on New Year’s Eve. This is despite our dear President’s love of secularism or the infamous French concept of Laïcité. Go figure. Maybe it’s a sick joke, or could it be that he knows that he won’t be voted in next time if he cancels Christmas.
But I digress, or in French, je diverge, parfois je dis bite! It was Friday afternoon and I was freeeeee. Yes. Freeeeeee!! I’m free, I do what ever I want, any old time…. I decided to head into Nantes to make sure that my family would have the same amount of gifts and therefore not be jealous. It was wonderful. This new found freedom and all I had to do was to be home by 20h! I of course had my camera with me and it was the closest I had been to normal for ages. My last stop would be the HAB Gallerie, which is on the Île de Nantes, and where there is a massive crane, but don’t forget that size does not matter. And a crane can be grey or yellow and that is fine too. It felt wonderful! This is where the photos in this article are from in case you were wondering. I think the photo of the huge crane give it away.
Christmas came and went as did the food, my son, his girlfriend, quite a bit of drink, and some great laughs. We are now in the Christmas anti climax. No church this year. Maybe Covid is laïque as well. All a bit strange really, but it was good to be able to celebrate as a family. But “strange” has been the bass continuo of this year 2020. 2021 is just around the corner and people are putting way too much hope into it.
With vaccines, time, and the continual social distancing, things will get better. Things will gradually become less strange. I even dare to think that people with rediscover social interactions and above all discover how important they really are. Some will look back and think I did well to get through this, some will regret not having done enough to help others. Some will have toilet roll till the ends of their days. But when we come out of the other side of this period, we will have all changed. Society will have changed. There will be a new normal, and not necessarily the one that that the hippies are hoping for, but a new one anyway, in which we will need time in which to find ourselves.
Thank you for still reading the drivel that seeps out of my mind on a more or less regular basis. There will still be photos to look at. Until that happens, I wish all of you a very Happy and Peaceful Christmas. May your God bless you.
|
|||||
5671
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dbpedia
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0
| 20
|
https://robinlyons.co.uk/writing-credits/
|
en
|
Writing Credits – Robin Lyons
|
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[] |
[
""
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[] | null |
en
|
https://robinlyons.co.uk/writing-credits/
|
Robin Lyons is very much in demand as a writer and story editor of animation projects. He works with his writing partner, Andrew Offiler. They are currently writing a feature film script with Mel Sano for Moody Street Kids in Melbourne and working on the development of an animated tv series for a studio in Ravenna.
Writing Credits
Robin’s writing career started as a student at Oxford where he contributed sketches for several revues in which he performed, including two Oxford Revues, An Exhibition of Ourselves and Her Majesty’s Pleasure.
He also wrote a dramatic adaptation of André Maurois’ book Fattypuffs and Thinifers which was performed in the open air.
His first professional work was a one act play commissioned by the British Dance Drama Theatre called He Looks Like An Angel. He contributed song lyrics to several productions by the Red Light Theatre, writing with composer Charlie Barber. He wrote and directed a full length dramatic work based on the life and work of French author and jazz artist Boris Vian, again with music by Barber.
At this time Robin started collaborating with composer Chris Stuart with whom he had performed at Oxford writing comedy songs which they performed with their own musical revue. Robin wrote all the lyrics, links and sketches for their live shows as well as for broadcasts on radio and television. These included several revues at the Edinburgh Festival Fringe, starting with The Penultimate Show On Earth at the Richard De Marco gallery.
The revue became known as Baby Grand. Apart from live performances it made appearances on BBC radio shows such as Medium Dry Sherrin and Not Now, I’m Listening as well as the tv shows Pebble Mill at One and Friday Night, Saturday Morning. These featured songs written by Robin with Chris Stuart.
Other shows featuring the group and written by Robin include two specials for HTV, shown on the ITV network: For Patrons Only and Back in the Pavilion. They wrote other entertainment programmes for HTV at the time that did not feature Baby Grand, including the special Saints Alive.
For BBC radio, Robin wrote and performed in a series of 6 x 15 minute programmes for Radio 2 The Baby Grand Song Factory, a 45 minute one-off comedy The Underwater Towering Inferno, as well as a half hour of sketches and songs satirising the devolution referendum of 1979 for BBC Radio Wales. Chris Stuart wrote the music for these shows.
For television Robin wrote and performed in two series of 6 x 30 minute programmes for BBC 2, Verse, Worse and Baby Grand and Say It With Baby Grand. Again all the music was written by Chris Stuart.
At the same time Robin was working as a freelance critic, covering dance and jazz for the Guardian but also contributing to Jazz Journal, TES and the Western Mail. He also write several scripts for BBC Schools Radio, including a three part musical with music by Chris Stuart.
He also ghost wrote the children’s books SuperTed for its creator Mike Young and this led to the writing that Robin Lyons is best known for today – scripts for animation. Whilst pursuing a career in animation Robin has also continued to work with Chris Stuart, writing songs for other artists and performing occasionally as a duo. He wrote links for The Chris Stuart Cha Cha Chat Show for BBC Wales tv and with Chris Stuart wrote and performed the 6 x 30 minute BBC Wales Radio comedy series The World in Half an Hour.
Animation credits include:
SuperTed (37 x 8 mins) written by Robin Lyons. For S4C/BBC
A Winter Story (25 mins) written by Robin Lyons. For S4C/BBC
Easter Egg (25 mins) written by Robin Lyons. For S4C/BBC
Turkey Love (25 mins) written by Robin Lyons. For S4C/BBC
Gerald Of Wales (25 mins) written by Geoff Ballinger, Robin Lyons, Andrew Offiler and Wayne Thomas.
Space Baby (development for a series and pilot script). Written by Robin Lyons and Judy Rothman. This became the Hanna Barbera series Fantastic Max.
The Princess And The Goblin (80 min). Internationally distributed animated feature, including on 800 screens in the US. Screenplay by Robin Lyons, adapted from the book by George MacDonald
After this feature Robin started writing with former storyboard artist Andrew Offiler, with whom he continues to work and with whom he has written and/or story edited the following shows.
Tales of The Tooth Fairies (26 x 5′) Robin and Andrew were the story editors for this series.
Robert Creep: A Dog’s Life. Robin and Andrew wrote this half hour special for Channel 4 based on an idea by director Claude Luyet.
Kersplat! This live action series about comics for Channel 4 was written by Robin and Andrew.
Santa’s First Christmas was a Christmas special for WDR and the BBC written by Robin and Andrew.
Billy The Cat (First Series 52 x 25′) Robin and Andrew were the story editors for this series for international distribution, working closely with ZDF. They wrote 6 scripts.
Robin and Andrew worked on several development projects for Central TV, writing a bible for an animated series based on Treasure Island, as well as a 50 minute adaptation of the Thackery novel, The Rose And The Ring.
They also wrote several scripts for HahnFilm in Berlin, most notably the animated feature Asterix in Amerika. They also wrote scripts for the animated series Wilf, Urmel, BiBi Blocksberg, Benjamin Blümchen and Renaade.
They wrote five half hour specials as part of Cinar’s The Real Story Of… series. Baa Baa Black Sheep, O Christmas Tree, Au Clair de la Lune, Sur Le Pont D’Avignon and Here Comes The Bride.
Romuald The Reindeer a series shown on the BBC was created by Robin Lyons and Andrew Offiler but they only wrote one of the 13 episodes. The series was written by Roger Planer whose brother Nigel voiced the title character.
Jules Verne’s Amazing Journeys was a series of television features made for France TV. Robin and Andrew were the story editors and wrote one feature length episode, The Jangada.
Albert Says/ Albert Asks were educational series made for ZDF by Cologne Cartoon. Robin and Andrew were story editors of these series and wrote many of the scripts.
Siebenstein: Küsse in Angebot. Robin and Andrew wrote this half hour episode of the long running live action/puppet series for ZDF. They also wrote scripts for the spin-off series Rudi and Trudi.
Also for Cologne Cartoon they wrote several scripts for Pets and Rudolph.
The Hurricanes (65 x 25′) Robin and Andrew were story editors of this top rating animation series broadcast on ITV. They wrote 13 of the scripts.
Flight Squad (26 x 25′) Robin and Andrew wrote 13 episodes of this series for Canadian company Cinar.
Unlikely as it may seem, Robin and Andrew wrote an episode of Maxie’s World, a series about a cheerleader surfer girl for Dic.
Lenny and Tweek. Robin and Andrew wrote some episodes of this series for JEP Animation and WDR.
The Blobs and Meeow! These were series adaptated from books and made for STV. They were broadcast on the ITV network. Robin and Andrew developed them for television and were story editors. They also contributed scripts.
Little Hippo/Petit Potam. Robin and Andrew were story editors of this 52 episode series made by Marina for France TV. They wrote several scripts and also the screenplay for the spin-off animated feature, called simply Petit Potam.
Hilltop Hospital (52 x 10) This was a BAFTA winning series series adapted by Robin and Andrew from the books by Nicolas Allan. They acted as story editors and wrote 11 scripts. Broadcast on ITV it was the top rating preschool animation show of its day, outperforming Bob The Builder and others.
They wrote a three part radio series for BBC Schools, Radio Jukebox.
Fireman Sam. They story edited and wrote 9 episodes of the final series of Fireman Sam to be made in stop motion.
Psi-5. They created an idea for a sci-fy animated comedy for S4C and wrote a pilot which was broadcast.
Hana’s Helpline (52 x 10) Made for Channel Five, ZDF and S4C this series won a Broadcast Award for Best Children’s Programme, beating off five BBC shows. Robin and Andrew were story editors and wrote 11 scripts.
Igam Ogam (52 x 10) was made for the same broadcasters. Robin and Andrew were story editors and wrote 25 scripts.
Vic The Viking Robin and Andrew wrote 9 scripts for this CG comedy series, a remake of a 70’s series.
Julio Bunny is a 52 episode series adapted from the best selling books by Nicola Costa. It was made by Zodiak (Milan) and broadcast on RAI YoYo. Robin and Andrew were story editors, working with Tea Orsi. They wrote many of the scripts.
Inui. This 52 episode series was made by Jep Animation for ZDF. Robin and Andrew started as story editors but ended up writing 49 of the 52 scripts.
Purple Turtle. Robin and Andrew were story editors for this series for Indian company Aadarsh.
|
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0
| 77
|
https://www.avid.wiki/Macrovision
|
en
|
Macrovision
|
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[] |
[
""
] | null |
[
"Audiovisual Identity Database"
] |
2024-08-12T20:06:25+00:00
|
en
|
Audiovisual Identity Database
|
https://www.avid.wiki/Macrovision
|
Background
Macrovision is a copy-protection system from the company Macrovision Solutions Corporation, first used on the 1985 VHS/Betamax/LaserDisc of The Cotton Club. On July 16, 2009, the company changed its name to Rovi. On September 8, 2016, Rovi acquired TiVo and changed its name to the latter. Until the 1997 VHS release of Keys to Tulsa, Macrovision didn't use an animated logo, just warning screens.
Logo (September 2, 1997-2007)
Visuals: On a black background, a pink metallic triangle with "cp" on it (which stands for "copy protected" or "copy protection") zooms out and rotates from the bottom left to the center. Some clouds and sandy dunes are reflected onto the triangle, which shines, causing it to turn gold. Then a flash appears on the center to swallow the triangle up in order to serve room for the logo, and "MACROVISION QUALITY PROTECTION" (in Eurostile LT Std Condensed font) zooms out, with a smaller triangle next to it. An upside-down triangle replaces the V in "MACROVISION", and after it zooms out, the triangle shines with a "ping" and the text "QUALITY PROTECTION" starts to glow. In the background of the triangle and "MACROVISION", there is what appears to be a background of a desert and a cloudy sky (and if one watches closely, a watery oasis near the bottom of the desert as the text zooms out).
Trivia: Although this logo did appear at the end of the UK DVD release of Makaton Nursery Rhymes, the disc itself isn't actually copy-protected. The logo's inclusion is most likely a mistake considering that Universal released it to the format.
Variant: A French version exists where it fades in on the finished logo with the triangle stuck on the light and the text and the quality protection text blacked out and is replaced by "Protection de la qualite". This can be seen on the VHS release of The Eighth Day.
Technique: CGI.
Audio: A mellow synth tune (composed in E major), ending with a held-out note (composed in C♭ major).
Audio Variants:
From 2003-05, a silent version was used on VHS (the DVD counterparts all had the theme). This has been spotted on the 2003-05 VHS releases of Hulk, Love Actually, Along Came Polly, and Friday Night Lights.
On some Universal Pictures UK DVDs the logo is out-of-sync with the music, with it starting as the triangle shines.
Availability:
Seen at the end of Universal Studios Home Entertainment DVD releases from 2000-2007, as well as most VHS releases from 2000-2006, and at the beginning of PolyGram Video/USA Home Entertainment VHS and DVD releases from 1997-2002 (although the DVD releases of Gosford Park, Maybe Baby and One Night at McCools have the logo at the end) except for the retail VHS release of Barney's Great Adventure, which doesn't use the logo, though it does appear at the beginning of the movie's demo VHS tapes and DVDs (including reprints).
Although the print logo appears on the packaging of every UK DVD released between 2000 and 2007, most DVD's released between 2000-2004 don't feature this logo, (except DVD's that have either the Deluxe Digital Studios or Warner Advanced Media Operations logos). However, Nearly all DVD's released between 2005 and 2007 do feature this logo.
It was also shown at the beginning of HBO Home Video VHS releases from 2000-2002, such as 61*, Band of Brothers, Do You Believe In Miracles?, and several volumes of The Sopranos.
It has also been spotted on Popular Mechanics for Kids and Mommy and Me DVDs, and even at the end of certain prints of Maisy Makes Music (which even has an MPAA "G" rating screen before it, despite being a TV show).
A few BBC Video UK VHS releases from 1999-2000 also use this logo at the beginning, such as My Friend Angelmouse, Only Fools & Horses: Mother Nature's Son, Tweenies: Animal Friends and Song Time!, Teletubbies and the Snow, Adventures with Romuald the Reindeer, Comedy Legends: Ronnie Barker, Dad’s Army: The Face on the Poster, and Gary Larson's Tales from the Far Side.
It was seen at the beginning of the 2004 U.S. DVD of Fangoria Blood Drive: Volume 1 from Koch Vision.
It was also seen at the beginning of numerous Canadian Alliance Atlantis DVDs from 2000-2005 (with the exception of New Line Cinema and Miramax Films releases).
It also appears on the 2001 VHS and DVD releases of WTC: The First 24 Hours and the Grizzly Adams Productions, Inc. VHS release of Millennium Fears: Fact or Fiction?.
It also appears at the beginning of UK DVDs from Carlton Video, such as Oliver Twist (1948), In Which We Serve, King of New York, The Red Shoes, The Ipcress File, A Town Like Alice, Porridge: The Movie, several Thunderbirds volumes and Capricorn One.
It also appears at the end of the 2005 DVD of Dan Zanes & Friends: All Around the Kitchen from Festival Five Records.
It appeared at the end of a December 2001 ABC Family (now Freeform) airing of Must Be Santa (1999).
The print logo appears on the back of Video Collection International and early 2 Entertain UK DVDs from 2000 to 2005, and Channel 4 UK DVDs from 2006 to 2009 but the on-screen logo doesn't appear on them.
It was seen at the beginning of the international PolyGram Video/Universal Pictures Home Entertainment VHS and DVD releases from 1998-2000.
It was also used as a GIF on an old version of the company's website.
It makes an appearance on the 2010 DVD release of It's a Very Muppet Christmas Movie, alongside the Deluxe Digital Studios logo.
Legacy: While Macrovision itself is regarded by a nuisance by A/V enthusiasts, this logo is nevertheless a favorite of many due to its calming music and nature.
See Also
|
||||||
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dbpedia
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https://us.daum.fr/
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en
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Daum USA - Vases, Bowls, Custom Glassware
|
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[] |
[] |
[
""
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[] | null |
Daum, the legendary glassmaker master, has kept alive for more than a century the greatest artists of its time, giving their work of art a second life.
|
en
|
//us.daum.fr/cdn/shop/files/Logo_Daum_NOIR_63e80a7f-6c3c-46bb-b514-0499cb29f1e9_32x32.png?v=1613678342
|
Daum Inc
|
https://us.daum.fr/
|
Patrick Rougereau's poetry and boundless creativity
have given birth to a fantastic sculpture, the Punky
Fish, now crystallized by Daum in sublime shades of
blue and amber. The crystal gives it the light effect so
dear to the artist's eye and offers it a whole new
emotion.
"I dreamt of this enigmatic animal one day. So, fish
and bird came together to create this phantasmagorical animal. The Punky Fish was born!"
Patrick Rougereau
Emilio Robba, renowned for his artistic talent in capturing the essence of nature, collaborates with Daum to unveil a superb addition to the Monstera collection. This new turquoise variant of the small wall leaf reflects Robba's commitment to infusing his creations with the vibrant spirit of botanical life.
Emilio Robba's distinctive style, characterized by his
architectural approach to floral design, creates timeless pieces that transcend the boundaries between art and nature and bring the outdoors to the heart of any interior
space.
|
||||
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| 2
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https://soundeffects.fandom.com/wiki/Romuald_the_Reindeer
|
en
|
Romuald the Reindeer
|
https://static.wikia.nocookie.net/soundeffects/images/2/2c/MV5BYTRjMWFkNzctMDQxOC00NTRiLWEyZjQtYTFjMWE1MzBjM2E5L2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyNjg5MzE4NTA%40._V1_.jpg/revision/latest?cb=20221226041851
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[] |
[] |
[
""
] | null |
[
"Contributors to Soundeffects Wiki"
] |
2024-07-12T14:06:28+00:00
|
Romuald the Reindeer is a children's animated series, created by Robin Lyons and Andrew Offiler, and co-produced by Siriol Productions and La Fabrique for EVA Entertainment, Les Films du Triangle, Videal, France 3, and Media Affiliates, in association with BBC and ZDF. It aired on the BBC on 24...
|
en
|
https://static.wikia.nocookie.net/soundeffects/images/4/4a/Site-favicon.ico/revision/latest?cb=20210601183607
|
Soundeffects Wiki
|
https://soundeffects.fandom.com/wiki/Romuald_the_Reindeer
|
Romuald the Reindeer is a children's animated series, created by Robin Lyons and Andrew Offiler, and co-produced by Siriol Productions and La Fabrique for EVA Entertainment, Les Films du Triangle, Videal, France 3, and Media Affiliates, in association with BBC and ZDF. It aired on the BBC on 24 September 1996 and focuses on the adventures of a Christmas reindeer named Romuald, a character who had previously appeared in Siriol Productions and La Fabrique's thirty-minute specials Santa and the Tooth Fairies and Santa's First Christmas and an episode of their television series Tales of the Tooth Fairies. The series ran for a single season, consisting of thirteen ten-minute episodes.
Summary[]
TV Show Intro[]
Sound Effects Used[]
Sound Ideas, CARTOON, BELL - ALARM BELL: CLANGING (Heard once in "Music Maestro".)
Image Gallery[]
Romuald the Reindeer/Image Gallery
Audio Samples[]
|
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5671
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dbpedia
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2
| 9
|
https://bid.eastbristol.co.uk/past-auctions/sreas10883/lot-details/73a457e3-1319-45b9-a24c-b0d5011bfaad
|
en
|
ROMUALD THE REINDEER (1996) ARTWORK
|
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https://portal-assets.azureedge.net/tenants/bid.eastbristol.co.uk/skin/favicon.ico
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https://www.the-saleroom.com/en-gb/auction-catalogues/east-bristol-auctions/catalogue-id-sreas10883/lot-73a457e3-1319-45b9-a24c-b0d5011bfaad
|
Auction Types:
LIVE AUCTION - this means that in-person bidding and viewing will available. Internet bidding will also be possible, as will absentee / commission bids and telephone bids.
LIVE BROADCAST AUCTION - this is an auction broadcast online-only. A live feed with show the auctioneer conducting the sale. Bidding can happen online, and absentee / commission and telephone bidding will be available. In-person bidding will not be available. Viewing will be available either at a set time, or by appointment only (view each sale for specific details).
TIMED AUCTION - a timed auction is an online-only auction, with bidders against a clock. When the timer runs down, the highest bidder wins (subject to any reserves). A bid within the last 10 minutes will reset the timer to 10 minutes, allowing bidders fair chance and to combat 'sniping'. Viewing will be available either at a set time, or by appointment only (view each sale for specific details).
Conditions of Sale
Auctioneum Ltd (trading as East Bristol Auctions) carries on business with bidders, buyers and all those present in the auction room and online prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.
1. Definitions
In these Conditions:
(a) ‘Auctioneer’or ‘we/us’ means the firm Auctioneum Ltd or its authorised auctioneer, as appropriate;
(b) ‘Hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer;
(c) ‘Terms of Consignment’ means the stipulated terms and rates of commission on which Auctioneum Ltd accepts instructions from sellers or their agents;
(d) ‘Total amount due’ means the hammer price in respect of the lot sold together with any premium. Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;
(e) ‘sale proceeds’ means the net amount due to the seller, being the hammer price for the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising;
(f) ‘You’, ‘Your’ etc refers to the buyer as identified in condition 2;
(g) The singular includes the plural and vice versa as appropriate.
Information for buyers
2. Bidding Procedures and the Buyer
(a) Bidders are required to satisfy any security arrangements before entering the auction room to view or bid, and to register their particulars immediately on purchasing their first lot on the day.
(b) The maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer's absolute discretion by re-offering the Lot during the course of the auction or otherwise.
(c) Bidders shall be deemed to act as principals.
(d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.
3. Increments
Bidding increments shall be at the auctioneer's sole discretion.
4. The Purchase Price
The buyer shall pay the hammer price together with a premium thereon of 21%+VAT (25.2% total) on the premium at the rate imposed by law.
ARTISTS RE-SALE RIGHT. Buyers of the re-sold art of living artists will be charged the royalty where applicable. Currently this is 4% on any item sold at 1000 Euros or over, diminishing from 50,000 Euros. VAT is not applicable on this charge. Further details can be obtained from artistscollectingsociety.org.
5. Value Added Tax
Valued Added Tax on the hammer price is imposed by law on all items affixed with an asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position)
6. Payment
We accept payment via the telephone and also provide a secure payment portal through our website for your own security. Bidders leaving successful commission bids with us via telephone or email should be aware that payment will be made via this service. Online bidders, whether live or by automated online commission can pay via these services also. We do not accept Credit Card payments over £200 in any instance, we also no longer accept Cheques as a form of payment. From January 1st 2024 we will no longer accept cash payments. Full payment terms can be found on your invoice.
(1) Immediately a Lot is sold you will:
(a) Give to us, if requested, proof of identity, and
(b) Pay to us the total amount due in case or in such other way as is agreed by us.
(2) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent whether expressed or implied.
7. Title and Collection of Purchase
Ample opportunity is given for inspection. Each purchaser, by making a bid for a lot, is deemed to have knowledge of all the Conditions of Sale and to have satisfied themselves as to the physical condition and accuracy of the description of the lot, including, but not restricted to, whether the lot is damaged, or has been repaired. No refund shall be granted on any lot for matters arising to condition.
Collection of won lots from our saleroom must take place within 5 workings days of the sale date unless there has been strict and written prior agreement. Please note that we do not have the capacity to store items for customers for more than this period of time without prior agreement. Uncollected items will be subject to storage charges of £5 per lot per day after the 5th working day. By agreeing to bid with us you agree to these terms and we reserve the right to charge for storage at our discretion by use of credit / debit card held on file, or upon collection by customer, or by telephone so as to release to carriers. If storage fees amount in value to more than the value of the lots purchase price and/or the low estimate, we the auctioneer take ownership of the lot(s) to recover the storage fees.
(1) The ownership of any Lots purchased shall not pass on to you until you have made payment in full to us of the total amount due.
(2) You shall at your own risk and expense take away any lots that you have purchased and paid for no later than five working days following the day of the auction after which you shall be responsible for any removal, storage and insurance charges.
(3) No purchase can be claimed or removed until it has been paid for.
8. Remedies for Non-Payment or Failure To Collect Purchase
(1) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we as agent for the seller shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise all or any of the following rights and remedies:
(a) To proceed against you for damages for breach of contract;
(b) To rescind the sale of that Lot and/or any other Lots sold by us to you;
(c) to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller;
(d) To remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere, at the cost of £5 per lot per day;
(e) To deduct this cost from any registered credit or debit card submitted for registration at time of bidding
(f) To retain that or any other Lot sold to you until you pay the total amount due;
(g) To reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted;
(h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien on any of your property in our possession for any purpose.
(2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions.
9. Third Party Liability
All members of the public on our premises are there at their own risk and must note the layout of the accommodation and security arrangements. Accordingly, neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.
10. Commission Bids
Whilst prospective buyers are strongly advised to attend the auction personally or via an online bidding platform and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any neglect or default in so doing or failing to do so. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.
11. Warranty of Title And Availability
The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is property authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.
12. Agency
The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.
13. Descriptions
(1) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view, inspect and ask for written condition reports before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to the lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition, size or estimated selling price involve matters of opinion. Neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition, size or quality of lots, express, implied or statutory, and hereby excluded. All lots remain sold completely 'as is' - irrespective of any description, and no refund shall be issued on any lot where matters arising to condition are raised.
(2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.
(3) Electrical items - any and all electrical items (including, but not limited to, lamps, toys, furniture etc) are sold as decorative 'antique' or 'curio' objects ONLY and must only be used after a qualified electrician / professional has inspected the item for safety. Auctioneum Ltd or its agents are not liable for any injury, damage or loss relating to use of any electrical item. Based upon guidance from Trading Standards, plugs, cables and power leads will be removed prior to sale. No guarantees, warranties or similar are implied nor given on the working ability or electrical safety of any item.
(4) Measurements and Sizes - any measurements or stated sizes should be assumed as 'approximate' where given, and buyers are specifically requested to check sizes match their expectations prior to bidding.
14. Online Bidding
Auctioneum Ltd offer catalogues across multiple online bidding websites. Each of these websites levies a different charge for this service and any prospective bidders are asked to satisfy themselves as to those charges on each specific website.
In completing the bidder registration on www.the-saleroom.com and providing your card details and unless alternative arrangements are agreed with Auctioneum Ltd you:
1. authorise Auctioneum Ltd if they so wish, to charge the card given in part or full payment, including all fees, for items successfully purchased in the auction via the-saleroom.com or other website, and
2. confirm that you are authorised to provide these card details to Auctioneum Ltd through www.the-saleroom.com (or other website) and agree that Auctioneum Ltd are entitled to ship the goods to the card holder name and card holder address provided in fulfilment of the sale.
15. Anti-Money Laundering
Under the regulations set by the Financial Conduct Authority (FCA), Auctioneum Ltd is required to provide appropriate identity evidence for HMRC when transactions take place over £10000. This is to prove that all buyers seeking to purchase high value items from East Bristol Auctions are who they say they are.
Buyers registering to bid via saleroom.com and Auctioneum's own website will register to bid initially by entering an email address ( subject to validating) a current address of residence along with a valid debit or credit card that details will be matched against each other to verify your identity and to protect us from theft and fraud, complying with AML laws. Successful bidders of items over £10,000 using internet bidding will be sent an email after purchase asking for these, which includes details on what kind of documents we can accept. Please note, in some instances, if we are unable to verify your identity as a bidder on items of a value over £10,000, we will possibly not be able to process your bid and it may be cancelled as a result. Once your identity has been verified, we will inform you via email.
Buyers submitting telephone bidding requests and commission bids prior to the auction will also be subject to the above requirements and document requests prior to bidding thus satisfying both East Bristol Auctions and the current regulations for the Money Laundering Act .
Auctioneum Ltd will be required by law to meet current compliance requirements for example, under UK AML (anti-money laundering) HMRC laws, or individual countries customs laws and regulations and disclose this information
|
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5671
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dbpedia
|
2
| 8
|
https://genome.ch.bbc.co.uk/schedules/service_bbc_two_england/2001-02-08
|
en
|
BBC Programme Index
|
https://genome.ch.bbc.co.uk/favicon.ico
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https://genome.ch.bbc.co.uk/favicon.ico
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2001-02-08T00:00:00
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/favicon.ico
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Ends 9.00.
Spider
Animated antics with the eight-legged character.
(R)
7.05 Polka Dot Shorts
Adventures in the polka-dot land of Roo.
(R)
7.15 The All-New Popeye Show
Three more misadventures with the spinach-guzzling sailor.
(R)
7.35 Rugrats
Animated double bill with the cute youngsters.
(R) (S)
8.00 Blue Peter
Children's magazine, presented by Konnie Huq, Liz Barker, Matt Baker and Simon Thomas.
(Shown yesterday at 5pm on BBC1)
(S) (W)
8.25 Monster Rancher
When their plane breaks down, Genki and his friends end up in an area controlled by arch baddie Pixie.
(S)
8.50 Romuald the Reindeer
Animation. Romuald becomes completely addicted to his computer game.
(Repeated at 1pm)
(R)
Twelve years ago a small patch of a strange gigantic seaweed appeared off the coast of Monaco.
Despite warnings from a marine biologist about its high toxicity, the seaweed was ignored by local authorities, and has now mutated into a phenomenon known as the "killer algae" which is choking all indigenous life. This documentary examines how a supposedly harmless plant has become a potential threat to global marine life.
See Choice.
(S) (W)
Killer algae websites - Webwatch: page 42
(Repeats are not indicated)
Open Science
12.30 What Have the Sixties Ever Done for Us?
12.40 Background Brief: Impact - Planet Earth
1.00 Final Frontier
1.30 Background Brief: First Came Dolly
1.45 What Have the Eighties Ever Done for Us?
2.00 Stress
(S)
2.30 Looking Glass World
(S)
3.00 Samples of Analysis
(S)
Curriculum Development
3.30 Explicit Learning Plus: Listen to This - the Pupil's Perspective
Languages
4.00 Get By in French: Part 1
Working In the Arts
5.00 Career Development
Open University
6.00 Restoring the Balance
(S)
6.30 Brief Encounter
(S)
Ends 7.00am.
|
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5671
|
dbpedia
|
1
| 3
|
https://www.netjuggler.net/En/buy/reindeer-mascot.html
|
en
|
High Quality and Customizable
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Discover the Romuald the reindeer mascot, ideal for livening up your Christmas events. French manufacturing, machine washable.
|
en
|
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|
https://www.netjuggler.net/En/buy/reindeer-mascot.html
|
This Romuald the reindeer mascot is sold individually. It includes a plush body, head, matching gloves, and over-boots to keep your shoes on.
Details of the Reindeer Romuald Mascot
The Romuald the reindeer mascot is a charming and attractive costume, perfect for livening up your Christmas events and shows. Representing a reindeer with its beautiful brown and white coat and its large majestic antlers, this mascot is ideal for adding a festive and warm touch to your end-of-year celebrations. Whether for Christmas markets, parades or commercial events, Romuald the reindeer will captivate young and old.
NetJuggler analysis of the Renne Romuald Mascot
I find this mascot of Romuald the reindeer particularly captivating and well designed. It is ideal for creating a warm and festive atmosphere during Christmas events. Customers appreciate its softness to the touch and the quality of manufacture, as well as the possibility of machine washing it, which greatly facilitates its maintenance. Made in France, this mascot is the result of high-quality craftsmanship.
Who is the Renne Romuald Mascot for?
This mascot is aimed at a wide audience, including event organizers, schools, shopping centers, businesses wishing to attract attention during Christmas promotions, as well as party entertainers. It is ideal for various contexts such as village festivals, commercial events or educational events. Its festive and attractive appearance makes it a popular choice for any type of holiday event.
Customizable mascots
We offer customization services for our mascots, allowing you to choose fur and clothing colors according to your preferences. To discuss the options available or to obtain more information, please contact us by email or telephone.
Artisanal confection in Auvergne
Our mascots are made in Auvergne by qualified craftsmen. These products reflect French know-how, with a strong commitment to quality and sustainability. We use high quality materials, all from reliable sources within the European Union.
Inventory management and preparation times
Due to the handmade nature of our mascots, preparation may require a little more time than for other items available on our site, particularly for custom orders. To guarantee availability and delivery times, we advise you to contact us in advance, especially for urgent orders.
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5671
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https://bid.eastbristol.co.uk/past-auctions/sreas10883/lot-details/73a457e3-1319-45b9-a24c-b0d5011bfaad
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en
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ROMUALD THE REINDEER (1996) ARTWORK
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https://www.the-saleroom.com/en-gb/auction-catalogues/east-bristol-auctions/catalogue-id-sreas10883/lot-73a457e3-1319-45b9-a24c-b0d5011bfaad
|
Auction Types:
LIVE AUCTION - this means that in-person bidding and viewing will available. Internet bidding will also be possible, as will absentee / commission bids and telephone bids.
LIVE BROADCAST AUCTION - this is an auction broadcast online-only. A live feed with show the auctioneer conducting the sale. Bidding can happen online, and absentee / commission and telephone bidding will be available. In-person bidding will not be available. Viewing will be available either at a set time, or by appointment only (view each sale for specific details).
TIMED AUCTION - a timed auction is an online-only auction, with bidders against a clock. When the timer runs down, the highest bidder wins (subject to any reserves). A bid within the last 10 minutes will reset the timer to 10 minutes, allowing bidders fair chance and to combat 'sniping'. Viewing will be available either at a set time, or by appointment only (view each sale for specific details).
Conditions of Sale
Auctioneum Ltd (trading as East Bristol Auctions) carries on business with bidders, buyers and all those present in the auction room and online prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.
1. Definitions
In these Conditions:
(a) ‘Auctioneer’or ‘we/us’ means the firm Auctioneum Ltd or its authorised auctioneer, as appropriate;
(b) ‘Hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer;
(c) ‘Terms of Consignment’ means the stipulated terms and rates of commission on which Auctioneum Ltd accepts instructions from sellers or their agents;
(d) ‘Total amount due’ means the hammer price in respect of the lot sold together with any premium. Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;
(e) ‘sale proceeds’ means the net amount due to the seller, being the hammer price for the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising;
(f) ‘You’, ‘Your’ etc refers to the buyer as identified in condition 2;
(g) The singular includes the plural and vice versa as appropriate.
Information for buyers
2. Bidding Procedures and the Buyer
(a) Bidders are required to satisfy any security arrangements before entering the auction room to view or bid, and to register their particulars immediately on purchasing their first lot on the day.
(b) The maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer's absolute discretion by re-offering the Lot during the course of the auction or otherwise.
(c) Bidders shall be deemed to act as principals.
(d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.
3. Increments
Bidding increments shall be at the auctioneer's sole discretion.
4. The Purchase Price
The buyer shall pay the hammer price together with a premium thereon of 21%+VAT (25.2% total) on the premium at the rate imposed by law.
ARTISTS RE-SALE RIGHT. Buyers of the re-sold art of living artists will be charged the royalty where applicable. Currently this is 4% on any item sold at 1000 Euros or over, diminishing from 50,000 Euros. VAT is not applicable on this charge. Further details can be obtained from artistscollectingsociety.org.
5. Value Added Tax
Valued Added Tax on the hammer price is imposed by law on all items affixed with an asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position)
6. Payment
We accept payment via the telephone and also provide a secure payment portal through our website for your own security. Bidders leaving successful commission bids with us via telephone or email should be aware that payment will be made via this service. Online bidders, whether live or by automated online commission can pay via these services also. We do not accept Credit Card payments over £200 in any instance, we also no longer accept Cheques as a form of payment. From January 1st 2024 we will no longer accept cash payments. Full payment terms can be found on your invoice.
(1) Immediately a Lot is sold you will:
(a) Give to us, if requested, proof of identity, and
(b) Pay to us the total amount due in case or in such other way as is agreed by us.
(2) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent whether expressed or implied.
7. Title and Collection of Purchase
Ample opportunity is given for inspection. Each purchaser, by making a bid for a lot, is deemed to have knowledge of all the Conditions of Sale and to have satisfied themselves as to the physical condition and accuracy of the description of the lot, including, but not restricted to, whether the lot is damaged, or has been repaired. No refund shall be granted on any lot for matters arising to condition.
Collection of won lots from our saleroom must take place within 5 workings days of the sale date unless there has been strict and written prior agreement. Please note that we do not have the capacity to store items for customers for more than this period of time without prior agreement. Uncollected items will be subject to storage charges of £5 per lot per day after the 5th working day. By agreeing to bid with us you agree to these terms and we reserve the right to charge for storage at our discretion by use of credit / debit card held on file, or upon collection by customer, or by telephone so as to release to carriers. If storage fees amount in value to more than the value of the lots purchase price and/or the low estimate, we the auctioneer take ownership of the lot(s) to recover the storage fees.
(1) The ownership of any Lots purchased shall not pass on to you until you have made payment in full to us of the total amount due.
(2) You shall at your own risk and expense take away any lots that you have purchased and paid for no later than five working days following the day of the auction after which you shall be responsible for any removal, storage and insurance charges.
(3) No purchase can be claimed or removed until it has been paid for.
8. Remedies for Non-Payment or Failure To Collect Purchase
(1) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we as agent for the seller shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise all or any of the following rights and remedies:
(a) To proceed against you for damages for breach of contract;
(b) To rescind the sale of that Lot and/or any other Lots sold by us to you;
(c) to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller;
(d) To remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere, at the cost of £5 per lot per day;
(e) To deduct this cost from any registered credit or debit card submitted for registration at time of bidding
(f) To retain that or any other Lot sold to you until you pay the total amount due;
(g) To reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted;
(h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien on any of your property in our possession for any purpose.
(2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions.
9. Third Party Liability
All members of the public on our premises are there at their own risk and must note the layout of the accommodation and security arrangements. Accordingly, neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.
10. Commission Bids
Whilst prospective buyers are strongly advised to attend the auction personally or via an online bidding platform and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any neglect or default in so doing or failing to do so. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.
11. Warranty of Title And Availability
The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is property authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.
12. Agency
The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.
13. Descriptions
(1) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view, inspect and ask for written condition reports before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to the lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition, size or estimated selling price involve matters of opinion. Neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition, size or quality of lots, express, implied or statutory, and hereby excluded. All lots remain sold completely 'as is' - irrespective of any description, and no refund shall be issued on any lot where matters arising to condition are raised.
(2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.
(3) Electrical items - any and all electrical items (including, but not limited to, lamps, toys, furniture etc) are sold as decorative 'antique' or 'curio' objects ONLY and must only be used after a qualified electrician / professional has inspected the item for safety. Auctioneum Ltd or its agents are not liable for any injury, damage or loss relating to use of any electrical item. Based upon guidance from Trading Standards, plugs, cables and power leads will be removed prior to sale. No guarantees, warranties or similar are implied nor given on the working ability or electrical safety of any item.
(4) Measurements and Sizes - any measurements or stated sizes should be assumed as 'approximate' where given, and buyers are specifically requested to check sizes match their expectations prior to bidding.
14. Online Bidding
Auctioneum Ltd offer catalogues across multiple online bidding websites. Each of these websites levies a different charge for this service and any prospective bidders are asked to satisfy themselves as to those charges on each specific website.
In completing the bidder registration on www.the-saleroom.com and providing your card details and unless alternative arrangements are agreed with Auctioneum Ltd you:
1. authorise Auctioneum Ltd if they so wish, to charge the card given in part or full payment, including all fees, for items successfully purchased in the auction via the-saleroom.com or other website, and
2. confirm that you are authorised to provide these card details to Auctioneum Ltd through www.the-saleroom.com (or other website) and agree that Auctioneum Ltd are entitled to ship the goods to the card holder name and card holder address provided in fulfilment of the sale.
15. Anti-Money Laundering
Under the regulations set by the Financial Conduct Authority (FCA), Auctioneum Ltd is required to provide appropriate identity evidence for HMRC when transactions take place over £10000. This is to prove that all buyers seeking to purchase high value items from East Bristol Auctions are who they say they are.
Buyers registering to bid via saleroom.com and Auctioneum's own website will register to bid initially by entering an email address ( subject to validating) a current address of residence along with a valid debit or credit card that details will be matched against each other to verify your identity and to protect us from theft and fraud, complying with AML laws. Successful bidders of items over £10,000 using internet bidding will be sent an email after purchase asking for these, which includes details on what kind of documents we can accept. Please note, in some instances, if we are unable to verify your identity as a bidder on items of a value over £10,000, we will possibly not be able to process your bid and it may be cancelled as a result. Once your identity has been verified, we will inform you via email.
Buyers submitting telephone bidding requests and commission bids prior to the auction will also be subject to the above requirements and document requests prior to bidding thus satisfying both East Bristol Auctions and the current regulations for the Money Laundering Act .
Auctioneum Ltd will be required by law to meet current compliance requirements for example, under UK AML (anti-money laundering) HMRC laws, or individual countries customs laws and regulations and disclose this information
|
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5671
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dbpedia
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1
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https://www.vivino.com/US/en/romuald-valot-gevrey-chambertin/w/8029238
|
en
|
Romuald Valot Gevrey-Chambertin
|
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Gevrey-Chambertin is a Red wine. Made from Pinot Noir. See reviews and pricing for this wine.
|
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5671
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dbpedia
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2
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https://rockartblog.blogspot.com/2019/06/
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en
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Rock Art Blog
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https://rockartblog.blogspot.com/favicon.ico
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"Peter Faris",
"View my complete profile"
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by Peter Faris
Sponsored by Institute
for Archaeoesthetics.
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https://rockartblog.blogspot.com/favicon.ico
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https://rockartblog.blogspot.com/2019/06/
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A collection of Powerpoint presentations and slide shows in SlideShare:
METEORLOGICAL PHENOMENA IN ROCK ART.
http://www.slideshare.net/archeofaris/meteorological-phenomena-in-rock-art
PETROGLYPH CHRONOLORY IN SOUTHEAST COLORADO.
http://www.slideshare.net/archeofaris/petroglyph-chronology-in-southeast-colorado
THE CAVE OF LIFE IN PETRIFIED FOREST NATIONAL PARK.
http://www.slideshare.net/archeofaris/the-cave-of-life-petrified-forest-national
NATIVE AMERICAN PALEONTOLOGY.
http://www.slideshare.net/archeofaris/native-american-paleontology
WHEN THE STARS FELL.
http://www.slideshare.net/archeofaris/when-the-stars-fell-slide-show
THE 1868 WINTER CAMPAIGN OF THE 5TH CAVALRY.
http://www.slideshare.net/archeofaris/the-1868-winter-campaign-of-the-5th-cavalry
ROCK ART OF OAHU, HAWAII.
http://www.slideshare.net/archeofaris/rock-art-of-oahu-hawaii
THE INFLUENCE OF FOSSIL FOOTPRINTS ON ROCK ART.
http://www.slideshare.net/archeofaris/the-influence-of-fossil-footprints-on-rock-art
POMPEY'S PILLAR AND THE CUSTER BATTLEFIELD, MONTANA.
http://www.slideshare.net/archeofaris/pompeys-pillar-and-the-custer-battlefield-mt
DEPICTIONS OF HALLEY'S COMET IN NATIVE AMERICAN ROCK ART.
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https://www.pinterest.com/pin/albie-2002--624311567119763722/
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2023-04-14T15:46:46+00:00
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Discover (and save!) your own Pins on Pinterest.
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en
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Pinterest
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https://www.pinterest.com/pin/albie-2002--624311567119763722/
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https://teletoonandbeyond.fandom.com/wiki/Romuald_The_Reindeer
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Romuald The Reindeer
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"Contributors to Teletoon Wiki"
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2024-07-29T22:27:06+00:00
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Romuard The Reindeer is a British children's animated series created by Robin Lyons and Andrew Offiler and produced by Siriol Productions and La Fabrique in association with EVA Entertainment. The series takes place in Reindeersville,Lapland,a community of Christmas reindeer. The reindeer...
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en
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/skins-ucp/mw139/common/favicon.ico
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Teletoon Wiki
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https://teletoonandbeyond.fandom.com/wiki/Romuald_The_Reindeer
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Romuard The Reindeer is a British children's animated series created by Robin Lyons and Andrew Offiler and produced by Siriol Productions and La Fabrique in association with EVA Entertainment.
The series takes place in Reindeersville,Lapland,a community of Christmas reindeer. The reindeer populace can all fly and use their antlers like hands,playing instruments,picking up phones,etc. The focus is on Romuald Haroldson,a sullen teen reindeer,and his misadventures.
Broadcast:[]
The series has broadcast on Télétoon in Canada and on Télétoon+ in Europe in 2003. Romuald The Reindeer no longer air on the channel.
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dbpedia
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https://www.alamy.com/stock-photo/1824-1892.html
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en
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res stock photography and images
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[
"Alamy Limited"
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Find the perfect 1824 1892 stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.
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en
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Alamy
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https://www.alamy.com/stock-photo/1824-1892.html
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Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 15/08/2024 Alamy Ltd. All rights reserved.
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https://www.tiktok.com/discover/cupid-the-reindeer
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Make Your Day
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https://175heroes.bradfordcollege.ac.uk/les_brooksbank.html
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175 Heroes at Bradford College
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Les Brooksbank
Animator and scriptwriter, Les Brooksbank, completed the Art Foundation and Diploma in Graphics after studying at Bradford Regional College of Art from 1964 to 1968.
“Initially I did a Foundation year, mainly in the Bolton Royd building, with some life drawing classes and lectures in the main building or Chapel (now Grove Library). Subsequent years were mostly spent in the Thornton Road Annexe, which had been a woollen mill. The Graphics department was on the first floor and was headed by a jovial, rather portly Scotsman called John Fleming.
A fellow student and I embarked on the production of a half hour live action puppet film called The Security People. One of our tutors was even roped in to voice one of the puppets. At one point we needed a large area to build a major set and, goodness knows how we managed it, but we obtained permission to build it on one of the then unused upper floors of the annexe, which were still in the same state as when vacated by the mill machinery. There was no electricity, so we had to run cables for our lights and the floors were still soaked in oil and wool grease. Had they known that we intended to blow up and burn a model van and a model house in there they would have had a fit, but in the event the caretaker even lent us the matches!”
Les then worked on the trailers for The Thomas Crown Affair, Cromwell and Disney’s Jungle Book at National Screen Service. He returned to Bradford to head the animation and art department for Five Cities Films, a TV commercials production company, until 1975 when be became producer/animator for Kamel International Films.
“In 1983 I went totally freelance, working on short term contracts for Tyne Tees TV, Yorkshire TV, Granada TV, Central TV and Thames TV before taking on a rolling contract as an animator for Europe’s largest animation studio, Cosgrove Hall Productions in Manchester. I worked on series such as Dangermouse, Count Duckula and Victor & Hugo, plus the feature length production of Roald Dahl’s The BFG. When Thames TV lost its franchise in 1991, half the staff of Cosgrove Hall were made redundant, me among them. However, I left on the Friday and flew out to Munich on the Sunday to direct a series of animated TV commercials, taking 3 other redundant animators with me. I returned a few months later to direct another series.
Back home I worked steadily as a key animator on many children’s cartoon series including Avenger Penguins; Captain Star; Romuald the Reindeer; Mr. Men; Raggy Dolls; Wolves, Witches & Giants; Binka; Terry Pratchett’s Discworld and the award winning Grizzly Tales for Gruesome Kids.
However, the demand for hand drawn animation started to wane as computer animation programmes became more sophisticated, so I diversified into writing storylines and scripts for children’s animated TV series such as Meeow!, Fireman Sam and the BAFTA winning Hana’s Helpline. Writing has now taken over completely, the last time I did any animation being 6 or 7 years ago. Upcoming projects on which I am slated to script include 2 brand new series, Ig, about a caveman family set in prehistoric times, and a futuristic series called Psi 5.”
Self portrait drawn by Les Brooksbank drawn specially for the 175 Heroes Exhibition
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https://robinlyons.co.uk/writing-credits/
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Writing Credits – Robin Lyons
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https://robinlyons.co.uk/writing-credits/
|
Robin Lyons is very much in demand as a writer and story editor of animation projects. He works with his writing partner, Andrew Offiler. They are currently writing a feature film script with Mel Sano for Moody Street Kids in Melbourne and working on the development of an animated tv series for a studio in Ravenna.
Writing Credits
Robin’s writing career started as a student at Oxford where he contributed sketches for several revues in which he performed, including two Oxford Revues, An Exhibition of Ourselves and Her Majesty’s Pleasure.
He also wrote a dramatic adaptation of André Maurois’ book Fattypuffs and Thinifers which was performed in the open air.
His first professional work was a one act play commissioned by the British Dance Drama Theatre called He Looks Like An Angel. He contributed song lyrics to several productions by the Red Light Theatre, writing with composer Charlie Barber. He wrote and directed a full length dramatic work based on the life and work of French author and jazz artist Boris Vian, again with music by Barber.
At this time Robin started collaborating with composer Chris Stuart with whom he had performed at Oxford writing comedy songs which they performed with their own musical revue. Robin wrote all the lyrics, links and sketches for their live shows as well as for broadcasts on radio and television. These included several revues at the Edinburgh Festival Fringe, starting with The Penultimate Show On Earth at the Richard De Marco gallery.
The revue became known as Baby Grand. Apart from live performances it made appearances on BBC radio shows such as Medium Dry Sherrin and Not Now, I’m Listening as well as the tv shows Pebble Mill at One and Friday Night, Saturday Morning. These featured songs written by Robin with Chris Stuart.
Other shows featuring the group and written by Robin include two specials for HTV, shown on the ITV network: For Patrons Only and Back in the Pavilion. They wrote other entertainment programmes for HTV at the time that did not feature Baby Grand, including the special Saints Alive.
For BBC radio, Robin wrote and performed in a series of 6 x 15 minute programmes for Radio 2 The Baby Grand Song Factory, a 45 minute one-off comedy The Underwater Towering Inferno, as well as a half hour of sketches and songs satirising the devolution referendum of 1979 for BBC Radio Wales. Chris Stuart wrote the music for these shows.
For television Robin wrote and performed in two series of 6 x 30 minute programmes for BBC 2, Verse, Worse and Baby Grand and Say It With Baby Grand. Again all the music was written by Chris Stuart.
At the same time Robin was working as a freelance critic, covering dance and jazz for the Guardian but also contributing to Jazz Journal, TES and the Western Mail. He also write several scripts for BBC Schools Radio, including a three part musical with music by Chris Stuart.
He also ghost wrote the children’s books SuperTed for its creator Mike Young and this led to the writing that Robin Lyons is best known for today – scripts for animation. Whilst pursuing a career in animation Robin has also continued to work with Chris Stuart, writing songs for other artists and performing occasionally as a duo. He wrote links for The Chris Stuart Cha Cha Chat Show for BBC Wales tv and with Chris Stuart wrote and performed the 6 x 30 minute BBC Wales Radio comedy series The World in Half an Hour.
Animation credits include:
SuperTed (37 x 8 mins) written by Robin Lyons. For S4C/BBC
A Winter Story (25 mins) written by Robin Lyons. For S4C/BBC
Easter Egg (25 mins) written by Robin Lyons. For S4C/BBC
Turkey Love (25 mins) written by Robin Lyons. For S4C/BBC
Gerald Of Wales (25 mins) written by Geoff Ballinger, Robin Lyons, Andrew Offiler and Wayne Thomas.
Space Baby (development for a series and pilot script). Written by Robin Lyons and Judy Rothman. This became the Hanna Barbera series Fantastic Max.
The Princess And The Goblin (80 min). Internationally distributed animated feature, including on 800 screens in the US. Screenplay by Robin Lyons, adapted from the book by George MacDonald
After this feature Robin started writing with former storyboard artist Andrew Offiler, with whom he continues to work and with whom he has written and/or story edited the following shows.
Tales of The Tooth Fairies (26 x 5′) Robin and Andrew were the story editors for this series.
Robert Creep: A Dog’s Life. Robin and Andrew wrote this half hour special for Channel 4 based on an idea by director Claude Luyet.
Kersplat! This live action series about comics for Channel 4 was written by Robin and Andrew.
Santa’s First Christmas was a Christmas special for WDR and the BBC written by Robin and Andrew.
Billy The Cat (First Series 52 x 25′) Robin and Andrew were the story editors for this series for international distribution, working closely with ZDF. They wrote 6 scripts.
Robin and Andrew worked on several development projects for Central TV, writing a bible for an animated series based on Treasure Island, as well as a 50 minute adaptation of the Thackery novel, The Rose And The Ring.
They also wrote several scripts for HahnFilm in Berlin, most notably the animated feature Asterix in Amerika. They also wrote scripts for the animated series Wilf, Urmel, BiBi Blocksberg, Benjamin Blümchen and Renaade.
They wrote five half hour specials as part of Cinar’s The Real Story Of… series. Baa Baa Black Sheep, O Christmas Tree, Au Clair de la Lune, Sur Le Pont D’Avignon and Here Comes The Bride.
Romuald The Reindeer a series shown on the BBC was created by Robin Lyons and Andrew Offiler but they only wrote one of the 13 episodes. The series was written by Roger Planer whose brother Nigel voiced the title character.
Jules Verne’s Amazing Journeys was a series of television features made for France TV. Robin and Andrew were the story editors and wrote one feature length episode, The Jangada.
Albert Says/ Albert Asks were educational series made for ZDF by Cologne Cartoon. Robin and Andrew were story editors of these series and wrote many of the scripts.
Siebenstein: Küsse in Angebot. Robin and Andrew wrote this half hour episode of the long running live action/puppet series for ZDF. They also wrote scripts for the spin-off series Rudi and Trudi.
Also for Cologne Cartoon they wrote several scripts for Pets and Rudolph.
The Hurricanes (65 x 25′) Robin and Andrew were story editors of this top rating animation series broadcast on ITV. They wrote 13 of the scripts.
Flight Squad (26 x 25′) Robin and Andrew wrote 13 episodes of this series for Canadian company Cinar.
Unlikely as it may seem, Robin and Andrew wrote an episode of Maxie’s World, a series about a cheerleader surfer girl for Dic.
Lenny and Tweek. Robin and Andrew wrote some episodes of this series for JEP Animation and WDR.
The Blobs and Meeow! These were series adaptated from books and made for STV. They were broadcast on the ITV network. Robin and Andrew developed them for television and were story editors. They also contributed scripts.
Little Hippo/Petit Potam. Robin and Andrew were story editors of this 52 episode series made by Marina for France TV. They wrote several scripts and also the screenplay for the spin-off animated feature, called simply Petit Potam.
Hilltop Hospital (52 x 10) This was a BAFTA winning series series adapted by Robin and Andrew from the books by Nicolas Allan. They acted as story editors and wrote 11 scripts. Broadcast on ITV it was the top rating preschool animation show of its day, outperforming Bob The Builder and others.
They wrote a three part radio series for BBC Schools, Radio Jukebox.
Fireman Sam. They story edited and wrote 9 episodes of the final series of Fireman Sam to be made in stop motion.
Psi-5. They created an idea for a sci-fy animated comedy for S4C and wrote a pilot which was broadcast.
Hana’s Helpline (52 x 10) Made for Channel Five, ZDF and S4C this series won a Broadcast Award for Best Children’s Programme, beating off five BBC shows. Robin and Andrew were story editors and wrote 11 scripts.
Igam Ogam (52 x 10) was made for the same broadcasters. Robin and Andrew were story editors and wrote 25 scripts.
Vic The Viking Robin and Andrew wrote 9 scripts for this CG comedy series, a remake of a 70’s series.
Julio Bunny is a 52 episode series adapted from the best selling books by Nicola Costa. It was made by Zodiak (Milan) and broadcast on RAI YoYo. Robin and Andrew were story editors, working with Tea Orsi. They wrote many of the scripts.
Inui. This 52 episode series was made by Jep Animation for ZDF. Robin and Andrew started as story editors but ended up writing 49 of the 52 scripts.
Purple Turtle. Robin and Andrew were story editors for this series for Indian company Aadarsh.
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5671
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dbpedia
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1
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https://ouci.dntb.gov.ua/en/works/7qpbjjN9/
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en
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The migration of Late Pleistocene reindeer: isotopic evidence from northern Europe
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[] |
[] |
[
""
] | null |
[] | null |
uk
|
/static/favicon.61ae30b5ede9.png
|
http://ouci.dntb.gov.ua/en/works/7qpbjjN9/
|
Assessment of Diagenetic Transformations in Bioapatite for the Determination of the 87Sr/86Sr Isotope Ratio: A Case Study on an Early Iron Age Human Tooth from the Sargat Culture
D. V. Kiseleva, M. V. Chervyakovskaya, V. S. Chervyakovskii, T. G. Okuneva, N. G. Soloshenko, V. A. Bulatov, M. A. Grachev, M. K. Karapetyan, S. V. Sharapova, E. S. Shagalov
|
||||||
correct_award_00058
|
FactBench
|
2
| 7
|
https://www.nobelprize.org/prizes/literature/1967/ceremony-speech/
|
en
|
Award ceremony speech
|
[
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[] |
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[
""
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[] | null |
The Nobel Prize in Literature 1967 was awarded to Miguel Angel Asturias "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America"
|
en
|
NobelPrize.org
|
https://www.nobelprize.org/prizes/literature/1967/ceremony-speech/
|
Presentation Speech by Anders Österling, Permanent Secretary of the Swedish Academy
This year the Nobel Prize in Literature has been awarded to the Guatemalan writer Miguel Angel Asturias, a prominent representative of the modern literature of Latin America, in which such interesting developments are now taking place. Born in 1899 in the capital of Guatemala, Asturias became imbued, even as a child, with the characteristically Guatemalan love of nature and of the mythical world. He devoted to this native heritage, and to its libertarian spirit, a fervour which was to dominate his whole literary production. After studying law and folklore, he lived in France during the twenties, and, for a time, represented his country in the diplomatic service. He condemned himself to a long exile after the anti-democratic coup d’etat of 1954, but returned when the legitimate regime took office again. He is presently the Guatemalan Ambassador in Paris.
During the last few years, Asturias has gained international recognition, as his most important works came to be translated into various languages; today they can be read even in Swedish. His first work was a collection of Guatemalan legends, strange evocations of the Mayas’ past, a treasure of images and symbols which has, ever since, been the inexhaustible source of his inspiration. But he did not get his real start as a writer until 1946, the year of the publication of the novel, El Señor Presidente (The President). This magnificent and tragic satire criticizes the prototype of the Latin American dictator who appeared in several places at the beginning of the century and has since reappeared, his existence being fostered by the mechanism of tyranny which, for the common man, makes every day a hell on earth. The passionate vigour with which Asturias evokes the terror and distrust which poisoned the social atmosphere of the time makes his work a challenge and an invaluable aesthetic gesture. The narrative, entitled, Hombres de maíz (Men of Maize) appeared three years later. It might be considered as a folktale whose chief inspiration is in the imagination but which, nevertheless, remains true to life. Its motifs are from the mythology of that tropical land where man must struggle simultaneously against a mysteriously beautiful but hostile nature and against unbearable social distortions, oppression, and tyranny. Such an accumulation of nightmares and totemic phantasms may overwhelm our sensibilities, but we cannot help being fascinated by a poetry so bizarre and terrifying.
With the trilogy of novels begun in 1950 – Viente Fuerte, 1950 (Strong Wind), El Papa verde, 1954 (The Green Pope), and Los ojos de los enterrados, 1960 (The Eyes of the Buried) – a new topical concern appears in Asturias’s epic work: the theme of the struggle against the domination of American trusts, epitomized by the United Fruit Company, and its political and economic effects upon the contemporary history of the “Banana Republic”. Here, again, we see the violent effervescence and the visionary vehemence which stem from the author’s intense involvement in the situation of his country.
Asturias has completely freed himself from obsolete narrative techniques. Very early, he came under the influence of the new tendencies appearing in European literature; his explosive style bears a close kinship to French surrealism. It must be noted, however, that he always takes his inspiration from real life. In his impressive cycle of poems entitled Clarivigilia primaveral, 1965 (Bright and Awake in Spring), on which a Swedish critical study has just appeared, Asturias deals with the very genesis of the arts and of poetic creation, in a language which seems to have assumed the bright splendour of the magical quetzal’s feathers and the glimmering of phosphorescent insects.
Latin America today can boast an active group of prominent writers, a multivoiced chorus in which individual contributions are not readily discernible. Asturias’s work is nevertheless vast, bold, and outstanding enough to arouse interest outside of his own literary milieu, beyond a geographically limited area situated far away from us. One of the Indian legends Asturias alludes to evokes the belief that dead ancestors are forced to witness, with open eyes, the struggles and sufferings of their offspring. Only when justice is re-established, and the stolen soil restituted, will the dead finally be able to close their eyes and sleep peacefully in their tombs. It is a beautiful and poignant popular belief, and we can easily imagine that the militant poet has often felt upon him the gaze of his ancestors and has often heard the silent, symbolic appeal reaching to his heart.
Mr. Ambassador – you come from a distant country, but do not let this fact make you feel today that you are a stranger among us. Your work is known and appreciated in Sweden. We take pleasure in welcoming you as a messenger from Latin America, its people, its spirit, and its future. I congratulate you in the name of the Swedish Academy, which pays tribute to the “vividness of your literary work, rooted in national traits and Indian traditions”. I now invite you to receive your Prize from His Majesty, the King.
From Nobel Lectures, Literature 1901-1967, Editor Horst Frenz, Elsevier Publishing Company, Amsterdam, 1969
Copyright © The Nobel Foundation 1967
|
|||||
correct_award_00058
|
FactBench
|
3
| 41
|
https://www.abebooks.com/books/nobel-prize-in-literature-winners
|
en
|
Nobel Prize in Literature winners
|
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[] |
[
"list of nobel writers",
"nobel authors",
"nobel prize for literature"
] | null |
[] |
2022-09-21T00:00:00
|
The Nobel Prize for Literature is the world’s most important international literary honor. Browse the complete list of winning authors since 1901.
|
en
|
https://www.abebooks.com/favicon.ico
|
AbeBooks
|
https://www.abebooks.com/books/nobel-prize-in-literature-winners
|
The Nobel Prize for Literature is the world’s most important international literary honor. Alfred Nobel - the Swedish scientist, engineer, and inventor - left his fortune to establish awards for physics, chemistry, physiology/medicine, peace, and literature.
The prizes began in 1901, and the first winner for literature was the French poet and essayist Sully Prudhomme. The winner is decided by a committee consisting of members from the Swedish Academy, which was founded in 1786. The Swedish Academy features 18 people of note – such as writers, scholars, and historians - who have the role for life. The prize is awarded for a writer’s overall body of work although individual works of importance have been cited at times.
Past winners include Annie Ernaux, Ernest Hemingway, Albert Camus, Hermann Hesse, José Saramago, Pablo Neruda, Kazuo Ishiguro, and Aleksandr Solzhenitsyn. Swedish author Selma Lagerlöf was the first woman to win the Nobel Prize for Literature in 1909.
The Nobel Prize looks for excellence in more than just fiction. Non-fiction authors (Winston Churchill and Bertrand Russell), poets (such as T.S. Eliot), playwrights (such as Harold Pinter and Nelly Sachs), a short story writer (Alice Munro), and even a singer/songwriter, Bob Dylan, have been honored.
The 2023 winner is Jon Fosse, one of Norway’s most prominent and celebrated playwrights and novelists. His works, often marked by their minimalist style and deep existential themes, explore the interior lives of rather solitary characters. He published his first novel, “Red, Black,” in 1983, and his debut play Someone Is Going to Come followed in 1992. His work A New Name: Septology VI-VII was a finalist for the International Booker Prize in 2022 and his other major works include Melancholy; Morning and Evening and Aliss at the Fire.
|
||
correct_award_00058
|
FactBench
|
1
| 19
|
https://blog.bookstellyouwhy.com/collecting-nobel-laureates-miguel-angel-asturias-pablo-neruda
|
en
|
Collecting Nobel Laureates: Miguel Angel Asturias & Pablo Neruda
|
http://blog.bookstellyouwhy.com/hubfs/Neruda_Nobel_Canto_Inventory.jpg
|
http://blog.bookstellyouwhy.com/hubfs/Neruda_Nobel_Canto_Inventory.jpg
|
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2017-04-05T13:00:00+00:00
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Works from Latin American Nobel Prize in Literature winners Pablo Neruda and Miguel Angel Asturias should be on your shelves. Here's what you need to know.
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en
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//blog.bookstellyouwhy.com/hubfs/file-21251103-ico.ico
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https://blog.bookstellyouwhy.com/collecting-nobel-laureates-miguel-angel-asturias-pablo-neruda
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Recently, we began spotlighting Nobel Prize in Literature winners from Latin America. Today, we’d like to highlight a couple more of our favorites. Read on for general information, ideas, and collecting points on Miguel Angel Asturias and Pablo Neruda, winners of the Prize at a time in history when the world as a whole was waking up to the amazing works and writers emerging from Latin America.
For more information on our previous Latin American Nobel laureate spotlights featuring Gabriela Mistral and Mario Vargas Llosa, please see the end of this post.
Miguel Angel Asturias
Miguel Angel Asturias won the Nobel Prize in Literature in 1967 and hailed from Guatemala. The Nobel committee cited “his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America" as motivation for the award.
Asturias was a contemporary of other renowned Latin American authors including Mario Vargas Llosa and Gabriel García Márquez, and together they make up the authors who penned groundbreaking and influential works which were published and circulated during the Latin American Literary Boom in the 1960s-1970s. Asturias utilized magical realism in many of his works, and his impact can be seen both in the reception of his work and his ongoing legacy. He is the namesake for the Miguel Ángel Asturias National Prize in Literature, awarded annually in Guatemala since 1988. If you are starting a Latin American literature collection, Asturias must be on your shelves. Here are a few places to begin when looking at his works.
Asturias is often recognized for two primary works: El Señor Presidente (The President) and Hombres de maíz (Men of Maize). First published in 1946 by Costa-Amic in Mexico, El Señor Presidente explores the subject of dictatorship, and the wretchedness that overtakes society as a whole due to political evils of those in power. Second and third editions of the novel with changes by Asturias were published in 1948 and 1952 by Losada in Argentina. An English translation was completed by Frances Partridge and titled The President. It was published in the U.K. by Victor Gollancz in 1963 and in the U.S. by Atheneum in 1964.
Hombres de maíz was published for the first time in 1949 by Losada in Buenos Aires, Argentina. In this novel, Asturias explores the collision of traditional Maya Indian customs and values and those of modern civilization. The novel is in six parts, and is often considered Asturias’ magnum opus. First edition copies of the book with a dust jacket in very good condition can cost a collector around $500.
Another interesting piece for the Asturias collector to explore is his Banana Trilogy. The Banana Trilogy is made up of the novels Viento fuerte (Strong Wind, 1950), El Papa Verde (The Green Pope, 1954), and Los ojos de los enterrados (The Eyes of the Interred, 1960). The trilogy takes as its focus the impact of outside control on the banana industry in Central America. Signed and/or first edition copies of any of the three novels in the trilogy can cost several thousand dollars. If you aren’t looking to acquire a pricey collectible but would just like a reading copy for your shelves, any of the titles in the trilogy still make beautiful additions to one’s library. The storylines in each and the discussion of politics and exploitation were acclaimed in both the East and the West. Asturias even eventually earned the Lenin Peace Prize for his writing.
Pablo Neruda
Pablo Neruda was a Chilean poet who won the Nobel Prize in Literature in 1971 "for a poetry that with the action of an elemental force brings alive a continent's destiny and dreams". Indeed, Neruda’s poetry is breathtaking and his influence is vast. In discussing Neruda with Plinio Apuleyo Mendoza for their book of conversations titled The Frangrance of Guava, legendary novelist Gabriel García Márquez described Neruda as “the greatest poet of the 20th century in any language.” His poems have been widely translated, and he amassed devoted readers around the world. Here are a few good places to begin or continue with your own Neruda collection.
When we interviewed Mark Eisner, a Neruda translator and editor, he told us how he was struck by the fact that most people he interviewed for his documentary project on the author cited Canto General, Neruda’s “epic interpretation of this history of the Americas, a bible like book of the history of the Americas,” as their favorite and most important book. As one interviewee put it: “It shows us the Americas’ history from a different point of view...We could call it the history told by the conquered.”
If you’d like to have a collectible copy of Canto General on your shelves, first determine whether you’d like the Spanish language original text or a translated version. First editions of Canto General were published in 1950 by Talleres Gráficos de la Nación in Mexico. The endpapers of this edition were illustrated by David Siqueiros and Diego Rivera. A limited edition print run of 300 copies was done for subscribers—each of the 300 copies was signed by Neruda, Siqueiros, and Rivera. Such a copy in fine condition will sell for over $6,000. The first U.S. edition of the book was published in 1991 by the University of California Press. The translation was done by Jack Schmitt. Copies of the first U.S. edition are much more budget-friendly. A book in fine condition will sell for $100-$150.
Second edition copies of Canto General were published in 1952 by Océano in Mexico. They, too, are much more reasonably priced for the modest collector. A fine or near fine copy of the second edition costs about $200-$300.
Another option for the collector interested in Canto General is to look for separately bound and published copies of poems included in the collection. For example, the Second Canto (of fifteen) in Canto General is titled “The Heights of Macchu Picchu.” The collection of poems which make up this particular Canto was published and translated on its own before Canto General was published as a whole. The first edition of “The Heights of Macchu Picchu” was published by Ediciones de Libreria Neira, Santiago de Chile in 1948. A copy of this text can cost nearly $4,000. English translations of these poems were completed by Hoffman Reynolds Hays in 1948 and published in literary journals in the late 1940s.
Moving on from Canto General to one of Neruda’s most widely read and recognizable works: Twenty Love Poems and a Song of Despair. This is a necessary addition to your Neruda collection. First published in 1924 by Nascimento in Santiago, Chile as Veinte poemas de amor y una canción desesperada, a copy in fine condition will sell for around $15,000. While this may not be realistic for many collectors, rest assured that a second edition copy of the same title (published by Nascimento in Santiago in 1932) sells for a couple hundred dollars. First English translations of the text were completed by W.S. Merlin, and Jonathan Cape published a bilingual version of the book in 1969 which Penguin Books reprinted in 2004.
Finally (but not really finally—we’ve only scratched the surface), Neruda’s Memoirs is another outstanding collectible. Memoirs was originally published as Confieso que he vivido: Memorias in 1974 in both a Spanish and Mexican edition. The first U.S. edition with a translation by Hardie St. Martin was published by Farrar, Straus and Giroux in New York in 1977. These editions cost a couple hundred dollars.
For more information about Pablo Neruda, and to perhaps spark your collecting curiosity, check out our posts on visiting his homes, the politics of exhuming his body, Copper Canyon’s release of his “lost poems” (another noteworthy, present day collectible!), and our full interview with Mark Eisner.
For more information about our previous Latin American Nobel laureate spotlight on Gabriela Mistral and Mario Vargas Llosa, click here.
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2018-08-15T04:02:14+00:00
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1967 Nobel Laureate for Literature, Guatemalan Poet Miguel Angel Asturias Receives Congratulations Photo. Find art you love and shop high-quality art prints, photographs, framed artworks and posters at Art.com. 100% satisfaction guaranteed.
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Pinterest
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0
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https://libguides.furman.edu/book-awards/nobel
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LibGuides at Furman University
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Various book awards and links to the books in our collection. Happy reading! The Nobel Prize in Literature has been awarded 108 times to 112 Nobel Laureates between 1901 and 2015..
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https://libguides.furman.edu/book-awards/nobel
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Annie Ernaux “for the courage and clinical acuity with which she uncovers the roots, estrangements and collective restraints of personal memory”
The Nobel Prize in Literature 2021
Abdulrazak Gurnah “for his uncompromising and compassionate penetration of the effects of colonialism and the fate of the refugee in the gulf between cultures and continents”
The Nobel Prize in Literature 2020
Louise Glück “for her unmistakable poetic voice that with austere beauty makes individual existence universal”
The Nobel Prize in Literature 2019
Peter Handke “for an influential work that with linguistic ingenuity has explored the periphery and the specificity of human experience”
The Nobel Prize in Literature 2018
Olga Tokarczuk “for a narrative imagination that with encyclopedic passion represents the crossing of boundaries as a form of life”
The Nobel Prize in Literature 2017
Kazuo Ishiguro “who, in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world”
The Nobel Prize in Literature 2016
Bob Dylan “for having created new poetic expressions within the great American song tradition”
The Nobel Prize in Literature 2015
Svetlana Alexievich “for her polyphonic writings, a monument to suffering and courage in our time”
The Nobel Prize in Literature 2014
Patrick Modiano “for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the occupation”
The Nobel Prize in Literature 2013
Alice Munro “master of the contemporary short story”
The Nobel Prize in Literature 2012
Mo Yan “who with hallucinatory realism merges folk tales, history and the contemporary”
The Nobel Prize in Literature 2011
Tomas Tranströmer “because, through his condensed, translucent images, he gives us fresh access to reality”
The Nobel Prize in Literature 2010
Mario Vargas Llosa “for his cartography of structures of power and his trenchant images of the individual’s resistance, revolt, and defeat”
The Nobel Prize in Literature 2009
Herta Müller “who, with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed”
The Nobel Prize in Literature 2008
Jean-Marie Gustave Le Clézio “author of new departures, poetic adventure and sensual ecstasy, explorer of a humanity beyond and below the reigning civilization”
The Nobel Prize in Literature 2007
Doris Lessing “that epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny”
The Nobel Prize in Literature 2006
Orhan Pamuk “who in the quest for the melancholic soul of his native city has discovered new symbols for the clash and interlacing of cultures”
The Nobel Prize in Literature 2005
Harold Pinter“who in his plays uncovers the precipice under everyday prattle and forces entry into oppression’s closed rooms”
The Nobel Prize in Literature 2004
Elfriede Jelinek “for her musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society’s clichés and their subjugating power”
The Nobel Prize in Literature 2003
John M. Coetzee “who in innumerable guises portrays the surprising involvement of the outsider”
The Nobel Prize in Literature 2002
Imre Kertész “for writing that upholds the fragile experience of the individual against the barbaric arbitrariness of history”
The Nobel Prize in Literature 2001
Sir Vidiadhar Surajprasad Naipaul “for having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories”
The Nobel Prize in Literature 2000
Gao Xingjian “for an æuvre of universal validity, bitter insights and linguistic ingenuity, which has opened new paths for the Chinese novel and drama”
The Nobel Prize in Literature 1999
Günter Grass “whose frolicsome black fables portray the forgotten face of history”
The Nobel Prize in Literature 1998
José Saramago who with parables sustained by imagination, compassion and irony continually enables us once again to apprehend an elusory reality”
The Nobel Prize in Literature 1997
Dario Fo “who emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden”
The Nobel Prize in Literature 1996
Wislawa Szymborska “for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality”
The Nobel Prize in Literature 1995
Seamus Heaney “for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past”
The Nobel Prize in Literature 1994
Kenzaburo Oe “who with poetic force creates an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today”
The Nobel Prize in Literature 1993
Toni Morrison “who in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality”
The Nobel Prize in Literature 1992
Derek Walcott “for a poetic oeuvre of great luminosity, sustained by a historical vision, the outcome of a multicultural commitment”
The Nobel Prize in Literature 1991
Nadine Gordimer “who through her magnificent epic writing has – in the words of Alfred Nobel – been of very great benefit to humanity”
The Nobel Prize in Literature 1990
Octavio Paz “for impassioned writing with wide horizons, characterized by sensuous intelligence and humanistic integrity”
The Nobel Prize in Literature 1989
Camilo José Cela “for a rich and intensive prose, which with restrained compassion forms a challenging vision of man’s vulnerability”
The Nobel Prize in Literature 1988
Naguib Mahfouz “who, through works rich in nuance – now clear-sightedly realistic, now evocatively ambiguous – has formed an Arabian narrative art that applies to all mankind”
The Nobel Prize in Literature 1987
Joseph Brodsky “for an all-embracing authorship, imbued with clarity of thought and poetic intensity”
The Nobel Prize in Literature 1986
Wole Soyinka “who in a wide cultural perspective and with poetic overtones fashions the drama of existence”
The Nobel Prize in Literature 1985
Claude Simon “who in his novel combines the poet’s and the painter’s creativeness with a deepened awareness of time in the depiction of the human condition”
The Nobel Prize in Literature 1984
Jaroslav Seifert “for his poetry which endowed with freshness, sensuality and rich inventiveness provides a liberating image of the indomitable spirit and versatility of man”
The Nobel Prize in Literature 1983
William Golding “for his novels which, with the perspicuity of realistic narrative art and the diversity and universality of myth, illuminate the human condition in the world of today”
The Nobel Prize in Literature 1982
Gabriel García Márquez “for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent’s life and conflicts”
The Nobel Prize in Literature 1981
Elias Canetti “for writings marked by a broad outlook, a wealth of ideas and artistic power”
The Nobel Prize in Literature 1980
Czeslaw Milosz who with uncompromising clear-sightedness voices man’s exposed condition in a world of severe conflicts”
The Nobel Prize in Literature 1979
Odysseus Elytis “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man’s struggle for freedom and creativeness”
The Nobel Prize in Literature 1978
Isaac Bashevis Singer “for his impassioned narrative art which, with roots in a Polish-Jewish cultural tradition, brings universal human conditions to life”
The Nobel Prize in Literature 1977
Vicente Aleixandre “for a creative poetic writing which illuminates man’s condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry between the wars”
The Nobel Prize in Literature 1976
Saul Bellow “for the human understanding and subtle analysis of contemporary culture that are combined in his work”
The Nobel Prize in Literature 1975
Eugenio Montale “for his distinctive poetry which, with great artistic sensitivity, has interpreted human values under the sign of an outlook on life with no illusions”
The Nobel Prize in Literature 1974
Eyvind Johnson “for a narrative art, far-seeing in lands and ages, in the service of freedom”
Harry Martinson “for writings that catch the dewdrop and reflect the cosmos”
The Nobel Prize in Literature 1973
Patrick White “for an epic and psychological narrative art which has introduced a new continent into literature”
The Nobel Prize in Literature 1972
Heinrich Böll “for his writing which through its combination of a broad perspective on his time and a sensitive skill in characterization has contributed to a renewal of German literature”
The Nobel Prize in Literature 1971
Pablo Neruda “for a poetry that with the action of an elemental force brings alive a continent’s destiny and dreams”
The Nobel Prize in Literature 1970
Aleksandr Isayevich Solzhenitsyn “for the ethical force with which he has pursued the indispensable traditions of Russian literature”
The Nobel Prize in Literature 1969
Samuel Beckett “for his writing, which – in new forms for the novel and drama – in the destitution of modern man acquires its elevation”
The Nobel Prize in Literature 1968
Yasunari Kawabata “for his narrative mastery, which with great sensibility expresses the essence of the Japanese mind”
The Nobel Prize in Literature 1967
Miguel Angel Asturias “for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America”
The Nobel Prize in Literature 1966
Shmuel Yosef Agnon “for his profoundly characteristic narrative art with motifs from the life of the Jewish people”
Nelly Sachs“for her outstanding lyrical and dramatic writing, which interprets Israel’s destiny with touching strength”
The Nobel Prize in Literature 1965
Mikhail Aleksandrovich Sholokhov “for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people”
The Nobel Prize in Literature 1964
Jean-Paul Sartre “for his work which, rich in ideas and filled with the spirit of freedom and the quest for truth, has exerted a far-reaching influence on our age”
The Nobel Prize in Literature 1963
Giorgos Seferis “for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture”
The Nobel Prize in Literature 1962
John Steinbeck “for his realistic and imaginative writings, combining as they do sympathetic humour and keen social perception”
The Nobel Prize in Literature 1961
Ivo Andric “for the epic force with which he has traced themes and depicted human destinies drawn from the history of his country”
The Nobel Prize in Literature 1960
Saint-John Perse “for the soaring flight and the evocative imagery of his poetry which in a visionary fashion reflects the conditions of our time”
The Nobel Prize in Literature 1959
Salvatore Quasimodo “for his lyrical poetry, which with classical fire expresses the tragic experience of life in our own times”
The Nobel Prize in Literature 1958
Boris Leonidovich Pasternak “for his important achievement both in contemporary lyrical poetry and in the field of the great Russian epic tradition”
The Nobel Prize in Literature 1957
Albert Camus “for his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times”
The Nobel Prize in Literature 1956
Juan Ramón Jiménez “for his lyrical poetry, which in Spanish language constitutes an example of high spirit and artistical purity”
The Nobel Prize in Literature 1955
Halldór Kiljan Laxness “for his vivid epic power which has renewed the great narrative art of Iceland”
The Nobel Prize in Literature 1954
Ernest Miller Hemingway “for his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style”
The Nobel Prize in Literature 1953
Sir Winston Leonard Spencer Churchill “for his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values”
The Nobel Prize in Literature 1952
François Mauriac “for the deep spiritual insight and the artistic intensity with which he has in his novels penetrated the drama of human life”
The Nobel Prize in Literature 1951
Pär Fabian Lagerkvist “for the artistic vigour and true independence of mind with which he endeavours in his poetry to find answers to the eternal questions confronting mankind”
The Nobel Prize in Literature 1950
Earl (Bertrand Arthur William) Russell “in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought”
The Nobel Prize in Literature 1949
William Faulkner “for his powerful and artistically unique contribution to the modern American novel”
The Nobel Prize in Literature 1948
Thomas Stearns Eliot “for his outstanding, pioneer contribution to present-day poetry”
The Nobel Prize in Literature 1947
André Paul Guillaume Gide “for his comprehensive and artistically significant writings, in which human problems and conditions have been presented with a fearless love of truth and keen psychological insight”
The Nobel Prize in Literature 1946
Hermann Hesse “for his inspired writings which, while growing in boldness and penetration, exemplify the classical humanitarian ideals and high qualities of style”
The Nobel Prize in Literature 1945
Gabriela Mistral “for her lyric poetry which, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world”
The Nobel Prize in Literature 1944
Johannes Vilhelm Jensen “for the rare strength and fertility of his poetic imagination with which is combined an intellectual curiosity of wide scope and a bold, freshly creative style”
The Nobel Prize in Literature 1943
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1942
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1941
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1940
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1939
Frans Eemil Sillanpää “for his deep understanding of his country’s peasantry and the exquisite art with which he has portrayed their way of life and their relationship with Nature”
The Nobel Prize in Literature 1938
Pearl Buck “for her rich and truly epic descriptions of peasant life in China and for her biographical masterpieces”
The Nobel Prize in Literature 1937
Roger Martin du Gard “for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novel-cycle Les Thibault”
The Nobel Prize in Literature 1936
Eugene Gladstone O’Neill “for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy”
The Nobel Prize in Literature 1935
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1934
Luigi Pirandello “for his bold and ingenious revival of dramatic and scenic art”
The Nobel Prize in Literature 1933
Ivan Alekseyevich Bunin “for the strict artistry with which he has carried on the classical Russian traditions in prose writing”
The Nobel Prize in Literature 1932
John Galsworthy “for his distinguished art of narration which takes its highest form in The Forsyte Saga”
The Nobel Prize in Literature 1931
Erik Axel Karlfeldt “The poetry of Erik Axel Karlfeldt”
The Nobel Prize in Literature 1930
Sinclair Lewis “for his vigorous and graphic art of description and his ability to create, with wit and humour, new types of characters”
The Nobel Prize in Literature 1929
Thomas Mann “principally for his great novel, Buddenbrooks, which has won steadily increased recognition as one of the classic works of contemporary literature”
The Nobel Prize in Literature 1928
Sigrid Undset “principally for her powerful descriptions of Northern life during the Middle Ages”
The Nobel Prize in Literature 1927
Henri Bergson “in recognition of his rich and vitalizing ideas and the brilliant skill with which they have been presented”
The Nobel Prize in Literature 1926
Grazia Deledda “for her idealistically inspired writings which with plastic clarity picture the life on her native island and with depth and sympathy deal with human problems in general”
The Nobel Prize in Literature 1925
George Bernard Shaw “for his work which is marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty”
The Nobel Prize in Literature 1924
Wladyslaw Stanislaw Reymont “for his great national epic, The Peasants”
The Nobel Prize in Literature 1923
William Butler Yeats “for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation”
The Nobel Prize in Literature 1922
Jacinto Benavente “for the happy manner in which he has continued the illustrious traditions of the Spanish drama”
The Nobel Prize in Literature 1921
Anatole France “in recognition of his brilliant literary achievements, characterized as they are by a nobility of style, a profound human sympathy, grace, and a true Gallic temperament”
The Nobel Prize in Literature 1920
Knut Pedersen Hamsun “for his monumental work, Growth of the Soil”
The Nobel Prize in Literature 1919
Carl Friedrich Georg Spitteler “in special appreciation of his epic, Olympian Spring”
The Nobel Prize in Literature 1918
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Literature 1917
Karl Adolph Gjellerup “for his varied and rich poetry, which is inspired by lofty ideals”
Henrik Pontoppidan “for his authentic descriptions of present-day life in Denmark”
The Nobel Prize in Literature 1916
Carl Gustaf Verner von Heidenstam “in recognition of his significance as the leading representative of a new era in our literature”
The Nobel Prize in Literature 1915
Romain Rolland “as a tribute to the lofty idealism of his literary production and to the sympathy and love of truth with which he has described different types of human beings”
The Nobel Prize in Literature 1914
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Literature 1913
Rabindranath Tagore “because of his profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West”
The Nobel Prize in Literature 1912
Gerhart Johann Robert Hauptmann “primarily in recognition of his fruitful, varied and outstanding production in the realm of dramatic art”
The Nobel Prize in Literature 1911
Count Maurice (Mooris) Polidore Marie Bernhard Maeterlinck “in appreciation of his many-sided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers’ own feelings and stimulate their imaginations”
The Nobel Prize in Literature 1910
Paul Johann Ludwig Heyse “as a tribute to the consummate artistry, permeated with idealism, which he has demonstrated during his long productive career as a lyric poet, dramatist, novelist and writer of world-renowned short stories”
The Nobel Prize in Literature 1909
Selma Ottilia Lovisa Lagerlöf “in appreciation of the lofty idealism, vivid imagination and spiritual perception that characterize her writings”
The Nobel Prize in Literature 1908
Rudolf Christoph Eucken “in recognition of his earnest search for truth, his penetrating power of thought, his wide range of vision, and the warmth and strength in presentation with which in his numerous works he has vindicated and developed an idealistic philosophy of life”
The Nobel Prize in Literature 1907
Rudyard Kipling “in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration which characterize the creations of this world-famous author”
The Nobel Prize in Literature 1906
Giosuè Carducci “not only in consideration of his deep learning and critical research, but above all as a tribute to the creative energy, freshness of style, and lyrical force which characterize his poetic masterpieces”
The Nobel Prize in Literature 1905
Henryk Sienkiewicz “because of his outstanding merits as an epic writer”
The Nobel Prize in Literature 1904
Frédéric Mistral “in recognition of the fresh originality and true inspiration of his poetic production, which faithfully reflects the natural scenery and native spirit of his people, and, in addition, his significant work as a Provençal philologist”
José Echegaray y Eizaguirre “in recognition of the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama”
The Nobel Prize in Literature 1903
Bjørnstjerne Martinus Bjørnson “as a tribute to his noble, magnificent and versatile poetry, which has always been distinguished by both the freshness of its inspiration and the rare purity of its spirit”
The Nobel Prize in Literature 1902
Christian Matthias Theodor Mommsen “the greatest living master of the art of historical writing, with special reference to his monumental work, A history of Rome”
The Nobel Prize in Literature 1901
|
||||||
correct_award_00058
|
FactBench
|
0
| 5
|
https://www.penguinrandomhouse.com/authors/2240400/miguel-angel-asturias/
|
en
|
Miguel Ángel Asturias
|
https://images4.penguinrandomhouse.com/author/2240400
|
https://images4.penguinrandomhouse.com/author/2240400
|
[
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[] |
[] |
[
""
] | null |
[] | null |
Miguel Ángel Asturias (1899-1974) was awarded the Nobel Prize in Literature in 1967. A poet, diplomat, and novelist from Guatemala, he studied law...
|
en
|
PenguinRandomhouse.com
|
https://www.penguinrandomhouse.com/authors/2240400/miguel-angel-asturias/
|
Miguel Ángel Asturias (1899-1974) was awarded the Nobel Prize in Literature in 1967. A poet, diplomat, and novelist from Guatemala, he studied law in his home country before continuing his studies in Paris, where he encountered the surrealist writings that would deeply influence his work. In addition to being a prolific writer, he worked as a newspaper correspondent in western Europe and later as an ambassador for Guatemala in Europe and Latin America. He wrote numerous works of fiction, poetry, drama, and essays, including the novels Mr. President and Men of Maize.
|
|||
correct_award_00058
|
FactBench
|
1
| 62
|
https://www.imago-images.com/st/0097013845
|
en
|
IMAGO.
|
https://www.imago-images.com/favicon/favicon.ico
|
https://www.imago-images.com/favicon/favicon.ico
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
de
|
/favicon/favicon.ico
| null | |||||
correct_award_00058
|
FactBench
|
3
| 94
|
https://www.unesco.org/en/tags/director-general
|
en
|
Director General
|
[
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] |
[] |
[] |
[
""
] | null |
[] |
2023-06-30T16:05:37+00:00
|
en
|
/themes/custom/bunesco8/icon.svg
|
https://www.unesco.org/en/tags/director-general
|
Public access to information is a key component of UNESCO's commitment to transparency and its accountability.
Based on human rights and fundamental freedoms, the 2005 Convention ultimately provides a new framework for informed, transparent and
UNESCO’s e-Platform on intercultural dialogue is designed for organizations and individuals to learn from shared knowledge or experiences from infl
Established in 2002, the GEM Report is an editorially independent report, hosted and published by UNESCO.
To recovery and beyond: The report takes stock of the global progress on the adoption and implementation of legal guarantees on Access to Info
For almost 75 years, the UNESCO Courier has served as a platform for international debates on issues that concern the entire pla
|
||||||
correct_award_00058
|
FactBench
|
3
| 82
|
https://www.facebook.com/diariodecentroamerica/videos/el-caricaturista-esteban-v%25C3%25A1squez/395947848891859/
|
en
|
Conoce a Esteban Vásquez, un caricaturista que se ha destacado por su técnica y particularidad en retratar a las personas en el papel 🖌️🎨....
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
#VideoDCA | Conoce a Esteban Vásquez, un caricaturista que se ha destacado por su técnica y particularidad en retratar a las personas en el papel 🖌️🎨....
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
|
https://www.facebook.com/diariodecentroamerica/videos/el-caricaturista-esteban-v%C3%A1squez/395947848891859/
| ||||||
correct_award_00058
|
FactBench
|
1
| 74
|
https://www.facebook.com/dw.culture/posts/on-october-19th-1899-miguel-%25C3%25A1ngel-asturias-was-born-the-guatemalan-poet-novelist/710252941129953/
|
en
|
DW Culture
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
On October 19th, 1899, Miguel Ángel Asturias was born. The Guatemalan poet, novelist and diplomat won the 1967 Nobel Prize for Literature. His writings...
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
|
https://www.facebook.com/dw.culture/posts/on-october-19th-1899-miguel-%C3%A1ngel-asturias-was-born-the-guatemalan-poet-novelist/710252941129953/
| ||||||
correct_award_00058
|
FactBench
|
0
| 38
|
https://twitter.com/EmbGuaIndia/status/1799873892665991383
|
en
|
x.com
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
X (formerly Twitter)
| null | ||||||||
correct_award_00058
|
FactBench
|
1
| 23
|
https://www.canninghouse.org/events/legacy-miguel-angel-asturias
|
en
|
Fifty Years After The Nobel Prize: The Legacy Of Miguel Angel Asturias
|
[
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"https://www.canninghouse.org/images/icons/canning-house-logo.svg"
] |
[] |
[] |
[
""
] | null |
[] |
2017-12-07T00:00:00
|
Canning House and the Instituto Cervantes are delighted to welcome María Odette Canivell and Gerald Martin to deliver a lecture on Miguel Angel Asturias, Nobel-prize winning Guatemalan poet-diplomat, novelist, playwri
|
en
|
/favicon.ico
|
Canning House
|
https://www.canninghouse.org/events/legacy-miguel-angel-asturias
|
Canning House and the Instituto Cervantes are delighted to welcome María Odette Canivell and Gerald Martin to deliver a lecture on Miguel Angel Asturias, Nobel-prize winning Guatemalan poet-diplomat, novelist, playwright and journalist. Asturias, who won the Nobel Prize for Literature in 1967 for Hombres de maíz (1949), has been credited with contributing to the establishment of Latin American literature in the Western world, and is considered a precursor to the Latin American boom of the 1960s and '70s.
María Odette Canivell teaches literature at the IE University in Madrid, Spain. She is Guatemalan, and holds degrees in psychology, philosophy and comparative literature. Her PhD focused on public intellectuals in Latin America, and she has published extensively on the subject of Latin American writers and politics. She has spoken on Asturias at a number of international conferences, as well as written about Leyendas de Guatemala (1930).
Gerald Martin is the Andrew W. Mellon Professor Emeritus of Modern Languages at the University of Pittsburgh. He is a literary critic and historian, and his research and publications have focused on the Latin American novel. His PhD was devoted to Miguel Angel Asturias, who fortunately won the Nobel Prize before it was completed, and he has produced critical editions of Hombres de maíz (1981) and El Señor Presidente (2000), as well as a translation of the former.
His Excellency Acisclo Valladares-Molina, Ambassador for Guatemala, will introduce the event.
This event is organised jointly by Canning House and the Instituto Cervantes, with the kind support of the Embassy of Guatemala.
This event is fully booked and registration is now closed.
|
||||
correct_award_00058
|
FactBench
|
2
| 76
|
https://www.telesurenglish.net/latin-americans-who-have-won-the-nobel-prize-in-literature/
|
en
|
Latin Americans Who Have Won the Nobel Prize in Literature
|
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[
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] | null |
[] | null |
Since its creation in 1901, a total of 116 writers of up to 25 languages have been awarded the Nobel Prize for literature, the highest award a writer can
|
en
|
teleSURenglish
|
https://www.telesurenglish.net/latin-americans-who-have-won-the-nobel-prize-in-literature/
|
Since its creation in 1901, a total of 116 writers of up to 25 languages have been awarded the Nobel Prize for literature, the highest award a writer can receive. Of them only 6 have been Latin American, the most recent being Mario Vargas Llosa in 2010.
RELATED:
French Writer Annie Ernaux Wins 2022 Nobel Prize in Literature
They are: the Mexican poet Octavio Paz in 1990, the Chileans Gabriela Mistral (1945) and Pablo Neruda (1971), the Guatemalan Miguel Ángel Asturias (1967), the Colombian Gabriel García Márquez (1982) and the Peruvian Mario Vargas Llosa (2010).
Latin American writers who have been awarded the Nobel Prize for Literature stand out not only for their creative genius, but also for their deep commitment to exploring the human condition and complexities of society. From the lyrical poetry of Gabriela Mistral to the magical prose of Gabriel García Márquez, these authors have left an indelible mark on world literature.
Gabriela Mistral received the Prize in 1945. She was second Latin American to receive a Nobel Prize. Born into a family of modest resources, Mistral served as a teacher’s assistant in various schools until obtaining her degree in Magusterium and became an important thinker regarding the role of public education.
Her great poetic themes were pain and love, and among the considerations of the jury to give him the prize was that “her lyrical poetry, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world”.
In 1967 the Guatemalan Miguel Ángel Asturias received the Nobel. Novelist, playwright and journalist among his most famous books are the novella Mister President, Men of Maize, Tales of Guatemala, and the The Banana Trilogy. Also Asturias was awarded the Soviet Union’s Lenin Peace Prize for La trilogía bananera (The Banana Trilogy) in which he criticizes the presence of aggressive American companies such as The United Fruit Company in Latin American countries.
“For a poetry that with the action of an elemental force gives life to the destiny and dreams of a continent,” said the Nobel committee when it presented the prize to the Chilean Pablo Neruda in 1971. Of Basque descent, among his most famous poetry books are Residence on Earth, Twenty Love Poems and a Song of Despair, and 100 Love Sonnets.
The Colombian Gabriel García Márquez received the Prize in 1982 “for his novels and short stories, in which the fantastic and the real combine in a world richly composed of imagination, reflecting the life and conflicts of a continent.” Among his main works are the novels One Hundred Years of Solitude, Autumn of the Patriarch, and Chronicle of a Death Foretold.
Octavio Paz poet and essayist Mexican received the Nobel Prize in Literature in 1990. According to the jury he was awarded the prize for his “passionate writing with wide horizons, characterized by sensory intelligence and humanistic integrity”. His poems have been published in anthologies of Mexican poetry translated into English, and other of his most relevant works are Collected Poems, and the essay The Double Flame.
Since 2010, when the Peruvian Mario Vargas Llosa was handed the Nobel Prize, he has not returned to a Latin American writer. His cartography of the power structures and his biting images of the individual’s resistance, rebellion and defeat were the jury’s considerations when deliberating.
Latin American writers who have been honored with the Nobel Prize for Literature have enriched the global literary landscape with their talent, passion and commitment to truth and beauty. Their legacy will endure far beyond the pages of their books, inspiring future generations of writers and readers to explore the infinite possibilities of art and imagination.
Dostoevsky Intercontinental to Be Screened at Moscow Book Fair
French Writer Annie Ernaux Wins 2022 Nobel Prize in Literature
Shakespeare is Left Out of Educational Content in Florida
Peruvian Rebel Poet Enrique Verastegui Dies Aged 68
|
|||||
correct_award_00058
|
FactBench
|
0
| 18
|
https://www.britannica.com/summary/Miguel-Angel-Asturias
|
en
|
Miguel Ángel Asturias, Guatemalan poet, novelist, and diplomat
|
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Miguel Ángel Asturias, (born Oct. 19, 1899, Guatemala City, Guat.—died June 9, 1974, Madrid, Spain), Guatemalan poet, novelist, and diplomat.
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/favicon.png
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Encyclopedia Britannica
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https://www.britannica.com/summary/Miguel-Angel-Asturias
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Miguel Ángel Asturias, (born Oct. 19, 1899, Guatemala City, Guat.—died June 9, 1974, Madrid, Spain), Guatemalan poet, novelist, and diplomat. He moved to Paris in 1923 and became a Surrealist under the influence of André Breton. His first major works appeared in the 1930s. He began his diplomatic career in 1946; it culminated in his serving as ambassador to France 1966–70. Asturias’s writings combine a Mayan mysticism with an epic impulse toward social protest, especially against U.S. and oligarchic power. In Men of Maize (1949), often considered his masterpiece, he depicts the seemingly irreversible wretchedness of the Indian peasant. Other major novels, some of which employ the style of magic realism, are El Señor Presidente (1946), a fictional denunciation of Guatemala’s dictator; The Cyclone (1950); The Green Pope (1954); and The Eyes of the Interred (1960). He won the Nobel Prize for Literature in 1967.
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correct_award_00058
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FactBench
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1
| 54
|
https://www.ebay.com/itm/375421147086
|
en
|
MIGUEL ANGEL ASTURIAS: Declama Sus Poemas-M LP GUATEMALA IMP 1967 NOBEL PRIZE
|
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MIGUEL ANGEL ASTURIAN DECLAMA SUS POEMAS. 1967 NOBEL PRIZE FOR LITERATURE RECIPIENT. Antigua Guatemala y Angeles Que la Espian. LP, GUATEMALAN IMPORT. LP grading can be more than a little subjective.
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en
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eBay
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https://www.ebay.com/itm/375421147086
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US $30.36GermanyUSPS First Class Mail International / First Class Package International Service
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correct_award_00058
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FactBench
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1
| 0
|
https://www.nobelprize.org/prizes/literature/1967/asturias/biographical/
|
en
|
Miguel Angel Asturias – Biographical
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The Nobel Prize in Literature 1967 was awarded to Miguel Angel Asturias "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America"
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en
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NobelPrize.org
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https://www.nobelprize.org/prizes/literature/1967/asturias/biographical/
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Miguel Angel Asturias
Biographical
Miguel Angel Asturias (1899-1974) was born in Guatemala and spent his childhood and adolescence in his native country. He studied for his baccalaureate at the state high school and later took a law degree at the University of San Carlos. His thesis on “The Social Problem of the Indian” was published in 1923.
After he finished his law studies, he founded with fellow students the Popular University of Guatemala, whose aim was to offer courses to those who could not afford to attend the national university. In 1923 he left for Europe, intending to study political economy in England. He spent a few months in London and then went to Paris, where he was to stay for ten years. At the Sorbonne he attended the lectures on the religions of the Mayas by Professor Georges Raynaud, whose disciple he became. Also, as correspondent for several important Latin American newspapers, he travelled in all the Western European countries, in the Middle East, in Greece, and in Egypt.
In 1928 Asturias returned for a short time to Guatemala, where he lectured at the Popular University. These lecture were collected in a volume entitled La arquitectura de la vida nueva (Architecture of the New Life), 1928. He then went back to Paris, where he finished his Leyendas de Guatemala (Legends of Guatemala), 1930. Published in Madrid, the book was translated into French by Francis de Miomandre, who sent his translation to Paul Valéry. The French poet was greatly impressed, and his letter to Miomandre was used as the preface to the 1931 edition published in the Cahiers du Sud series. The same year, Leyendas de Guatemala received the Silla Monsegur Prize, a reward for the best Spanish-American book published in France.
During his stay in Paris from 1923 to 1933, Asturias wrote his novel El Señor Presidente (The President), which slashed at the social evil and malignant corruption to which an insensitive dictator dooms his people. Because of its political implications Asturias was unable to bring the book with him when, in 1933, he returned to Guatemala, which at the time was ruled by the dictator Jorge Ubico. The original version was to remain unpublished for thirteen years. The fall of Ubico’s regime in 1944 brought to the presidency Professor Juan José Arévalo, who immediately appointed Asturias cultural attaché to the Guatemalan Embassy in Mexico, where the first edition of El Señor Presidente appeared in 1946.
In late 1947, Asturias went to Argentina as cultural attaché to the Guatemalan Embassy and, two years later, obtained a ministerial post. While in Buenos Aires, he published Sien de alondra (Temple of the Lark), 1949, an anthology of his poems written between 1918 and 1948. In 1948 he returned to Guatemala for a few months, during which time he wrote his novel Viento fuerte (Strong Wind), 1950, an indictment of the effect of North American imperialism on the economic realities of his country. That same year, the second edition of El Señor Presidente was published in Buenos Aires.
When the government of President Jacobo Arbenz Guzman fell in 1954, Asturias went into exile in Argentina, his wife’s native country, where he remained until 1962. A year later, the Argentine publisher Losada brought out his novel Mulata de tal (Mulata). This story, a surrealistic blend of Indian legends, tells of a peasant whose greed and lust consign him to a dark belief in material power from which, Asturias warns us, there is only one hope for salvation: universal love.
In 1966 Asturias was awarded the Lenin Peace Prize. In the same year, he was appointed the Guatemalan ambassador to France by President Julio Mendez Montenegro.
From Nobel Lectures, Literature 1901-1967, Editor Horst Frenz, Elsevier Publishing Company, Amsterdam, 1969
This autobiography/biography was written at the time of the award and first published in the book series Les Prix Nobel. It was later edited and republished in Nobel Lectures. To cite this document, always state the source as shown above.
Miguel Asturias died on June 9, 1974.
Copyright © The Nobel Foundation 1967
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correct_award_00058
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FactBench
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2
| 40
|
https://m.facebook.com/dw.culture/photos/on-october-19th-1899-miguel-%25C3%25A1ngel-asturias-was-born-the-guatemalan-poet-novelist/710252691129978/
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en
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Bei Facebook anmelden
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Melde dich bei Facebook an, um dich mit deinen Freunden, deiner Familie und Personen, die du kennst, zu verbinden und Inhalte zu teilen.
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de
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Facebook
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https://www.facebook.com/login/
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correct_award_00058
|
FactBench
|
1
| 15
|
https://www.penguinrandomhouse.com/authors/2240400/miguel-angel-asturias/
|
en
|
Miguel Ángel Asturias
|
https://images4.penguinrandomhouse.com/author/2240400
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https://images4.penguinrandomhouse.com/author/2240400
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Miguel Ángel Asturias (1899-1974) was awarded the Nobel Prize in Literature in 1967. A poet, diplomat, and novelist from Guatemala, he studied law...
|
en
|
PenguinRandomhouse.com
|
https://www.penguinrandomhouse.com/authors/2240400/miguel-angel-asturias/
|
Miguel Ángel Asturias (1899-1974) was awarded the Nobel Prize in Literature in 1967. A poet, diplomat, and novelist from Guatemala, he studied law in his home country before continuing his studies in Paris, where he encountered the surrealist writings that would deeply influence his work. In addition to being a prolific writer, he worked as a newspaper correspondent in western Europe and later as an ambassador for Guatemala in Europe and Latin America. He wrote numerous works of fiction, poetry, drama, and essays, including the novels Mr. President and Men of Maize.
|
|||
correct_award_00058
|
FactBench
|
2
| 17
|
https://adp.library.ucsb.edu/index.php/mastertalent/detail/102452/Asturias_Miguel_Angel
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en
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Miguel Angel Asturias
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Discography of American Historical Recordings
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Miguel Ángel Asturias Rosales (Spanish pronunciation: [mi(ˈ)ɣel ˈaŋxel asˈtuɾjas]; 19 October 1899 – 9 June 1974) was a Guatemalan poet-diplomat, novelist, playwright and journalist. Winning the Nobel Prize in Literature in 1967, his work helped bring attention to the importance of indigenous cultures, especially those of his native Guatemala.
Asturias was born and raised in Guatemala though he lived a significant part of his adult life abroad. He first lived in Paris in the 1920s where he studied ethnology. Some scholars view him as the first Latin American novelist to show how the study of anthropology and linguistics could affect the writing of literature. While in Paris, Asturias also associated with the Surrealist movement, and he is credited with introducing many features of modernist style into Latin American letters. In this way, he is an important precursor of the Latin American Boom of the 1960s and 1970s.
One of Asturias' most famous novels, El Señor Presidente, describes life under a ruthless dictator. The novel influenced later Latin American novelists in its mixture of realism and fantasy. Asturias' very public opposition to dictatorial rule led to him spending much of his later life in exile, both in South America and in Europe. The book that is sometimes described as his masterpiece, Hombres de maíz (Men of Maize), is a defense of Mayan culture and customs. Asturias combined his extensive knowledge of Mayan beliefs with his political convictions, channeling them into a life of commitment and solidarity. His work is often identified with the social and moral aspirations of the Guatemalan people.
After decades of exile and marginalization, Asturias finally received broad recognition in the 1960s. In 1966, he won the Soviet Union's Lenin Peace Prize. The following year he was awarded the Nobel Prize for Literature, becoming the second Latin American author to receive this honor (Gabriela Mistral had won it in 1945). Asturias spent his final years in Madrid, where he died at the age of 74. He is buried in the Père Lachaise Cemetery in Paris.
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correct_award_00058
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FactBench
|
0
| 9
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https://en.wikipedia.org/wiki/1967_Nobel_Prize_in_Literature
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en
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1967 Nobel Prize in Literature
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https://en.wikipedia.org/wiki/1967_Nobel_Prize_in_Literature
|
Award
1967 Nobel Prize in LiteratureMiguel Ángel AsturiasDate
19 October 1967 (announcement)
10 December 1967
(ceremony)
LocationStockholm, SwedenPresented bySwedish AcademyFirst awarded1901WebsiteOfficial website
← 1966 · Nobel Prize in Literature · 1968 →
The 1967 Nobel Prize in Literature was awarded to the Guatemalan writer Miguel Ángel Asturias (1899–1974) "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America."[1] He is the first Guatemalan and the second Latin American author to receive the prize after the Chilean poet Gabriela Mistral won in 1945.[2]
Laureate[edit]
Main article: Miguel Ángel Asturias
Miguel Angel Asturias first book Leyendas de Guatemala ("Legends of Guatemala", 1930) is a compilation of stories originating from Mayan legends. His debut novel El Señor Presidente ("The President", 1946) was a brutal portrayal of a Latin American dictatorship in the early 20th century. He wrote a trilogy – The Banana Trilogy – about the rampage of the United Fruit Company in Guatemala in the 1950s, which included Viento Fuerte ("Strong Wind", 1950), El Papa Verde ("The Green Pope", 1954), and Los ojos de los enterrados ("The Eyes of the Interred", 1960). The works of Asturias are pervaded with social pathos and a potent language that fuses myth and reality, and are generally concerned with repression and injustice against the poor and the weak, both in Guatemala and the rest of Latin America.[3] His other well-known works include Hombres de maíz ("Men of Maize", 1949) and Mulata de tal ("The Mulatta and Mr. Fly", 1963).[4][3]
Deliberations[edit]
Nominations[edit]
Miguel Ángel Asturias was first nominated in 1964 by Erik Lindegren, a member of the Swedish Academy, and became an annual nominee until 1967 when he was eventually awarded with the prize. He received 3 nominations in 1967 with a single joint nomination with Argentinian writer Jorge Luis Borges.[5][6]
In total, the Nobel Committee received 112 nominations for 69 writers including Samuel Beckett, Thornton Wilder, Lawrence Durrell, E. M. Forster, Georges Simenon, Ezra Pound, Robert Graves, André Malraux and J. R. R. Tolkien. Eighteen of the nominees were nominated first-time such as Ivan Drach, Carlos Drummond de Andrade, Rabbe Enckell, Saul Bellow (awarded in 1976), Jorge Amado, György Lukács, Claude Simon (awarded in 1985), Pavlo Tychyna, and Hans Magnus Enzensberger. The highest number of nominations was for the Spanish writer José María Pemán with eight nominations from academics and literary critics. The oldest nominee was the Spanish philologist Ramón Menéndez Pidal (aged 98) and the youngest was Ukrainian poet Ivan Drach (aged 31). Five of the nominees were women namely Katherine Anne Porter, Marie Luise Kaschnitz, Lina Kostenko, Anna Seghers and Judith Wright.[7]
The authors Djamaluddin Adinegoro, Marcel Aymé, Samira Azzam, Margaret Ayer Barnes, Vladimir Bartol, Ion Buzdugan, Ilya Ehrenburg, Forough Farrokhzad, Sidney Bradshaw Fay, Hugo Gernsback, João Guimarães Rosa, Langston Hughes, Lajos Kassák, Patrick Kavanagh, Margaret Kennedy, José Martínez Ruiz, André Maurois, Carson McCullers, Christopher Okigbo, Dorothy Parker, Arthur Ransome, Elmer Rice, Georges Sadoul, Siegfried Sassoon, Alice B. Toklas, Jean Toomer, David Unaipon, Robert van Gulik, Adrienne von Speyr, and Vernon Watkins died in 1967 without having been nominated for the prize. The Ukrainian poet Pavlo Tychyna died months before the announcement.
Official list of nominees and their nominators for the prize No. Nominee Country Genre(s) Nominator(s) 1 Jorge Amado (1912–2001) Brazil novel, short story
Earl William Thomas (1915–1981)
Antônio Olinto (1919–2009)
Fred Ellison (1922–2014)
Sociedade Brasileira de Autores Teatrais
Brazilian Writers Association
2 Carlos Drummond de Andrade (1902–1987) Brazil poetry, essays Gunnar Ekelöf (1907–1968) 3 Louis Aragon (1897–1982) France novel, short story, poetry, essays Cyrille Arnavon (1915–1978) 4 Miguel Ángel Asturias (1899–1974) Guatemala novel, short story, poetry, essays, drama
André Saint-Lu (1916–2009)
Hans Hinterhäuser (1919–2005)
Henry Olsson (1896–1985)
5 Wystan Hugh Auden (1907–1973) United Kingdom
United States poetry, essays, screenplay Walther Braune (1900–1989) 6 Samuel Beckett (1906–1989) Ireland novel, drama, poetry
Siegbert Salomon Prawer (1925–2012)
Barbara Hardy (1924–2016)
Per-Olof Barck (1912–1978)
William Stuart Maguinness (1903–1983)
The Swedish PEN Club
Nelly Sachs (1891–1970)
7 Saul Bellow (1915–2005) Canada
United States novel, short story, memoir, essays PEN Centre Germany 8 Jorge Luis Borges (1899–1986) Argentina poetry, essays, translation, short story
Henry Olsson (1896–1985)
Raimundo Lida (1908–1979)
Gustaf Fredén (1898–1987)
9 Emil Boyson (1897–1979) Norway poetry, novel, translation Asbjørn Aarnes (1923–2013) 10 Arturo Capdevila (1889–1967) Argentina poetry, drama, novel, short story, essays, history
Rodolfo Maria Ragucci (1887–1973)
Pedro Miguel Obligado (1892–1967)
Edmundo Correas (1901–1991)
11 Josep Carner (1884–1970) Spain poetry, drama, translation
Jordi Rubió (1887–1982)
Marie-Jeanne Durry (1901–1980)
12 Alejo Carpentier (1904–1980) Cuba novel, short story, essays Lars Gyllensten (1921–2006) 13 René Char (1907–1988) France poetry Georges Blin (1917–2015) 14 Mohammad-Ali Jamalzadeh (1892–1997) Iran short story, translation Ehsan Yarshater (1920–2018) 15 Lawrence Durrell (1912–1990) United Kingdom novel, short story, poetry, drama, essays Harald Patzer (1910–2005) 16 Rabbe Enckell (1903–1974) Finland short story, poetry Kauko Aatos Ojala (1919–1987) 17 Hans Magnus Enzensberger (1929–2022) Germany poetry, essays, translation Wolfgang Baumgart (1949–2011) 18 Edward Morgan Forster (1879–1970) United Kingdom novel, short story, drama, essays, biography, literary criticism Albrecht Dihle (1923–2020) 19 Max Frisch (1911–1991) Switzerland novel, drama
John Stephenson Spink (1909–1985)
H. M. Heinrich (?)
20 Rómulo Gallegos (1884–1969) Venezuela novel, short story Lars Gyllensten (1921–2006) 21 Jean Genet (1910–1986) France novel, autobiography, drama, screenplay, poetry, essays Karl Ragnar Gierow (1904–1982) 22 Jean Giono (1895–1970) France novel, short story, essays, poetry, drama
Henri Peyre (1901–1988)
Louis Moulinier (1904–1971)
23 Witold Gombrowicz (1904–1969) Poland short story, novel, drama Henry Olsson (1896–1985) 24 Robert Graves (1895–1985) United Kingdom history, novel, poetry, literary criticism, essays John Wintour Baldwin Barns (1912–1974) 25 Graham Greene (1904–1991) United Kingdom novel, short story, autobiography, essays Karl Ragnar Gierow (1904–1982) 26 Lawrence Sargent Hall (1915–1993) United States novel, short story, essays Robert Brumbaugh (1918–1992) 27 Taha Hussein (1889–1973) Egypt novel, short story, poetry, translation Jussi Aro (1928–1983) 28 Eugène Ionesco (1909–1994) Romania
France drama, essays Karl Ragnar Gierow (1904–1982) 29 Ernst Jünger (1895–1998) Germany philosophy, novel, memoir Rudolf Till (1911–1979) 30 Friedrich Georg Jünger (1898–1977) Germany poetry, essays, novel, drama Fritz Schalk (1902–1980) 31 Marie Luise Kaschnitz (1901–1974) Germany novel, short story, essays, drama Hermann Tiemann (1899–1981) 32 Yasunari Kawabata (1899–1972) Japan novel, short story Howard Hibbett (1920–2019) 33 Basij Khalkhali (1918–1995) Iran poetry Sadeq Rezazadeh Shafaq (1892–1971) 34 Väinö Linna (1920–1992) Finland novel Lars Huldén (1926–2016) 35 György Lukács (1885–1971) Hungary philosophy, literary criticism Erik Lindegren (1910–1968) 36 Karl Löwith (1897–1973) Germany philosophy Franz Dirlmeier (1904–1977) 37 André Malraux (1901–1976) France novel, essays, literary criticism
Henri Peyre (1901–1988)
Henry Caraway Hatfield (1912–1995)
Claude Digeon (1920–2008)
John Martin Cocking (1914–1986)
François Chamoux (1915–2007)
38 Ramón Menéndez Pidal (1869–1968) Spain philology, history
Gunnar Tilander (1894–1973)
Marcel Bataillon (1895–1977)
39 Yukio Mishima (1925–1970) Japan novel, short story, drama, literary criticism Harry Martinson (1904–1978) 40 Eugenio Montale (1896–1981) Italy poetry, translation Uberto Limentani (1913–1989) 41 Henry de Montherlant (1895–1972) France essays, novel, drama Pierre Grimal (1912–1996) 42 Alberto Moravia (1907–1990) Italy novel, literary criticism, essays, drama Gustaf Fredén (1898–1987) 43 Pablo Neruda (1904–1973) Chile poetry André Saint-Lu (1916–2009) 44 Junzaburō Nishiwaki (1894–1982) Japan poetry, literary criticism Naoshirō Tsuji (1899–1979) 45 Germán Pardo García (1902–1991) Colombia
Mexico poetry James Willis Robb (1918–2010) 46 Konstantin Paustovsky (1892–1968) Russia novel, poetry, drama Eyvind Johnson (1900–1976) 47 José María Pemán (1897–1981) Spain poetry, drama, novel, essays, screenplay
Marcel Baiche (?)
Martí de Riquer i Morera (1914–2013)
Robert Ricard (1900–1984)
José Sánchez Lasso de la Vega (1928–1996)
Rafael Lapesa Melgar (1908–2001)
Pierre Jobit (1892–1972)
Manuel Halcón y Villalón-Daoíz (1900–1989)
Sociedad General de Autores y Editores
48 André Pézard (1893–1984) France translation, essays Wilhelm Theodor Elwert (1906–1997) 49 Katherine Anne Porter (1890–1980) United States short story, essays Cleanth Brooks (1906–1994) 50 Ezra Pound (1885–1972) United States poetry, essays
Hildebrecht Hommel (1899–1986)
Berta Moritz-Siebeck (1912–1989)
51 Zayn al-ʻĀbidīn Rahnamā (1894–1990) Iran history, essays, translation The Iranian PEN Club 52 Anna Seghers (1900–1983) Germany novel, short story Akademie der Künste der DDR 53 Georges Simenon (1903–1989) Belgium novel, short story, memoir Justin O'Brien (1906–1968) 54 Claude Simon (1913–2005) France novel, essays Erik Lindegren (1910–1968) 55 Charles Percy Snow (1905–1980) United Kingdom novel, essays Friedrich Schubel (1904–1991) 56 John Ronald Reuel Tolkien (1892–1973) United Kingdom novel, short story, poetry, philology, essays, literary criticism Gösta Holm (1916–2011) 57 Pavlo Tychyna (1891–1967) Ukraine poetry, translation Omeljan Pritsak (1919–2006) 58 Ivan Drach (1936–2018) Ukraine poetry, literary criticism, drama 59 Lina Kostenko (born 1930) Ukraine poetry, novel 60 Pietro Ubaldi (1886–1972) Italy philosophy, essays Academia Santista de Letras 61 Robert Penn Warren (1905–1989) United States novel, poetry, essays, literary criticism Franz Link (1924–2001) 62 Tarjei Vesaas (1897–1970) Norway poetry, novel
Carl-Eric Thors (1920–1986)
Sigmund Skard (1903–1995)
Johannes Andreasson Dale (1898–1975)
Norwegian Authors' Union
63 Simon Vestdijk (1898–1971) Netherlands novel, poetry, essays, translation
Gerhard Cordes (1908–1985)
Pierre Brachin (1914–2004)
The Dutch PEN-Club
Netherlands Writers Association
64 Thornton Wilder (1897–1975) United States drama, novel, short story
Hildebrecht Hommel (1899–1986)
Frederick Albert Pottle (1897–1987)
Stuart Pratt Atkins (1914–2000)
65 Edmund Wilson (1895–1972) United States essays, literary criticism, short story, drama
Wiktor Weintraub (1908–1988)
Morton Wilfred Bloomfield (1913–1987)
66 Judith Wright (1915–2000) Australia poetry, literary criticism, novel, essays
Mary Durack (1913–1994)
Colin James Horne (1939–1999)
Greta Hort (1903–1967)
Torsten Dahl (1897–1968)
67 Carl Zuckmayer (1896–1977) Germany drama, screenplay
Günther Jachmann (1887–1979)
Walter Hinck (1922–2015)
68 Arnold Zweig (1887–1968) Germany novel, short story Akademie der Künste der DDR 69 Arnulf Øverland (1889–1968) Norway poetry, essays Eyvind Johnson (1900–1976)
Prize decision[edit]
Asturias was shortlisted along with Jorge Luis Borges, Graham Greene, W.H. Auden and Yasunari Kawabata (awarded in 1968). Anders Österling, chairman of the Swedish Academy's Nobel committee, favored Graham Greene whom he descried as "an accomplished observer whose experience encompasses a global diversity of external environments, and above all the mysterious aspects of the inner world, human conscience, anxiety and nightmares",[8] Österling's second proposal was Kawabata, and Auden his third. An opposing group in the committee including Eyvind Johnson, Erik Lindegren and Henry Olsson did not agree with Österling and presented an alternative proposal with a shared prize to Asturias and Borges as their first proposal, Auden their second and Kawabata their third proposal. The fifth member of the committee, Karl Ragnar Gierow, gave the oppositions proposal his support by proposing Asturias/Borges, Auden and Kawabata in no particular order. Ultimately a shared prize was rejected and Asturias alone was awarded.[8][9] Despite Asturias winning the prize, Österling regarded him as a writer "too narrowly limited in his revolutionary subject world" and Borges as "too exclusive or artificial in his ingenious miniature art".[8][9]
References[edit]
[edit]
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https://www.betweenthecovers.com/btc/awards/1000004/nobel-prize-for-literature/
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Nobel Prize for Literature
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en
|
/apple-touch-icon-57x57.png
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Between the Covers
| null |
Established under the will of Swedish chemist Alfred Nobel and awarded annually for an outstanding body of work in the field of literature. The Nobel Prize for Literature is a "lifetime achievement award" and is never awarded for a single book, although you will see that some very good references get confused about this (such as the famous ecyclopedia which erroneously states online that Ernest Hemingway won the award for The Old Man and the Sea.) Save for the critical approval of posterity, the Nobel Prize is the most distinguished award bestowed upon a modern author of any nationality. However, as with any long-running award, it has its quirks. Literature Nobel laureates Winston Churchill and Bertrand Russell, for example, were great men in their fields, but their field wasn't really literature. And most modern scholars question the omission of James Joyce and Marcel Proust from the list. Despite these foibles it is not an award to be shunned, unless you're Jean-Paul Sartre, who refused the award in 1964.
|
|||||
correct_award_00058
|
FactBench
|
2
| 83
|
https://www.theguardian.com/books/2018/jan/08/nobel-archives-show-graham-greene-might-have-won-1967-prize
|
en
|
Nobel archives show Graham Greene might have won 1967 prize
|
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"Alison Flood",
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2018-01-08T00:00:00
|
Swedish Academy reveals 70 authors were being considered, with the Brighton Rock novelist backed by the chairman before losing out to Miguel Angel Asturias
|
en
|
the Guardian
|
https://www.theguardian.com/books/2018/jan/08/nobel-archives-show-graham-greene-might-have-won-1967-prize
|
Graham Greene and Jorge Luis Borges were serious contenders for the Nobel prize for literature in 1967, newly opened archives have revealed.
The Nobel prize nominations are only made public 50 years after the prize is awarded. The 1967 papers reveal the machinations that went on among the Nobel committee in choosing Guatemala’s Miguel Angel Asturias as their winner, an author they praised “for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America”.
Seventy writers were nominated for the award, according to a document released by the Swedish Academy, among them Samuel Beckett, Saul Bellow, Lawrence Durrell, EM Forster, Georges Simenon, Ezra Pound and JRR Tolkien. But digging through the archives, the Svenska Dagbladet reveals that only a handful were in serious contention, including Borges, Asturias, Greene, WH Auden and the Japanese author Yasunari Kawabata, who would win the following year.
Greene was supported by the committee’s chairman, Anders Osterling, who called him “an accomplished observer whose experience encompasses a global diversity of external environments, and above all the mysterious aspects of the inner world, human conscience, anxiety and nightmares”. Osterling had doubts, writes Kaj Schueler, about the two Latin American authors, calling Asturias “too narrowly limited in his revolutionary subject world”, and Borges “too exclusive or artificial in his ingenious miniature art”.
Three other committee members disagreed, and Asturias would go on to take the prize. Schueler speculates that Greene may have lost support “because the academy slowly was orienting itself towards a more global outlook – it was after all the second half of the 1960s and the climate in western societies was more interested in everything outside Europe”. The Nobel committee never honoured Greene or Borges, two authors who are still widely read, while Asturias’s titles are more scarce.
Schueler said: “It is really exciting, and somewhat frustrating, to look into the old Nobel committee papers. Exciting because, if you are interested in history, you at least get some knowledge of the process, of different opinions and views. And it is really a journey back in history, in literary values of the time, in ways of expressing literary thoughts. When you read the material you also, if you are lucky, can sort of relive those years. But it is also frustrating because the papers from the Nobel committee only give you part of the answers.”
|
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correct_award_00058
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FactBench
|
3
| 20
|
https://malcolmsroundtable.com/tag/magical-realism/
|
en
|
magical realism – Malcolm's Round Table
|
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"Malcolm R. Campbell"
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2024-04-21T13:31:26-05:00
|
Posts about magical realism written by Malcolm R. Campbell
|
en
|
Malcolm's Round Table
|
https://malcolmsroundtable.com/tag/magical-realism/
|
In some ways, this post is a shameless promotion. My apologies.
The four books in my Florida Folk Magic Series have female primary characters. I had already written one book, Sarabande (contemporary fantasy) from a woman’s viewpoint. It’s the opposite of The Sun Singer (the sequel) about a young man following a plotline based on the hero’s journey popularized by Joseph Campbell in The Hero With a Thousand Faces.
When I began thinking of a sequel to The Sun Singer, I discovered a lot of controversy among writers and mythologists about how a woman would go on such a journey. Many people said the woman would simply follow the standard tropes of the man’s hero’s journey; others thought that was absurd because men and women generally have different mythic focuses. I agreed: I needed a heroine’s journey, not a tweaked hero’s journey.
So after researching mythologists who wrote about strong mythic females, I opted to write Sarabande from a woman’s point of view by using a mythic journey, that of Inanna, an ancient Sumerian goddess, as a basis in a very general way. Research took a long time mainly because I needed to get to the point where the narrative sounded true to a woman’s thoughts and actions rather than to a man pretending to know how a woman would think and feel about the experiences encountered in the story.
I decided maybe I had accomplished this when a female reviewer, speaking of an assault scene in the novel, said the scene worked and that she had to keep reminding herself it had been written by a male author. The mythic elements and the fantasy genre probably played a lot in my accomplishing this; had the woman been a modern-day character in typical real-life situations, I don’t think my characterization could have come out sounding true–that is, as a woman would think and feel.
However, when it came to the “older-than-dirt” African American conjure woman in the 1950s-era Florida Panhandle, this white boy knew better than to write from her point of view. The gulf in our ages, cultures, and experiences was just too great even though the conjure woman is loosely based on a person I knew while in junior high and high school; then, too, I lived within the period when the book was focused and had observed the things I was writing about.
That’s why the narrator is a cat, something I thought I could get away with since the novels are written in the magical realism genre. That allowed me to do things that wouldn’t have worked in a non-genre book. I was helped in this ruse by having lived with one to three cats in the house since the 1980s when my wife turned me into a cat person. My “take” on how a cat might act and think was probably more believable than trying to write directly from my character Eulalie’s viewpoint. Readers worried more about something bad happening to the cat (Lena) than the people. I didn’t count on that, but I got used to it.
The writer’s “trick” is to write around the things s/he can’t possibly write “property.” Sometimes it works, and sometimes it doesn’t work.
–Malcolm
Malcolm R. Campbell is the author of the contemporary fantasy novel “The Sun Singer.”
Southern author Sarah Addison Allen (Garden Spells) writes books that blend magic, magical realism, and well-drawn characters into delightful stories that seem as real as the world outside my window. I haven’t mentioned her work here since Lost Lake was released in 2014. So, let’s get up to date with Other Birds which came out in the summer of 2022 from St. Martin’s Press. As Readers Digest aptly notes, “Allen’s gift for whimsical, poetic language, makes Other Birds one of our most-anticipated books for 2022. You’re going to want to read this one with your book club.”
From the Publisher
“From the acclaimed author of Garden Spells comes a tale of lost souls, secrets that shape us, and how the right flock can guide you home.
“Down a narrow alley in the small coastal town of Mallow Island, South Carolina, lies a stunning cobblestone building comprised of five apartments. It’s called The Dellawisp and it’s named after the tiny turquoise birds who, alongside its human tenants, inhabit an air of magical secrecy.
“When Zoey Hennessey comes to claim her deceased mother’s apartment at The Dellawisp, she meets her quirky, enigmatic neighbors including a girl on the run, a grieving chef whose comfort food does not comfort him, two estranged middle-aged sisters, and three ghosts. Each with their own story. Each with their own longings. Each whose ending isn’t yet written.
“When one of her new neighbors dies under odd circumstances the night Zoey arrives, she’s thrust into the mystery of The Dellawisp, which involves missing pages from a legendary writer whose work might be hidden there. She soon discovers that many unfinished stories permeate the place, and the people around her are in as much need of healing from wrongs of the past as she is. To find their way they have to learn how to trust each other, confront their deepest fears, and let go of what haunts them.
“Delightful and atmospheric, Other Birds is filled with magical realism and moments of pure love that won’t let you go. Sarah Addison Allen shows us that between the real and the imaginary, there are stories that take flight in the most extraordinary ways.”
From Book Page
“What does it mean for a story’s setting to really act as an additional character? It can’t just be a well-defined place where players act out their roles. Rather, it must feel like an extra layer where secrets might be kept—and possibly revealed. An apartment building on Mallow Island, South Carolina, beautifully illustrates this principle in Sarah Addison Allen’s sixth novel, Other Birds.”
–Malcolm
Malcolm R. Campbell is the author of magical realism and contemporary fantasy novels and short stories available via at books stores and online sellers from from Thomas-Jacob Publishing.
“Neither Gabriel García Márquez nor Mario Vargas Llosa had yet been born when the Guatemalan Miguel Ángel Asturias began to write his first novel, El Señor Presidente, in December 1922. He labored on it for a decade while living in self-imposed exile in Paris, then returned home when the Great Depression left him strapped for money, only to find that his work was unpublishable because the dictator whose reign it portrayed had given way to an even more cruel and oppressive one. When he finally self-published the novel in Mexico in 1946, it was riddled with typographical errors, and a definitive edition did not appear until 1952.” – Larry Rohter in The Inventor of Magical Realism
From the Publisher
“Winner! Nobel Prize for Literature. Guatemalan diplomat and writer Miguel Angel Asturias (1899-1974) began this award-winning work while still a law student. It is a story of a ruthless dictator and his schemes to dispose of a political adversary in an unnamed Latin American country usually identified as Guatemala. The book has been acclaimed for portraying both a totalitarian government and its damaging psychological effects. Drawing from his experiences as a journalist writing under repressive conditions, Asturias employs such literary devices as satire to convey the government’s transgressions and surrealistic dream sequences to demonstrate the police state’s impact on the individual psyche. Asturias’s stance against all forms of injustice in Guatemala caused critics to view the author as a compassionate spokesperson for the oppressed. “My work,” Asturias promised when he accepted the Nobel Prize, “will continue to reflect the voice of the people, gathering their myths and popular beliefs and at the same time seeking to give birth to a universal consciousness of Latin American problems.”
Critics note that while living in Paris, he was greatly influenced by the surrealists and that this led not only to the structure of his work but his influence over subsequent authors’ understanding of the role of indigenous cultures in “real life” and fiction as well as the value of mixing fantasy into an otherwise realistic work.
Wikipedia notes that, “Critics compare his fiction to that of Franz Kafka, James Joyce, and William Faulkner because of the stream-of-consciousness style he employed” while Nahum Megged writes that his protagonists are those who are in harmony with nature and the antagonists are those who are out of sync with the natural world.
I do believe that in spite of his Nobel Prize, he is often overlooked when the origins of magical realism are discussed.
–Malcolm
Malcolm R. Campbell’s novels are written in the magical realism and contemporary fantasy genres. You can find them listed here.
“A particular place in the land is never, for an oral culture, just a passive or inert setting for the human events that occur there. It is an active participant in those occurrences. Indeed, by virtue of its underlying and enveloping presence, the place may even be felt to be the source, the primary power that expresses itself through the various events that unfold there.” – David Abram
The modern world often obscures the importance and influence of a place because in knowing about the events of many places at the same time via news and social media, we often focus on similarities while ignoring the differences. It’s human nature, I think, to look for common themes and even to copy those we like best leading, among other things, to build the same stores and restaurants across the country because they are profitable by virtue of being known as well as a comfort to both the residents and those traveling through town. Homogenizing everything we can not only destroys local culture and exciting differences but makes for a very sterile way of life by trying to translate the culture of another place into our place where that culture is unnatural.
(I digress when I say that I don’t like this practice, especially when traveling and finding mostly chain restaurants dominating the scene to the detriment of local culture and local restaurants. I can’t imagine visiting New Orleans, for example, and only eating the same fast food I eat at home.)
If you read and/or write magical realism, you know already the importance of the place where a real event or fictional story is set, and in knowing, that one understands how the place helps shape the events that happen there. Those events cannot happen anywhere else–no matter how much people might try to copy them–because they depend on the place’s history, culture, geography, and other factors that are unique. One tries through his/her writing to communicate this to the reader subconsciously rather than overtly. You can’t say “The swamp didn’t like Jim.” But when Jim goes into the swamp in your story, you can give the impression that this is true–or that Jim is scared of the swamp and acts differently than he would act if he weren’t scared of it.
It’s hard not to think of the exchange between Luke Skywalker and Yoda, when Luke asks (about the swamp), “What’s in there?” Yoda replies, “Only what you take with you.”
This is true everywhere even though most people won’t acknowledge it.
In looking for similarities between shootings and other crimes, commentators are quick to compare a crime in one place with a crime in another place. They often refer to these as “copycat shootings.” But that can’t be true even if the second perpetrator was aware of the first and wanted to duplicate it. He/she lives in a different environment–the Great Plains as opposed to, say, the Everglades–and part of his/her motivation is copying, a factor that wasn’t involved with the first crime.
Focusing on the real or imagined copycat nature of an event will usually lead investigators astray. Storytellers know this and honor the influence of the place on what happens in that place rather than the extraneous fact that similar events might have happened somewhere else. In magical realism, we understand that what happens here can only happen here.
–Malcolm
Malcolm R. Campbell is the author of the magical realism novels in the Florida Folk Magic Series. This Kindle set includes all four novels in the series.
Several days ago, I posted some ideas that a story happens in a place and can be revisited like any tourist destination. I especially like returning to places filled with magical realism since I often write in that genre. So it is that I decided to reread The Tiger’s Wife which NPR reviewed as Magical Realism Meets Big Cats.
I’m rereading the book now because I wanted to take another look at it before finally getting around to reading Inland, a novel set in the American Southwest.
NPR wrote that “The Tiger’s Wife rests securely in the genre of magical realism, inciting comparisons to Gabriel Garcia Marquez and even Kafka.” The reviewer thought that the ending was too abrupt. I didn’t in my April 2011 review: “The Tiger’s Wife is dark and deep and perfectly crafted, and if you allow yourself to be immersed in it, you will see the blazing eyes of Shere Khan.” The novel won the Orange Prize for Fiction and was a 2011 National Book Award finalist.
From the Publisher
“Weaving a brilliant latticework of family legend, loss, and love, Téa Obreht, the youngest of The New Yorker’s twenty best American fiction writers under forty, has spun a timeless novel that will establish her as one of the most vibrant, original authors of her generation.
In a Balkan country mending from war, Natalia, a young doctor, is compelled to unravel the mysterious circumstances surrounding her beloved grandfather’s recent death. Searching for clues, she turns to his worn copy of The Jungle Book and the stories he told her of his encounters over the years with “the deathless man.” But most extraordinary of all is the story her grandfather never told her—the legend of the tiger’s wife.”
–
Téa Obreht was born Tea Bajraktarević in the autumn of 1985, in Belgrade, SR Serbia, SFR Yugoslavia, the only child of a single mother, Maja Obreht, while her father, a Bosniak,[10] was “never part of the picture.” – Wikipedia .
–Malcolm
Malcolm R. Campbell is the author of Eulalie and Washerwoman, magical realism set in the backwoods of the Florida Panhandle in the 1950s.
If you watched Ken Burns’ 1994 documentary “Baseball,” perhaps you felt the magic in the sport. PBS called the film, “An American epic overflowing with heroes and hopefuls, scoundrels and screwballs.” If you sense this magic at the ball field or even while watching a game on TV, perhaps you can understand why Canadian author W. P. Kinsella (1935-2016) used magical realism in Shoeless Joe, The Iowa Baseball Confederacy, and his later novel Butterfly Winter.
If you watched the feature film based on Shoeless Joe, “Field of Dreams,” or the movie version of “The Natural,” you might ask how anyone could write sincerely about baseball without magical realism. Shoeless Joe Jackson (1887-1951) was (and is) considered one of baseball best players with the third highest batting average in the major leagues. Even now, many dispute the claim he was involved in the 1919 “Black Sox scandal” in which White Sox players (including Jackson) were blamed for trying to throw the World Series against the Cincinnati Reds. Jackson–whose participation is doubted–was banned from baseball. In some ways, the book and film redeem him even though MLB never would.
The spirit of the magic is aptly summed up in the New York Times review of Shoeless Joe that includes the following excerpt that appeared after a character was discovered to have been lying about his baseball experience: “I imagine Eddie Scissons has decided, ‘If I can’t have what I want most in life, then I’ll pretend I had it in the past, and talk about it and live it and relive it until it is real and solid and I can hold it to my heart like a precious child. Once I’ve experienced it so completely, no one can ever take it away from me.'”
This is the way of sports. When actuality doesn’t meet our needs, dreams suffice.
Wikipedia says,” The Iowa Baseball Confederacy (1986) another book blending fantasy and magical realism, recounts an epic baseball game a minor league team played against the 1908 World Champion Chicago Cubs” and Butterfly Winter as “The story of Julio and Esteban Pimental, twins whose divine destiny for baseball begins with games of catch in the womb, the novel marks a return to form, combining his long-held passions of baseball and magical realism.”
Great reading if you’re a baseball fan or even if you aren’t. Eitherway, you’ll suspect that magic exists by the time you get done reading the books.
—Malcolm
Malcolm R. Campbell is the author of magical realism novels and short stories from Thomas-Jacob Publishing.
“When I start I am in a total limbo. I don’t have any idea where the story is going or what is going to happen or why I am writing it. I only know that—in a way that I can’t even understand at the time—I am connected to the story. I have chosen that story because it was important to me in the past or it will be in the future.” – Isabel Allende
I am re-reading The House of the Spirits for the first time since it came out in English in 1985, most likely from the copy I read then. Allende is one of my favorite writers (perhaps above all others) because the stories she tells resonate with me as does the fact she begins each of her books–and I’ve read most of them–without knowing where the story is going. The House of the Spirits didn’t disappoint me in the mid-1980s, and yet, I was afraid to go back to it for fear the most perfect novel would have become imperfect over time like a first lover you don’t dare meet again after both of you have grown up.
I can’t imagine knowing where a story is going when I start writing it and fear that if I did, I wouldn’t be able to write it, or that if I wrote it anyway it would be less true. As I re-read this magical realism novel, I’m not disappointed the second time out and I feel inspired now as I did over thirty years ago; I see again that the story unfolded as it had to unfold because it was (and is) all of a piece that existed in and of itself before Allende wrote the first line: “Barrabus came to us by sea.”
“I think that the stories choose me,” she has said.
When I chanced across author Mark David Gerson’s book The Voice of the Muse in 2008, I was surprised to find a book for writers that acknowledged the truth that stories exist untold until we find them and/or until they find us. As I wrote in my Amazon review of his book, “Gerson believes stories pre-exist, waiting hidden away in dreams to come alive. But while I’ve worked more or less as a blacksmith hammering them into this world, he provides ways to tune into the ‘muse stream’ whereupon life flows onto the page like a warm sweet river.”
I suspect Allende knows this to be true. Otherwise, she couldn’t have written this:
He could hardly guess that the solemn, cubic, dense, pompous house, which sat like a hat amidst its green and geometric surroundings, would end up full of protuberances and incrustations, of twisted staircases that led to empty spaces, of turrets, or small windows and could not be opened, doors hanging in midair, crooked hallways, and portholes that linked the living quarters so that people could communicate during the siesta, all of which were Clara’s inspiration.
I’m relieved to discover that I’m still in love with this novel and that life might have been better if I hadn’t stayed away from it for so many years.
—Malcolm
My stories come upon me out of nowhere and that’s for the best.
(A word from your sponsor (AKA, me).
If you hike, jog, kayak, or so anything else that requires effort and stamina, you know that when everything within you (mind and body) is functioning optimally, you reach what’s called a flow state–in the zone, some say. Writers feel that flow state as well when the words are coming off the keyboard and onto the screen without struggle. There are multiple sensations here, but they can be summed up as joy.
I felt this way while working on the four novels in my Florida Folk Magic Series set in the panhandle near the Apalachicola River (shown above). While writing in a flow state, I saw in my mind’s eye a movie of the stories unfolding and typed up what I saw. I loved the characters, the locations, and the themes, so I felt that I was working on a view of the 1950s’ racial tensions in the sunshine state that needed to be told.
I began with Conjure Woman’s Cat and quickly discovered I was writing about my childhood and all the days I lived in Florida starting in the first grade came flowing back to mind. I was writing this book for myself but happily found out that others liked it, too, and that AudioFile Magazine loved the audiobook edition with a great review and an earphones award.
Melinda, my publisher, asked if I’d thought about a sequel. No, not really. Funny thing. Once she asked the question I began seeing a movie of the book that would become Eulalie and Washerwoman. When Facebook friends found out I was working on a second book, they said, “nothing better happen to that kitty (Lena).” I promised that the conjure woman’s cat would be okay. Having people check in and ask about their favorite characters was a new experience for me and added to my flow state.
So now I’ve written four books, including Lena and Fate’s Arrows. It’s time to stop. I remember my creative writing instructors warning us not to write past the ending. Fate’s Arrows, the only book in the series that isn’t told from Lena’s point of view, seems to be a natural place to stop inasmuch as the conjure woman is feeling her age–older than dirt–and the protagonist (Pollyanna) is moving from west Florida to Tallahassee (where I grew up).
I’ll always be tempted to search for that flow state again with these characters. Never say never, right?
–Malcolm
Malcolm R. Campbell
Publisher: Thomas-Jacob Publishing
Website
Facebook Author’s Page
Amazon Author’s Page
Save money on Kindle with the four-book set.
|
|||||
correct_award_00058
|
FactBench
|
1
| 39
|
https://theculturetrip.com/central-america/guatemala/articles/5-novels-by-miguel-angel-asturias-you-should-read
|
en
|
5 Novels By Miguel Ngel Asturias You Should Read
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Novels to read by acclaimed Nobel Laureate and Guatemalan diplomat Miguel ngel Asturias. The books cover topics from the oppression of totalitarian...
|
en
|
/img/apple-touch-icon.png
|
Culture Trip
|
https://theculturetrip.com/central-america/guatemala/articles/5-novels-by-miguel-angel-asturias-you-should-read
|
A Nobel Prize-winning poet, Guatemalan diplomat, novelist, playwright and journalist, Miguel Ángel Asturias (1899-1974) has written numerous successful novels that depict the colorful lives of various characters as well as shed light on controversial political issues. Born and raised in Guatemala, Asturias lived in Paris during the 1920s and studied ethnography, in both anthropology and linguistics in order to further his literary pursuits. He became acquainted with the Surrealists movement while in Paris, and introduced it to Latin America through his works years later. Due to his outspoken political protest against the Guatemalan government, he suffered years of exile; however he eventually gained notoriety, winning both the Soviet Union Lenin Peace Prize and the Nobel Prize for Literature before he died in Paris in 1974. Here are some of his very best works:
El Señor Presidente – The President
This acclaimed novel won the Nobel Prize for Literature. Within its pages Asturias depicts a ruthless and paranoid dictator’s vengeful plot to dispose of a political adversary. Riddled with themes of casual torture, terror and deception, the book deplores the cruelty of the totalitarian government and its leader. In Asturias own words, El Presidente reflects “the voice of the people” and the awareness of the Latin American tribulations. Asturias’s sardonic tone and documentation of governmental transgression, as well as their horrendous psychological effects, won him the title of spokesperson for the oppressed.
Hombre de Maíz – Men of Maize
In a similar theme, Hombre de Maíz, a critique of capitalism and international corporation, denounces such institutions while pointing out the mistreatment of the Guatemalan peasantry. The title refers to the Mayan Indian’s belief that men were made of maize/corn, and is a tale of Mayan retribution against exploitation. Asturias expertly reworks the story of the Gods’ three creations of man. Encapsulating the spirit of “Maya realism,” Asturias intertwines the tale with the adventures and metamorphoses of a rueful twin duo. It is simultaneously regarded as Asturias’s greatest and most difficult text.
Mulata de tal
Asturias illustrates the parable of destitute farmer who, dissatisfied with his life and economic misfortune, makes a deal with the devil: Tazol. The mysterious demon proceeds to require tasks of the man, the first of which weaves a story involving sensuous temptation and attraction to the forbidden. This challenging novel combines aspects of Mayan and Catholic religion in a broad allegory for the power and price of belief.
Leyendas de Guatemala – Legends of Guatemala
In Leyendas de Guatemala, Asturias intersects fantastical legends of both Mayan people and Guatemalan colonial traditions in the cities of Tikal and Copan, as well as Santiago and Antigua. Asturias dazzles with elaborate imagery of epic battles between Earthly and divine spirits, utilizing evocative prose and chronicling the joining of somewhat disparate cultures.
Mirror of Lida Sal: Tales Based on Mayan Myths and Guatemalan Legends
Once again incorporating his vast knowledge of Mayan and Guatemalan folklore, Miguel Asturias imbues nine bold short stories and a portico with aspects of Guatemalan history and mythology, delving into poetically depicted natural dreamscapes. In Mirror of Lida Sal, Miguel fabricates an exquisitely detailed Guatemala lost to its own people, a people who maintain the steady hope for the future of their land.
|
||||
correct_award_00058
|
FactBench
|
0
| 22
|
https://fable.co/author/miguel-angel-asturias
|
en
|
[] |
[] |
[] |
[
""
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en
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correct_award_00058
|
FactBench
|
3
| 77
|
https://griid.org/tag/guatemalan-human-rights/
|
en
|
Grand Rapids Institute for Information Democracy
|
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Posts about Guatemalan human rights written by kswheeler and Jeff Smith (GRIID)
|
en
|
https://s1.wp.com/i/favicon.ico
|
Grand Rapids Institute for Information Democracy
|
https://griid.org/tag/guatemalan-human-rights/
|
Already have a WordPress.com account? Log in now.
|
||||
correct_award_00058
|
FactBench
|
1
| 81
|
https://www.betweenthecovers.com/btc/reference_library/author/1002272
|
en
|
Miguel Angel Asturias
|
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Between the Covers
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bio notes:
born: 10/19/1899
died: 6/9/1974
born as: Miguel Angel Asturias
nationality: Guatemala
Guatemalan poet, novelist, diplomat, and winner of the Nobel Prize for Literature in 1967. His writings combine the mysticism of the Maya with an epic impulse toward social protest. - Merriam-Webster's Encyclopedia of Literature
|
|||||
correct_award_00058
|
FactBench
|
1
| 97
|
https://americasquarterly.org/tag/senor-presidente/
|
en
|
Señor Presidente Archives
|
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en
|
Americas Quarterly
|
https://americasquarterly.org/tag/senor-presidente/
|
A Guatemalan Classic On the Nightmare of Dictatorship
Miguel Ángel Asturias’s masterpiece achieved lasting fame by trading political specifics for tragic grandeur.
|
||||||
correct_award_00058
|
FactBench
|
3
| 61
|
https://books.google.com/books/about/Twentieth_century_Spanish_American_liter.html%3Fid%3DXeEn3Wpl56gC
|
en
|
Google Books
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https://books.google.com/
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Search the world's most comprehensive index of full-text books.
My library
|
||||||||
correct_award_00058
|
FactBench
|
1
| 78
|
https://www.babelmatrix.org/works/hu-all/Asturias%252C_Miguel_%25C3%2581ngel-1899
|
en
|
Babel Web Anthology :: Works
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https://web.floridamedicalclinic.com/primo-explore/uploaded-files/HomePages/the_president_miguel_angel_asturias.pdf
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The President Miguel Angel Asturias
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FactBench
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0
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https://www.memorabilia-uk.co.uk/p/miguel-angel-asturias
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en
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Miguel Angel Asturias
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MIGUEL ANGEL ASTURIAS d1974. Nobel Prize-winning Guatemalan poet-diplomat, novelist, playwright and journalist. He helped establish Latin American literature's contribution to mainstream Western culture and at the same time drew attention to the importance of indigenous cultures, especially those of his native Guatemala. In 1966, he won the Soviet Union's Lenin Peace Prize. The following year he was awarded the Nobel Prize for Literature, becoming the second Latin American author to receive this honor. He spent his final years in Madrid where he died at the age of 74 on June 9th 1974
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https://www.memorabilia-uk.co.uk/p/miguel-angel-asturias
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MIGUEL ANGEL ASTURIAS d1974. Nobel Prize-winning Guatemalan poet-diplomat, novelist, playwright and journalist. He helped establish Latin American literature's contribution to mainstream Western culture and at the same time drew attention to the importance of indigenous cultures, especially those of his native Guatemala. In 1966, he won the Soviet Union's Lenin Peace Prize. The following year he was awarded the Nobel Prize for Literature, becoming the second Latin American author to receive this honor. He spent his final years in Madrid where he died at the age of 74 on June 9th 1974
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https://www.target.com/p/men-of-maize-by-miguel-ngel-asturias-paperback/-/A-90642083
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By Miguel Ángel Asturias (paperback) : Target
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Shop Men of Maize - by Miguel Ángel Asturias (Paperback) at Target. Choose from Same Day Delivery, Drive Up or Order Pickup. Free standard shipping with $35 orders.
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https://www.target.com/p/men-of-maize-by-miguel-ngel-asturias-paperback/-/A-90642083
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https://news.ucmerced.edu/news/2020/uc-merced-professor-arias-wins-guggenheim-fellowship
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UC Merced Professor Arias Wins Guggenheim Fellowship
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Arturo Arias, a John D. and Catherine T. MacArthur Foundation professor in the Humanities at UC Merced, has been awarded a Guggenheim Fellowship for his ground-breaking study of contemporary indigenous novels from Guatemala and Mexico. Arias was one of 173 American and Canadian fellows announced Wednesday by the Board of Trustees of the John Simon Guggenheim Memorial
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https://news.ucmerced.edu/news/2020/uc-merced-professor-arias-wins-guggenheim-fellowship
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Arturo Arias, a John D. and Catherine T. MacArthur Foundation professor in the Humanities at UC Merced, has been awarded a Guggenheim Fellowship for his ground-breaking study of contemporary indigenous novels from Guatemala and Mexico.
Arias was one of 173 American and Canadian fellows announced Wednesday by the Board of Trustees of the John Simon Guggenheim Memorial Foundation.
“This fellowship represents a unique honor for any scholar because it recognizes the exceptional value, not just of a single project, but of an entire professional trajectory,” Arias said.
“It also validates the areas of investigation that I have either opened or helped significantly to develop — Central American-American studies, Central American cultural studies and Meso-American indigenous studies — all of which were largely invisible in U.S. academia during the early decades of my career.”
Arias is working on the third volume of his collection “Recovering Lost Footprints: Contemporary Indigenous Narratives,” exploring contemporary novels and short stories from Guatemala and Mexico. The works, which are published in the original language with a Spanish translation, “offer unique (and bilingual) insights into possible responses to current expressions of colonialism,” he said.
The Guggenheim fellowship will allow Arias to complete the third volume, which, in contrast to the first two, features authors who are not Maya but Zapoteco, Nahua, P’urhepecha Rarámuri and Wixárika. Volumes 1 and 2 were published in 2017 and 2018, respectively.
Arias was born in Guatemala in 1950, and his early life was marked by the overthrow of democracy in 1954 and the ensuing military dictatorships and civil rebellions. He began his academic career as a scholar of Central American literature but, over the years, his focus shifted in important ways.
“For example, the absence of any recognition of Central America in what we now call Latinx literature led me to explore the cultural production of a group I call ‘Central American-Americans,’” he said.
In the 1990s, controversy arose over testimony from Nobel Peace Prize recipient Rigoberta Menchu, with some challenging the Guatemalan activist’s veracity. In his 2000 work “The Rigoberta Menchu Controversy,” Arias assembled documents and accounts giving perspective to the debate and the surrounding “culture wars” of the era.
This experience, he recalled, “led me to shift my focus toward indigenous studies. This initiative became linked to the increasing visibility of Native American and indigenous studies in the U.S. and other parts of the world, which eventually led to the foundation of the Native American and Indigenous Studies Association (NAISA).”
This work led the State University of New York Press to invite Arias to be editor of its Trans-Indigenous Decolonial Critiques Series in 2017.
Last fall, Arias was named Visiting Research Scholar in the Program in Latin American Studies at Princeton University. His other honors include being named the Tomas Rivera Regents Professor in Spanish Language and Literature at The University of Texas at Austin in 2013 and a distinguished visiting professor at several universities across the United States and in New Zealand, Spain, Mexico and Brazil.
Arturo has received important awards for his narrative fiction, among them the Casa de las Americas Award for his novel “Itzam Na” (1982), the Anna Seghers Scholarship for “Jaguar en llamas” (1990), and the Miguel Angel Asturias National Award for Lifetime Achievement in Literature (2008) in Guatemala.
Arias’ other published works include “Taking their Word: Literature and the Signs of Central America” (2007); “Critical Edition of Miguel Angel Asturias’s ‘Mulata’” (2000); “The Identity of the Word: Guatemalan Literature in Light of the New Century” (1998); and “Ceremonial Gestures: Central American Fiction 1960-1990” (1998).
Arias joins the 95th class of fellows to be recognized by the foundation. The honorees were chosen through a peer-review process from among almost 3,000 applicants.
“It’s exceptionally encouraging to be able to share such positive news at this terribly challenging time,” foundation President Edward Hirsch said in a statement. “The artists, writers, scholars and scientific researchers supported by the fellowship will help us understand and learn from what we are enduring individually and collectively, and it is an honor for the foundation to help them do their essential work.”
Since its establishment in 1925, the John Simon Guggenheim Memorial Foundation has granted more than $375 million in fellowships to over 18,000 individuals. Created by Simon and Olga Guggenheim in memory of their son, the foundation has sought to “further the development of scholars and artists by assisting them to engage in research in any field of knowledge and creation in any of the arts, under the freest possible conditions.”
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https://www.encyclopedia.com/arts/culture-magazines/asturias-miguel-angel-19-october-1899-9-june-1974
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Asturias, Miguel Ángel (19 October 1899 - 9 June 1974)
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Miguel Ángel Asturias (19 October 1899 - 9 June 1974)Oralia Preble-Niemi University of Tennessee at ChattanoogaLettersInterviewsBibliographiesBiographiesReferencesPapers Source for information on Asturias, Miguel Ángel (19 October 1899 - 9 June 1974): Nobel Prize Laureates in Literature, Part 1 dictionary.
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https://www.encyclopedia.com/arts/culture-magazines/asturias-miguel-angel-19-october-1899-9-june-1974
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Miguel Ángel Asturias (19 October 1899 - 9 June 1974)
Oralia Preble-Niemi
University of Tennessee at Chattanooga
Letters
Interviews
Bibliographies
Biographies
References
Papers
1967 Nobel Prize in Literature Presentation Speech
Asturias: Banquet Speech
Asturias: Nobel Lecture, 12 December 1967
This entry was expanded by Preble-Niemi from her Asturias entry in DLB 290: Modern Spanish American Poets, Second Series. See also the Asturias entry in DLB 113: Modern Latin-Amerkan Fiction Writers, First Series.
BOOKS: Sociología guatemalteca: El probkma social del indio (Guatemala City: Sánchez y de Guise, 1923); translated by Maureen Ahern as Guatemalan Sociology: The Social Problem of the Indian (Tempe: Arizona State University Center for Latin American Studies, 1977);
Rayito de estrella (Paris: Imprimerie Française de l’Edition, 1925);
La arquitectura de la vida nueva (Guatemala City: Goubaud, 1928);
La barbaprovisoria (Havana, 1929);
Leyendas de Guatemala (Madrid: Oriente, 1930);
Émulo Lipo´lidon, fantomima (Guatemala City: Américana, 1935);
Sonetos (Guatemala City: Américana, 1936);
Alclasán, fantomima (Guatemala City: Américana, 1940);
Con el rehén en los dientes: Canto a Francia (Guatemala City: Zadik, 1942);
Anoche, 10 de mono de 1543 (Guatemala City: Ediciones del Aire, 1943);
El Señeor Presidente (Mexico City: Costa-Amic, 1946; Buenos Aires: Losada, 1948); translated by Frances Partridge as The President (London: Gollancz, 1963); translation republished as El Señeor Presidente (New York: Atheneum, 1963);
Poesía: Sien de alondra (Buenos Aires: Argos, 1949);
Hombres de maíz (Buenos Aires: Losada, 1949); translated by Gerald Martin as Men of Maize (New York: Delacorte/Seymour Lawrence, 1975);
Viento fuerte (Buenos Aires: Ministerio de Educación Pública, 1950); translated by Darwin Flakoll and Claribel Alegría as Cyclone (London: Owen, 1967); translated by Gregory Rabassa as Strong Wind (New York: Delacorte, 1968);
Ejercicios poéticos en forma de soneto sobre temas de Horacio (Buenos Aires: Botella al Mar, 1951);
Alto es el Sur: Canto a la Argentina (La Plata, Argentina: Talleres gráficos Moreno, 1952);
Carta aérea a mis amigos de América (Buenos Aires, 1952);
El papa verde (Buenos Aires: Losada, 1954); translated by Rabassa as The Green Pope (New York: Delacorte, 1971);
Bolívar: Canto al Libertador (San Salvador: Ministerio de Cultura, 1955);
Soluna: Comedia prodigiosa en dosjornadasy unfinal (Buenos Aires: Losange, 1955);
Week-end en Guatemala (Buenos Aires: Losada, 1956);
La audiencia de los confines (Buenos Aires: Ariadna, 1957);
Messages Indiens (Paris: Seghers, 1958);
Los ojos de los enterrados (Buenos Aires: Losada, 1960); translated by Rabassa as The Eyes of the Interred (New York: Delacorte, 1973; London: Cape, 1974);
Las estrellas, las rosas, y la lámpara, prosas escritas entre 1927y 193 0: Unas palabras de Miguel Ángel Asturias, edited by Enrique Muñoz Meany (Guatemala City: Ediciones Revista de Guatemala, 1960);
El alhajadito (Buenos Aires: Goyanarte, 1961); translated by Martin Shuttleworth as The Bejeweled Boy (Garden City, N.Y.: Doubleday, 1971);
Mulata de tal (Buenos Aires: Losada, 1963); translated by Rabassa as The Mulatta and Mr. Ely (London: Owen, 1963); translation republished as Mulata (New York: Delacorte, 1967);
Rumania, su nueva imagen (Xalapa, Mexico: Universidad Veracruzana, 1964);
Teatro: Chantaje, Dique seco, Soluna, La audienda de los confines (Buenos Aires: Losada, 1964);
Sonetos de Italia (Milan: Instituto Editoriale Cisalpino, 1965);
Clarivigilia primaveral (Buenos Aires: Losada, 1965);
El espejo de Lida Sal (Mexico City: Siglo Veintiuno, 1967); translated by Gilbert Alter-Gilbert as The Mirror of Lida Sal: Tales Based on Mayan Myths and Guatemalan Legends (Pittsburgh: Latin American Literary Review, 1997);
Torotumbo; La audienda de los confines; Mensajes indios (Barcelona: Plaza y Janés, 1967);
Latinoamérica y otros ensayos (Madrid: Guadiana, 1968);
Obras completas, 3 volumes (Madrid: Aguilar, 1968);
Comiendo en Hungría, by Asturias and Pablo Neruda (Barcelona: Lumen, 1969); translated by Barna Balogh as Sentimental Journey around the Hungarian Cuisine (Budapest: Corvina, 1969);
Maladrón (Buenos Aires: Losada, 1969);
Trois des quatre soleils, translated by Claude Couffon (Geneva: Skira, 1971); original Spanish version published as Tres de cuatro soles (edición crítica), edited by Dorita Nouhaud (Paris: Klincksieck / Madrid: Fondo de Cultura Económica, 1977);
The Talking Machine, translated by Beverly Koch (Garden City, N.Y: Doubleday, 1971);
El problema social del indio y otros textos, edited by Couffon (Paris: Centre de Recherches de l’Institut d’Etudes Hispaniques, 1971);
Novelas y cuentos de juventud, edited by Couffon (Paris: Centre de Recherches de l’Institut d’Etudes Hispaniques, 1971);
América, fábula de fábulas y otros ensayos, edited by Richard J. Callan (Caracas: Monte Ávila, 1972);
Viernes de dolores (Buenos Aires: Losada, 1972);
Juárez (Mexico City: Comisión Nacional para la Conmemoratión del Centenario del Fallecimiento de don Benito Juárez, 1972);
Sinceridades, edited by Epaminondas Quintana (Guatemala City: Académica Centroamericana, 1980);
El hombre que lo tenía todo, todo, todo; La leyenda del Sombrerón; La leyenda del tesoro del Lugar Elorido (Barcelona: Bruguera, 1981);
El árbol de la cruz, edited by Aline Jacquart and Amos Segala (Nanterre: ALLCA XX/Université Paris X, Centre de Recherches Latino-Américaines, 1993);
Miguel Ángel Asturias, raíz y destino: Poesía inédita (1917-1924), edited by Marco Vinicio Mejía (Guatemala City: Artemis Edinter, 1999).
Editions and Collections: Obras escogidas, 3 volumes (Madrid: Aguilar, 1955-1966);
Mi mejor obra: Autoantología (Mexico City: Organizatión Editorial Novaro, 1973);
El Señor Presidente: Edición crítica, edited by Ricardo Navas Ruiz and Jean-Marie Saint-Lu (Paris: Klincksieck, 1978);
Viernes de dolores: Edición crítica, edited by Iber H. Ver-dugo (Paris: Klincksieck / Madrid: Fondo de Cultura Economica, 1978);
Hombres de maíz: Edición critica, edited by Gerald Martin (Paris: Klincksieck / Madrid: Fondo de Cultura Econáomica, 1981);
Viajes, ensayos y fantasías, edited by Richard J. Callan (Buenos Aires: Losada, 1981);
París 1924-1933: Periodismo y creación literaria, edited by Amos Segala (Nanterre: ALLCA XX/Universite Paris X, Centre de Recherches Latino-Américaines, 1988);
Con la magia de los tiempos (Guatemala City: Ministerio de Cultura y Deportes/Herederos de Miguel Ángel Asturias, 1999);
El hombre que lo tenía todo, todo, todo (Guatemala City: Editorial Piedra Santa Arandi, 2000);
Cuentos y leyendas, edited by Mario Roberto Morales (Madrid: ALLCA XX, 2000).
OTHER: “Maximón, divinidad de agua dulce,” in Terres Latines, Année 2 (N.p., 1946), pp. 25-36;
Poesia precolombina, edited by Asturias (Buenos Aires: Compañíia General Fabril, 1960);
“La novela latinoamericana es testimonio de nuestro tiempo,” in Inostrannaia literatura, 9 (Moscow, 1966), pp. 25-36.
TRANSLATIONS: Los dioses, los héroes y los hombres de Guatemala Antigua; o El libro del Consejo, Popol Vuh de los indios quichés, translated by Asturias and J. M. González de Mendoza from the French translation by Georges Raynaud (Paris: París-Americana, 1927); republished as El libro del consejo (Mexico City: Universidad Nacional Autónoma, 1939); Anales de los Xahil de los indios cakchiqueles, translated by Asturias and González de Mendoza from the French translation by Raynaud (Paris, 1928; revised edition, Guatemala City: Tipografia Nacional, 1937).
Guatemalan author Miguel Ángel Asturias was recognized with the Nobel Prize in Literature in 1967 for his prolific and innovative literary production in multiple genres. His worldwide fame came primarily because of his narratives in both the novel and short-story genres. In the preface to his 1970 study of Asturias, Richard J. Callan identifies Asturias’s considerable contributions to the world of letters: “there are some who see in his works on political and social dictatorship the finest novels of protest we have. For others, his fanciful tales of Indian and Spanish folklore, told in the rich and ambiguous language of dreamwork, have the inexhaustible value of poetry.” In subsequent decades many critical essays and books have been written about Asturias’s narrative, focusing on some aspect of that nutshell statement. In fact, few of his works are exempt from the qualities to which Callan refers. Even his narratives of harshest reality include passages of lyric language and move in a magical atmosphere.
The reason for Asturias’s inclusion of these qualities in so much of his writing may be found in his essay “Heine o la poesía comprometida” (Heine or Committed Poetry, included in América, fábula de fábulas y otros ensayos [America, Fable of Fables and Other Essays], 1972) about the works of fellow poet Heinrich Heine. In it he posits that protest literature “usa de sus espejos mágicos para limpiar el mundo, para dar otra extensión a la existencia del hombre” (uses its magic mirrors to clean the world, to give another dimension to man’s existence).
Almost all critics of his literature note Asturias’s masterful use of language. Interviewers Luis Harss and Barbara Dohmann state that for Asturias, “language lives a borrowed life. Words are echoes or shadows of living beings. The faith in the power of words … is reminiscent of an ancient belief that words are doubles of objects in the external world and are therefore an animated part of it. The rhythms of speech are instinctual and subliminal. And the subliminal is close to the mythical.” They further assert that in his texts “metaphor is magic, it conjures up the unconscious.” Asturias’s novels are narrated in a language that many believe to be the result of the influence of Surrealism, to which he was exposed during his early years in Europe. Asturias, however, denied this connection and asserted that his style was influenced instead by the indigenous Latin American way of thinking; as he told scholar Marta Pilón de Pacheco, “el surrealismo de mis libros corresponde un poco a la mentalidad indígena, mágica y primitiva, a la mentalidad de está gente que está siem-pre entre lo real y lo soñado, entre lo real y lo imagi-nado, entre lo real y lo que se inventa. Y creo que es esto lo que forma el eje principal de mi pretendido surrealismo” (the surrealism of my books corresponds somewhat to a magical and primitive indigenous mentality, to the mentality of these people who are always between the real and the dreamed, between the real and the imagined, between the real and the invented. And I believe that it is this that forms the main axis of my so-called surrealism). He elaborated further about the link critics like to forge between that “indigenous mentality” and magical realism in an interview with Gunther W. Lorenz: “Las alucinaciones, las impresiones que el hombre obtiene de su medio tienden a transformarse en realidades. … No se trata de una realidad palpable, pero sí de una realidad que surge de una determinada imaginación mágica” (The hallucinations, the impressions that man gets from his environment tend to transform themselves into realities. … It is not a question of a palpable reality, but it is one of a reality that emerges from a specific magical imagination).
Asturias was born on 19 October 1899 in the Parroquia Vieja (Old Parish) neighborhood of Guatemala City. His father was Ernesto Asturias, a lawyer; his mother was María Rosales de Asturias, a teacher. His younger brother, Marco Antonio, was born in 1901. Because of problems with the despotic president Manuel Estrada Cabrera, in 1904 his father moved the family to Salamá, a commercial center in the province of Baja Verapaz near the farm of his maternal grandparents, where they visited frequently. Asturias began school there in 1906 and completed the first three grades before the family returned in 1908 to Guatemala City, where he finished his elementary schooling at Father Pedro Jacinto Palacios’s school and the Domingo Savio school. He began his secondary education in 1912 at the Central National Institute for Boys and finished with a secondary-school diploma in 1916. At the Institute he met the great Nicaraguan poet Rubén Darío, who was just nine months from his death. Prior to this encounter, Asturias’s hobby had been painting; but subsequently he turned to literature.
Poetry is the genre in which Asturias first began writing. His earliest poems date from 1917, but they remained unpublished until 1999, when Marco Vinicio Mejía published them in Miguel Ángel Asturias, raíz destino: Poesía inédita (1917-1924) (Miguel Ángel Asturias, Reason and Destiny: Unpublished Poems [1917-1924]). In many of these poems the quality of modern ist musicality is unquestionable. Asturias himself collected the poetry he wrote between 1918 and 1948 and published it under the title of Poesía: Sien de alondra (1949, Poetry: The Lark’s Temple). The poems of the earlier years are intimate in content, expressing the poet’s deepest feelings about his family, and have traditional Hispanic meter and rhyme forms. To a limited degree the astonishing imagery associated with Surrealism is already present in the earlier poems, as is evident in “Ronda de andares” (Round of Wanderings, published in the 1918-1928 section of Poesía: Sien de alondra): “Haré la cabecita de mi hijo/con un nido de pajaros” (I will make my son’s little head / with a birds’ nest). Some of the later poetry gathered in Poesia: Sien de alondra is avant-garde, with imagery, rhythms, and parallel constructions that betray the influence of ancient indigenous writings. Asturias admitted this influence in “The Latin American Novel: Testimony of an Epoch,” his Nobel lecture: “the parallelism in the indigenous texts allows an exercise of nuances that we find hard to appreciate but which undoubtedly permitted a poetic gradation destined to induce certain states of consciousness which were taken to be magic.” An evolution from traditional forms to avant-garde, Surrealist forms can be traced through the dated parts of Poesía: Sien de alondra.
Asturias’s poetry reflects the cultural duality that surrounded him in his formative years. There are poems, such as his sonnets, that only someone who was immersed in European culture could have written. There are also poems—such as “Tecún Umán,” “Señor del agua” (Man of Water), “Marimba tocada por indios” (Marimba Played by Indians), “Habla el gran lengua” (The Great Interpreter Speaks), and “Cerbatanero” (Blowgunner), from Poesía: Sien de alondra, and the book-length poem Clarivigilia Primaveral (1965; Springtime Clear Vigil; clarivigilia is a neologism, made up of claro, clear or bright, and vigilia, vigil)—that only someone acquainted with Mayan culture could write. Asturias gained a firsthand acquaintance with that culture in early childhood as he listened to Lola Reyes, a Mayan servant in his home, tell traditional indigenous and mestizo tales; later, he read the ancient Maya-Quiché texts in the French translations made of them by Professor Georges Raynaud. Giuseppe Bellini identifies in Asturias’s poetic works “los módulos y los ritmos propios de la antigua poesoía maya, especialmente en la reiteracón, la metáfora, la imagen simbólica, el paralelismo, creando una atmáosfera de sugestiva efica-cia, evocadora de mundos remotos, proyectados en el tiempo presente” (the modules and the rhythms peculiar to ancient Mayan poetry, especially in the reiteration, metaphor, symbolic image, and parallelism that create an atmosphere of suggestive efficacy, evocative of remote worlds projected onto present time).
In Asturias’s plays the influence of the literary movements of the times is especially discernible. Asturias’s earliest play, written when he was seventeen, is still in typescript form, annotated in the margins in his own hand. According to María del Carmen Meléndez de Alonzo, this play, “El loco de la aurora” (The Madman of the Dawn), betrays the influence of the Modernista movement. Elements of the Surrealist movement as well as Modernismo can also be found in Rayito de estrella (1925, Little Star Ray), his first “fantomima” (a neologism composed of fantasía, fantasy, and mima, mime). The term Asturias used to name this “new genre” is an early example of his penchant for wordplay and the creation of neologisms to achieve new meanings. Surrealism and the use of neologisms are also integral parts of his other “fantomimas,” Émulo Lipolidón (1935), Alclasán (1940), and Soluna: Comedia prodigiosa en dos jornadas y un final (1955, Soluna: Prodigious Play in Two Days and an Ending; soluna is a neologism made up of sol, sun, and luna, moon). In all of them there is a Surrealistic, dream-like quality that prevents reality from completely descending on the action. Although the “fantomimas” are dialogue-based works, at times it is difficult in some of them to determine who is speaking. The experimentation he had started with Rayito de estrella evolved significantly; it became apparent that his “fantomimas” were “laboratory pieces,” works in which Asturias tried out the avant-garde linguistic strategies that eventually enriched his more extensive works.
Asturias graduated from the Central National Institute for Boys in 1917 and entered the School of Medicine of the University of San Carlos in Guatemala City, but in 1918 he transferred to the School of Juridical and Social Sciences there. In 1920 José Candida Piñol y Batres, the bishop of Granada, Nicaragua, delivered a series of lectures denouncing dictatorship, basing himself on Christian doctrine. Piñol y Batres’s words resonated with many citizens of Guatemala, which had been ruled by the dictator Estrada Cabrera since 1898, and the lectures led to the formation of the Unionist Party. A general attitude of belligerence ensued; anti-government manifestos were issued, and on 11 March 1920 there was a massive demonstration against Estrada Cabrera, in which the Associatión of Unionist Students, a group originally formed by Asturias, David Vela, and other classmates as the Asociación de Estu-diantes Universitarios (Association of University students) participated. This outpouring was bloodily repressed. The ensuing armed struggle between supporters and opponents of the dictator came to be known as the “Semana Trágica” (Tragic Week), and the fighting came to an end with the overthrow of Estrada Cabrera on 14 April 1920. During the ensuing short-lived rule of Carlos Herrera y Luna, Asturias was active in civic and political matters.
Asturias’s first paying job consisted of writing for several magazines, including Studium, which he founded with Vela and which continued in publication until it was suspended when the university was closed by the government of General José María Orellana in April 1924. He also wrote for El Estudiante (The Student) and La Cultura (Culture). As a fourth-year law student Asturias represented the Asociación de Estudiantes Universitarios at the commemoration of Mexican independence. In Mexico he met the Spanish man of letters Ramón del Valle Inclán, who exerted great influence on him. He also was exposed to the populist ideas of José Vasconcelos, at that time Mexico’s minister of education.
When the Colombian poet Porfirio Barba Jacob, who lived in Guatemala and Mexico for many years, proposed the creation of the Popular University, Vasconcelo’s populist ideas resonated in the proposal and attracted Asturias’s attention. In 1922 Asturias was among the founders of the Popular University of Guatemala; in addition to teaching workers to read, he taught grammar and gave weekly lectures there. This university expanded and eventually had branches in several provinces; it operated until the dictator Jorge Ubico closed it in 1932. In 1922 Asturias and some of his university friends wrote the lyrics of “La chalana” (The Shrewd Woman), a battle song that became popular among Guatemalan university students.
According to most of his biographers, Asturias received his law degree at the University of San Carlos in 1923. However, in his notes for Miguel Ángel Asturias, raíz destino, Mejía asserts that Asturias in fact attended the Estrada Cabrera National University, since the University of San Carlos “practicamente no existió con ese nombre en los períodos comprendidos de 1831 a 1855 y de 1875 a 1945” (in practical terms, did not exist under that name during the periods included from 1831 to 1855 and from 1875 to 1945). Asturias’s first work in the essay genre is the thesis he presented for graduation, Sociología guatemalteca: El problema social del indio (1923; translated as Guatemalan Sociology: The Social Problem, of the Indian, 1977). It was awarded the Premio Gálvez (Gálvez Prize) given by the university for the best thesis of the year and was immediately published. Its sociological focus on the disadvantaged indigenous people of his country is repeated in many of his later essays. The work is flawed, however, by the essentially racist attitude toward the Indians that his Ladino (term used in Guatemala to designate those who do not consider themselves Mayas) upbringing ingrained in his consciousness.
Asturias briefly wrote for the newspaper Tiempos Nuevos (New Times) before being imprisoned for a few days by the dictator Orellana because of the subversive tone of many of his columns. On his release in 1924 he left Guatemala for his political safety. In September he traveled to London, accompanied by a family friend, former Peruvian senator José Antonio Encina, and financed by his father, whose intention was that Asturias would study economics there. Instead, Asturias soon left for Paris, where in 1925 he began studying Mayan religions at the Sorbonne with Raynaud, the director of studies on religions of Pre-Columbian America at the School of Higher Learning. In Paris he became a correspondent for El Imparcial (The Impartial) in Guatemala and for several newspapers in Mexico; during the ten years he spent in Paris, he sent more than four hundred articles to El Imparcial. A collection of these essays, Paris 1924-1933: Periodismoy creación literaria (Paris 1924-1933: Journalism and Literary Creation), was published in 1988. These works manifest the evolution of Asturias’s thought and the ideological and cultural components evident in his later narrative texts.
In addition to journalistic articles and essays, he also contributed interviews with some of Spain’s greatest contemporary authors. In 1925 he traveled to Italy to represent Prensa Latina (Latin Press) at a conference there. Asturias established friendships with some of the most influential writers of the time, including Miguel de Unamuno, Vicente Blasco Ibáñez, James Joyce, André Breton, and Tristan Tzara. In 1927 Asturias and J. M. González de Mendoza published their Spanish translation of Raynaud’s French version of the Popol Vuh, the sacred book of the Quiché Indians, under the title Los dioses, los heroáes y los hombres de Guatemala Antigua; o El libro del Consejo, Popol Vuh de los indios quichés (Gods, Heroes, and Men of Ancient Guatemala; or, The Book of the Council, Popol Vuh of the Quicháe Indians).
He returned to Guatemala for a visit in 1928, stopping in Cuba on the way to attend a conference for journalists. During that visit he published La arquitectura de la vida nueva (1928, Architecture of the New Life), a book based on four lectures he had delivered at the Popular University, the National School for Boys, the Society of Mutual Human Assistance, and the Union of Commercial Employees. When he returned to Paris, he and González de Mendoza translated and published Raynaud’s French version of Anales de los Xahil de los indios cakchiqueles (1928, The Annals of the Xahils of the Cakchiquel Indians).
In 1929 Asturias ended his studies in Paris, and in his position as a correspondent to several Latin American newspapers he traveled all over Western Europe as well as to the Middle East, spending significant periods of time in both Italy and Greece. In Spain he made the acquaintance of the poets of the avant-garde “Generation of 1927,” which included Rafael Alberti, Vicente Aleixandre, Dámaso Alonso, Luis Cernuda, Rosa Chacel, Gerardo Diego, Federico García Lorca, Jorge Guillén, Pedro Salinas, and María Zambrano.
Callan’s claim about Asturias’s “rich and ambiguous language of dreamwork” is substantiated by some of the tales in Leyendas de Guatemala (Legends of Guatemala), a 1930 collection of short stories based on Guatemalan folklore. This book establishes the hybridization of Guatemala’s folk culture (both Indian and Spanish) and the transculturation of the belief systems of the indigenous population and the Spaniards who conquered them. A 1932 French version by Franis de Miomandre (pseudonym of François Durand), with a letter by the French poet Paul Valéry as preface, was awarded the Sylla Monsegur Prize for the best translation from Spanish to French for that year.
In 1932 Asturias traveled to Egypt and Palestine. During these travels he wrote poetry and worked on a short story with the title “Los mendigos políticos” (The Political Beggars), which eventually became the novel El Señor Presidente (1946; translated as The President, 1963, and as El Señor Presidente, 1963). Although his family’s economic situation gave him the means to live in France without deprivation until 1933, the worldwide economic crisis of those years prevented his father’s continued financial support of him in Paris, and Asturias returned to Guatemala. At that time the dictator Ubico headed the government, and aware of the potential implications of the content of El Señor Presidente, Asturias opted not to take the manuscript with him when he returned to Guatemala. This decision delayed publication of the novel for thirteen years.
On his return to Guatemala in 1933 he became a professor of literature in the School of Juridical Sciences of Guatemala at the University of San Carlos. On 1 May 1934 he founded the newspaper Éxito (Success), which was published for only one year. When Éxito ceased publication he began working for the government newspaper El Liberal Progresista (The Progressive Liberal). When he published his second “fantomima,” Émulo Lipolidón, he dedicated it to some of the friends he had left in Europe—Alberti, Miomandre, Alfonso Reyes, Mariano Brull, Eugéne Jolas, Georges Pillement, Luis Cardoza y Aragón, Alejo Carpentier, and Arturo Uslar Pietri. In this Surrealist play Asturias continued to play with language, using neologisms, sound repetitions, and onomatopoeia. In 1936 the Spanish Civil War began, and Asturias declared his support for the Republican cause. He also published poems that he had written in the preceding years as Sonetos (1936, Sonnets).
Asturias was fired from El Liberal Progresista in 1937, again for the subversive tone of his writings, but in June 1938 he and his friend Francisco Soler y Pérez founded a radio news program, “Diario del Aire” (Newspaper of the Air). In 1939 he married Clemencia Amado; his father died; and his first child, Rodrigo, was born. Asturias’s second son, Miguel Ángel, was born in 1941, and the following year Asturias was elected to the Guatemalan legislature. That same year he published Con el rehén en los dientes: Canto a Francia (1942, With the Hostage in His Teeth: Song to France), a book-length poem about the German occupation of France. Also in 1942 he took part in the Congreso Mariano Nacional (National Marian Conference) with the poem “Con el rehén en los dientes,” which received an award offered by the conference. His lifelong friendship with Chilean poet Pablo Neruda began that year when Neruda spent a few days in Asturias’s home. In 1943 Asturias published Anoche, 10 de marzo de 1543 (Last Night, 10 March 1543), a poem commemorating the fourth centenary of the founding of Guatemala.
Ubico resigned in 1944, and Asturias found himself isolated and ostracized by those who considered him a collaborator with the deposed regime because he had been appointed by Ubico and had served as a deputy in the National Assembly. He ceased broadcasting the “Diario del Aire.” In 1945 a democratic government was established in Guatemala under the presidency of Juan José Arévalo. Asturias returned home from Mexico (where he had resided since Ubico’s resignation) for a few months, and while he was there Arévalo named him cultural attaché to the Guatemalan Embassy in Mexico. After moving to that country, Asturias continued working on El Señor Presidente, the novel begun in 1922. With the increased freedom in Guatemala, Asturias felt secure enough in 1946 to publish privately, with the financial assistance of his mother and a cousin, the novel held so long in abeyance; it was eventually published commercially by Losada in 1948.
El Señor Presidente protests against dictatorship. Its setting is not specific but could reflect many Latin American countries of the middle of the twentieth century. This novel portrays a prototypical military dictator and the repression, humiliation, unjust imprisonment, degradation, and even the murders of his opponents or of those who momentarily displease him. A nightmarish horror permeates this novel both in the scenes it depicts and in the actions it relates. Although many critics regard this novel as a representation of a generic Latin American dictatorship, it is also widely accepted that it is based on the dictatorship of Estrada Cabrera, who controlled Guatemala for twenty years. Its theme of tyrannical dictatorship has engrossed the reading public in Guatemala and abroad, precisely because it is a theme that has resonated in the reality of Guatemala and other Latin American countries for many decades. El Señor Presidente may be responsible for Asturias’s great fame throughout the Americas and eventually the world, because it is much more than just a novel of political criticism. There are passages of poetic language, and in América, fábula de fábulas y otros ensayos Asturias acknowledged his use of legends from Mayan culture to create myth in the novel. In fact, Callan finds in it a series of archetypes deeply rooted in universal mythologies.
In 1947, Asturias returned from Mexico for a few months in Guatemala, and Arévalo named him cultural attaché to the Guatemalan Embassy in Argentina. Two years later he became minister adviser, a post he held until 1952. Prior to taking up his new position in Argentina, Asturias divorced his wife; he retained custody of his sons. Asturias’s mother died in 1948, moving him to write the poem “Madre, tü me inventaste” (Mother, You Invented Me): “antes tü y yo / y después, tü y yo solos... / Hizo frío. / La sombra de tü pelo le quedó a la noche” (before you and I / and afterward, you and I alone... / It was cold. / The shadow of your hair suited the night). The poem was included in Poesía: Sien de alondra, which he published with a prologue by the Mexican poet and scholar Alfonso Reyes after visiting Neruda in Chile. He regretted the exclusion of some of his poems in the selection made by his friends Alberti and Antonio Salazar, saying, “los quiero como se quiere a los malos hijos” (I love them as one loves one’s bad children).
In November 1949 Asturias published the novel Hombres de maíz (1949; translated as Men of Maize, 1975), which according to Jorge Campos was the author’s own favorite. In Hombres de maíz, Asturias protests the unscrupulous despoiling of Guatemala by those who exploit it for mercenary reasons. The novel delves into the religious respect of the indigenous people for the land and the elements of their rituals still surviving in contemporary Guatemalan society, illustrating the conflict between the unchanged ritual observances of these people and the materialism of the modern world. Some critics perceive a lack of unity among the six parts of the novel, but Rene Prieto argues that the “unifying principle is thematic and not dependent on character or chronological development but, rather, on three pivotal elements—fire, water, and corn—which harness the six tales together.” The general consensus is that Hombres de maíz is a novel of remythification in which the “men of maize” return to their mythic origin in order to be worthy of returning to the land.
Asturias next spent four months in Guatemala doing research for the novels of his “banana trilogy”: Viento fuerte (1950; translated as Cyclone, 1967, and as Strong Wind, 1968), El papa verde (1954; translated as The Green Pope, 1971), and Los ojos de los enterrados (1960; translated as The Eyes of the Interred, 1973). Asturias in fact planned a tetralogy; the fourth novel, tentatively titled “Bastardo” (Bastard) and later “Dos veces bastardo” (Two Times a Bastard), was never finished, although his son Miguel Ángel declared after Asturias’s death that in his last days, his father had been working on it. As a unit, these novels constitute a sharp criticism of the agricultural exploitation of Guatemala—and, by extension, of all of Central and South America’s resources—by the United States and other foreign powers. The trilogy presents the problems inherent in the exploitation of Guatemala’s banana industry, represented in the novels by the Tropical Banana Company and by wealthy American plantation owners, wealthier absent stockholders, or even a president who colludes with the exploiters to Guatemala’s detriment. Asturias was alluding to the United Fruit Company, which exploited that country’s rich agricultural resources from 1906 until 1954, when the Guatemalan government expropriated the plantations.
In these novels he offers various solutions to the problems posed. On the one hand, he proposes reality-based solutions, such as establishing a banana-producing cooperative in which the locals unite under the guidance of altruistic American plantation owners, organizing worker unions that retaliate for the atrocities of the plantation owners by going on strike, or killing locals who betray their cause. On the other hand, he offers solutions more in keeping with the magical realism that is so often attributed to his narrative, such as the destruction of the banana plantations by a hurricane conjured by a shaman who invokes the powers of Huracán and Cabracán—respectively, the Giant of the Winds and the Giant of the Earth in Quiché mythology. In the final analysis, Asturias believed that solutions to his country’s problems could not be formulated by outsiders but would have to be undertaken by Guatemalans themselves.
When he finished the research for the “banana trilogy,” he returned to Buenos Aires, and in 1950 he traveled to Montevideo, Uruguay, to marry Blanca Mora y Araujo, an Argentine whom he had met in Buenos Aires when she was writing a thesis on his literary works. Viento Fuerte, the first novel of the trilogy, was published that same year.
In 1951 Asturias published a collection of seventeen rather traditional sonnets, Ejercicios poéticos en forma de sonetos sobre temas de Horacio (Poetic Exercises in the Form of Sonnets on Themes by Horace), dedicating it to his wife. The following year he traveled to Bolivia at the invitation of its president, Paz Estenssoro, who had just led a victorious revolution there. Also in 1952 the
new president of Guatemála, Jacobo Arbenz Guzmán, named Asturias minister adviser in Paris. The French translation of El Señor Presidents was published there and received the International Prize of the French Book Club. In 1953 Arbenz recalled Asturias to Guatemala and named him ambassador to El Salvador. Early in 1954 Asturias traveled to Caracas as a delegate to the tenth Conferencia Interamericana (Inter-American Conference). He was visiting in Guatemala in June of that year when Colonel Carlos Castillo Armas led a revolution against the Arbenz government, which was accused by American fruit interests of communist influences; Castillo Armas became the country’s next president. Asturias returned to San Salvador and renounced his diplomatic position, as is customary in diplomatic circles, whereupon Castillo Armas stripped him of his citizenship. Asturias traveled to Panama, visited Neruda in Chile, and settled in Buenos Aires, where he remained in exile until 1962. Also in 1954 he published the second novel of the “banana trilogy,” El papa verde, in Buenos Aires. In 1955 he published Soluna, a Surrealist play with its stylistic roots in the “fantomima,” and the poem Bolivar: Canto al Libertador (Bolivar: Song to the Liberator). He also did occasional translations for the Losada publishing company during this year. In 1956 he began publishing a regular column, “Buenos Aires de día y de noche” (Buenos Aires by Day and by Night), in the Caracas newspaper El Nadonal.
Callan’s claim about the political and social content of Asturias’s novels is equally valid with respect to Asturias’s short fiction. This claim is especially true of the short stories in Week-end en Guatemala (1956, Weekend in Guatemala), a collection that is an indictment of the political and economic machinations of the United States that led to Castillo Armas’s overthrow of Arbenz. Asturias dedicated this volume to his wife.
In 1957 he published the play La audiencia de los confines (1957, The Royal Tribunal of the Borderlands), which is characterized by realism and a tone of protest. It presents the sixteenth-century priest Bartolomé de las Casas, who advocated better treatment of the Indians in the Spanish colonies. The play highlights the duality of cultures and sets forth the struggle between them that is the heritage of Guatemala and all of Latin America. The stage directions indicate Asturias’s desire to emphasize this duality and to indicate which side he favored; the directions call for a stage set divided into two areas, one a dark room in a Spanish-built castle in the New World, the other an Indian temple in the middle of a bright, sunny jungle.
This text is the only one of his works that Asturias ever reworked after it had been published. According to Meléndez de Alonso, in 1971, after La audiencia de los confines had been not only published but also staged, Asturias modified it significantly. She contends that in effect Asturias prepared the manuscript of a new play titled “Las Casas: El Obispo de Dios” (Las Casas: God’s Bishop), based on the prototext of La audiencia de los confines. The changes he made are significant and include increasing the number of battles, explaining the origin and function of the maiden’s stone (used to summon sacrificial virgins to the altar), describing the function of Musén-Ca (guardian of the virgins selected to be sacrificed to the God of Corn), blaming the Spaniards as instigators and manipulators of the Indians’ uprising, emphasizing the Spaniards’ lust for riches, inserting several poetic passages, abbreviating the stage directions, inserting a scene with characters not listed in the dramatis personae, and replacing a female character with a male one. The latter change was most probably prompted by Asturias’s desire to avoid the cultural anachronism she represented in the social circumstances depicted in the play. The new play remains in manuscript form.
Also in 1957 Asturias took a long trip to India, where he attended a writers conference. He then visited China and Russia, where he took part in a comparative literature seminar in Moscow. Toward the end of the year he traveled through France, Spain, and finally to Brazil. In 1959 President Miguel Ydígoras Fuentes restored Asturias’s Guatemalan citizenship and passport. He then traveled to Buenos Aires, where he met Fidel Castro, and in September he traveled to Cuba at Castro’s invitation to attend festivities commemorating the first anniversary of the Cuban Revolution. He then continued to Guatemala to celebrate his sixtieth birthday in the city of his birth. While there he lectured on the Latin American novel.
Returning to Buenos Aires, in 1960 Asturias published Los ojos de los enterrados, the final novel in the “banana trilogy.” The title of this book refers to an indigenous belief that the dead keep their eyes open in their graves until justice is done on Earth; in the novel, justice will be done when the fruit company is destroyed and the dictator finally falls. Also in 1960 Asturias compiled and published the anthology Poesía precolombina (Pre-Columbian Poetry). The following year he published the novel El alhajadito (1961; translated as “The Bejeweled Boy, 1971), based on a legend from the colonial period. In 1962 the Argentine president Arturo Frondizi was overthrown, and Asturias was briefly detained in error by Frondizi’s successor, José María Guido. On his release Asturias left Argentina for Europe. He traveled in France and Italy and received medical treatment in Romania for poor health that had been aggravated by his imprisonment in Argentina. In 1962 the English translation of El Señor Presidentereceived the William Faulkner Foundation Prize for the best Latin American novel.
Asturias returned to Buenos Aires in 1963 and published Mulata de tal (1963; translated as The Mulatto, and Mr. Fly, 1963, and as Mulata, 1967), an important novel that is not a work of protest but that conforms with the”ambiguous language of dreamwork“proposed by Callan. It is a novel of communitarian values, unorthodox eroticism, and mythic resonance. In it priests fight against devils, and Catholic rituals confront the rituals of Mayan mythology. The reality of the nov-elistic world is in constant flux as nature changes in the convulsions of an earthquake and the characters undergo impossible physical changes or incarnate serially as different characters.
In 1964 he published Rumania, su nueva imagen (Romania, Its New Image) about his travels in that country, and Teatro (Theater), a collection of four plays, two of which had been published previously. He also lectured in several Italian cities and traveled in Scandinavia, where he lectured at several universities. He then attended an international writers’ colloquium in Berlin.
In 1965 he published Clarivigilia primaveral, his book-length poem dealing with Mayan myths of origin and the traditional Indian artisans and their art forms. The inspiration for this work may be found in Asturias’s essay”De sueño y barro: Arte de los mayas de Guatemala“(Of Dream and Clay: The Art of the Maya of Guatemala), included in América, fábula de fábu-lasy otros ensayos. In it Asturias explains:
En todas las mitologías, los dioses se preocupan por crear guerreros, sacerdotes, caudillos, hombres emi-nentes. No así en las creencias y mitos de aquellos que poblaron de obras de arte las ciudades de la América Media. Para éstos, artistas por los cuatro costados del ciclo, las divinidades del alba, las abuelas del día, se deleitan en la creación de pintores, poetas, escultores, músicos, danzarines, orfebres, acróbatas, plumistas, a quienes se llamaba magos o pequeños brujos, únicos que podían repetir el milagro de crear cosas de sueño.
(In all mythologies, the gods took care to create warriors, priests, chiefs, eminent men. Not so in the beliefs and myths of those who populated the cities of Middle America with works of art. For them, artists on all four sides of the cycle, the divinities of dawn, the grandmothers of the day, are delighted in the creation of painters, poets, sculptors, musicians, dancers, goldsmiths, acrobats, feather smiths, who were called magi or little sorcerers, the only ones who could repeat the miracle of creating things from dream.)
The intertextuality of Clarivigilia primaveral goes beyond content and may be found in the form as well. Perhaps the earliest critic to point out this relationship was Bellini, who scarcely two years after its publication noted that Asturias’s poem recalls the rhythms of ancient Mayan poetry, its reiterations, metaphors, symbolic images, and parallelism.
In 1965 Asturias traveled in Hungary with Neruda. He also traveled to Italy, where he directed the Columbianum, a conference on Christopher Columbus studies, in Genoa and organized another conference on Third World writers. That same year he represented the French PEN Club in Yugoslavia; he was a candidate for the presidency of that organization but lost. The second half of the decade of the 1960s was full of moments of recognition and honors bestowed on him by entities around the world. In 1966 he became president of the French PEN Club in Paris. He spent that summer in Romania, and in August he received the first of his world-level honors, the Lenin Peace Prize in Moscow. In April 1967 Asturias traveled to Guatemala to attend the second Congreso de la Comunidad de Escri-tores Latinoamericanos (Conference of the Community of Latin American Writers). During that visit the newly elected president Julio César Méndez Montenegro named him ambassador to France. That year he inaugurated an exhibit of Mayan art in several French cities. He also published a book that included two plays, loro-tumbo and La audiencia de los confines, and the poems of Mensajes indios (Indian Messages).
On 19 October 1967 he was named winner of the Nobel Prize in Literature. His literary work attracted the attention of the critics at that time and probably prompted his nomination for the award, because of the way in which he combined in his novels and legends the Mayan heritage of his native Guatemala with the quality that has been called magical realism or Surrealism. At the same time, the courage implicit in his overt representation of the real-life horror of political life in the Guatemala of that time and his protest against external exploitation of that country’s natural resources also drew the notice of readers. His innovative narrative techniques, which later were taken up by members of the Latin American Boom writers, also undoubtedly contributed to his recognition.
In speeches he delivered during various occasions linked to the Nobel Prize that year, Asturias acknowledged all of these qualities in his work, stating that, as did many Latin American writers of the time, he viewed his novels as instruments of political protest. The most noteworthy quality of his writing, as he suggested, is its capacity for revealing the true nature of the Guatemalan people, especially the indigenous folk. Speaking of his poetry, he acknowledged the deep influence of the lyric style of the ancient Mayan texts.
An unintended result of his recognition by the Nobel Prize has been, in the years since then, an overt effort to repeal the mythic status that Asturias achieved as a result of the intense focus on him and his work during the decade following the awarding of the prize. Later critics have taken issue with aspects of his life and works, ranging from the revelation that he had no Mayan blood, to claims that he had had little hand in the translation of the Popol-Vuh into Spanish. Some critics have disparaged the authenticity of his reformist attitude, while others reject the intensity of his love for everything indigenous in his later life and writings. Citing the racist aspects of Asturias’s thesis, one particular Mayan poet from Guatemala refused to accept a national literary prize because the writer’s name figured as part of the award title.
In November 1967 Asturias visited Italy and Germany to present the translations of his books. In December he departed for Sweden, where he received the Nobel Prize from King Gustaf Adolphus VI. That same year he published (first in France and then in Mexico) El espejo de Lida Sal (translated as The Mirror of Lida Sal, 1997), a collection of short stories that are realistic in setting and action and of legends written in the Surrealist or magical realist style.
In 1968 Asturias presided over the San Sebastián Film Festival in Spain. That same year, the Association of Guatemalan Journalists awarded him its Quetzal de Jade (Jade Quetzal), and the indigenous communities of Guatemala named him “only-begotten son of Tecün Umán” (referring to the Quiché prince who was killed in battle by Spanish conquistador Pedro de Alvarado in 1524) because of his recognition of the indigenous roots of that country’s culture. He then traveled to Colombia, where he received the Gran Cruz de San Carlos (Great Cross of Saint Charles) and presided over the Festival of Latin American University Theater in Manizales. Invited by Senegal’s president, Asturias visited that country in 1969, stopping in Madrid en route. He spent some time at the home of his doctor in Palma, Majorca, then underwent an undisclosed surgery in Paris. That same year he and Neruda published Comiendo en Hungria (1969; translated as Sentimental Journey around the Hungarian Cuisine, 1969), based on their travel in that country in 1965. Also in 1969 Asturias published the novel Maladrón (1969, Bad Thief), about a fictional religion whose followers worship Gestas, the unrepentant mal ladrón (bad thief) crucified with Christ. As a representative of the French PEN Club, he interviewed the astronauts of the Apollo 11 crew.
Several of Asturias’s mature essays appear in Latinoaméricay otros ensayos (1968, Latin America and Other Essays) and América, fábula defábulas y otros ensayos. The content of many of them is political; he speaks out about the repressive governments of Guatemala and about actions of the United States that he considered imperialistic. Other essays are philosophical, sociological, or anthropological in nature, while the bulk of them have a cultural focus. He favors literary topics, and his varied themes include the communications media, his theoretical musings about various literary genres, literary criticism of his own works and those of others, and religious beliefs, particularly that of the Quiché Indians.
When Méndez Montenegro died in office in 1970, Asturias renounced his position as ambassador to France, as is customary in the diplomatic establishment. Before leaving the country, he presided over the jury at the Cannes Film Festival; it was the first time that a Latin American author was named to this position. A few days later he served on the jury of the International Book Fair in Nice. Also in 1970 he attended the screening in Venice of a movie based on El Señor Presidente, directed by the Argentine screenwriter and director Marcos Madanes; Asturias was not satisfied with the movie, and it was never released commercially. Asturias then returned to Majorca, where he visited his good friend Camilo José Cela, who received the Nobel Prize in Literature in 1989. In Majorca he composed Tres de cuatro soles (1971, Three of Four Suns), a book about his system for literary creation that was published first in its French translation in Geneva (Trois des quatre soleils); the original Spanish version was published in 1977. In May 1972 he traveled to Israel, and in June of that year his semi-autobiographical novel Viernes de dolores (Holy Friday) was published in Argentina. The protest message in Viernes de dolores lies in its narration of the demonstrations and other antigovernment activities of a group of university students in Guatemala in the early 1920s. Asturias’s alter ego in the novel is the student “Chirimoya” (Sweetsop), or “Moya” for short, nicknames by which Asturias’s university friends addressed him.
Viernes de dolores was the last of his novels published during his life. In November of the same year he visited Mexico, where he was honored repeatedly. Thus ended the most prolific part of Asturias’s career, and the period of his decline began.
Asturias met with the former Argentine president Juan Peron in Paris in 1973. His commitments related to being a Nobel laureate multiplied, and in April 1974 he traveled to Dakar for a conference; from there he went to Tenerife, then to Palma, Majorca, Seville, and finally Madrid. He prepared to travel to Argentina and to Chile, where Neruda had called him because he felt close to death; this trip never took place, however, because Asturias fell seriously ill. On 16 May 1974 he was admitted to the Clínica de la Concepción (Clinic of the Conception) in Madrid because of pulmonary insufficiency and intestinal blockage. When the government of Mexico learned of the critical state of Asturias’s health, it sent a commission to Spain to invite him to travel to Mexico for his recovery; his condition was too critical for him to be moved, however. He attained some relief from the immediate symptoms, but on 9 June 1974 Asturias died from cancer, an adenocarcinoma of the intestine. His wife and son Miguel Ángel were at his bedside. In accordance with his will, the family had his remains taken for interment in the Pére Lachaise Cemetery in Paris, where they were transported onboard Mexico’s official airplane. He is still buried there, although many Guatemalans would like to repatriate the remains of the most illustrious of their compatriots.
The Asociación de Periodistas de Guatemala (Association of Guatemalan Journalists) was the first to react to the death of their longtime colleague and declared three days of mourning. The University of San Carlos also called for three days of mourning, as did El Impartial, the newspaper in which Asturias had published his journalistic essays for fifty-three years. The newspaper also offered the means for the repatriation of Asturias’s remains, a vain gesture, since Asturias had been an active opponent of General Carlos Arana Oso-rio, then the president. The Congress of Guatemala also decreed a three-day period of mourning for Guatemala’s most acclaimed son. Groups and institutions with which Asturias had at some time in his life been linked gathered to render tribute to him; among them were the University of San Carlos de Guatemala, the municipal government of the City of Guatemala, the Academia Guatemalteca de la Lengua (Guatemalan Academy of the Language), the Asociación de Estu-diantes Universitarios, and UNESCO. While his body lay in state, his coffin was draped with the white and azure Guatemalan flag; and, according to his expressed wishes, the staff that the indigenous communities of Guatemala had bestowed on him as “only-begotten son of Tecün Umán” accompanied him in his coffin.
Asturias left an almost finished novel that was published posthumously, El árbol de la cruz (1993, The Trunk of the Cross). According to Alain Sicard (in an essay included in a 1993 facsimile edition of the book), it is a novel about “un dictador, pero de un dictador cuya dictadura es menos polática que metafísica, ya que su obsesión no es otra que la de abolir todo lo que, de cerca o de lejos, recuerda a Cristo: es decir, la Cruz, y en general y, segün nuestra opinión, más significativa: la Muerte” (a dictator, but about a dictator whose dictatorship is less political than metaphysical, since his obsession is none other than that of abolishing everything that, from near or far, reminds one of Christ: that is to say, the Cross, and in general and, in our opinion, more significant: Death). Asturias’s manuscript trails off in mid sentence and ends in a comma: “Se echó los almohadones encima,” (He pulled the large pillows over himself,), thus ending on a note of poignancy the literary production of one of Latin America’s most distinctive writers.
The deep admiration and respect that Guatemalans have for Asturias is best summed up in the title of the eulogy published by the writer Robert Paz y Paz in La Nación (10 June 1974): “No ha muerto, ha naddo a la inmortalidad” (He Has Not Died, He Has Been Born to Immortality). In his obituaries and other published eulogies, Asturias was repeatedly referred to as the “Gran Lengua” (Great Interpreter). Some critics take issue with the use of this term in connection with Asturias, arguing that he was ill-prepared to be such an interpreter, since he was not a Maya or even a mestizo, and minimizing his close relationships with the indigenous population of Guatemala. Asturias did use the term to refer to himself, however, knowing the significance it has within Mayan culture, as can be gleaned from his poem “Habla el gran lengua,” in which the figure of the “Gran Lengua” resembles that of the chilanes in Mayan society, “prophets” who predicted the future and interpreted the will of the gods for the people. Other critics support the identification of Asturias as the “Gran Lengua.” In the 1981 critical edition of Hombres de maíz, Gerald Martin describes Asturias as the “guardián de los misterios e intérprete del mundo de la magia y sus depósitos, las sagradas escrituras, los libros pintados y los bajorelieves simbólicos” (guardian of the mysteries and interpreter of the world of magic and its deposits, the sacred writings, the painted books and the symbolic bas-reliefs) of the Maya of Guatemala. Asturias’s claim to the title of “Gran Lengua” lies not only in his sensitive presentation of a culture that was steeped in mystery for the rest of the world until he wrote about it, but also in his masterful and almost magical use of language. His awareness is clear in his answer to Pilón de Pacheco’s question about whether he believed, as he often had his characters state, that words were foundational or magic: “Sí, y esto es absolutamente de carácter sagrado, indoígena. La palabra para los indígenas fue y es lo más importante” (Yes, and that is absolutely of a sacred, Indian character. Words for the Indians were and are the most important thing).
Letters
Cartas de amor entre M. Á. Asturias y Blanca Mora y Araujo (1948-1954), edited by Felipe Mellizo (Madrid: Ediciones de Cultura Hispánica, Instituto de Cooperatión Iberoamericana, 1989).
Interviews
Luis Harss and Barbara Dohmann, “Miguel Ángel Asturias, or the Land Where the Rowers Bloom,” in their Into the Mainstream: Conversations withLatin-American Writers (New York: Harper & Row, 1967), pp. 6-101;
Luis López Álvarez, Conversaciones con Miguel Ángel Asturias (Madrid: EMESA, 1974).
Bibliographies
Pedro F. de Andrea, “Miguel Ángel Asturias: Anticipo bibliográfico,” Revista Iberoamericana, 35, no. 67 (1969): 133-270;
Richard Moore, “Miguel Ángel Asturias: A Bio-Bibliography,” Bulletin of Bibliography, 27, no. 4 (1970): 85-90, 107-111.
Biographies
Atilio Jorge Castelpoggi, Miguel Ángel Asturias (Buenos Aires: La Mandrágora, 1961);
Claude Couffon, Miguel Ángel Asturias (Paris: Seghers, 1970);
Carlos Meneses, Miguel Ángel Asturias (Madrid: Júcar, 1975).
References
Actas del Coloquio International: Miguel Ángel Asturias, 104 años después, 2-4 de julio 2003, Universidad Rafael Landívar (Guatemala City: Abrapalabra, 2003);
Francisco Albizúrez Palma, La novela de Asturias (Guatemala City: Editorial Universitaria, 1975);
Ruth Alvarez de Scheel, Análisis y estudio de algunos rasgos car-acterizadores de “El Señor Presidents” (Guatemala City:Ministerio de Cultura y Deportes, 1999);
Isabel Arredondo, De brujos y naguales: La Guatemala imaginaria de Miguel Ángel Asturias (Lewiston, N.Y.: EdwinMellen Press, 1997);
Giuseppe Bellini, “La poesía de Miguel Ángel Asturias,” Revista Nacianal de Cultura (Caracas), 180 (April-June1967): 125-127;
Richard J. Callan, Miguel Ángel Asturias (New York:Twayne, 1970);
Jorge Campos, “Miguel Ángel Asturias,” Ínsula, 12, no.133 (1957): 4;
Atilio Jorge Castelpoggi, El poeta narrador: Miguel Ángel Asturias (Buenos Aires: Prueba de Galera Ediciones, 1998);
Otto Raül González, Miguel Ángel Asturias, el gran lengua: Lavoz más clara de Guatemala (Guatemala City: Editorial Cultura, 1999);
Stephen Henighan, Assuming the Light: The Parisian Literary Apprenticeship of Miguel Ángel Asturias (Oxford: Legenda, 1999);
Saúl Hurtado Heras, Por las tierras de Ilóm: El realismo mágicoen “Hombres de maíz” (Mexico City: Universidad Autónoma del Estado de Mexico, 1997);
Eladia León Hill, Miguel Ángel Asturias: Lo ancestral en su obra literaria (Eastchester, N.Y.: E. Torres, 1972);
Gunther W. Lorenz, Diálogo con Latinoamérica: Panorama de una literatura del futuro, translated by Dora Weidl Haas-De la Vega (Santiago de Chile: Pomaire, 1972);
María del Carmen Meléndez de Alonzo, “El reencuentro de Asturias con el padre Las Casas,” Letras de Guatemala: Revista Semestral (Universidad de San Carlos de Guatemala), 20-21 (2000);
Marta Pilón de Pacheco, Miguel Ángel Asturias: Semblanza para el estudio de su vida y obra, con una selección de poemas y prosas (Guatemala City: Cultural Centroamericana, 1968);
Rafael Pineda Reyes, Los misterios de Los hombres de maíz (Guatemala City: Cultura, 1998);
René Prieto, Miguel Ángel Asturias’s Archaeology of Return (Cambridge & New York: Cambridge University Press, 1993);
Teresita Rodríguez, La problemática de la identidad en El Señor Presidente de Miguel Ángel Asturias (Amsterdam & Atlanta: Rodopi, 1989);
Jimena Saenz, Genio y figura de Miguel Ángel Asturias (Buenos Aires: Editorial Universitaria de Buenos Aires, 1974).
Papers
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Book Marks reviews of Mr. President by Miguel Ángel Asturias, tr. David Unger
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[] |
[
"Fiction",
"Historical",
"Literature in Translation",
"Miguel Ángel Asturias",
"tr. David Unger"
] | null |
[
"Miguel Ángel Asturias",
"tr. David Unger",
"Claire Messud",
"Graciela Mochkofsky",
"Manuel Roig-Franzia"
] | null |
Mr. President by Miguel Ángel Asturias, tr. David Unger has an overall rating of Rave based on 3 book reviews.
|
en
|
Book Marks
|
https://bookmarks.reviews/reviews/mr-president/
|
With David Unger’s brilliant translation of Mr. President by the Guatemalan Nobel Prize–winner Miguel Asturias, readers are newly invited to encounter the author’s extraordinary and darkly prescient satire of life under brutal dictatorship ... What makes Mr. President extraordinary is not simply its enduring subject, but also its operatic and inventive multiform style: as Martin points out, it’s a novel 'very like a play, a tightly concocted drama (at times a theater of marionettes),' equally cinematic and poetic. It is reminiscent of Kafka and Beckett in its surreal flights within the consciousnesses of the mad or dying, or within the narrative of myth ... The novel’s vision is relentlessly dark, but its execution is exhilarating, daring, even wild. Asturias’s boldness is repeatedly arresting, and his descriptions unforgettable...Such electrifying vividness animates every page. Not without good reason does Vargas Llosa hail Mr. President as 'one of the most original Latin American texts ever written.'
Read Full Review >>
... a formidable new English translation of his crucial work ... the story speaks not only to Latin America’s cycles of tyranny but to a United States and a Europe confronting, for the first time since it was published, in 1946, a new wave of authoritarian leaders on the rise ... what makes “El Señor Presidente” a 'tour de force of great originality,' as the Peruvian novelist Mario Vargas Llosa notes in a foreword to the new translation, is not its plot but its use of language, with invented words, songs, rhythms, and 'astonishing metaphors'.
Read Full Review >>
|
|||||
correct_award_00058
|
FactBench
|
3
| 21
|
https://web.floridamedicalclinic.com/primo-explore/uploaded-files/HomePages/the_president_miguel_angel_asturias.pdf
|
en
|
The President Miguel Angel Asturias
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null | |||||||||
correct_award_00058
|
FactBench
|
0
| 74
|
https://dbpedia.org/page/Miguel_%25C3%2581ngel_Asturias
|
en
|
About: http://dbpedia.org/resource/Miguel
|
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[] | null |
ميغل أنخل أستورياس (بالإسبانية: Miguel Ángel Asturias Rosales) هو أديب وشاعر وصحفي ودبلوماسي غواتيمالي ولد في 19 أكتوبر 1899 في مدينة غواتيمالا. حصل على جائزة نوبل في الأدب عام 1967. وكان أنخل أستورياس من أوائل الروائيين في أمريكا اللاتينية الذي تناولوا موضوع الاستبداد وتبعه في ذلك كثير من الروائيين. أدت الشهرة التي عرف بها أستورياس في معارضته للحكم الديكتاتوري إلى قضاء معظم حياته في المنفى سواء كان ذلك في أمريكا الجنوبية أو في أوروبا. وبعد عقود من النفي والتهميش حصل أستورياس على شهرة واسعة النطاق في عقد الستينيات من القرن العشرين. وتوفي في 9 يونيو 1974 في مدريد.
|
DBpedia
|
http://dbpedia.org/resource/Miguel_%C3%81ngel_Asturias
|
dbo:abstract
ميغل أنخل أستورياس (بالإسبانية: Miguel Ángel Asturias Rosales) هو أديب وشاعر وصحفي ودبلوماسي غواتيمالي ولد في 19 أكتوبر 1899 في مدينة غواتيمالا. حصل على جائزة نوبل في الأدب عام 1967. وكان أنخل أستورياس من أوائل الروائيين في أمريكا اللاتينية الذي تناولوا موضوع الاستبداد وتبعه في ذلك كثير من الروائيين. أدت الشهرة التي عرف بها أستورياس في معارضته للحكم الديكتاتوري إلى قضاء معظم حياته في المنفى سواء كان ذلك في أمريكا الجنوبية أو في أوروبا. وبعد عقود من النفي والتهميش حصل أستورياس على شهرة واسعة النطاق في عقد الستينيات من القرن العشرين. وتوفي في 9 يونيو 1974 في مدريد. (ar)
Miguel Ángel Asturias Rosales (Ciutat de Guatemala, Guatemala, 1899 - Madrid, Espanya, 1974) fou un escriptor i diplomàtic guatemalenc guardonat amb el Premi Nobel de Literatura l'any 1967. (ca)
Miguel Ángel Asturias (19. října 1899 Guatemala – 9. června 1974 Madrid, Španělsko) byl guatemalský spisovatel a diplomat, nositel Nobelovy ceny za literaturu (1967). Asturiasův původ (jeho matka byla indiánka - Mayové) ovlivnil jeho tvorbu. Ángel se ve svých dílech věnuje především situaci Střední Ameriky a problematice tamějších indiánů, např. Hombres de maíz (1949; česky pod názvem , 1981), Leyendas de Guatemala (1930; Guatemalské legendy) a El señor Presidente (1946; česky pod názvem Pan prezident, 1971). Podílel se na překladu „indiánské bible“ Popol Vuhu. (cs)
Ο Μιγκέλ Άνχελ Αστούριας (Miguel Ángel Asturias Rosales, 19 Οκτωβρίου 1899 - 9 Ιουνίου 1974) ήταν συγγραφέας και διπλωμάτης από τη Γουατεμάλα. Γεννήθηκε στην Πόλη της Γουατεμάλα και πέθανε στη Μαδρίτη. Το 1917 ο Μιγκέλ Αστούριας σπούδασε νομική στο Universidad de San Carlos de Guatemala όπου συμμετείχε στην επανάσταση του 1920 εναντίον του Γουατεμαλανού δικτάτορα . Αποφοίτησε το 1923 και πήγε στο Παρίσι της Γαλλίας για να συνεχίσει την εκπαίδευσή του στη Σορβώνη. Ενώ ζούσε στο Παρίσι, επηρεάστηκε από τη συγκέντρωση συγγραφέων και ποιητών στο Μοντπαρνάς και ξεκίνησε τη συγγραφή ποίησης και μυθοπλασίας. Ο Αστούριας επέστρεψε στη Γουατεμάλα το 1933 όπου δούλευσε ως δημοσιογράφος προτού υπηρετήσει στο διπλωματικό σώμα της χώρας του. Όταν έπεσε η κυβέρνηση του Προέδρου Γιάκομπο Αρμπένζ το 1954, εκδιώχτηκε από τη χώρα από τον Κάρλος Καστίγιο Άρμας. Ενώ ζούσε στην εξορία έγινε διάσημος συγγραφέας με την έκδοση του μυθιστορήματός του Mulata. Τελικά, ο νέος πρόεδρος της Γουατεμάλα τον όρισε πρέσβη στη Γαλλία το 1966, την ίδια χρονιά που κέρδισε το Βραβείο Ειρήνης Λένιν. Το 1967 του απενεμήθη το Βραβείο Νομπέλ για τη Λογοτεχνία "για το ζωντανό λογοτεχνικό επίτευγμά του, βαθιά ριζωμένο στα εθνικά γνωρίσματα και παραδόσεις των Ινδιάνων της Λατινικής Αμερικής." Ο Αστούριας πέρασε τα τελευταία χρόνια της ζωής του στη Μαδρίτη, στην Ισπανία όπου πέθανε το 1974. Είναι θαμμένος στο Cimetière du Père Lachaise στο Παρίσι. Κατά τη διάρκεια μιας συνάντησης κάποιων Λατινοαμερικάνων προέδρων στην Ονδούρα το 2005, ο Μεξικανός πρόεδρος Βισέντε Φοξ ανέφερε: " Έχουμε προτείνει να πραγματοποιήσουμε τη συνεργασία μεταξύ μας, σύμφωνα με τα οράματα των προγόνων μας...και είμαστε τα παιδιά ενός σπόρου, μια γεναιόδωρη χώρα αντρών και γυναικών του καλαμποκιού, όπως είπε κάποτε ο σπουδαίος Γουατεμαλανός συγγραφέας Μιγκέλ Άνχελ Αστούριας." (el)
Miguel Ángel Asturias Rosales (* 19. Oktober 1899 in Guatemala-Stadt; † 9. Juni 1974 in Madrid) war ein guatemaltekischer Schriftsteller, Lyriker und Diplomat. Asturias wurde 1967 der Nobelpreis für Literatur verliehen. (de)
Miguel Ángel ASTURIAS (naskiĝis la 19-an de oktobro 1899, en Gvatemalurbo, mortis la 9-an de junio 1974, en Madrido) estis gvatemala verkisto, li naskiĝis en Gvatemalurbo, studis juron en sia hejmurbo, poste etnologion en Parizo. Ekde la 1940-aj jaroj li laboris ankaŭ kiel ambasadoro en Meksiko, Argentino kaj Francio. La verkaro de Asturias forte respegulas la politikan engaĝiĝon de la aŭtoro, same kiel la magiajn tradiciojn de lia patrujo. En la jaro 1967 la grava reprezentanto de la magia realismo estis honorata per la Premio Nobel de Literaturo. (eo)
Miguel Ángel Asturias Rosales (Ciudad de Guatemala, 19 de octubre de 1899-Madrid, 9 de junio de 1974) fue un escritor, periodista y diplomático guatemalteco que contribuyó al desarrollo de la literatura latinoamericana, influyó en la cultura occidental y, al mismo tiempo, llamó la atención sobre la importancia de las culturas indígenas, especialmente las de su país natal, Guatemala. Aunque Asturias nació y se crio en Guatemala, vivió una parte importante de su vida adulta en el extranjero. Durante su primera estancia en París, en la década de los años 1920, estudió antropología y mitología indígena. Algunos científicos lo consideran el primer novelista latinoamericano en mostrar cómo el estudio de la antropología y de la lingüística podía influir en la literatura. En París, Asturias también se asoció con el movimiento surrealista. Se le atribuye la introducción de muchas características del estilo modernista en las letras latinoamericanas. Como tal, fue un importante precursor del boom latinoamericano de los años 1960 y 1970. En El señor presidente, una de sus novelas más famosas, Asturias describe la vida bajo la dictadura de Manuel Estrada Cabrera, quien gobernó en Guatemala entre 1898 y 1920. Su oposición pública lo llevó al exilio, por lo que tuvo que pasar gran parte de su vida en el extranjero, sobre todo en América del Sur y Europa. La novela Hombres de maíz, que se considera a veces como su obra maestra, es una defensa de la cultura maya. Asturias sintetiza su amplio conocimiento de las creencias mayas con sus convicciones políticas para canalizar ambas hacia una vida de compromiso y solidaridad. Su obra es a menudo identificada con las aspiraciones sociales y morales de la población guatemalteca. Tras décadas de exilio y marginación, Asturias finalmente obtuvo amplio reconocimiento en los años 1960. En 1965 ganó el Premio Lenin de la Paz de la Unión Soviética. Luego, en 1967, recibió el Premio Nobel de Literatura, convirtiéndose así en el tercer autor americano no estadounidense en recibir este honor —tras Gabriela Mistral en 1945 y Saint-John Perse en 1960— y el segundo hispanoamericano. Asturias pasó sus últimos años en Madrid, donde murió a la edad de 74 años. Fue enterrado en el cementerio de Père Lachaise en París. (es)
Miguel Ángel Asturias Rosales (Guatemalako Hiria, 1899ko urriaren 19a - Madril, Espainia, 1974ko ekainaren 9a) guatemalar idazlea izan zen. Ipuinak eta eleberriak idatzi zituen batez ere, errealismo magikoa izeneko korrontearen barruan. Hombres de maíz da haren libururik ezagunena. 1967an Literaturako Nobel Saria eskuratu zuen, eta hori lortu zuen lehenengo guatemalarra izan zen. (eu)
Miguel Ángel Asturias, né le 19 octobre 1899 à Guatemala et mort le 9 juin 1974 à Madrid, est un poète, écrivain et diplomate guatémaltèque. Il est lauréat du prix Nobel de littérature en 1967, et président du jury du festival de Cannes en 1970. (fr)
Scríbhneoir as Guatamala ab ea Miguel Ángel Asturias. Rugadh i gCathair Ghuatamala é i 1899 agus fuair sé bás i Maidrid i 1974. Bhuaigh sé Duais Nobel na Litríochta i 1967. (ga)
Miguel Ángel Asturias Rosales (19 Oktober 1899 – 9 Juni 1974) adalah penulis dan diplomat Guatemala. Ia dianugerahi Penghargaan Nobel pada 1967. Asturias menyelesaikan novelnya (Sang Presiden) pada 1946 semasa menjadi atase budaya di KeduBes Guatemala untuk Meksiko dan menjadikannya salah satu penulis Amerika Latin terbesar pada abad ke-20. Puteranya , di bawah nom de guerre Gaspar Ilom, adalah ketua , sebuah kelompok pemberontak selama Perang Saudara pada 1980-an, dan setelah perjanjian damai pada 1996 menjadi CaPres dari kelompok itu. (in)
Miguel Ángel Asturias Rosales (Città del Guatemala, 19 ottobre 1899 – Madrid, 9 giugno 1974) è stato uno scrittore, poeta, drammaturgo, diplomatico e giornalista guatemalteco. (it)
미겔 앙헬 아스투리아스 로살레스(Miguel Ángel Asturias Rosales, 1899년 10월 19일 ~ 1974년 6월 9일)는 과테말라의 소설가, 시인, 극작가, 언론인, 외교관으로, 1967년에 노벨 문학상을 수상한 인물이다. 그는 라틴 아메리카 문학이 세계 문학에서 중요한 자리를 차지하는 데에 큰 기여를 한 인물이자 라틴 아메리카의 마술적 사실주의 문학을 일으킨 인물로 평가받고 있다. 그는 1899년에 과테말라 시에서 태어났으며 1923년에 산 카를로스 데 과테말라 대학을 졸업, 같은 해에 프랑스 파리의 소르본 대학으로 유학했다. 그는 소르본 대학에서 고대 중앙아메리카 문명에 관한 연구를 진행했으며 이 때부터 시와 소설을 쓰기 시작했다. 이후 그는 1930년에 《과테말라의 전설 (Leyendas de Guatemala)》이라는 책을 썼다. 그는 1933년에 과테말라로 귀국하면서 언론인과 외교관으로 근무하기 시작했으며 소설 《대통령 각하 (El Señor Presidente)》(1946년 작)와 《옥수수의 인간 (Hombres de maíz)》(1949년 작), 《강풍 (Viento fuerte)》(1950년 작), 《녹색의 교황 (El Papa verde)》(1953년 작)을 썼다. 그는 1954년에 과테말라에서 쿠데타가 일어나자 아르헨티나로 망명했으며 그 곳에서 8년 동안의 망명 생활을 보냈다. 그는 1960년에 소설 《죽은 자들의 눈 (Los ojos de los enterrados)》을 썼으며 1963년에 소설 《물라타 (Mulata de tal)》를 썼다. 이후 그는 1966년에 과테말라 정부로부터 프랑스 주재 대사로 임명되었으며 같은 해에 소련 정부로부터 레닌 평화상을 받았다. 그는 1967년에 노벨 문학상을 수상했다. (ko)
Miguel Ángel Asturias Rosales (Guatemala-Stad, 19 oktober 1899 — Madrid, 9 juni 1974) was een Guatemalteeks schrijver en diplomaat. Miguel Asturias begon in 1917 met het studeren van medicijnen, maar stapte over naar rechten in 1918. Hij studeerde op de Universidad de San Carlos de Guatemala. In die tijd (1920) deed hij ook mee aan de opstand tegen de toenmalige dictator . Hij richtte met zijn medestudenten de Associación de Estudiantes Unionistas op. Namens de studenten reisde hij in 1921 af naar Mexico om de onafhankelijkheid van het buurland te vieren. Hier ontmoette hij de Spaanse schrijver Ramón María del Valle-Inclán die van grote betekenis werd voor zijn ontwikkeling als schrijver.Samen met een groep andere studenten richtte Asturias de Universidad Popular op, een universiteit voor degenen die niet het geld hadden om op de officiële universiteit te kunnen studeren. In 1923 studeerde hij af; zijn scriptie ging over “het maatschappelijke probleem van de indiaan”. Asturias ging daarna naar Europa, studeerde eerst een paar maanden in Londen en maakte zijn studies af in Parijs op de Sorbonne. Daar volgde hij onder meer lessen in de Maya-godsdiensten van Professor Georges Raynaud. In de zes jaar die hij in Parijs doorbracht, werd hij sterk beïnvloed door de gemeenschap van artiesten en schrijvers rond Montparnasse, en begon hij poëzie en proza te schrijven. Andere Zuid-Amerikaanse schrijvers met wie hij veel contact had in die tijd, waren de Cubaan Alejo Carpentier en de Venezolaan . In 1928 keerde Asturias voor korte tijd terug naar Guatemala om colleges te geven aan de Universidad Popular, deze colleges zijn gebundeld in zijn eerste boek, Arquitectura de la vida nueva. Terug in Europa maakte Asturias zijn Leyendas de Guatemala af. Het boek is een van de eerste boeken waarin het Magisch Realisme, dat later haast synoniem werd voor de Zuid-Amerikaanse literatuur, duidelijk naar voren komt. Het boek kreeg de Silla Monsegur prijs, de prijs voor het best vertaalde Spaans-Amerikaanse boek dat jaar gepubliceerd in Frankrijk.Vanaf 1929 reisde Asturias door Europa en het nabije oosten. In 1933 keerde Asturias terug naar Guatemala. Het boek El señor Presidente, dat hij dan al geschreven heeft, kon hij niet publiceren vanwege het feit dat Guatemala op dat moment geregeerd werd door de dictator . Deze roman is gebaseerd op de bloedige overheersing door deze president. Het is in feite een aanklacht tegen elke vorm van dictatuur die steunt op terreur en verraad en opoffering van menselijke waarden. Asturias werkte als journalist en als hoogleraar literatuurwetenschap. In 1939 trouwde hij met de Argentijnse Clemencia Amado en werd hun zoon Rodrigo geboren, in 1941 werd een tweede zoon geboren, Miguel Ángel, en in 1947 werd de scheiding uitgesproken. Na het aftreden van Ubico in 1944 kwam eerst een militaire junta aan de macht en na een revolutie een paar maanden later werd Juan José Arévalo de nieuwe president. Deze benoemde Asturias tot cultureel attaché aan de Guatemalteekse ambassade in Mexico. Hier werd in 1946 de eerste versie van El señor Presidente gepubliceerd, dat zijn faam als schrijver in Zuid-Amerika zou vestigen. Asturias raakte er ook bevriend met Pablo Neruda. In 1947 werd hij cultureel attaché in Buenos Aires (Argentinië). Later kreeg hij zelfs een adviserende ministerspost in Argentinië.'1949 was geheel gewijd aan het schrijven van Hombres de maíz (Nederlandse vertaling: De doem van de maïs), het boek dat over het algemeen als zijn meesterwerk beschouwd wordt. In het boek komen indiaanse stammen in opstand tegen het leger en de maïsplanters. Het boek is geschreven vanuit het magische beeld van de indianen op de wereld, en is daardoor niet eenvoudig te lezen. Eind van het verhaal is dat de leider van de revolutie, Gaspar, een legende wordt en dat de boeren hun land en hun magie verliezen.In 1950 keerde Asturias voor korte tijd terug naar Buenos Aires, waar hij trouwt met Blanca Mora y Araujo. In 1954 viel de regering van Jacobo Arbenz. Asturias was op dat moment in Guatemala, maar keerde terug naar zijn diplomatieke post in San Salvador. Hij zegde zijn aanstelling op en ging via Chili (Neruda) naar Argentinië, waar hij in ballingschap bleef tot 1963. Vervolgens maakte hij reizen door Europa. Hij werd door vele universiteiten gevraagd voor gastcolleges, en werkte mee aan verschillende congressen. In 1966 vestigde hij zich weer in Parijs. De in 1966 nieuw gekozen president van Guatemala, Julio César Méndez Montenegro, benoemde hem tot ambassadeur van Guatemala in Frankrijk. In dat jaar ontving Asturias de Lenin Vredesprijs. In 1967 ontving Asturias de Nobelprijs voor Literatuur met als motivatie dat hij een levendig literair oeuvre geschapen had dat diepgeworteld is in de Guatemalteekse indiaanse tradities. Nog vele huldigingen zouden volgen, onder meer zijn benoeming tot “hijo ungénito de Técan Uman” door de Guatemalteekse indiaanse gemeenschappen.In 1970 trad Asturias op als hoofd van de jury van het filmfestival van Cannes. In 1970 trad Montenegro af als president en zegde Asturias zijn ambassadeursfunctie op. De laatste jaren van zijn leven sleet hij in Madrid. Hier overleed hij in 1974 in bijzijn van zijn vrouw Blanca en zijn zoon Miguel. Asturias ligt begraven op Père-Lachaise in Parijs. (nl)
Miguel Ángel Asturias (ur. 19 października 1899 w Gwatemali, zm. 9 czerwca 1974 w Madrycie) – gwatemalski powieściopisarz, poeta, dziennikarz, opozycjonista i dyplomata. Laureat Nagrody Nobla w dziedzinie literatury w 1967 za wybitne osiągnięcia twórcze, u podłoża których leży zainteresowanie obyczajami i tradycją Indian Ameryki Łacińskiej. Na początku lat 50. XX wieku ambasador Gwatemali w Salwadorze, a od 1966 do 1970 we Francji. Znany głównie dzięki eksperymentalnej powieści El senor presidente opisującej rozpad więzi społecznych pod dyktatorskimi rządami. Przedstawiciel nurtu realizmu magicznego, w swych powieściach posługiwał się prozą poetycką. Twórczość głęboko osadzona w kulturze Majów. Zaangażowanypolitycznie po stronie ruchów lewicowych, sprzeciwiał się rządom dyktatorskim i eksploatacji przez wielkie korporacje. (pl)
ミゲル・アンヘル・アストゥリアス・ロサレス（Miguel Ángel Asturias Rosales, 1899年10月19日 - 1974年6月9日。ミゲル・アンヘル・アストリアスとも）は、グアテマラの小説家。キューバのアレホ・カルペンティエルと共に魔術的リアリズムの担い手となり、その後のラテンアメリカ文学ブームの先導者となった。 (ja)
Мигéль Áнхель Асту́риас Роcáлес (исп. Miguel Ángel Asturias Rosales; 1899—1974) — гватемальский писатель и дипломат. Лауреат Нобелевской премии по литературе 1967 года («за яркое творческое достижение, в основе которого лежит интерес к обычаям и традициям индейцев Латинской Америки») и Международной Ленинской премии «За укрепление мира между народами» (1966). В своих произведениях часто сочетал элементы фольклора и мифологии индейцев майя с реалистическим изображением современных ему общественно-политических процессов. (ru)
Miguel Ángel Asturias, född 19 oktober 1899 i Guatemala City, död 9 juni 1974 i Madrid, var en guatemalansk författare och diplomat. Han tilldelades Nobelpriset i litteratur 1967. (sv)
Miguel Ángel Asturias Rosales (Cidade da Guatemala, 19 de outubro de 1899 — Madrid, 9 de junho de 1974) foi um escritor e diplomata guatemalteco. Em 1965 foi-lhe atribuído o Prêmio Lenin da Paz e em 1967 o Nobel de Literatura. (pt)
Астуріас Мігель Анхель (ісп. Miguel Ángel Asturias Rosales; 19 жовтня 1899 — 9 червня 1974) — гватемальський письменник; представник магічного реалізму. У романах (Сеньйор Президент, Ураган) і оповіданнях часто поєднує елементи індіанського фольклору з реалістичним зображенням сучасних політичних та суспільних явищ. Нобелівська премія в галузі літератури 1967.Похований на кладовищі Пер-Лашез. (uk)
米格尔·安赫尔·阿斯图里亚斯·罗萨莱斯（西班牙語：Miguel Ángel Asturias Rosales，1899年10月19日－1974年6月9日），危地马拉小说家。他被视为拉丁美洲魔幻现实主义的开创者，在拉丁美洲乃至世界现代文学史上都占有重要地位。 (zh)
ميغل أنخل أستورياس (بالإسبانية: Miguel Ángel Asturias Rosales) هو أديب وشاعر وصحفي ودبلوماسي غواتيمالي ولد في 19 أكتوبر 1899 في مدينة غواتيمالا. حصل على جائزة نوبل في الأدب عام 1967. وكان أنخل أستورياس من أوائل الروائيين في أمريكا اللاتينية الذي تناولوا موضوع الاستبداد وتبعه في ذلك كثير من الروائيين. أدت الشهرة التي عرف بها أستورياس في معارضته للحكم الديكتاتوري إلى قضاء معظم حياته في المنفى سواء كان ذلك في أمريكا الجنوبية أو في أوروبا. وبعد عقود من النفي والتهميش حصل أستورياس على شهرة واسعة النطاق في عقد الستينيات من القرن العشرين. وتوفي في 9 يونيو 1974 في مدريد. (ar)
Miguel Ángel Asturias Rosales (Ciutat de Guatemala, Guatemala, 1899 - Madrid, Espanya, 1974) fou un escriptor i diplomàtic guatemalenc guardonat amb el Premi Nobel de Literatura l'any 1967. (ca)
Miguel Ángel Asturias (19. října 1899 Guatemala – 9. června 1974 Madrid, Španělsko) byl guatemalský spisovatel a diplomat, nositel Nobelovy ceny za literaturu (1967). Asturiasův původ (jeho matka byla indiánka - Mayové) ovlivnil jeho tvorbu. Ángel se ve svých dílech věnuje především situaci Střední Ameriky a problematice tamějších indiánů, např. Hombres de maíz (1949; česky pod názvem , 1981), Leyendas de Guatemala (1930; Guatemalské legendy) a El señor Presidente (1946; česky pod názvem Pan prezident, 1971). Podílel se na překladu „indiánské bible“ Popol Vuhu. (cs)
Ο Μιγκέλ Άνχελ Αστούριας (Miguel Ángel Asturias Rosales, 19 Οκτωβρίου 1899 - 9 Ιουνίου 1974) ήταν συγγραφέας και διπλωμάτης από τη Γουατεμάλα. Γεννήθηκε στην Πόλη της Γουατεμάλα και πέθανε στη Μαδρίτη. Το 1917 ο Μιγκέλ Αστούριας σπούδασε νομική στο Universidad de San Carlos de Guatemala όπου συμμετείχε στην επανάσταση του 1920 εναντίον του Γουατεμαλανού δικτάτορα . Αποφοίτησε το 1923 και πήγε στο Παρίσι της Γαλλίας για να συνεχίσει την εκπαίδευσή του στη Σορβώνη. Ενώ ζούσε στο Παρίσι, επηρεάστηκε από τη συγκέντρωση συγγραφέων και ποιητών στο Μοντπαρνάς και ξεκίνησε τη συγγραφή ποίησης και μυθοπλασίας. Ο Αστούριας επέστρεψε στη Γουατεμάλα το 1933 όπου δούλευσε ως δημοσιογράφος προτού υπηρετήσει στο διπλωματικό σώμα της χώρας του. Όταν έπεσε η κυβέρνηση του Προέδρου Γιάκομπο Αρμπένζ το 1954, εκδιώχτηκε από τη χώρα από τον Κάρλος Καστίγιο Άρμας. Ενώ ζούσε στην εξορία έγινε διάσημος συγγραφέας με την έκδοση του μυθιστορήματός του Mulata. Τελικά, ο νέος πρόεδρος της Γουατεμάλα τον όρισε πρέσβη στη Γαλλία το 1966, την ίδια χρονιά που κέρδισε το Βραβείο Ειρήνης Λένιν. Το 1967 του απενεμήθη το Βραβείο Νομπέλ για τη Λογοτεχνία "για το ζωντανό λογοτεχνικό επίτευγμά του, βαθιά ριζωμένο στα εθνικά γνωρίσματα και παραδόσεις των Ινδιάνων της Λατινικής Αμερικής." Ο Αστούριας πέρασε τα τελευταία χρόνια της ζωής του στη Μαδρίτη, στην Ισπανία όπου πέθανε το 1974. Είναι θαμμένος στο Cimetière du Père Lachaise στο Παρίσι. Κατά τη διάρκεια μιας συνάντησης κάποιων Λατινοαμερικάνων προέδρων στην Ονδούρα το 2005, ο Μεξικανός πρόεδρος Βισέντε Φοξ ανέφερε: " Έχουμε προτείνει να πραγματοποιήσουμε τη συνεργασία μεταξύ μας, σύμφωνα με τα οράματα των προγόνων μας...και είμαστε τα παιδιά ενός σπόρου, μια γεναιόδωρη χώρα αντρών και γυναικών του καλαμποκιού, όπως είπε κάποτε ο σπουδαίος Γουατεμαλανός συγγραφέας Μιγκέλ Άνχελ Αστούριας." (el)
Miguel Ángel Asturias Rosales (* 19. Oktober 1899 in Guatemala-Stadt; † 9. Juni 1974 in Madrid) war ein guatemaltekischer Schriftsteller, Lyriker und Diplomat. Asturias wurde 1967 der Nobelpreis für Literatur verliehen. (de)
Miguel Ángel ASTURIAS (naskiĝis la 19-an de oktobro 1899, en Gvatemalurbo, mortis la 9-an de junio 1974, en Madrido) estis gvatemala verkisto, li naskiĝis en Gvatemalurbo, studis juron en sia hejmurbo, poste etnologion en Parizo. Ekde la 1940-aj jaroj li laboris ankaŭ kiel ambasadoro en Meksiko, Argentino kaj Francio. La verkaro de Asturias forte respegulas la politikan engaĝiĝon de la aŭtoro, same kiel la magiajn tradiciojn de lia patrujo. En la jaro 1967 la grava reprezentanto de la magia realismo estis honorata per la Premio Nobel de Literaturo. (eo)
Miguel Ángel Asturias Rosales (Ciudad de Guatemala, 19 de octubre de 1899-Madrid, 9 de junio de 1974) fue un escritor, periodista y diplomático guatemalteco que contribuyó al desarrollo de la literatura latinoamericana, influyó en la cultura occidental y, al mismo tiempo, llamó la atención sobre la importancia de las culturas indígenas, especialmente las de su país natal, Guatemala. Aunque Asturias nació y se crio en Guatemala, vivió una parte importante de su vida adulta en el extranjero. Durante su primera estancia en París, en la década de los años 1920, estudió antropología y mitología indígena. Algunos científicos lo consideran el primer novelista latinoamericano en mostrar cómo el estudio de la antropología y de la lingüística podía influir en la literatura. En París, Asturias también se asoció con el movimiento surrealista. Se le atribuye la introducción de muchas características del estilo modernista en las letras latinoamericanas. Como tal, fue un importante precursor del boom latinoamericano de los años 1960 y 1970. En El señor presidente, una de sus novelas más famosas, Asturias describe la vida bajo la dictadura de Manuel Estrada Cabrera, quien gobernó en Guatemala entre 1898 y 1920. Su oposición pública lo llevó al exilio, por lo que tuvo que pasar gran parte de su vida en el extranjero, sobre todo en América del Sur y Europa. La novela Hombres de maíz, que se considera a veces como su obra maestra, es una defensa de la cultura maya. Asturias sintetiza su amplio conocimiento de las creencias mayas con sus convicciones políticas para canalizar ambas hacia una vida de compromiso y solidaridad. Su obra es a menudo identificada con las aspiraciones sociales y morales de la población guatemalteca. Tras décadas de exilio y marginación, Asturias finalmente obtuvo amplio reconocimiento en los años 1960. En 1965 ganó el Premio Lenin de la Paz de la Unión Soviética. Luego, en 1967, recibió el Premio Nobel de Literatura, convirtiéndose así en el tercer autor americano no estadounidense en recibir este honor —tras Gabriela Mistral en 1945 y Saint-John Perse en 1960— y el segundo hispanoamericano. Asturias pasó sus últimos años en Madrid, donde murió a la edad de 74 años. Fue enterrado en el cementerio de Père Lachaise en París. (es)
Miguel Ángel Asturias Rosales (Guatemalako Hiria, 1899ko urriaren 19a - Madril, Espainia, 1974ko ekainaren 9a) guatemalar idazlea izan zen. Ipuinak eta eleberriak idatzi zituen batez ere, errealismo magikoa izeneko korrontearen barruan. Hombres de maíz da haren libururik ezagunena. 1967an Literaturako Nobel Saria eskuratu zuen, eta hori lortu zuen lehenengo guatemalarra izan zen. (eu)
Miguel Ángel Asturias, né le 19 octobre 1899 à Guatemala et mort le 9 juin 1974 à Madrid, est un poète, écrivain et diplomate guatémaltèque. Il est lauréat du prix Nobel de littérature en 1967, et président du jury du festival de Cannes en 1970. (fr)
Scríbhneoir as Guatamala ab ea Miguel Ángel Asturias. Rugadh i gCathair Ghuatamala é i 1899 agus fuair sé bás i Maidrid i 1974. Bhuaigh sé Duais Nobel na Litríochta i 1967. (ga)
Miguel Ángel Asturias Rosales (19 Oktober 1899 – 9 Juni 1974) adalah penulis dan diplomat Guatemala. Ia dianugerahi Penghargaan Nobel pada 1967. Asturias menyelesaikan novelnya (Sang Presiden) pada 1946 semasa menjadi atase budaya di KeduBes Guatemala untuk Meksiko dan menjadikannya salah satu penulis Amerika Latin terbesar pada abad ke-20. Puteranya , di bawah nom de guerre Gaspar Ilom, adalah ketua , sebuah kelompok pemberontak selama Perang Saudara pada 1980-an, dan setelah perjanjian damai pada 1996 menjadi CaPres dari kelompok itu. (in)
Miguel Ángel Asturias Rosales (Città del Guatemala, 19 ottobre 1899 – Madrid, 9 giugno 1974) è stato uno scrittore, poeta, drammaturgo, diplomatico e giornalista guatemalteco. (it)
미겔 앙헬 아스투리아스 로살레스(Miguel Ángel Asturias Rosales, 1899년 10월 19일 ~ 1974년 6월 9일)는 과테말라의 소설가, 시인, 극작가, 언론인, 외교관으로, 1967년에 노벨 문학상을 수상한 인물이다. 그는 라틴 아메리카 문학이 세계 문학에서 중요한 자리를 차지하는 데에 큰 기여를 한 인물이자 라틴 아메리카의 마술적 사실주의 문학을 일으킨 인물로 평가받고 있다. 그는 1899년에 과테말라 시에서 태어났으며 1923년에 산 카를로스 데 과테말라 대학을 졸업, 같은 해에 프랑스 파리의 소르본 대학으로 유학했다. 그는 소르본 대학에서 고대 중앙아메리카 문명에 관한 연구를 진행했으며 이 때부터 시와 소설을 쓰기 시작했다. 이후 그는 1930년에 《과테말라의 전설 (Leyendas de Guatemala)》이라는 책을 썼다. 그는 1933년에 과테말라로 귀국하면서 언론인과 외교관으로 근무하기 시작했으며 소설 《대통령 각하 (El Señor Presidente)》(1946년 작)와 《옥수수의 인간 (Hombres de maíz)》(1949년 작), 《강풍 (Viento fuerte)》(1950년 작), 《녹색의 교황 (El Papa verde)》(1953년 작)을 썼다. 그는 1954년에 과테말라에서 쿠데타가 일어나자 아르헨티나로 망명했으며 그 곳에서 8년 동안의 망명 생활을 보냈다. 그는 1960년에 소설 《죽은 자들의 눈 (Los ojos de los enterrados)》을 썼으며 1963년에 소설 《물라타 (Mulata de tal)》를 썼다. 이후 그는 1966년에 과테말라 정부로부터 프랑스 주재 대사로 임명되었으며 같은 해에 소련 정부로부터 레닌 평화상을 받았다. 그는 1967년에 노벨 문학상을 수상했다. (ko)
Miguel Ángel Asturias Rosales (Guatemala-Stad, 19 oktober 1899 — Madrid, 9 juni 1974) was een Guatemalteeks schrijver en diplomaat. Miguel Asturias begon in 1917 met het studeren van medicijnen, maar stapte over naar rechten in 1918. Hij studeerde op de Universidad de San Carlos de Guatemala. In die tijd (1920) deed hij ook mee aan de opstand tegen de toenmalige dictator . Hij richtte met zijn medestudenten de Associación de Estudiantes Unionistas op. Namens de studenten reisde hij in 1921 af naar Mexico om de onafhankelijkheid van het buurland te vieren. Hier ontmoette hij de Spaanse schrijver Ramón María del Valle-Inclán die van grote betekenis werd voor zijn ontwikkeling als schrijver.Samen met een groep andere studenten richtte Asturias de Universidad Popular op, een universiteit voor degenen die niet het geld hadden om op de officiële universiteit te kunnen studeren. In 1923 studeerde hij af; zijn scriptie ging over “het maatschappelijke probleem van de indiaan”. Asturias ging daarna naar Europa, studeerde eerst een paar maanden in Londen en maakte zijn studies af in Parijs op de Sorbonne. Daar volgde hij onder meer lessen in de Maya-godsdiensten van Professor Georges Raynaud. In de zes jaar die hij in Parijs doorbracht, werd hij sterk beïnvloed door de gemeenschap van artiesten en schrijvers rond Montparnasse, en begon hij poëzie en proza te schrijven. Andere Zuid-Amerikaanse schrijvers met wie hij veel contact had in die tijd, waren de Cubaan Alejo Carpentier en de Venezolaan . In 1928 keerde Asturias voor korte tijd terug naar Guatemala om colleges te geven aan de Universidad Popular, deze colleges zijn gebundeld in zijn eerste boek, Arquitectura de la vida nueva. Terug in Europa maakte Asturias zijn Leyendas de Guatemala af. Het boek is een van de eerste boeken waarin het Magisch Realisme, dat later haast synoniem werd voor de Zuid-Amerikaanse literatuur, duidelijk naar voren komt. Het boek kreeg de Silla Monsegur prijs, de prijs voor het best vertaalde Spaans-Amerikaanse boek dat jaar gepubliceerd in Frankrijk.Vanaf 1929 reisde Asturias door Europa en het nabije oosten. In 1933 keerde Asturias terug naar Guatemala. Het boek El señor Presidente, dat hij dan al geschreven heeft, kon hij niet publiceren vanwege het feit dat Guatemala op dat moment geregeerd werd door de dictator . Deze roman is gebaseerd op de bloedige overheersing door deze president. Het is in feite een aanklacht tegen elke vorm van dictatuur die steunt op terreur en verraad en opoffering van menselijke waarden. Asturias werkte als journalist en als hoogleraar literatuurwetenschap. In 1939 trouwde hij met de Argentijnse Clemencia Amado en werd hun zoon Rodrigo geboren, in 1941 werd een tweede zoon geboren, Miguel Ángel, en in 1947 werd de scheiding uitgesproken. Na het aftreden van Ubico in 1944 kwam eerst een militaire junta aan de macht en na een revolutie een paar maanden later werd Juan José Arévalo de nieuwe president. Deze benoemde Asturias tot cultureel attaché aan de Guatemalteekse ambassade in Mexico. Hier werd in 1946 de eerste versie van El señor Presidente gepubliceerd, dat zijn faam als schrijver in Zuid-Amerika zou vestigen. Asturias raakte er ook bevriend met Pablo Neruda. In 1947 werd hij cultureel attaché in Buenos Aires (Argentinië). Later kreeg hij zelfs een adviserende ministerspost in Argentinië.'1949 was geheel gewijd aan het schrijven van Hombres de maíz (Nederlandse vertaling: De doem van de maïs), het boek dat over het algemeen als zijn meesterwerk beschouwd wordt. In het boek komen indiaanse stammen in opstand tegen het leger en de maïsplanters. Het boek is geschreven vanuit het magische beeld van de indianen op de wereld, en is daardoor niet eenvoudig te lezen. Eind van het verhaal is dat de leider van de revolutie, Gaspar, een legende wordt en dat de boeren hun land en hun magie verliezen.In 1950 keerde Asturias voor korte tijd terug naar Buenos Aires, waar hij trouwt met Blanca Mora y Araujo. In 1954 viel de regering van Jacobo Arbenz. Asturias was op dat moment in Guatemala, maar keerde terug naar zijn diplomatieke post in San Salvador. Hij zegde zijn aanstelling op en ging via Chili (Neruda) naar Argentinië, waar hij in ballingschap bleef tot 1963. Vervolgens maakte hij reizen door Europa. Hij werd door vele universiteiten gevraagd voor gastcolleges, en werkte mee aan verschillende congressen. In 1966 vestigde hij zich weer in Parijs. De in 1966 nieuw gekozen president van Guatemala, Julio César Méndez Montenegro, benoemde hem tot ambassadeur van Guatemala in Frankrijk. In dat jaar ontving Asturias de Lenin Vredesprijs. In 1967 ontving Asturias de Nobelprijs voor Literatuur met als motivatie dat hij een levendig literair oeuvre geschapen had dat diepgeworteld is in de Guatemalteekse indiaanse tradities. Nog vele huldigingen zouden volgen, onder meer zijn benoeming tot “hijo ungénito de Técan Uman” door de Guatemalteekse indiaanse gemeenschappen.In 1970 trad Asturias op als hoofd van de jury van het filmfestival van Cannes. In 1970 trad Montenegro af als president en zegde Asturias zijn ambassadeursfunctie op. De laatste jaren van zijn leven sleet hij in Madrid. Hier overleed hij in 1974 in bijzijn van zijn vrouw Blanca en zijn zoon Miguel. Asturias ligt begraven op Père-Lachaise in Parijs. (nl)
Miguel Ángel Asturias (ur. 19 października 1899 w Gwatemali, zm. 9 czerwca 1974 w Madrycie) – gwatemalski powieściopisarz, poeta, dziennikarz, opozycjonista i dyplomata. Laureat Nagrody Nobla w dziedzinie literatury w 1967 za wybitne osiągnięcia twórcze, u podłoża których leży zainteresowanie obyczajami i tradycją Indian Ameryki Łacińskiej. Na początku lat 50. XX wieku ambasador Gwatemali w Salwadorze, a od 1966 do 1970 we Francji. Znany głównie dzięki eksperymentalnej powieści El senor presidente opisującej rozpad więzi społecznych pod dyktatorskimi rządami. Przedstawiciel nurtu realizmu magicznego, w swych powieściach posługiwał się prozą poetycką. Twórczość głęboko osadzona w kulturze Majów. Zaangażowanypolitycznie po stronie ruchów lewicowych, sprzeciwiał się rządom dyktatorskim i eksploatacji przez wielkie korporacje. (pl)
ミゲル・アンヘル・アストゥリアス・ロサレス（Miguel Ángel Asturias Rosales, 1899年10月19日 - 1974年6月9日。ミゲル・アンヘル・アストリアスとも）は、グアテマラの小説家。キューバのアレホ・カルペンティエルと共に魔術的リアリズムの担い手となり、その後のラテンアメリカ文学ブームの先導者となった。 (ja)
Мигéль Áнхель Асту́риас Роcáлес (исп. Miguel Ángel Asturias Rosales; 1899—1974) — гватемальский писатель и дипломат. Лауреат Нобелевской премии по литературе 1967 года («за яркое творческое достижение, в основе которого лежит интерес к обычаям и традициям индейцев Латинской Америки») и Международной Ленинской премии «За укрепление мира между народами» (1966). В своих произведениях часто сочетал элементы фольклора и мифологии индейцев майя с реалистическим изображением современных ему общественно-политических процессов. (ru)
Miguel Ángel Asturias, född 19 oktober 1899 i Guatemala City, död 9 juni 1974 i Madrid, var en guatemalansk författare och diplomat. Han tilldelades Nobelpriset i litteratur 1967. (sv)
Miguel Ángel Asturias Rosales (Cidade da Guatemala, 19 de outubro de 1899 — Madrid, 9 de junho de 1974) foi um escritor e diplomata guatemalteco. Em 1965 foi-lhe atribuído o Prêmio Lenin da Paz e em 1967 o Nobel de Literatura. (pt)
Астуріас Мігель Анхель (ісп. Miguel Ángel Asturias Rosales; 19 жовтня 1899 — 9 червня 1974) — гватемальський письменник; представник магічного реалізму. У романах (Сеньйор Президент, Ураган) і оповіданнях часто поєднує елементи індіанського фольклору з реалістичним зображенням сучасних політичних та суспільних явищ. Нобелівська премія в галузі літератури 1967.Похований на кладовищі Пер-Лашез. (uk)
米格尔·安赫尔·阿斯图里亚斯·罗萨莱斯（西班牙語：Miguel Ángel Asturias Rosales，1899年10月19日－1974年6月9日），危地马拉小说家。他被视为拉丁美洲魔幻现实主义的开创者，在拉丁美洲乃至世界现代文学史上都占有重要地位。 (zh)
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ميغل أنخل أستورياس (بالإسبانية: Miguel Ángel Asturias Rosales) هو أديب وشاعر وصحفي ودبلوماسي غواتيمالي ولد في 19 أكتوبر 1899 في مدينة غواتيمالا. حصل على جائزة نوبل في الأدب عام 1967. وكان أنخل أستورياس من أوائل الروائيين في أمريكا اللاتينية الذي تناولوا موضوع الاستبداد وتبعه في ذلك كثير من الروائيين. أدت الشهرة التي عرف بها أستورياس في معارضته للحكم الديكتاتوري إلى قضاء معظم حياته في المنفى سواء كان ذلك في أمريكا الجنوبية أو في أوروبا. وبعد عقود من النفي والتهميش حصل أستورياس على شهرة واسعة النطاق في عقد الستينيات من القرن العشرين. وتوفي في 9 يونيو 1974 في مدريد. (ar)
Miguel Ángel Asturias Rosales (Ciutat de Guatemala, Guatemala, 1899 - Madrid, Espanya, 1974) fou un escriptor i diplomàtic guatemalenc guardonat amb el Premi Nobel de Literatura l'any 1967. (ca)
Miguel Ángel Asturias (19. října 1899 Guatemala – 9. června 1974 Madrid, Španělsko) byl guatemalský spisovatel a diplomat, nositel Nobelovy ceny za literaturu (1967). Asturiasův původ (jeho matka byla indiánka - Mayové) ovlivnil jeho tvorbu. Ángel se ve svých dílech věnuje především situaci Střední Ameriky a problematice tamějších indiánů, např. Hombres de maíz (1949; česky pod názvem , 1981), Leyendas de Guatemala (1930; Guatemalské legendy) a El señor Presidente (1946; česky pod názvem Pan prezident, 1971). Podílel se na překladu „indiánské bible“ Popol Vuhu. (cs)
Miguel Ángel Asturias Rosales (* 19. Oktober 1899 in Guatemala-Stadt; † 9. Juni 1974 in Madrid) war ein guatemaltekischer Schriftsteller, Lyriker und Diplomat. Asturias wurde 1967 der Nobelpreis für Literatur verliehen. (de)
Miguel Ángel ASTURIAS (naskiĝis la 19-an de oktobro 1899, en Gvatemalurbo, mortis la 9-an de junio 1974, en Madrido) estis gvatemala verkisto, li naskiĝis en Gvatemalurbo, studis juron en sia hejmurbo, poste etnologion en Parizo. Ekde la 1940-aj jaroj li laboris ankaŭ kiel ambasadoro en Meksiko, Argentino kaj Francio. La verkaro de Asturias forte respegulas la politikan engaĝiĝon de la aŭtoro, same kiel la magiajn tradiciojn de lia patrujo. En la jaro 1967 la grava reprezentanto de la magia realismo estis honorata per la Premio Nobel de Literaturo. (eo)
Miguel Ángel Asturias Rosales (Guatemalako Hiria, 1899ko urriaren 19a - Madril, Espainia, 1974ko ekainaren 9a) guatemalar idazlea izan zen. Ipuinak eta eleberriak idatzi zituen batez ere, errealismo magikoa izeneko korrontearen barruan. Hombres de maíz da haren libururik ezagunena. 1967an Literaturako Nobel Saria eskuratu zuen, eta hori lortu zuen lehenengo guatemalarra izan zen. (eu)
Miguel Ángel Asturias, né le 19 octobre 1899 à Guatemala et mort le 9 juin 1974 à Madrid, est un poète, écrivain et diplomate guatémaltèque. Il est lauréat du prix Nobel de littérature en 1967, et président du jury du festival de Cannes en 1970. (fr)
Scríbhneoir as Guatamala ab ea Miguel Ángel Asturias. Rugadh i gCathair Ghuatamala é i 1899 agus fuair sé bás i Maidrid i 1974. Bhuaigh sé Duais Nobel na Litríochta i 1967. (ga)
Miguel Ángel Asturias Rosales (19 Oktober 1899 – 9 Juni 1974) adalah penulis dan diplomat Guatemala. Ia dianugerahi Penghargaan Nobel pada 1967. Asturias menyelesaikan novelnya (Sang Presiden) pada 1946 semasa menjadi atase budaya di KeduBes Guatemala untuk Meksiko dan menjadikannya salah satu penulis Amerika Latin terbesar pada abad ke-20. Puteranya , di bawah nom de guerre Gaspar Ilom, adalah ketua , sebuah kelompok pemberontak selama Perang Saudara pada 1980-an, dan setelah perjanjian damai pada 1996 menjadi CaPres dari kelompok itu. (in)
Miguel Ángel Asturias Rosales (Città del Guatemala, 19 ottobre 1899 – Madrid, 9 giugno 1974) è stato uno scrittore, poeta, drammaturgo, diplomatico e giornalista guatemalteco. (it)
ミゲル・アンヘル・アストゥリアス・ロサレス（Miguel Ángel Asturias Rosales, 1899年10月19日 - 1974年6月9日。ミゲル・アンヘル・アストリアスとも）は、グアテマラの小説家。キューバのアレホ・カルペンティエルと共に魔術的リアリズムの担い手となり、その後のラテンアメリカ文学ブームの先導者となった。 (ja)
Мигéль Áнхель Асту́риас Роcáлес (исп. Miguel Ángel Asturias Rosales; 1899—1974) — гватемальский писатель и дипломат. Лауреат Нобелевской премии по литературе 1967 года («за яркое творческое достижение, в основе которого лежит интерес к обычаям и традициям индейцев Латинской Америки») и Международной Ленинской премии «За укрепление мира между народами» (1966). В своих произведениях часто сочетал элементы фольклора и мифологии индейцев майя с реалистическим изображением современных ему общественно-политических процессов. (ru)
Miguel Ángel Asturias, född 19 oktober 1899 i Guatemala City, död 9 juni 1974 i Madrid, var en guatemalansk författare och diplomat. Han tilldelades Nobelpriset i litteratur 1967. (sv)
Miguel Ángel Asturias Rosales (Cidade da Guatemala, 19 de outubro de 1899 — Madrid, 9 de junho de 1974) foi um escritor e diplomata guatemalteco. Em 1965 foi-lhe atribuído o Prêmio Lenin da Paz e em 1967 o Nobel de Literatura. (pt)
Астуріас Мігель Анхель (ісп. Miguel Ángel Asturias Rosales; 19 жовтня 1899 — 9 червня 1974) — гватемальський письменник; представник магічного реалізму. У романах (Сеньйор Президент, Ураган) і оповіданнях часто поєднує елементи індіанського фольклору з реалістичним зображенням сучасних політичних та суспільних явищ. Нобелівська премія в галузі літератури 1967.Похований на кладовищі Пер-Лашез. (uk)
米格尔·安赫尔·阿斯图里亚斯·罗萨莱斯（西班牙語：Miguel Ángel Asturias Rosales，1899年10月19日－1974年6月9日），危地马拉小说家。他被视为拉丁美洲魔幻现实主义的开创者，在拉丁美洲乃至世界现代文学史上都占有重要地位。 (zh)
Ο Μιγκέλ Άνχελ Αστούριας (Miguel Ángel Asturias Rosales, 19 Οκτωβρίου 1899 - 9 Ιουνίου 1974) ήταν συγγραφέας και διπλωμάτης από τη Γουατεμάλα. Γεννήθηκε στην Πόλη της Γουατεμάλα και πέθανε στη Μαδρίτη. Το 1967 του απενεμήθη το Βραβείο Νομπέλ για τη Λογοτεχνία "για το ζωντανό λογοτεχνικό επίτευγμά του, βαθιά ριζωμένο στα εθνικά γνωρίσματα και παραδόσεις των Ινδιάνων της Λατινικής Αμερικής." Ο Αστούριας πέρασε τα τελευταία χρόνια της ζωής του στη Μαδρίτη, στην Ισπανία όπου πέθανε το 1974. Είναι θαμμένος στο Cimetière du Père Lachaise στο Παρίσι. (el)
Miguel Ángel Asturias Rosales (Ciudad de Guatemala, 19 de octubre de 1899-Madrid, 9 de junio de 1974) fue un escritor, periodista y diplomático guatemalteco que contribuyó al desarrollo de la literatura latinoamericana, influyó en la cultura occidental y, al mismo tiempo, llamó la atención sobre la importancia de las culturas indígenas, especialmente las de su país natal, Guatemala. (es)
미겔 앙헬 아스투리아스 로살레스(Miguel Ángel Asturias Rosales, 1899년 10월 19일 ~ 1974년 6월 9일)는 과테말라의 소설가, 시인, 극작가, 언론인, 외교관으로, 1967년에 노벨 문학상을 수상한 인물이다. 그는 라틴 아메리카 문학이 세계 문학에서 중요한 자리를 차지하는 데에 큰 기여를 한 인물이자 라틴 아메리카의 마술적 사실주의 문학을 일으킨 인물로 평가받고 있다. 그는 1899년에 과테말라 시에서 태어났으며 1923년에 산 카를로스 데 과테말라 대학을 졸업, 같은 해에 프랑스 파리의 소르본 대학으로 유학했다. 그는 소르본 대학에서 고대 중앙아메리카 문명에 관한 연구를 진행했으며 이 때부터 시와 소설을 쓰기 시작했다. 이후 그는 1930년에 《과테말라의 전설 (Leyendas de Guatemala)》이라는 책을 썼다. (ko)
Miguel Ángel Asturias Rosales (Guatemala-Stad, 19 oktober 1899 — Madrid, 9 juni 1974) was een Guatemalteeks schrijver en diplomaat. Miguel Asturias begon in 1917 met het studeren van medicijnen, maar stapte over naar rechten in 1918. Hij studeerde op de Universidad de San Carlos de Guatemala. In die tijd (1920) deed hij ook mee aan de opstand tegen de toenmalige dictator . Hij richtte met zijn medestudenten de Associación de Estudiantes Unionistas op. Namens de studenten reisde hij in 1921 af naar Mexico om de onafhankelijkheid van het buurland te vieren. Hier ontmoette hij de Spaanse schrijver Ramón María del Valle-Inclán die van grote betekenis werd voor zijn ontwikkeling als schrijver.Samen met een groep andere studenten richtte Asturias de Universidad Popular op, een universiteit voor (nl)
Miguel Ángel Asturias (ur. 19 października 1899 w Gwatemali, zm. 9 czerwca 1974 w Madrycie) – gwatemalski powieściopisarz, poeta, dziennikarz, opozycjonista i dyplomata. Laureat Nagrody Nobla w dziedzinie literatury w 1967 za wybitne osiągnięcia twórcze, u podłoża których leży zainteresowanie obyczajami i tradycją Indian Ameryki Łacińskiej. Na początku lat 50. XX wieku ambasador Gwatemali w Salwadorze, a od 1966 do 1970 we Francji. Znany głównie dzięki eksperymentalnej powieści El senor presidente opisującej rozpad więzi społecznych pod dyktatorskimi rządami. (pl)
ميغل أنخل أستورياس (بالإسبانية: Miguel Ángel Asturias Rosales) هو أديب وشاعر وصحفي ودبلوماسي غواتيمالي ولد في 19 أكتوبر 1899 في مدينة غواتيمالا. حصل على جائزة نوبل في الأدب عام 1967. وكان أنخل أستورياس من أوائل الروائيين في أمريكا اللاتينية الذي تناولوا موضوع الاستبداد وتبعه في ذلك كثير من الروائيين. أدت الشهرة التي عرف بها أستورياس في معارضته للحكم الديكتاتوري إلى قضاء معظم حياته في المنفى سواء كان ذلك في أمريكا الجنوبية أو في أوروبا. وبعد عقود من النفي والتهميش حصل أستورياس على شهرة واسعة النطاق في عقد الستينيات من القرن العشرين. وتوفي في 9 يونيو 1974 في مدريد. (ar)
Miguel Ángel Asturias Rosales (Ciutat de Guatemala, Guatemala, 1899 - Madrid, Espanya, 1974) fou un escriptor i diplomàtic guatemalenc guardonat amb el Premi Nobel de Literatura l'any 1967. (ca)
Miguel Ángel Asturias (19. října 1899 Guatemala – 9. června 1974 Madrid, Španělsko) byl guatemalský spisovatel a diplomat, nositel Nobelovy ceny za literaturu (1967). Asturiasův původ (jeho matka byla indiánka - Mayové) ovlivnil jeho tvorbu. Ángel se ve svých dílech věnuje především situaci Střední Ameriky a problematice tamějších indiánů, např. Hombres de maíz (1949; česky pod názvem , 1981), Leyendas de Guatemala (1930; Guatemalské legendy) a El señor Presidente (1946; česky pod názvem Pan prezident, 1971). Podílel se na překladu „indiánské bible“ Popol Vuhu. (cs)
Miguel Ángel Asturias Rosales (* 19. Oktober 1899 in Guatemala-Stadt; † 9. Juni 1974 in Madrid) war ein guatemaltekischer Schriftsteller, Lyriker und Diplomat. Asturias wurde 1967 der Nobelpreis für Literatur verliehen. (de)
Miguel Ángel ASTURIAS (naskiĝis la 19-an de oktobro 1899, en Gvatemalurbo, mortis la 9-an de junio 1974, en Madrido) estis gvatemala verkisto, li naskiĝis en Gvatemalurbo, studis juron en sia hejmurbo, poste etnologion en Parizo. Ekde la 1940-aj jaroj li laboris ankaŭ kiel ambasadoro en Meksiko, Argentino kaj Francio. La verkaro de Asturias forte respegulas la politikan engaĝiĝon de la aŭtoro, same kiel la magiajn tradiciojn de lia patrujo. En la jaro 1967 la grava reprezentanto de la magia realismo estis honorata per la Premio Nobel de Literaturo. (eo)
Miguel Ángel Asturias Rosales (Guatemalako Hiria, 1899ko urriaren 19a - Madril, Espainia, 1974ko ekainaren 9a) guatemalar idazlea izan zen. Ipuinak eta eleberriak idatzi zituen batez ere, errealismo magikoa izeneko korrontearen barruan. Hombres de maíz da haren libururik ezagunena. 1967an Literaturako Nobel Saria eskuratu zuen, eta hori lortu zuen lehenengo guatemalarra izan zen. (eu)
Miguel Ángel Asturias, né le 19 octobre 1899 à Guatemala et mort le 9 juin 1974 à Madrid, est un poète, écrivain et diplomate guatémaltèque. Il est lauréat du prix Nobel de littérature en 1967, et président du jury du festival de Cannes en 1970. (fr)
Scríbhneoir as Guatamala ab ea Miguel Ángel Asturias. Rugadh i gCathair Ghuatamala é i 1899 agus fuair sé bás i Maidrid i 1974. Bhuaigh sé Duais Nobel na Litríochta i 1967. (ga)
Miguel Ángel Asturias Rosales (19 Oktober 1899 – 9 Juni 1974) adalah penulis dan diplomat Guatemala. Ia dianugerahi Penghargaan Nobel pada 1967. Asturias menyelesaikan novelnya (Sang Presiden) pada 1946 semasa menjadi atase budaya di KeduBes Guatemala untuk Meksiko dan menjadikannya salah satu penulis Amerika Latin terbesar pada abad ke-20. Puteranya , di bawah nom de guerre Gaspar Ilom, adalah ketua , sebuah kelompok pemberontak selama Perang Saudara pada 1980-an, dan setelah perjanjian damai pada 1996 menjadi CaPres dari kelompok itu. (in)
Miguel Ángel Asturias Rosales (Città del Guatemala, 19 ottobre 1899 – Madrid, 9 giugno 1974) è stato uno scrittore, poeta, drammaturgo, diplomatico e giornalista guatemalteco. (it)
ミゲル・アンヘル・アストゥリアス・ロサレス（Miguel Ángel Asturias Rosales, 1899年10月19日 - 1974年6月9日。ミゲル・アンヘル・アストリアスとも）は、グアテマラの小説家。キューバのアレホ・カルペンティエルと共に魔術的リアリズムの担い手となり、その後のラテンアメリカ文学ブームの先導者となった。 (ja)
Мигéль Áнхель Асту́риас Роcáлес (исп. Miguel Ángel Asturias Rosales; 1899—1974) — гватемальский писатель и дипломат. Лауреат Нобелевской премии по литературе 1967 года («за яркое творческое достижение, в основе которого лежит интерес к обычаям и традициям индейцев Латинской Америки») и Международной Ленинской премии «За укрепление мира между народами» (1966). В своих произведениях часто сочетал элементы фольклора и мифологии индейцев майя с реалистическим изображением современных ему общественно-политических процессов. (ru)
Miguel Ángel Asturias, född 19 oktober 1899 i Guatemala City, död 9 juni 1974 i Madrid, var en guatemalansk författare och diplomat. Han tilldelades Nobelpriset i litteratur 1967. (sv)
Miguel Ángel Asturias Rosales (Cidade da Guatemala, 19 de outubro de 1899 — Madrid, 9 de junho de 1974) foi um escritor e diplomata guatemalteco. Em 1965 foi-lhe atribuído o Prêmio Lenin da Paz e em 1967 o Nobel de Literatura. (pt)
Астуріас Мігель Анхель (ісп. Miguel Ángel Asturias Rosales; 19 жовтня 1899 — 9 червня 1974) — гватемальський письменник; представник магічного реалізму. У романах (Сеньйор Президент, Ураган) і оповіданнях часто поєднує елементи індіанського фольклору з реалістичним зображенням сучасних політичних та суспільних явищ. Нобелівська премія в галузі літератури 1967.Похований на кладовищі Пер-Лашез. (uk)
米格尔·安赫尔·阿斯图里亚斯·罗萨莱斯（西班牙語：Miguel Ángel Asturias Rosales，1899年10月19日－1974年6月9日），危地马拉小说家。他被视为拉丁美洲魔幻现实主义的开创者，在拉丁美洲乃至世界现代文学史上都占有重要地位。 (zh)
Ο Μιγκέλ Άνχελ Αστούριας (Miguel Ángel Asturias Rosales, 19 Οκτωβρίου 1899 - 9 Ιουνίου 1974) ήταν συγγραφέας και διπλωμάτης από τη Γουατεμάλα. Γεννήθηκε στην Πόλη της Γουατεμάλα και πέθανε στη Μαδρίτη. Το 1967 του απενεμήθη το Βραβείο Νομπέλ για τη Λογοτεχνία "για το ζωντανό λογοτεχνικό επίτευγμά του, βαθιά ριζωμένο στα εθνικά γνωρίσματα και παραδόσεις των Ινδιάνων της Λατινικής Αμερικής." Ο Αστούριας πέρασε τα τελευταία χρόνια της ζωής του στη Μαδρίτη, στην Ισπανία όπου πέθανε το 1974. Είναι θαμμένος στο Cimetière du Père Lachaise στο Παρίσι. (el)
Miguel Ángel Asturias Rosales (Ciudad de Guatemala, 19 de octubre de 1899-Madrid, 9 de junio de 1974) fue un escritor, periodista y diplomático guatemalteco que contribuyó al desarrollo de la literatura latinoamericana, influyó en la cultura occidental y, al mismo tiempo, llamó la atención sobre la importancia de las culturas indígenas, especialmente las de su país natal, Guatemala. (es)
미겔 앙헬 아스투리아스 로살레스(Miguel Ángel Asturias Rosales, 1899년 10월 19일 ~ 1974년 6월 9일)는 과테말라의 소설가, 시인, 극작가, 언론인, 외교관으로, 1967년에 노벨 문학상을 수상한 인물이다. 그는 라틴 아메리카 문학이 세계 문학에서 중요한 자리를 차지하는 데에 큰 기여를 한 인물이자 라틴 아메리카의 마술적 사실주의 문학을 일으킨 인물로 평가받고 있다. 그는 1899년에 과테말라 시에서 태어났으며 1923년에 산 카를로스 데 과테말라 대학을 졸업, 같은 해에 프랑스 파리의 소르본 대학으로 유학했다. 그는 소르본 대학에서 고대 중앙아메리카 문명에 관한 연구를 진행했으며 이 때부터 시와 소설을 쓰기 시작했다. 이후 그는 1930년에 《과테말라의 전설 (Leyendas de Guatemala)》이라는 책을 썼다. (ko)
Miguel Ángel Asturias Rosales (Guatemala-Stad, 19 oktober 1899 — Madrid, 9 juni 1974) was een Guatemalteeks schrijver en diplomaat. Miguel Asturias begon in 1917 met het studeren van medicijnen, maar stapte over naar rechten in 1918. Hij studeerde op de Universidad de San Carlos de Guatemala. In die tijd (1920) deed hij ook mee aan de opstand tegen de toenmalige dictator . Hij richtte met zijn medestudenten de Associación de Estudiantes Unionistas op. Namens de studenten reisde hij in 1921 af naar Mexico om de onafhankelijkheid van het buurland te vieren. Hier ontmoette hij de Spaanse schrijver Ramón María del Valle-Inclán die van grote betekenis werd voor zijn ontwikkeling als schrijver.Samen met een groep andere studenten richtte Asturias de Universidad Popular op, een universiteit voor (nl)
Miguel Ángel Asturias (ur. 19 października 1899 w Gwatemali, zm. 9 czerwca 1974 w Madrycie) – gwatemalski powieściopisarz, poeta, dziennikarz, opozycjonista i dyplomata. Laureat Nagrody Nobla w dziedzinie literatury w 1967 za wybitne osiągnięcia twórcze, u podłoża których leży zainteresowanie obyczajami i tradycją Indian Ameryki Łacińskiej. Na początku lat 50. XX wieku ambasador Gwatemali w Salwadorze, a od 1966 do 1970 we Francji. Znany głównie dzięki eksperymentalnej powieści El senor presidente opisującej rozpad więzi społecznych pod dyktatorskimi rządami. (pl)
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https://1960sdaysofrage.wordpress.com/2018/10/03/miguel-angel-asturias-mulata-1962/
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Miguel Ángel Asturias – Mulata (1962)
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2018-10-03T00:00:00
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Miguel Ángel Asturias Rosales (October 19, 1899 – June 9, 1974) was a Nobel Prize-winning Guatemalan poet-diplomat, novelist, playwright and journalist. Asturias helped establish Latin American literature's contribution to mainstream Western culture, and at the same time drew attention to the importance of indigenous cultures, especially those of his native Guatemala. Asturias was born and raised…
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en
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https://s1.wp.com/i/favicon.ico
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1960s: Days of Rage
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https://1960sdaysofrage.wordpress.com/2018/10/03/miguel-angel-asturias-mulata-1962/
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Miguel Ángel Asturias Rosales (October 19, 1899 – June 9, 1974) was a Nobel Prize-winning Guatemalan poet-diplomat, novelist, playwright and journalist. Asturias helped establish Latin American literature‘s contribution to mainstream Western culture, and at the same time drew attention to the importance of indigenous cultures, especially those of his native Guatemala. Asturias was born and raised in Guatemala though he lived a significant part of his adult life abroad. He first lived in Paris in the 1920s where he studied ethnology. Some scholars view him as the first Latin American novelist to show how the study of anthropology and linguistics could affect the writing of literature. While in Paris, Asturias also associated with the Surrealist movement, and he is credited with introducing many features of modernist style into Latin American letters. In this way, he is an important precursor of the Latin American Boom of the 1960s and 1970s. … Asturias published his novel Mulata de tal while he and his wife were living in Genoa in 1963. His novel received many positive reviews; Ideologies and Literature described it as ‘a carnival incarnated in the novel. It represents a collision between Mayan Mardi Gras and Hispanic baroque.’ The novel emerged as a major novel during the 1960s. The plot revolves around the battle between Catalina and Yumí to control Mulata (the moon spirit). Yumí and Catalina become experts in sorcery and are criticized by the Church for their practices. The novel uses Mayan mythology and Catholic tradition to form a distinctive allegory of belief. … Surrealism has contributed greatly to the works of Asturias. Characterized by its exploration of the subconscious mind, the genre allowed Asturias to cross boundaries of fantasy and reality. Although Asturias’ works were seen as preceding magical realism, the author saw many similarities between the two genres. Asturias discussed the idea of magical realism in his own works linking it explicitly to surrealism. He did not, however, use the term to describe his own material. … In an interview with his friend and biographer Günter W. Lorenz, Asturias discusses how these stories fit his view of magical realism and relate to surrealism, saying, between the ‘real’ and the ‘magic’ there is a third sort of reality. It is a melting of the visible and the tangible, the hallucination and the dream. It is similar to what the surrealists around [André] Breton wanted and it is what we could call ‘magic realism.’ Although the two genres shared much in common, magical realism is often considered as having been born in Latin America. …”
Wikipedia
W – Mulata de tal
amazon
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https://www.onthisday.com/people/miguel-asturias
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Miguel Ángel Asturias (Novelist and Journalist)
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Famous for his novels "El Señor President" which described life under a ruthless dictator and "Hombres de Maíz" which championed Mayan...
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On This Day
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https://www.onthisday.com/people/miguel-asturias
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Profession: Novelist and Journalist
Biography: Famous for his novels "El Señor President" which described life under a ruthless dictator and "Hombres de Maíz" which championed Mayan culture and customs.
In 1967 he became only the second Latin American to win the Nobel Prize in Literature.
Born: October 19, 1899
Birthplace: Guatemala City, Guatemala
Generation: Lost Generation
Star Sign: Libra
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https://adp.library.ucsb.edu/index.php/mastertalent/detail/102452/Asturias_Miguel_Angel
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en
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Miguel Angel Asturias
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Discography of American Historical Recordings
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Miguel Ángel Asturias Rosales (Spanish pronunciation: [mi(ˈ)ɣel ˈaŋxel asˈtuɾjas]; 19 October 1899 – 9 June 1974) was a Guatemalan poet-diplomat, novelist, playwright and journalist. Winning the Nobel Prize in Literature in 1967, his work helped bring attention to the importance of indigenous cultures, especially those of his native Guatemala.
Asturias was born and raised in Guatemala though he lived a significant part of his adult life abroad. He first lived in Paris in the 1920s where he studied ethnology. Some scholars view him as the first Latin American novelist to show how the study of anthropology and linguistics could affect the writing of literature. While in Paris, Asturias also associated with the Surrealist movement, and he is credited with introducing many features of modernist style into Latin American letters. In this way, he is an important precursor of the Latin American Boom of the 1960s and 1970s.
One of Asturias' most famous novels, El Señor Presidente, describes life under a ruthless dictator. The novel influenced later Latin American novelists in its mixture of realism and fantasy. Asturias' very public opposition to dictatorial rule led to him spending much of his later life in exile, both in South America and in Europe. The book that is sometimes described as his masterpiece, Hombres de maíz (Men of Maize), is a defense of Mayan culture and customs. Asturias combined his extensive knowledge of Mayan beliefs with his political convictions, channeling them into a life of commitment and solidarity. His work is often identified with the social and moral aspirations of the Guatemalan people.
After decades of exile and marginalization, Asturias finally received broad recognition in the 1960s. In 1966, he won the Soviet Union's Lenin Peace Prize. The following year he was awarded the Nobel Prize for Literature, becoming the second Latin American author to receive this honor (Gabriela Mistral had won it in 1945). Asturias spent his final years in Madrid, where he died at the age of 74. He is buried in the Père Lachaise Cemetery in Paris.
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https://www.target.com/p/men-of-maize-by-miguel-ngel-asturias-paperback/-/A-90642083
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en
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By Miguel Ángel Asturias (paperback) : Target
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Shop Men of Maize - by Miguel Ángel Asturias (Paperback) at Target. Choose from Same Day Delivery, Drive Up or Order Pickup. Free standard shipping with $35 orders.
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https://www.alamy.com/prize-winning-writer-miguel-angel-asturias-image69430657.html
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Prize winning writer Miguel Angel Asturias Stock Photo
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Download this stock image: Prize winning writer Miguel Angel Asturias - E0XRE9 from Alamy's library of millions of high resolution stock photos, illustrations and vectors.
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https://www.nybooks.com/articles/2023/05/25/the-inventor-of-magical-realism-mr-president-asturias/
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The Inventor of Magical Realism | Larry Rohter
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2023-05-25T00:00:00
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Neither Gabriel García Márquez nor Mario Vargas Llosa had yet been born when the Guatemalan Miguel Ángel Asturias began to write his first novel, El Señor
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https://www.nybooks.com/articles/2023/05/25/the-inventor-of-magical-realism-mr-president-asturias/
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Neither Gabriel García Márquez nor Mario Vargas Llosa had yet been born when the Guatemalan Miguel Ángel Asturias began to write his first novel, El Señor Presidente, in December 1922. He labored on it for a decade while living in self-imposed exile in Paris, then returned home when the Great Depression left him strapped for money, only to find that his work was unpublishable because the dictator whose reign it portrayed had given way to an even more cruel and oppressive one. When he finally self-published the novel in Mexico in 1946, it was riddled with typographical errors, and a definitive edition did not appear until 1952.
From the beginning, then, El Señor Presidente has been star-crossed. But it also ranks as one of the most important and influential works of modern Latin American literature, a kind of urtext for the celebrated generation of novelists that followed Asturias and gained global recognition in the 1960s and 1970s as members of “El Boom”: García Márquez, Vargas Llosa, Carlos Fuentes, José Donoso, Guillermo Cabrera Infante, Julio Cortázar, Augusto Roa Bastos, and several others.
Even a cursory reading of David Unger’s new translation of Asturias’s novel establishes why it has had such an enormous impact. In its pages one can easily discern the origins of two phenomena that the rest of the world has come to associate with twentieth-century Latin American literature: the genre known as the dictator novel and the style called magical realism. In his introduction to Mr. President, Gerald Martin, the leading scholar of Asturias and his work in the English-speaking world, goes so far as to call it “the first page of the Boom” and claims that “it was not Gabriel García Márquez who invented magical realism; it was Miguel Ángel Asturias.” This may seem outlandish to those unfamiliar with Asturias, but it provokes very little argument in Latin America.
Mr. President takes place in an unnamed country tyrannized by an unnamed dictator, but both the place and the time are clearly implied: buried in the text are fleeting references to the quetzal, Guatemala’s national bird, and the World War I battle of Verdun. The identity of “the Constitutional President of the Republic, the Benefactor of Our Country, the Head of the Great Liberal Party, the Liberal Hearted Protector of Our Scholarly Youth” is just as readily deduced: he is modeled on Manuel Estrada Cabrera, who dominated Guatemala from 1898 to 1920 through a combination of intimidation, assassination, corruption, and fraudulent elections.
In dissecting the dictator and his despotic rule, Asturias, born the year after he took power, was writing from a privileged position. After being overthrown in 1920, following a congressional vote that deemed him mentally incompetent, Estrada Cabrera was arrested, tried, and sentenced to life in prison, where he died in 1924. Asturias took part in the popular uprising that led to his downfall and was briefly jailed; then, as a law student, he served as a secretary to the tribunal that judged Estrada Cabrera. In that position, Asturias committed to paper for the first time the horrifying stories of injustice, torture, and murder that he soon drew on for his novel; Martin says he also took a deposition from the fallen dictator in his jail cell.
In interviews near the end of his life, Asturias even credited Estrada Cabrera for his discovery of his vocation as a writer. “At 10:25 PM on 25 December 1917, an earthquake destroyed my city,” he explained in 1970.
I remember seeing something like an immense cloud covering the moon. I was in a cellar, a hole in the ground or a cave, or something like that. Right there and then I wrote my first poem, a goodbye song to Guatemala.
Later, as disaster relief from abroad poured in but went straight into the pockets of Estrada Cabrera and his cronies, “I was really angered by the circumstances under which the rubble was removed and by the social injustice that became really apparent then.” Eventually that prodded the aspiring writer into attempting a piece of narrative fiction, initially called “Political Beggars.”
The decade Asturias spent in France, after a brief and evidently unsatisfying stopover to study economics in London, radically changed the nature of the book he set out to write. He had devoted his law school thesis to “The Social Problem of the Indian,” but he began to study ethnology at the Sorbonne under the scholar Georges Raynaud, who encouraged his interest in Mayan culture and mythology; when the fruit of that academic effort, a retelling of pre-Columbian folk narratives called Legends of Guatemala, was published in French in 1931, it came with a glowing foreword by Paul Valéry.
In Paris Asturias socialized with avant-garde literary types like the poets André Breton, Tristan Tzara, César Vallejo, Louis Aragon, and Robert Desnos, and became a committed Surrealist; he also gravitated toward Picasso, whom he would recall holding court at a Montparnasse café and proclaiming, “I deform the world because I do not like it.” So instead of writing the kind of realist social novel then in vogue in Latin America, Asturias ended up creating something much more ambitious, complex, and unconventional.
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The plot of Mr. President is deceptively simple, with most of the action taking place over a single week. When a half-crazed beggar accidentally kills a particularly brutal colonel in a fit of rage, the president decides to pin the blame on a general and his lawyer, whose political loyalty he has begun to doubt. This sets in motion a series of interlinked schemes and machinations that result in the imprisonment, torture, death, bondage, or general ruination of assorted government higher-ups, who suspect what is coming, and ordinary citizens, who do not. “We are a cursed country,” one prisoner laments. “Hundreds of men have had their brains blown away by murderous bullets on prison walls. The palace marbles are drenched in the blood of innocent people. Where can we look to find freedom?”
What makes Mr. President so revolutionary is the manner in which Asturias presents a story that contains many of the elements of classic Latin American melodrama, including a doomed love affair between the president’s closest adviser and the fallen general’s beautiful daughter, with “her slanted jade eyes” that “could make ships crash.” But he also repeatedly blurs or disassembles the barrier between reality and fantasy, dreams and waking, genuine and false, past and present, giving readers access to the confused perceptions, fears, and musings of a gallery of unfortunates and scoundrels.
“Half my body is a lie, the other half truth,” a songbird chirps from a pine tree during one of the beggar’s most extravagant hallucinations.
I am both rose and apple. I offer everyone a glass eye and a real eye. Those who see my glass eye see it because they dream; those who see my real eye do so because they can truly see. I am life, the Apple-Rose of the Bird of Paradise. I am the lie in every truth, the truth of all fiction.
As this passage suggests, the great insight that Asturias reached during his interlude in France—and applied to the writing of Mr. President—was that European Surrealism and Mayan mythology did not emerge from separate worlds. Rather, he said, both were generated by the unconscious and could thus be fused, “creating a mixture, and this is the magical part, that I have made use of and benefitted from in my stories.” In a collection of interviews published after his death, he expanded on that notion:
When the indigenous speak of what is unreal, such are the details of their dreams, of their hallucinations, that all of these details converge to make the dream and vision more real than reality itself. That is to say, one cannot speak of this “magical realism” without thinking of the primitive mentality of the Indian, of his manner of appraising manifestations of nature and in his profound ancestral beliefs.
Asturias originally intended to call his novel Tohil, which is the name of a powerful, demanding, and vengeful Mayan deity. In the Popol Vuh, the sacred creation narrative of the K’iche’ people, Tohil is the bringer of fire who, in return for offering warmth and sustenance, insists on absolute fealty from his grateful followers. “In truth, I am your god; so shall it be,” he tells them. “I am your lord; so shall it be.” To placate his jealous ego, he also demands human sacrifice and, when displeased, foments war. In short, Tohil is both an evocation of Estrada Cabrera and a metaphor for all the capricious dictators who have plagued Guatemala and the rest of Latin America since independence was achieved early in the nineteenth century.
In a late chapter of Mr. President entitled “Tohil’s Dance,” an obsequious poet extends that connection in a more modern direction when he proclaims, during a festive night at a bar attended by all the president’s admirers and flunkies, that the Tohil-like head of state is actually “Nietzsche’s prototype, the Superman” who “gives form to a new kind of government: the Super Democracy.” In a hilariously preposterous “Nocturne in C Major to the Super-Duperman,” an extended peroration severely curtailed in Unger’s translation, the poet explains that “Nitche” “genuinely sensed that from Father Cosmos and Mother Nature would be born in the heart of America the first Superman who has ever existed.”
Variations on this template, adapted to differing local circumstances, recur in almost every Latin American dictator novel written after Mr. President, especially those published at the peak of the Boom: Alejo Carpentier’s Reasons of State (1974), Roa Bastos’s I, the Supreme (1974), García Márquez’s The Autumn of the Patriarch (1975) and The General in His Labyrinth (1989), Luisa Valenzuela’s The Lizard’s Tail (1983), and Vargas Llosa’s The Feast of the Goat (2000), among many others. Even a late entry from a much younger, post-Boom writer, Roberto Bolaño’s Distant Star (1996), betrays the influence of Asturias, whom Bolaño once described as “a gigantic writer from a small, ill-fated country.”
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Given its brilliance and influence, it continues to be a mystery why Mr. President remains less known in the English-speaking world than the many novels it inspired. One reason may be that more than fifteen years elapsed between its publication in Spanish and its appearance in English in 1963, with the same title it had in Spanish. Unger also points to deficiencies in that first translation, by the English writer Frances Marshall Partridge: “Although lyrical, it is somewhat dated, full of Anglicisms, mistranslations, occasional paragraph omissions, and an overdose of awkward Latinate constructions that may leave readers scratching their head.”
In Partridge’s defense, it should be noted that her enthusiasm for the novel was as vast as her connections to Latin America were tenuous. She is best known as part of the Bloomsbury group (having married Ralph Partridge after Dora Carrington’s ménage with him and Lytton Strachey fell apart) and is remembered mostly for her diaries and memoirs of life in that circle. As a translator, she focused on popular mainstream writers from Spain, such as the novelists Vicente Blasco Ibáñez and Mercedes Ballesteros and the philosopher José Luis López-Aranguren. With someone as inventive and innovative as Asturias, she was clearly in over her head. Whatever possessed her, for example, to translate Pelele, the nickname of the deranged beggar, as “the Zany,” when “the Dummy” would have been a much more appropriate choice?
Unger—who calls that character “the Dimwit”—is much more suited for the daunting task of taking on Asturias and his peculiar vocabulary and frequent shifts of tone. Though he writes in English, he was born in Guatemala, and his own novels, which include Life in the Damn Tropics (2002), The Price of Escape (2011), and The Mastermind (2016), often take place there. Unger has also translated the Popol Vuh and teaches at the City College of New York, including courses on translation. In 2014 he won Guatemala’s top cultural honor, the Miguel Ángel Asturias National Literature Prize, for his body of work. “As a self-proclaimed Guategringo,” he writes that “my work as a translator and fiction writer has been a lifelong attempt to return to my roots, to the land of my birth.”
Unger tells us that his translation of Mr. President aims to
establish, in the American vernacular, the proper relation among words, sentences, and paragraphs so that the author’s startling images, metaphors, and narrative verve may speak directly to the monolingual reader.
For instance, Asturias, perhaps nostalgic in exile for the comforting sensuality of daily life in the tropics, wrote especially beautiful descriptions of both rural landscapes and the sounds and smells of urban life. Unger reproduces these passages magnificently, as at the start of a chapter that portrays the capital stirring to life after a long night:
Daybreak emerged, radiating April’s freshness—outlining roofs and fields with light and bringing the darkened streets back into view. Mules carrying clanking milk cans almost galloped, urged on by the shouts and whips of muleteers. The sunlight reached the cows milked in the entryways of wealthy homeowners and on the street corners where the poor lived. The customers—either energized or about to pass out with sleepy, glassy eyes—waited for milk from their favorite cow, tilting their bottles artfully to get more liquid and less froth. Women carrying fresh bread in baskets passed by, waists twisted, legs stiff, heads sunk into their chests. Their bare feet alternated between steady and slippery steps under the weight of the baskets, piled one on top of the other like pagodas. The fragrance of sweet sesame pastries trailed them.
One of the hallmarks of the novel is the way Asturias mixes these lyrical passages with hallucinatory episodes, some of which draw on Mayan myths. Unger successfully conveys that duality too, as well as the mordantly satirical tone of a chapter called “The President’s Report,” which consists of a series of memos in which ordinary citizens inform on and denounce each other in flat bureaucratic language. Set pieces, such as a vacation trip to the beach the general’s daughter takes with her cousins and a description of a train ride through the jungle, are so vivid that they almost seem to have come from a movie projector.
But Unger has some problems with dialogue. There are passages, especially those involving the president’s henchmen, that sound like exchanges from 1930s gangster films. When a member of the secret police, for instance, disappoints one of his lowlife friends by informing him that the job he wants has gone instead to the boss’s godson, the frustrated office-seeker is told as consolation: “Listen, man, don’t be so down in the mouth over this. I’ll let you know when another cushy job opens up. I swear, on my Mother’s life, something new comes up. There are more jobs than ants in an anthill.” And when the friend remains unsatisfied, the policeman retorts: “Hey, brother, you sure are touchy.”
Also debatable is Unger’s warning that “no contemporary reader of this novel will fail to shudder when encountering slurs against Jews, Arabs, Chinese, indigenous Guatemalans, and gay and transgender people that crop up from time to time.” I confess that I did not even blink, much less shudder, when I read the passages in question, and I am a member of one of the groups being disparaged. The insults are quite tame and indirect compared to what I heard daily on the streets of Chicago growing up, and as Unger acknowledges, they were “rampant during the period Asturias is depicting.” There is really no need to apologize or offer a trigger warning: it would make no more sense to sanitize El Señor Presidente than Huckleberry Finn.
As regards the dialogue, though, the problem may simply be that Mr. President confronts any translator with impossible choices and insoluble challenges. The novel is so full of idiosyncratically Guatemalan words and expressions that even Spanish-language editions come with a glossary of dozens of terms not used elsewhere in Latin America. Additionally, Asturias was trying to capture the flavor of Spanish as it was spoken in his country more than a century ago, during his youth. Imagine, then, the added difficulty of rendering these idioms into English while preserving both tone and multiple meanings.
For example, late in the novel, the unnamed president is drunk and, after he vomits all over his closest adviser, recalls the anger and humiliation he felt as a young attorney working in a “third-rate lawyer’s office, among whores, gamblers,” and what Asturias originally called cholojeras. These are the market women, almost always indigenous, who sell cow, pig, and lamb guts for consumption in soups or the Guatemalan version of chitterlings. Partridge renders this as “offal-sellers,” while Unger prefers “shit-sellers,” although “tripe-peddlers” would be more accurate. But I remember being told by Mayan Guatemalans of my acquaintance that cholojera is also a highly pejorative and often racist term, with almost a caste connotation redolent of India. How to convey all of that in a simple one-word translation?
After Mr. President, Asturias went on to have a distinguished career, both literary and political, serving in the Guatemalan Congress and as a diplomat. In 1949 he published Men of Maize, which Martin considers “even more audacious and visionary” in its blend of Surrealism and indigenous folklore, and during a rare decade of democracy (1944–1954) he was assigned to embassies in Latin America and France. After an American-organized coup put the military back in power, though, Asturias was stripped of his citizenship and forced into exile, where he completed The Banana Trilogy, a cycle of novels about the suffering of indigenous workers on the United Fruit Company’s Guatemalan plantations. He mostly remained abroad and continued to write novels, plays, and poems until his death in Madrid in 1974. In 1967 he became the first Latin American novelist to win the Nobel Prize in Literature.
So in spite of Mr. President’s long and difficult road to publication, Asturias ended up achieving critical and commercial success. Yet it is never too late to burnish his reputation. As Martin maintains:
Restoring Asturias’s novel to its rightful place in Latin American cultural development and focusing its achievement are long overdue, both as an act of justice and as a contribution to historical and literary truth.
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https://www.lib.utexas.edu/about/news/benson-acquires-archive-nobel-laureate-miguel-angel-asturias
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Benson Acquires Archive of Nobel Laureate Miguel Ángel Asturias
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2020-08-21T17:12:23+00:00
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The Nettie Lee Benson Latin American Collection is thrilled to announce the acquisition of the Miguel Ángel Asturias Papers. Asturias, the 1967 Nobel Laureate in Literature from Guatemala, was an instrumental precursor to the Latin American Boom. A prolific writer of poetry, short stories, children’s literature, plays, and essays, he is perhaps best known as a novelist, with El Señor Presidente (1946)and Hombres de maíz (1949) garnering the most acclaim.
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https://www.lib.utexas.edu/about/news/benson-acquires-archive-nobel-laureate-miguel-angel-asturias
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SERVICE ALERT: Access to the Classics Library is temporarily unavailable.
The fifth floor of the Perry-Castañeda Library is closed until August for construction.
For patrons needing materials on this floor, please contact the front desk for assistance.
We apologize for any inconvenience.
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Miguel Angel Asturias
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Asturias began and ended his literary life in Paris, as an exile. And it did not help his standing in the West that he was awarded the Lenin Peace Prize the year prior to his Nobel. Another liability was Asturias' elder son, Rodrigo, who founded one of Guatemala's chief Marxist guerrilla groups, the Revolutionary Organization of People in Arms (ORPA). Rodrigo borrowed the nom de guerre Gaspar Ilom from a character in one of his father's novels.
Maya Realism
SO WHY should we pay more attention to a Latin protest writer of lesser genius whose works translate poorly into English? Above all, to give Asturias his due as a literary pioneer. It was in his chef d'oeuvre, El Señor Presidente (1946), a chilling portrait of an arche- typal Third World dictator, that Asturias first used the surrealist techniques of French poets André Breton and Tristan Tzara to create the stunning literary effects vulgarly known as "magic realism."
El Señor Presidente, we learn in the novel Asturias began in the 1920s under the Estrada Cabrera dictatorship, was so twisted by vengefulness and paranoid distrust that his enslavement of an entire nation did not begin to assuage his bloodlust. To him, his subjects were "parrot's feces. It neither smells nor stinks."
In this phantasmagoric world of midnight knocks on the door, humans are so frozen with fear they become puppets, and only deaf-mute beggars, trees, dogs and china cups dare sound the alarm. In El Señor Presidente's hermetic domain of casual torture, institutional deception and terror, "bullets don't know when they pass through a man's body. They think flesh is warm, sweet air, a little fat."
What Asturias called "magic surrealism" began not with García Márquez or Julio Cortázar but with his two unquestioned masterpieces, El Señor Presidente and Men of Maize. (Asturias' co-progenitor of magic realism was his Cuban contemporary Alejo Carpentier, who used surrealist techniques and Creole imagery to good effect in his two Caribbean novels, The Realm of This World and Steps in the Jungle.)
What lifts Men of Maize, a finely woven fable of Mayan retribution against domestic and foreign exploiters and their lackeys, above the ill-fated United Fruit Trilogy and his other indigenist novels is Asturias' brilliant adaptation of the classic Quiché-Maya Popol Vuh, or Book of Council, rediscovered in the l8th century by a Spanish missionary. The story of the three creations of man by the gods and the adventures of the twins Hun-Hunapu and Ixbalanqué in the nether world of Xibalbá, where they conquer the Lords of Death, is replete with the grotesque narrative twists, the shadings of dark and light, and the metamorphoses that are the essence of what might be called "Maya realism."
Asturias, who attempted his own translation of the Popol Vuh, merged its rich, dreamlike imagery with European surrealist devices in composing Men of Maize. There is a familiar dark magic in the death chosen by the Maya sorcerers for Colonel Chalo Godoy, who conspired with corrupt farmers to destroy the guerrilla warrior Gaspar Ilom:
Hands of darkness brandishing daggers will force him to suicide. But it will be only his shadow, a skin of shadow among the yuccas. The bullet will burst in his temples, he will fall to the ground, but other dark hands will lift his body, they will mount him on his horse, and will begin to shrink him horse and all until he is the size of sugar candy.
And there are also resonances of the Popol Vuh in Maria Tecún's aimless wanderings after she is bitten by a spider, and in Don Nicho the postman's journey to Xibalbá to meet his coyote nahual. The lesson he learns is the same taught by the authors of Popol Vuh:
Those who thus confront their nahual, outside themselves, are invincible in war and in love ... they own all the riches they desire, they make the snakes respect them, do not succumb to small pox, and if they die it is said their bones are made of firestone.
Another excellent reason for reading Asturias is that he was a true visionary who prophesied in his books the resurgence of Maya communities whose voices are being heard once again. Thirty years after his Nobel, Asturias' The Mirror of Lida Sal: Stories Based on Mayan Myths & Guatemalan Legends, his 1967 collection of Maya myths (the first, Leyendas de Guatemala, from 1930, has not been translated), is finally appearing in an English translation.
After five centuries of silent witness, Maya priests and sorcerers, and powerful new leaders like Nobel PeacePrize laureate Rigoberta Menchú, are calling on nature's hidden powers--on the sacred essence of maize and the ceiba tree, with its roots in the underworld and its upper branches in the heavens--to resurrect their ancestral gods and reclaim their place under the Maya sun.
Asturias died in 1974. Had he lived another two decades, he would have been welcomed back to Guatemala with open arms. And he would have witnessed the historic peace accord ending a 37-year-long war in which his son Rodrigo--influenced by his father's writings--was a key protagonist.
But it is the resurgence of the Mayas and their gods, foreshadowed in all his books, that would have made Asturias proud--and crowned his life with a redemption larger and more enduring than any Nobel Prize.
The Mirror of Lida Sal, translated by Gilbert Alter-Gilbert; Latin American Literary Review Press; $14.95, paperback.
Victor Perera is the author of Unfinished Conquest: The Guatemalan Tragedy (California) and The Cross and the Pear Tree: A Sephardic Journey (California). He is currently working on a book on whales for Alfred A. Knopf.
[ Metro | Metroactive Central | Archives ]
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https://www.abebooks.co.uk/books/nobel-prize-in-literature-winners
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en
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Nobel Prize in Literature winners
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2022-09-22T00:00:00
|
The Nobel Prize for Literature is the world’s most important international literary honour. Browse the complete list of winning authors since 1901.
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en
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https://www.abebooks.co.uk/favicon.ico
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AbeBooks UK
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https://www.abebooks.co.uk/books/nobel-prize-in-literature-winners
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The Nobel Prize for Literature is the world’s most important international literary honour. Alfred Nobel - the Swedish scientist, engineer, and inventor - left his fortune to establish awards for physics, chemistry, physiology/medicine, peace, and literature.
The prizes began in 1901, and the first winner for literature was the French poet and essayist Sully Prudhomme. The winner is decided by a committee consisting of members from the Swedish Academy, which was founded in 1786. The Swedish Academy features 18 people of note – such as writers, scholars, and historians - who have the role for life. The prize is awarded for a writer’s overall body of work although individual works of importance have been cited at times.
Past winners include Annie Ernaux, Ernest Hemingway, Albert Camus, Hermann Hesse, José Saramago, Pablo Neruda, Kazuo Ishiguro, and Aleksandr Solzhenitsyn. Swedish author Selma Lagerlöf was the first woman to win the Nobel Prize for Literature in 1909.
The Nobel Prize looks for excellence in more than just fiction. Non-fiction authors (Winston Churchill and Bertrand Russell), poets (such as T.S. Eliot), playwrights (such as Harold Pinter and Nelly Sachs), a short story writer (Alice Munro), and even a singer/songwriter, Bob Dylan, have been honoured.
The 2023 winner is Jon Fosse, one of Norway’s most prominent and celebrated playwrights and novelists. His works, often marked by their minimalist style and deep existential themes, explore the interior lives of rather solitary characters. He published his first novel, “Red, Black,” in 1983, and his debut play, Someone Is Going to Come followed in 1992. His work A New Name: Septology VI-VII was a finalist for the International Booker Prize in 2022 and his other major works include Melancholy; Morning and Evening and Aliss at the Fire.
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FactBench
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1
| 75
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https://graves.mf.uni-lj.si/graves/705/miguel-%25C3%25A1ngel-asturias
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en
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Miguel Ángel Asturias
|
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List of international graves of famous people that I visit.
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I visit graves of famous people. Not that I plan my travels specifically for graves, but I inform myself about the graves in the vicinity of the places I visit. Sometimes I stretch the definition of vicinity. This page therefore lists only the graves that I visited. All the photos are mine, except for some which just illustrate something else apart from the grave (face of a person, mostly).
If a grave is off limits (like Picasso in France or Hundertwasser in New Zealand) I respect that, and don't try to sneak in.
Janez Stare
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2
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https://www.nndb.com/people/766/000113427/
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en
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Miguel Ángel Asturias
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Born: 19-Oct-1899
Birthplace: Guatemala City, Guatemala
Died: 9-Jun-1974
Location of death: Madrid, Spain
Cause of death: unspecified
Remains: Buried, Cimetière du Père Lachaise, Paris, France
Gender: Male
Race or Ethnicity: Hispanic
Sexual orientation: Straight
Occupation: Author, Diplomat
Nationality: Guatemala
Executive summary: Guatemalan protest writer
Guatemalan author Miguel Ángel Asturias had little patience with fiction written merely to entertain, believing instead that writing worth reading must serve a moral or political purpose. His passions were the rights of the Mayans and other Latin American natives, and a fierce indignation that his and other nations in the region were ruled by dictatorships or by proxy governments controlled by the United States. His novel El Señor Presidente (Mr President) was meant as a blistering attack on the regime of Manuel Estrada Cabrera, but can easily be read as a broader attack on dictatorships across Central and South America. His Hombres de Maiz (Men of Maize) illuminated the challenges of Mayans in adapting to modern technology, and El Papa Verde (The Green Pope) exposed the overbearing brutality of the United Fruit Company. He won the Nobel Prize for Literature in 1967.
At the age of 22 he was a founder of the Popular University of Guatemala, a college for students unable to afford tuition at traditional colleges. He spent many years working as a reporter, and endured several extended stretches in exile from his native Guatemala over his political views. During more progressive times in his country he served in the diplomatic corps, with assignments in Mexico, Argentina, El Salvador, and France. His son, Rodrigo Asturias, became a guerrilla leader in Guatemala's long civil war, infamous under the alter ego Gaspar Ilom a name borrowed from his father's novel Hombres de Maíz.
Father: Ernesto Asturias (spice importer)
Mother: Maria Rosales de Asturias (teacher)
Wife: Clemencia Amado (m. 1939, div. 1947, two sons)
Son: Rodrigo (guerrilla commander, "Gaspar Ilom", b. 1939, d. 2005)
Son: Miguel Angel
Wife: Blanca Mora y Araujo (m. 1950)
Law School: Universidad de San Carlos de Guatemala (1923)
Scholar: Anthropology, Sorbonne (1925-28)
Administrator: Co-Founder, Popular University of Guatemala (1921)
Chavez Prize 1923
Galvez Award 1923
Lenin Peace Prize 1966
Nobel Prize for Literature 1967
Guatemalan Ambassador to France (1966-70)
Guatemalan Ambassador to El Salvador (1953-54)
Guatemalan Attache to France (1952-53)
Guatemalan Attache to Argentina (1947-52)
Guatemalan Attache to Mexico (1946-47)
Exiled 1954
Author of books:
La Arquitectura de la Vida Nueva (Architecture of the New Life) (1928, essays)
Leyendas de Guatemala (Legends of Guatemala) (1930, short stories)
Sonetos (Sonnets) (1936, poetry)
El Señor Presidente (Mr. President) (1946, novel)
Hombres de Maíz (Men of Maize) (1949, novel)
Viento Fuerte (Strong Wind) (1950, novel)
El Papa Verde (The Green Pope) (1954, novel)
Weekend en Guatemala (Weekend in Guatemala) (1956, short stories)
Los Ojos de los Enterrados (The Eyes of the Interred) (1960, novel)
Obras Completas (Complete Works) (1967, anthology)
New!
NNDB MAPPER Create a map starting with Miguel Ángel Asturias
Requires Flash 7+ and Javascript.
Do you know something we don't?
Submit a correction or make a comment about this profile
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https://fable.co/author/miguel-angel-asturias
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http://www.casaguatemalaboston.org/the-miguel-angel-asturias-award
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The Miguel Angel Asturias Award — Casa Guatemala
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Miguel Angel Asturias Rosales (October 19, 1899 – June 9, 1974) was a Nobel Prize-winning Guatemalan poet-diplomat, novelist, playwright and journalist. Asturias helped establish Latin American literature's contribution to mainstream Western culture, and at the same time drew attention to
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https://images.squarespace-cdn.com/content/v1/5387806be4b02f7f948f4dc6/1407613439210-UKMLVOHR1389V2R3SW0E/favicon.ico?format=100w
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Casa Guatemala
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http://www.casaguatemalaboston.org/the-miguel-angel-asturias-award
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Miguel Angel Asturias Rosales (October 19, 1899 – June 9, 1974) was a Nobel Prize-winning Guatemalan poet-diplomat, novelist, playwright and journalist. Asturias helped establish Latin American literature's contribution to mainstream Western culture, and at the same time drew attention to the importance of indigenous cultures, especially those of his native Guatemala.
Asturias was born and raised in Guatemala though he lived a significant part of his adult life abroad. He first lived in Paris in the 1920s where he studied ethnology. Some scholars view him as the first Latin American novelist to show how the study of anthropology and linguistics could affect the writing of literature. While in Paris, Asturias also associated with the Surrealist movement, and he is credited with introducing many features of modernist style into Latin American letters. In this way, he is an important precursor of the Latin American Boom of the 1960s and 1970s.
One of Asturias' most famous novels, El Señor Presidente, describes life under a ruthless dictator. Asturias' very public opposition to dictatorial rule led to him spending much of his later life in exile, both in South America and in Europe. The book that is sometimes described as his masterpiece, Hombres de maíz (Men of Maize), is a defense of Mayan culture and customs. Asturias combined his extensive knowledge of Mayan beliefs with his political convictions, channeling them into a life of commitment and solidarity. His work is often identified with the social and moral aspirations of the Guatemalan people.
After decades of exile and marginalization, Asturias finally received broad recognition in the 1960s. In 1966, he won the Soviet Union's Lenin Peace Prize. The following year he was awarded the Nobel Prize for Literature, only the second Latin American to receive this honor. Asturias spent his final years in Madrid, where he died at the age of 74. He is buried in the Père Lachaise Cemetery in Paris.
2014 Award Recipient: TBD
The Miguel Angel Asturias award will be given to an outstanding student of Guatemalan heritage. To be eligible, the student must be nominated by a teacher and meet high academic standards.
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https://www.nytimes.com/ref/books/nobel-prize-literature.html%3F8dpc
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en
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Winners of the Nobel Prize in Literature
|
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A complete list of winners of the Nobel Prize in Literature, with links to New York Times coverage.
| null |
Following is a complete list of winners of the Nobel Prize in Literature, with links to New York Times coverage.
2004
Elfriede Jelinek
Austrian Writer of Sex, Violence and Politics Wins Nobel
Excerpts From Novels
2003
J. M. Coetzee
Coetzee, Writer of Apartheid as Bleak Mirror, Wins Nobel
Chronicling Life Perched on a Volcano's Edge as Change Erupts
Featured Author: J. M. Coetzee
2002
Imre Kertész
Hungarian Novelist Wins Nobel Prize in Literature
Excerpts From Novels by Imre Kertesz
2001
V. S. Naipaul
Nobel in Literature Goes to Naipaul, an Explorer of Exile
A Nobel for Mr. Naipaul
2000
Gao Xingjian
A Chinese-Born Writer Is Winner of the Nobel
Sudden Fame on a Quest for Freedom
1999
Günter Grass
Günter Grass Wins Nobel Prize for Literature
Polemical Prize
Featured Author: Günter Grass
1998
José Saramago
Nobel in Literature Goes to José Saramago
A Writer With an Ear for the Melody of Peasant Speech
1997
Dario Fo
Italy's Barbed Political Jester, Dario Fo, Wins Nobel Prize
Using Puns and Pratfalls to Lob Satirical Grenades
1996
Wislawa Szymborska
Polish Poet, Observer of Daily Life, Wins Nobel
1995
Seamus Heaney
Seamus Heaney, Poet, Wins the Nobel Prize
An Irishman Reflecting on Mankind's Strivings
Featured Author: Seamus Heaney
1994
Kenzaburo Oe
Nobel in Literature Goes to Kenzaburo Oe of Japan
1993
Toni Morrison
Toni Morrison Is '93 Winner of Nobel Prize in Literature
Lifting the Memory of Slavery Into the Realm of Myth
1992
Derek Walcott
Walcott, Poet of Caribbean, Is Awarded the Nobel Prize
1991
Nadine Gordimer
Nadine Gordimer Is Winner of Nobel Prize in Literature
A Chronicler of a Land of Strangers
1990
Octavio Paz
Octavio Paz, Mexican Poet, Wins Nobel Prize
Laureate Assessed by Man Who Knows Him Best
1989
Camilo José Cela
Camilo Jose Cela Wins Nobel Prize; Spaniard Broke Taboos in the 40's
Spanish Think of Cela as a TV Iconoclast Rather Than a Writer
1988
Naguib Mahfouz
Nobel Prize in Literature Awarded To an Arabic Writer for First Time
From 'Balzac of Egypt,' Energy and Nuance
1987
Joseph Brodsky
Exiled Soviet Poet Wins Nobel Prize in Literature
Brodsky's Nobel: What the Applause Was About
1986
Wole Soyinka
Soyinka, Nigerian Dramatist, Wins Nobel Literature Prize
Writer Says Colleagues Share Spirit of Award
1985
Claude Simon
Claude Simon of France Wins the Nobel Prize in Literature
Nobel Panel's Pick Keeps Cognoscenti Guessing
1984
Jaroslav Seifert
Jaroslav Seifert, Czech Poet, Wins Nobel Literature Prize
Little-Known in U.S., Nobel Poet Praised Here
1983
William Golding
Briton Wins the Nobel Literature Prize
Author Whose Works Defy Normal Labeling
1982
Gabriel García Márquez
García Márquez of Colombia Wins Nobel Literature Prize
Storyteller With Bent for Revolution: Gabriel García Márquez
1981
Elias Canetti
Writer of Central Europe Wins Nobel Prize
Cosmopolitan in Tradition of Goethe
1980
Czeslaw Milosz
Polish Poet in U.S. Get Nobel in Literature
Poet, Exile, Laureate
1979
Odysseus Elytis
Elytis, Greek Lyric Poet, Is Given the Nobel Award for Literature PDF document
A Lyric, Poetic Greek Voice That Has a Special Texture PDF document
1978
Isaac Bashevis Singer
Nobel Prize to I. B. Singer
Text of the Nobel Lecture by Isaac Bashevis Singer
Featured Author: Isaac Bashevis Singer
1977
Vicente Aleixandre
Nobel Prize Is Awarded to Little-Known Spanish Poet PDF document
Modern Poets Owe Much to Work of Aleixandre and His Colleagues PDF document
1976
Saul Bellow
Saul Bellow Chosen as Nobel Laureate; Award Brings U.S. a Sweep of Honors PDF document
Novelist Deals With Jews in America; Bellow's Theme: Jewish Romance With America PDF document
Featured Author: Saul Bellow
1975
Eugenio Montale
Montale, a Poet, Awarded Nobel Prize for Literature PDF document
Eugenio Montale: Ascending; The Guest Word PDF document
1974
Eyvind Johnson, Harry Martinson
Two Swedish Writers Get the Nobel Prize Author Favors Choice PDF document
1973
Patrick White
Nobel for U.S. Economist; Australian Writer Chosen; Economist and Writer Get Nobel Prizes PDF document
Novels Full of Life; White Reflects Love-Hate Feeling for Australia Typical of Country's Artists Late, Recognition Joined the R.A.F. PDF document
1972
Heinrich Böll
Heinrich Boll, 54, a West German Novelist, Wins the Nobel Prize for Literature PDF document
A National Writer; Heinrich Theodor Boll PDF document
1971
Pablo Neruda
Neruda, Chilean Poet-Politician, Wins Nobel Prize in Literature PDF document
A Latin Walt Whitman; Neruda Poetry, Too, Found to Reject Dominance of an Impoverished Europe PDF document
1970
Aleksandr Solzhenitsyn
Unpublished at Home; Aleksandr Isayevich Solzhenitsyn PDF document
Soviet Writers Union Criticizes Nobel Prize Given Solzhenitsyn PDF document
Solzhenitsyn's Vision of Man's Adaptability PDF document
Featured Author: Aleksandr Solzhenitsyn
1969
Samuel Beckett
Beckett Wins Nobel for Literature Playwright-Novelist Acclaimed for Lifting Man From Despair PDF document
Beckett Accepts Nobel; Refuses to Attend Rite PDF document
A Poet Who Has Seen Hell; Of Samuel Beckett PDF document
1968
Yasunari Kawabata
Nobel for Literature Won by a Japanese PDF document
In Literary Mainstream; Yasunari Kawabata PDF document
1967
Miguel Angel Asturias
Guatemalan Author of Anti-U.S. Works Wins Nobel Prize PDF document
Writer and Diplomat; Miguel Angel Asturias PDF document
1966
Samuel Agnon, Nelly Sachs
2 Jewish Writers Win Nobel Prize; $60,000 Literature Award to Be Shared by Shmuel Agnon and Nelly Sachs PDF document
Appraisals of Agnon and Sachs; Each Nobel Winner Has a Unique Mode of Expression PDF document
1965
Mikhail Sholokhov
Nobel Prize Is Won by Soviet Novelist PDF document
Sholokhov Proud of Role as 'Soviet' Nobel Winner PDF document
1964
Jean-Paul Sartre
Sartre Awarded Nobel Prize, but Rejects It; Existentialist Thinks His Writings Would Be Compromised $53,000 Will Revert to Fund, Swedish Academy Says PDF document
1963
Giorgos Seferis
Nobel Prize Won by a Greek Poet; Tribute Is Paid to Lyricism of Giorgos Seferiades PDF document
1962
John Steinbeck
Steinbeck Wins Nobel Prize For His 'Realistic' Writing; He Is the Sixth American to Receive Literature Award Since 1900 PDF document
Evaluating an Author's Vision of the Thirties PDF document
1961
Ivo Andric
Yugoslav Author Wins Nobel Prize; Dr. Ivo Andric Honored for 'Epic Force' of His Work PDF document
His Story Is Yugoslavia; Ivo Andric PDF document
1960
Saint-John Perse
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Theodor Mommsen
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https://www.alamy.com/miguel-angel-asturias-1967-nobel-prize-of-literature-laureate-image441646650.html
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Miguel Angel Asturias, 1967 Nobel Prize of Literature laureate Stock Photo
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You can only use this image in editorial media and for personal use. Editorial media includes use as a visual reference to support your article, story, critique or educational text. Personal use allows you to make a single personal print, card or gift for non-commercial use. Not for resale.
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https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/asturias-miguel-angel
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Asturias, Miguel Angel
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Miguel Angel AsturiasBORN: 1899, Guatemala City, GuatemalaDIED: 1974, Madrid, SpainNATIONALITY: GuatemalanGENRE: Fiction, nonfiction, poetryMAJOR WORKS:The President (1946)Men of Maize (1949)The Strong Wind (1950)The Green Pope (1954)The Eyes of the Interred (1960) Source for information on Asturias, Miguel Angel: Gale Contextual Encyclopedia of World Literature dictionary.
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Miguel Angel Asturias
BORN: 1899, Guatemala City, Guatemala
DIED: 1974, Madrid, Spain
NATIONALITY: Guatemalan
GENRE: Fiction, nonfiction, poetry
MAJOR WORKS:
The President (1946)
Men of Maize (1949)
The Strong Wind (1950)
The Green Pope (1954)
The Eyes of the Interred (1960)
Overview
Guatemalan statesman and Nobel laureate Miguel Angel Asturias is best known for the novels The President, about a Latin American dictator, and Men of Maize, about the conflicts between Guatemalan native Indians and land-exploiting farmers, as well as for a trilogy of novels about the Latin American banana industry. His writing—an extensive canon of fiction, essays, and poetry—often blends Mayan myth and folklore with surrealism and satiric social commentary, and is considered to evidence his compassion for those unable to escape political or economic domination.
Works in Biographical and Historical Context
Early Life Affected by Dictator Asturias was born in 1899 in Guatemala City, Guatemala, just one year after the country came under the dictatorship of Manuel Estrada Cabrera. Asturias's father, a supreme court magistrate, lost his position in 1903 when he refused to convict students who protested against Estrada Cabrera's increasingly totalitarian regime. Consequently, Asturias's family was forced to leave the city for a rural area in Guatemala, where the young Asturias's interest in his country's native Mayan and peasant customs perhaps originated. Although his family returned to Guatemala City four years later, Asturias had nonetheless suffered the first of many personal disruptions that autocracy and political unrest in Guatemala would cause throughout his career.
Political Activities Force Exile After attending secondary school, Asturias entered the Universidad de San Carlos to study law. As a college student, he was politically active, participating in demonstrations that helped to depose Estrada Cabrera and then serving as court secretary at the dictator's trial in the early 1920s. Asturias also helped to found both a student association of Guatemala's Unionist party and the Universidad Popular de Guatemala, an organization that provided free evening instruction for the country's poor.
In 1923, as the military (which had helped oust Cabrera) gained strength and Guatemala's political climate worsened, Asturias earned his law degree and shortly thereafter founded the weekly newspaper Tiempos Nuevos (New Times), in which he and several others began publishing articles decrying the new militarist government. Asturias fled the country the same year, his own life in danger after a colleague on the paper's writing staff was assaulted.
Began Literary Career Abroad Asturias lived for the next five months in London, spending much of his time learning about Mayan Indian culture at the British Museum. He moved then to Paris, where he supported himself for several years as European correspondent for Mexican and Central American newspapers while he studied ancient Central American Indian civilizations at the Sorbonne. He completed a dissertation on Mayan religion and translated sacred Indian texts, including the Popol Vuh and the Anales de los Xahil (Annals of the Xahil).
In Paris, Asturias also began his literary career. Associating with such avant-garde French poets as André Breton and Paul Valéry, Asturias was introduced to the techniques and themes of the surrealist literary movement, which would become important elements of his writing style. In 1925, Asturias privately published Rayito de estrella, a book of poetry. His Legends of Guatemala, a critically acclaimed collection of native stories and legends recalled from childhood, garnered him the 1931 Sylla Monsegur.
Changes in Regimes Offered New Possibilities Asturias returned to Guatemala in 1933, where he spent the next ten years working as a journalist and poet while the country operated under the military dictatorship of Jorge Ubico Castaneda. Asturias entered politics in 1942 with his election as deputy to the Guatemalan national congress. Three years later, after the fall of the Castaneda regime and the installation of the new president, Juan José Arevalo, Asturias joined the Guatemalan diplomatic service. The more liberal policies of the new government proved important for the author, both politically and artistically. Under Arevalo's rule, Asturias served in several ambassadorial posts in Mexico and Argentina from the early 1940s until 1952. In addition, the more tolerant political atmosphere made it possible for Asturias to publish his first novel, The President, in 1946.
Three years after the publication of The President, while serving as Guatemalan cultural attaché in Buenos Aires, Argentina, Asturias completed and published the first of his novels explicitly to evoke the mythology of his country's ancient past. Translated as Men of Maize in 1975, the story unfolds from the point of view of the indigenous people, whose ancient beliefs teach that the first human was made from corn and that the grain is therefore sacred and must be grown only for tribal use. When their resistance leader, Gaspar Ilom, is assassinated, the people place a curse on their enemies, beginning a series of events that becomes part of the Mayan Indian mythological heritage.
Published Lauded “Banana Trilogy” During his diplomatic assignments in Argentina, Asturias also worked on what has come to be known to English-speaking readers as his “Banana Trilogy”—three novels about the Latin American banana industry. Consisting of The Strong Wind, The Green Pope, and The Eyes of the Interred, the trilogy focuses on the conflicts between the labor force in an unidentified country (taken again by critics to be Guatemala), and Tropical Banana, Inc., a North American conglomerate commonly accepted as a
portrait of the real-life United Fruit Company. Founded in the late nineteenth century by American Minor C. Keith, the United Fruit Company wielded much power in Guatemala and eventually became based there. The company corrupted every aspect of Guatemalan politics and government in the early 1900s, was supported by the dictators that ruled the country, and greatly oppressed the Guatemalan people until the late twentieth century. Although the “Banana Trilogy” was not as critically acclaimed as his first two novels, it earned Asturias the International Lenin Peace Prize from the Soviet Union, which honored the work's stance against capitalist imperialism.
Forced Back into Exile Working for the government of Arevalo's successor Jacobo Arbenz Guzman in 1953, Asturias was sent as Guatemalan ambassador to El Salvador to try to prevent El Salvadoran rebels from invading Guatemala. Although he had enlisted the El Salvadoran government's aid, the rebels, with backing from the United States, nonetheless invaded Guatemala and overthrew Arbenz Guzman. Because of his support for the defeated leader, Asturias was stripped of his citizenship and exiled in 1954. Asturias later incorporated details from these El Salvadoran events in his 1956 collection of stories titled Weekend in Guatemala.
Asturias lived in exile, working in Argentina as a journalist for the Caracas, Venezuela, newspaper El Nacional until 1962, when he traveled to Italy as part of a cultural exchange program. During this period he continued to write, completing scholarly studies and publishing lectures, children's stories, and another novel. Asturias did not recover his Guatemalan citizenship until the election of president Cesar Mendes Montenegro's moderate government in 1966, when he accepted a job as French ambassador, the position in which he remained until 1970. In 1967, Asturias was awarded the Nobel Prize in Literature for the body of his work. On June 9, 1974, the author died from cancer of the intestine.
Works in Literary Context
Influenced by Indian and Spanish folklore as well as the often political and social upheaval he experienced firsthand in Guatemala, Asturias achieved worldwide fame because of his poetry and often poetic novels and short stories. He sensitively presented the culture of the Maya as well as that of greater Latin America. His masterful use of language, shaped by exposure to European ideas like surrealism, added to his power.
Mayan Myths Asturias's poetry reflects the cultural duality that surrounded him in his formative years. There are poems, such as his sonnets, that only someone who was immersed in European culture could have written. There are also poems such as “Man of Water” and “Marimba Played by Indians” that only someone acquainted with Mayan culture could write. Asturias gained a firsthand acquaintance with Mayan Indian culture in early childhood as he listened to Lola Reyes, a Mayan servant in his home, tell traditional indigenous and mestizo tales; later, he read the ancient Mayan texts.
Political Oppression The President protests against dictatorship. Its setting is not specific but could reflect many Latin American countries of the mid-twentieth century. This novel portrays a prototypical military dictator and the repression, humiliation, unjust imprisonment, degradation, and even the murders of his opponents or of those who momentarily displease him. A nightmarish horror permeates this novel both in the scenes it depicts and in the actions it relates. Although many critics regard this novel as a representation of a generic Latin American dictatorship, it is also widely accepted that it is based on the dictatorship of Estrada Cabrera, who controlled Guatemala for twenty years. This novel is responsible for Asturias's fame throughout the Americas and eventually the world, because it is much more than just a novel of political criticism. There are passages of poetic language and, as in his poetry, legends and myths from Mayan culture.
Considered an early practitioner of magic realism, Asturias influenced the “Boom” generation of writers and many of the Latin American modernists who followed him.
LITERARY AND HISTORICAL CONTEMPORARIES
Asturias's famous contemporaries include:
Estrada Cabrera (1857–1923): President of Guatemala from 1898 to 1920, a time when the United Fruit Company was a powerful political influence.
Porfirio Díaz (1830–1915): President of Mexico from 1876 to 1880 and 1884 to 1911 and a famous war hero.
Paul Valéry (1871–1945): French poet and philosopher whom Asturias befriended in Paris.
Juan Perón (1895–1974): Controversial Argentine president and founder of the authoritarian movement of Peronism.
André Breton (1896–1966): French writer considered one of the founders of surrealism.
Works in Critical Context
Critics have often praised Asturias's work for its commitment to social causes and its innovative use of myth, legend, and surrealist techniques. However, his ever-popular works have undergone a critical reevaluation in the light of recent
literary theories, and taking into consideration the directions in which Latin American fiction has developed since his death in 1974. New scrutiny may result in a different vision of his contribution to world literature, but it is also clear that his place among the most important Latin American novelists of this century is assured.
The President In 1968, The President was acclaimed for portraying both totalitarian government and its damaging psychological effects. Asturias's stance against all forms of injustice in Guatemala caused critics to view the author as a compassionate spokesman for the oppressed. “Asturias … does not see the drama of his people from the outside, as a dilettante … but from the inside, as a participant,” noted Les Temps Modernes contributor Manuel Tunon de Lara. And a Times Literary Supplement review, also commenting on Asturias's success in portraying the country's unique political circumstances, asserted that El seńor presidente presents “Latin American problems according to their merits and not according to preconceived stereotypes.”
Men of Maize While Men of Maize was coolly received at the time of its publication in 1949, many critics have come to view the work as Asturias's masterpiece. Reviewers especially admired the author's portrayal of the contrasting conceptions of the world. “At one level,” noted Washington Post Book World reviewer Patrick Breslin, the book is “symbolic of the Spanish conquest itself. The social and economic order violently introduced by the Spanish four and a half centuries ago is still tenuous, not only in the highlands of Guatemala, but throughout the Andes of South America as well.”
Responses to Literature
Find three Mayan legends from any of Asturias's works. How does he use the legends to make the modern elements of the stories more resonant or meaningful?
Explain how Asturias's political views are revealed in The President. Cite at least five specific passages that seem to contain an explicit or implicit political argument.
Research the United Fruit Company and compare it to Tropical Banana, Inc., Asturias's fictionalized fruit company in his “Banana Trilogy.” Did Asturias use real-world events as the inspiration for his novels? Did the author change certain real-world elements, either for dramatic effect or to avoid backlash from the powerful banana-growing industry?
How do you think Asturias's time in Paris among surrealist writers influenced his work? Find examples of surrealism in The President.
Can you make a claim for Men of Maize's being more of a surrealistic text than a legend-based one? What is the difference?
COMMON HUMAN EXPERIENCE
In most of his books, Asturias uses legends from his Guatemalan culture to enrich his writing. Because so much literature is based on oral traditions and tales, readers often feel connected to the stories they heard as children in the cultures in which they were raised. Here are a few other works that employ cultural myths and legends.
Cry the Beloved Country (1948), a novel by Alan Paton. Issues of apartheid permeate this novel, set in South Africa and heavily influenced by Christian stories from the King James Bible.
Master and Margarita (1967), a novel by Mikhail Bulgakov. This novel about Communist Russia is populated by mythical characters such as Satan, Faust, and a group of witches.
Almanac of the Dead (1991), a novel by Leslie Marmon Silko. Silko, a Laguna Pueblo writer, sets her novel in the United States and Central America and uses myths and storytelling to unite characters.
Green Grass, Running Water (1993), a novel by Thomas King. In this novel, the author uses the character of Coyote, a legendary trickster, to advance the plot.
BIBLIOGRAPHY
Books
Álvarez, Luis López. Conversations with Miguel Angel Asturias. Madrid: EMESA, 1974.
Callan, Richard J. Miguel Ángel Asturias. Boston: Twayne, 1970.
de Scheel, Ruth Alvarez. Análisis y estudio de algunos rasgos caracterizadores de “El Señor Presidente”. Guatemala City: Ministerio de Cultura y Deportes, 1999.
Henighan, Stephen. Assuming the Light: The Parisian Literary Apprenticeship of Miguel Ángel Asturias. Oxford: Legenda, 1999.
Hill, Eladia León. Miguel Ángel Asturias: Lo ancestral en su obra literaria. Eastchester, N.Y.: E. Torres, 1972.
Palma, Francisco Albizúrez Palma. La novela de Asturias. Guatemala City: Editorial Universitaria, 1975.
Prieto, René. Miguel Ángel Asturias's Archaeology of Return. New York: Cambridge University Press, 1993.
Periodicals
Bellini, Giuseppe. “La poesía de Miguel Ángel Asturias.” Revista Nacional de Cultura 180 (April–June 1967): 125–27.
Campos, Jorge. “Miguel Ángel Asturias.” Ínsula (1957): vol. 12, no. 133, p. 4.
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The Miguel Angel Asturias Award — Casa Guatemala
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Miguel Angel Asturias Rosales (October 19, 1899 – June 9, 1974) was a Nobel Prize-winning Guatemalan poet-diplomat, novelist, playwright and journalist. Asturias helped establish Latin American literature's contribution to mainstream Western culture, and at the same time drew attention to
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http://www.casaguatemalaboston.org/the-miguel-angel-asturias-award
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Miguel Angel Asturias Rosales (October 19, 1899 – June 9, 1974) was a Nobel Prize-winning Guatemalan poet-diplomat, novelist, playwright and journalist. Asturias helped establish Latin American literature's contribution to mainstream Western culture, and at the same time drew attention to the importance of indigenous cultures, especially those of his native Guatemala.
Asturias was born and raised in Guatemala though he lived a significant part of his adult life abroad. He first lived in Paris in the 1920s where he studied ethnology. Some scholars view him as the first Latin American novelist to show how the study of anthropology and linguistics could affect the writing of literature. While in Paris, Asturias also associated with the Surrealist movement, and he is credited with introducing many features of modernist style into Latin American letters. In this way, he is an important precursor of the Latin American Boom of the 1960s and 1970s.
One of Asturias' most famous novels, El Señor Presidente, describes life under a ruthless dictator. Asturias' very public opposition to dictatorial rule led to him spending much of his later life in exile, both in South America and in Europe. The book that is sometimes described as his masterpiece, Hombres de maíz (Men of Maize), is a defense of Mayan culture and customs. Asturias combined his extensive knowledge of Mayan beliefs with his political convictions, channeling them into a life of commitment and solidarity. His work is often identified with the social and moral aspirations of the Guatemalan people.
After decades of exile and marginalization, Asturias finally received broad recognition in the 1960s. In 1966, he won the Soviet Union's Lenin Peace Prize. The following year he was awarded the Nobel Prize for Literature, only the second Latin American to receive this honor. Asturias spent his final years in Madrid, where he died at the age of 74. He is buried in the Père Lachaise Cemetery in Paris.
2014 Award Recipient: TBD
The Miguel Angel Asturias award will be given to an outstanding student of Guatemalan heritage. To be eligible, the student must be nominated by a teacher and meet high academic standards.
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https://www.goodreads.com/book/show/73723.The_President
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The President
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[
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"Frances Partridge"
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Read 538 reviews from the world’s largest community
for readers. Guatemalan diplomat and writer Miguel Angel Asturias (1899–1974) began this award-winning …
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https://www.goodreads.com/book/show/73723.The_President
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November 24, 2021
El Señor Presidente = Mister President = The President, Miguel Ángel Asturias
Mister President is a 1946 novel written in Spanish, by Nobel Prize-winning Guatemalan writer and diplomat: Miguel Ángel Asturias (1899–1974).
A landmark text in Latin American literature, Mister President explores the nature of political dictatorship and its effects on society.
Asturias makes early use of a literary technique now known as magic realism. One of the most notable works of the dictator novel genre, Mister President developed from an earlier Asturias short story, written to protest social injustice in the aftermath of a devastating earthquake in the author's home town.
تاریخ نخستین خوانش: روز نهم ماه نوامبر سال1972میلادی و بار دیگر سال1999میلادی
عنوان: آقای رئیس جمهور؛ میگل آنجل آستوریاس؛ مترجم: زهرای خانلری (کیا)؛ تهران، خوارزمی، سال1348، در408ص، موضوع داستانهای نویسندگان گواتمالایی به زبان اسپانیا - سده20م
داستان «آقای رئیس جمهور»، داستان «استرادا گابررا»، دیکتاتور خشن «گواتمالا»، در نخستبن سالهای سده ی بیستم میلادی است؛ رئیس جمهوری که خود را خدای مردمان آن کشور میدانستند، و بجای مردمان کشور خود، و برای آنها تصمیم گیری نیز میکردند؛ حکومتی که به برهان نارضایتی و شجاعت «افراد ویژه»، به آنها انواع و اقسام جرمها را، نسبت میدهد؛ محکومین، و شاهدهای رویدادهای گوناگون را در زندان، به زور شکنجه، مجبور به اعترافات دلخواه خویش میکند، و ....؛ در این داستانِ سیاست و اختناق، خوانشگر شاهد یک عشق، و سرانجام آن، در چنان حکومتی نیز هست؛ آقای «استوریاس» داستان را با شیوه های خیال آمیز، و شاعرانه با روایتی بسیار زیبا بازگو کرده اند
تاریخ بهنگام رسانی 25/09/1399هجری خورشیدی؛ 02/09/1400هجری خورشیدی؛ ا. شربیانی
April 17, 2020
I read the English translation of this Spanish language novel, which was published in 1946. I broke off reading it about halfway through to better understand the background, and it seems the title character is based on the real-life Manuel Estrada, President of Guatemala from 1898 to 1920. I’d not heard of him before. The story is set during the 1910s.
I’ve read a number of novels by Latin American authors where the reader is taken into a sort of nightmare world, and this is another to add to that list. It seems to me the author wanted to illustrate the effects of dictatorship on society, especially the effects produced by the sort of dictator with which Latin America has historically been so cursed. In this novel the merest chance can lead to someone being tortured or executed, and the society is a sort of kleptocracy where those in power extort money from everyone else. Cruelty and fear are the dominant themes, and people are cruel to one another in the most casual fashion. Others are driven by fear to disown friends and relatives who have been arrested, terrified they will be tarred by association. There are one or two characters who behave with decency, but they are the exceptions. Many of the male characters spend their time getting blindingly drunk. Apparently alcoholism really was a major problem in Guatemala at this time, but I get the feeling the author’s message is that the rottenness of the society he describes was something that originated at the top and spread downwards.
Despite the book’s title, the President is not the main character, that role falling to someone with the curious moniker of “Miguel Angel-Face”, an advisor to the President. Several times his name is linked with the phrase “He was as beautiful and as wicked as Satan”. I found this a curious expression and wondered whether there was something to it that was lost either in translation or across the gaps of time and place. Despite the comparison with old Beelzebub, Miguel is one of the book’s more sympathetic characters. He falls in love with the daughter of one of the President’s political opponents and becomes a better person as a result.
“Magic realism” is another well-known feature of Latin American literature and this novel was one of the early examples of that genre. It isn’t always a style that I appreciate but it’s comparatively restrained in this novel. Most of the dream like sequences are identified as dreams. There are a few mystical elements based around aspects of Catholicism.
Is it hope or depravity that triumphs? It’s a question I would enjoy discussing, and I rate a novel a success when it leaves me with the desire to discuss it with others. However, to take that discussion further in this review would be to include spoilers.
May 13, 2023
С самых первых строк, тех самых ономатопеических, стало ясно, что это великий мастер слова.
"Бьем-бьем-бьем! бьем-лбом, бьем-лбом! – били-били-лбом! – белым лбом… бьем… бьем!… – били колокола, ранили слух, луч сквозь мглу, мгла сквозь свет. – Били-бьем! Би-ли-бьем! Бьем-бьем… белым-белым лбом… бьем! бьем! бьем! "
Но Астуриас не только мастер слова, он мастер и подачи идей, и смешения жанров, стилей и техник. Он виртуозно смешивает исторический роман с магическим реализмом, сюрреализм с потоком сознания, роман о диктаторе с мифологией коренных народов Гватемалы. Его язык образен, ярок и, одновременно, поэтичен и страшен в обличительной силе.
Центральной темой его романа является диктатор и люди, живущие при диктатуре. Он не называет ни страну, ни имени диктатора, и из-за каждый диктатор прошлого или современности чем-то похож на Сеньора Президента.
Этот человек, пришедший к власти, больше всего на свете боится. Боится потерять власть, боится, как близкое окружение, генералов и полковников, так и свой народ. Этот страх поощряет доносительство. Доносят все и на всех тоже из страха. Сеньор Президент может бороться со своим страхом только запугивая и внушая страх всем - и близкому окружению, своим фаворитам, подчинённым, так и простым людям. Этого можно достичь только необузданной жестокостью, изощрёнными, извращёнными пытками духа и тела. Мало просто убить, нужно внушить ужас, нужно истязать. Мало просто посадить в тюрьму, нужно заставить страдать. Вот эту природу страха, присутствующей в любой диктатуре, Астуриас великолепно изобразил.
Страх порождает и культ личности. Сеньору Президенту важно каждый день слышать слова восхваления из страха потерять власть. Его окружению самая неприкрытая лесть позволяет выслужиться, а народу, славословящему диктатору - выжить, подтвердить свою благонадёжность.
Роман полон сновидений или просто видений, как у Кара де Анхеля во время аудиенции у Сеньора Президента, когда перед его мысленным образом возник образ Тоиля - Властителя Огня - требующего человеческих жертв. Эти сновидения и просто видения создают образы, которые играют важную роль в создании параллельного, мистического восприятия сюжетных деталей.
В романе Сеньор Президент убивает не только оружием или нечеловеческими условиями, например лишением воды, но и словом, клеветой или обманом. Отец и муж Камилы умерли от навета, так сильно слово.
Любовь способна изменить человека, считает автор. Но мне кажется, что Мигель, с одной стороны, почувствовал свою неприязнь к патрону и осознал его ничтожность не под воздействием любви. Он продолжал и был готов продолжать свою работу, подавляя свои чувства из элементарного самосохранения и желания благополучия. Но Сеньор Президент, страдая параноидальным страхом никому не верит и часто меняет фаворитов.
На мой взгляд, многие второстепенные персонажи вышли даже сильнее, цельнее главных героев. Таковы образы Пелеле, Федины, кукольника.
April 9, 2012
One of the finest novels you will ever read. It will tear your heart out and all the while make you feel as if something magical is happening. Asturias is a deft weaver of stories, not to mention a grandfather of the magical realism genre in literature. He wrote all his books in Spanish, of course, and I, of course, had to read the translated verions, which must suffer from the kind of loss all translations suffer, and yet, I cannot fathom how this novel could be any better than it is. The essence of Asturias' talent does not get lost in translation here. It may take a little work to get a copy of this...it may cost a little extra money...it's so much more than merely worth it. It's a tale you will never forget.
December 31, 2008
I just finished this novel and it was an exhausting and depressing read. Don't get me wrong; it is a fantastic novel and well worth the time and emotional investment. Asturias writes in an almost poetic prose that really draws you in. His characters are engaging and his settings are such that I was able to really visualize his scenes. The story itself is sad and his words carry you along like a silent observer of some hateful crime that you are unable to prevent but of which you are almost omniscient. It is really frustrating and I found myself wanting to yell out to the characters to "STOP!" several times. And of his characters, Asturias brings seemingly insignificant characters from early chapters back as more major players throughout the story, so if you plan to read this pay attention to every character.
I highly recommend this book, especially to those who enjoy reading works of historical fiction.
October 29, 2013
قرأت هذا الكتاب أثناء وجودي في السجن عام 1991، وكان صادماً بعمقه وتعريته للاستبداد وما يفعله بالبشر، الجميل في الكتاب هو تجربة الانشقاق وتحمل تبعات اتخاذ السبيل الصحيح مهما كانت مؤلمة ومفجعة.
March 14, 2018
Miguel Ángel Asturias's El Señor Presidente is the ultimate novel about Latin American political dictatorships -- and it is also the earliest. It was written in 1933, but for various reasons not published until 1946. It is set during the presidency of Manuel Estrada Cabrera, which lasted from 1898-1920. Although the president is never named, it is set during the First World War, when Estrada Cabrera was in office.
Early in the novel, he president decides to blame General Canales for the death of Colonel Sonriente, one of the leader's favorite hatchet men. (He was actually killed by a loony whom he was teasing.) In the course of executing Estrada's orders, Miguel Angel Face (is it significant that the character has 2/3 of the author's name?) kidnaps the General's daughter and hauls her to a bar across the street. In the process, he falls in love with her and marries her.
This does not sit well with the president: marrying his avowed enemy. The tone of his presidency is set by this comment, which the Judge Advocate makes to one of his servants:
When will you understand that you mustn't encourage people to hope? In my house the first thing everyone, down to the cat, has to learn is that there are never grounds for hope of any description for anyone. It's only possible to go on holding a position like mine if you obey orders; the President's rule of conduct is never to give grounds for hope, and everyone must be kicked and beaten until they realise the fact. When this lady comes back you must return her her letter, neatly folded, and tell her there is no way of finding out where her husband is buried.
Interestingly, Estrada Cabrera was forced out of office after he was unable to lead the country after a series of devastating earthquakes in 1917-1918.
Asturias went on to win the Nobel Prize for Literature in 1967. He has written a number of other novels, which are also excellent, especially Men and Maize and Mulata as well as a trilogy excoriating the United Fruit Company's treatment of the campesinos who worked for it.
October 10, 2018
reaffirms that my sweet spot for literature seems to be the 20s and 30s. Some real gut-punches of brutality, and just exceptionally well written and structured.
elements of surrealism and magical realism, as well as some pure documentary realism, all beautifully mixed together.
in the age of Trump, it is also perhaps useful to engage with a text like this. Power and brutality and selfishness abound....
June 20, 2020
'The President' is the depiction of life under the rule of a cruel and capricious dictator in a nameless South American country. There is an almost acrid atmosphere to the book, as Asturias lures you in with the lurid lives of the characters, from the Machiavellian, but ultimately tragic Angel Face, to the innocent Camilla who is caught up his web of deceit, to the dictator himself, a man consumed with paranoia and hatred.
The nightmarish tone of the novel is set in the opening chapter, which depicts a scene in which various tramps congregate in a church, one of whom ends up murdering a general and, thus setting in motion the events which take place during the book. This nightmarish atmosphere is reinforced throughout the book; from frequent description to the orangeade sky, to the constant stream of betrayals which the characters subject each other too, the people who populate the story are not so much humans as they are puppets dancing on the strings of the all-powerful dictator.
Not only is 'The President' a powerful and prescient depiction of life under a dictator, it is also an exploration of the ceaseless cruelty created by any tyrannically government and the meaningless sense of violence it perpetuates.
July 3, 2018
Bu kitabı ikinci okuyuşum, ilk kez 1971 yılında okumuştum. Siyasi mesajından çok etkilenmiştim, o dönem politik bilinçlenme için önerilen kült kitaplardan biriydi. Yeniden okuduğumda o zaman çok farklı bir kitabı okumuştum herhalde diye düşündüm. Bu kitap ciddi bir edebi eser çünkü. Gerçi abartma, dramatize etme, gerçekçi olmayacak kurgulamaları olsa da, ideolojik bir kitaptan çok edebi yönü olan bir kitap buldum.
Yazar bu kitabı Guatemala’da 1898 ile 1920 yılları arasında ülkeyi diktatörlükle yöneten, hile ile seçim kazanan ve muhaliflerine karşı çok acımasız olan Başkan Manuel Estrada Cabrera’yı yermek için yazmış. Gerçi yıllar farketmiyor, genelde diktatörlerin karşı düşünceye karşı uyguladığı yöntemler üç aşağı beş yukarı aynı.
Bu okuyuşumda kitap beni politik olarak nedense etkilemedi, kitapta yazılanlara karşı duyarsızlaşmak ya da kanıksamak söz konusu olamayacağına göre kitabın okunuş yaşı, zamanı ve o zamanki ruh durumunun ne kadar etkili olduğunu bir kez daha anladım. Okumanızı öneririm, zamanıdır :)
January 11, 2020
It's clear to see how this powerful, incisive gem of a political satire earned Asturias the Nobel Prize for Literature. What's less clear is how it can have fallen into moderate obscurity since then. It remains relevant today and is quite vivid in this excellent translation by Frances Partridge, whose talents earned her the respect of the Bloomsbury Group.
4.5 stars
February 13, 2014
إذا كان الكتاب الروس قد خرجوا من معطف جوجول
فإن كل كتاب أمريكا اللاتينيه قد ثاروا على ديكتاتورياتهم
وخرجوا من أرصفه السيد الرئيس
June 14, 2023
Miguel Ángel Asturias – Prémio Nobel da Literatura, 1967
"pela sua realização literária vívida, profundamente enraizada nos traços nacionais e tradições dos povos indígenas da América Latina"
Uma das coisas boas destas viagens literárias é despachar um país, a Guatemala, junto com um prémio Nobel da Literatura.
Miguel Ángel Asturias (1899-1974) nasceu na Cidade da Guatemala, filho de pai mestiço e advogado, e mãe índia e professora. Foi um consagrado escritor, jornalista e diplomata, reconhecido no mundo da literatura e um dos precursores do «boom latino-americano», que surgiu entre os anos 60 e 70. Viveu exilado durante vários anos, devido à sua oposição pública à tirania. Em 1923 viajou para a Europa, com o objectivo de estudar em Inglaterra, mas acabou por ficar dez anos em Paris, cidade onde escreveu, entre outros, este livro.
O Senhor Presidente foi inspirado no governo do ditador Manuel José Estrada Cabrera, presidente da Guatemala no período de 1898 e 1920, e que afectou directamente a família do autor.
O romance tem como ponto de partida o assassinato de coronel José Parrales Sonriente, um militar próximo do Presidente. A partir daqui tudo serve para perseguir opositores do regime e antigos aliados.
Não pergunte a si mesmo, general, se é culpado ou inocente: pergunte apenas se conta ou não com a proteção do amo, pois um inocente que está mal com o governo, acha-se em piores condições do que se fosse culpado.
Não foi uma leitura fácil (com muitas metáforas e onomatopeias), chegou a ser asfixiante com tanta violência, abusos de autoridade, torturas e acusações, mas valeu a pena.
O peso dos mortos faz a terra girar de noite e o peso dos vivos, de dia... Quando os mortos forem em maior número do que os vivos, a noite será eterna, não terá fim; para o dia retornar faltará o peso dos vivos.
52/198 – Guatemala
July 25, 2021
Enfes bir kitap, enfes. Latin Amerika edebiyatının temel konularından olan “diktatör romanları”nın harika örneklerinden biri. (Marquez’in “Başkan Babamızın Sonbaharı”nı veya Llosa’nın “Teke Şenliği”ni sevenler bunu da sever; bir de Guatemala'ya uğramış olursunuz hem.) Aynı zamanda da büyülü gerçekçiliğin erken dönem örneklerinden biri, ilk sesleri, oluşma adımları. Diktatörlüğün bir toplumda yarattığı yozlaşmayı, toplumsal olanın bireysel olanı ne kadar derinden etkileyip şekillendirdiğini, çürümenin nasıl ve ne biçimde sızabileceğini çok sarsıcı şekilde anlatıyor Asturias. Bir de tabii kelimeler. Nasıl güçlü kelimeler. Kurgunun, karakterlerin başarısı bir yana, bu kitap edebi açıdan da bir cevher elbette ki. Anlattığı vahşet de, aşk da, korku da çok güçlü, çok etkileyici. Bu okuduğum üçüncü Asturias’dı, devamı kesinlikle gelecek. “Sevmek umudunu yitirip yalnızca sevilmekle yetinen sevdalılar gemisine götürün onu…”
April 21, 2014
استمد الكاتب ميغيل انخيل استورياس هذه الرواية من سنوات حكم الديكتاتور كابريرا الذي حكم جمهورية جواتيمالا لسنوات طويلة، هذه الرواية تحكي بشكل دامٍ الكوارث التي يخلفها الاستبداد في روح الشعب وأيامه ومستقبله وكرامته ، ما يحدثه المستبد من شروخ في الجسد الوطني وما يتبع ذلك من فضائع على المستوى الفردي ، النهب والقتل والتلاعب بالقوانين واستخدام السلطة في التنكيل بالآخرين بلا ذنب أو تهمة غالباً ، تحويل الزعيم الأوحد إلى صنم تدور حوله كل الدولة والشعب والقيادات وهو وحده مصدر السلطات وعليه تنعقد آمال الوصوليين والمتسلقين ومصاصي الدماء واللصوص ، الرواية مفعمة بكثير من المشاهد المرعبة وصور المعاناة التي عاشها شعب فقير تحت نير الطاغية وأزلامه ، كذلك تحتوي الرواية بشكل كبير على كثير من تفاصيل الحياة والحكايات والأساطير الشعبية ،، الرواية بدأت بمأساة وانتهت بمأساة وهكذا حياة الشعوب المسحوقة تحت الحكم الدكتاتوري
January 11, 2018
FESTIVAL NARRATIVO
Es un tema recurrente entre los corrillos de entendidos en literatura y críticos que el lenguaje puede salvar a una novela y que, quizás, al final, es lo que perdura de un texto. También es habitual que las editoriales nos vendan novelas que, en sus paratextos, sean elogiadas por la forma en la que están escritas. En el caso de El Señor Presidente, esto es una realidad, porque la obra de Asturias es, fundamentalmente, lenguaje, pero un lenguaje entendido como un personaje más, quizás el auténtico personaje protagonista del texto.
Desde el mismo inicio, desde la primera palabra, desde ese ya archiconocido “¡Alumbra lumbre de alumbre, Luzbel de piedralumbre!”, Asturias ya deja muy clara su voluntad de que el libro será un festival narrativo asentado en todo el poder de la lengua con la que se expresa. Ese primer párrafo define gran parte de la utilización del lenguaje en la novela: la sinestesia, el empleo de onomatopeyas, de palabras que por su sonoridad remiten a otras, la utilidad del adjetivo para conformar la personalidad de los personajes, un derroche de originalidad expresiva en una explosión a veces näif y colorista que, incluso, adorna de una pátina luminosa a las escenas más trágicas, sangrientas o brutales, sabiendo ser delicado en momentos tan terribles como el encarcelamiento y muerte de Miguel Cara de Ángel o la desazonadora, pero no por ello menos lírica, muerte del bebe en brazos de la Niña Fedina mientras, en un golpetazo de realidad, “el amanuense se chupaba las muelas”.
El lenguaje ilumina la novela por completo. En Asturias, el lenguaje narrativo es capaz de levantar mundos y de crear voces personalísimas a través de los discursos que articulan los personajes, repletos de giros característicos, de las formas del habla de las calles o de los palacios, de los políticos y de los poetas, dotando a cada uno de los seres que desfilan por el texto (y son muchísimos) de una personalidad propia que se cuaja en el mismo instante en que abren la boca y se expresan. Ejemplar es la aparición del Señor Presidente, definido por la palabra que utiliza repetidamente en ese capítulo: ANIMAL, con mayúsculas.
Esa delicadeza de orfebre con las formas de hablar de los personajes que tiene Asturias cala en la voz del narrador, incansable en un despliegue de juegos de palabras, retruécanos, onomatopeyas (grande es el valor que concede Asturias a la onomatopeya en su discurso narrativo), incluso en giros rebosantes de originalidad e ingenio que, a veces, recuerdan a las greguerías. El adjetivo de unas ���calles intestinales”, para retratar los suburbios, la onomatopeya de la risa que se articula con las cinco vocales para mostrar una humillación, las asociaciones simbólicas casi surrealistas como “la casa que era una regadera de ladridos”, o la adjetivación barroca para hacernos palpar la niebla que es “estuquería de natas con color de pulque y olor a verdolaga”, así como la repetición de ciertas frases en la reiterada descripción de los personajes importantes al estilo de ese “Miguel Cara de Ángel era bello y malo como Satán”, son ejemplos de cómo se desencadena este festival de narratividad que construye Asturias por y para el uso de un lenguaje que adquiere un relieve por encima de los personajes y las situaciones, llegando a ser, casi, el fin mismo de la novela -de sucesos tan brutales que quizás no podría soportar un lenguaje que no los anestesiara con su lirismo inagotable- ya que, no en vano, se cierra con una abstracción lingüística de pura recitación: la letanía de un rosario. No podía ser de otro modo.
Protagonista: el lenguaje. Una lección magistral que aturde y fascina y emboba. Sonoro, maestro y monumental ejercicio de lenguaje.
Read
August 22, 2021
“The weight of the dead makes the earth turn by night, and by day it is the weight of the living... When there are more dead than living there will be eternal night, night without end, for the living will not be heavy enough to bring the dawn.”
P 219, 1963 Gollancz edition.
January 3, 2018
"...¿Creéis seguir viviendo en un siglo en el que los reyes estaban, como vos os quejáis de haberlo estado, a las órdenes y a la discreción de sus inferiores?… Estoy fundando un Estado en el que solo habrá un amo...¡El Estado SOY YO!..." (Alejandro Dumas, El vizconde de Bragelonne, palabras que pone en boca del rey Luis XIV).
Estas palabras que el gran Alejandro Dumas atribuye al rey Luis XIV denotan claramente el espíritu que ronda y que constituye el fundamento y piedra angular de los regímenes totalitarios, denominación moderna que recibe aquello que, con anterioridad a la Revolución Francesa, era llamado de absolutismo, y en los cuales existe, como ya se ha dicho un solo amo situado en la cúspide de todo y el cual siquiera está sometido a la ley, puesto que su voluntad es la ley misma. Quien crea que estas palabras puestas por Dumas en boca de Luis XIV pertenecen a un pasado remoto, vive en una burbuja apartada de la realidad.
El señor presidente de Miguel Ángel Asturias (Premio Nobel de Literatura) se inscribe en la corriente que podría ser llamada como Literatura de dictaduras pues el trasfondo político llevado al plano literario da lugar a estas novelas. Mi primer contacto con este tipo de obras fue en el ya lejano año de 2001 momento en el cual no contaba yo con más de 15 años y aún cursaba la secundaria (a la que llaman instituto en España), y cuando para un trabajo correspondiente a la clase de Literatura se me asignó la lectura de Yo, el Supremo principal obra del más aclamado escritor de mi país Augusto Roa Bastos (Premio Cervantes en 1989). En esta obra, el autor utiliza el mote de "El Supremo" para hacer referencia a la figura histórica de José Gaspar Rodríguez de Francia, hombre que gobernó Paraguay en solitario desde 1814 hasta su muerte en 1840 y cuyo título oficial era Supremo Dictador de la República (así iniciaba sus documentos oficiales: Yo, el Supremo Dictador de la República del Paraguay).
Con un estilo bastante distinto, Asturias nos presenta a otro Dictador, aquí se tiene una particularidad compartida con Roa Bastos, si en Yo, el Supremo se hace referencia al dictador con el título de El Supremo, Asturias lo hace con el de Señor Presidente, sin que se asigne un nombre propio al dictador que rige los destinos del país, empero los literatos especializados señalan que la figura de este Presidente se basa en el guatemalteco Manuel Estrada Cabrera. Esta afirmación de parte de algunos estudiosos, incluido el autor de la introducción a la edición que he leído (la de que este Presidente se basa en esa figura histórica) me llevó a indagar acerca del período en que ese hombre gobernó Guatemala, tras leer suficiente, pude notar algo llamativo, y es que este dictador sin nombre no necesariamente es guatemalteco, puesto que puede ser extrapolado a cualquiera de los demás países latinoamericanos que, en algún momento de su historia, padecieron este tipo de gobiernos autocráticos.
Latinoamérica no solo es bastante homogénea en cuanto a su configuración étnica (proveniente en lo principal del mestizaje entre autóctonos y españoles) y cultural (en lo esencial seguimos las mismas tradiciones, baste con ver que, por ejemplo, la Semana Santa es festejada de manera casi similar desde Argentina hasta México), sino que la misma historia de esta región es casi convergente en el momento y forma de desarrollarse los hechos. Así, cada país que ha padecido un gobierno dictatorial puede identificarse plenamente con la atmósfera opresiva, sangrienta, injusta y dura descrita por Asturias en esta obra. Así, el dictador sin nombre bien puede ser Alfredo Stroessner, Augusto Pinochet, Rafael Videla, Hugo Banzer, Emilio Medici, Anastacio Somoza, Porfirio Díaz, Fidel Castro, Leónidas Trujillo, Juan Velasco Alvarado, Juan María Bordaberry y tantos otros.
Muchos de los pasajes de este libro me resultaron extrañamente familiares, pues mucho de lo que Asturias hace padecer a sus personajes es el vivo relato de cuanto me ha contado mi madre de la vida bajo el gobierno dictatorial (tengo 31 años, cuando cayó la dictadura de Alfredo Stroessner contaba yo con 3 años, así que no recuerdo nada) que en el caso de Paraguay había durado largos 35 años (1954-1989, fue el segundo período dictatorial después del de Rodríguez de Francia 1814-1840). Una de ellas es el cumpleaños del dictador. En un capítulo del libro, se festeja el onomástico del dictador con una gran fiesta, día de fiesta nacional, con el pueblo saludando al Líder y alabando su gobierno con encendidos discursos, pues bien, aquí en Paraguay, el cumpleaños del dictador (3 de noviembre) era feriado nacional y todos los empleados públicos, docentes, militares y policías estaban obligados a ir rendir pleitesía al dictador, quienes no estaban en la Capital debían festejar tan importante fecha en sus respectivas ciudades.
Asimismo, la opresión relatada, y principalmente las torturas (de hecho uno de los pasajes que me desgarró el alma es uno en que los militares dejan morir de hambre a un bebé para que su madre confiese algo que ni sabía) forman parte del itinerario de todas las dictaduras, al menos de las más recientes, en Paraguay, Argentina, Brasil y Chile existen sendos informes relativos a los abusos a los derechos humanos cometidos en los períodos de gobierno dictatorial, y en el Cono Sur la cuestión fue aún lejos debido a la Operación Condor que constituyó un marco de acuerdo de colaboración entre las dictaduras de Paraguay, Argentina, Chile, Brasil y Uruguay, merced al cual desaparecieron y murieron miles de personas.
La lectura de la mejor obra de Asturias fue como leer un Manual de Historia no solo de mi país sino de casi toda Latinoamérica. Debería hacerme un hueco en mis lecturas de este año para leer La fiesta del chivo de Mario Vargas Llosa, libro basado en el cruel y sanguinario Leónidas Trujillo y quizá, La casa de los espíritus de Isabel Allende.
Cuatro estrellas pues en algunas partes el ritmo de la narración decae, pero no por ello he dejado de disfrutar con esta buena obra. Absolutamente recomendada.
April 5, 2023
Llosa’nın “Teke Şenliği” tadında bir okuma olacağını düşündüğüm için çok yüksek beklenti ile başlamıştım. Belki de bu nedenle beklentimi karşılamadı kitap.
Kitabın ilk bölümlerinde, ana karakter zannettiğim General Canales’in ve Sayın Başkan karakterlerinin daha detaylandırılmış öyküsünü okumak isterdim. 250. Sayfaya kadar General Canales’in başına gelenler ile ilgili bir kelime bile geçmiyor. Sayın Başkan’ın anlatı içindeki payı ise oldukça az yer kaplıyor. Dünyadaki diktatörlük rejimlerinden deneyimimiz nedeni ile başkana peşinen bir karakter yüklüyoruz (ve kuvvetle muhtemel yanılmıyoruz) ama yazar bize sayın başkan karakteri için çok az eklemede bulunmuyor. Ana olaya tanık ya da dahil olanların yaşadıkları üzerinden diktatörlük eleştirisi yapılması elbette çok kıymetli ama eserin bütününde beni tatmin etmeyen bir şeyler var.
——Spoiler ———
General Canales’ in son 50 sayfada birden bire ortaya çıkan ihtilal girişimine dair neden hiçbir şey anlatılmamış anlayan okur varsa lütfen bana da anlatabilir mi? Bence bu eser daha uzun ve ayrıntılı olmalıydı🤷🏻♀️
June 24, 2017
Cuando leo a Miguel Ángel Asturias me siento como en casa. Me viene a la memoria el barrio San José donde crecí, y voy reconstruyendo a partir de ese punto en mi cabeza el centro histórico de principios de siglo XX . Los personajes se desprenden fácilmente de entre la niebla de las calles, que va cediendo ante el colorido relato. A pesar de ser una denuncia clara y abierta a la dictadura de Manuel Estrada Cabrera, no deja de ser jocoso y ameno su discurso. No me extraña que fuera de las fronteras de mi país, pocos sean los adeptos de Asturias pues resulta complicada su traducción; además, siendo precursor del realismo mágico, por momentos se puede perder el hilo de la historia. Ojalá mis connacionales logren descubrir toda la riqueza de esta y otras novelas del autor. Hoy más que nunca necesitamos apoyarnos en los grandes pilares de la historia, para construir una Guatemala más unida.
April 16, 2022
"Başkan'ın güvenini kazanmak için en etkili davranış bir suç işlemek veya kendini savunamayacak kimseleri açıktan açığa aşağılamak veya halka üstün gücünü hissettirmek ya da milletin sırtından zenginleşmektir."
Nobel Edebiyat ödülü verilmiş Guatemalalı yazar M. Angel Asturias'ın büyülü gerçekçilik türünün ilk örneklerinden kabul edilen eseri. Yazarın romanlarımdan en tehlikelisi dediği, Güney Amerikalı diktatör prototipinin başarılı bir şekilde anlatıldığı kitap.
Anlatım diliyle çeviri ve düzeltideki sorunlar nedeniyle başlarda hikayenin içine girmekte zorlandım. Karakterler kafamda oturduğunda anlatı akıp gitti. Metin Almanca'dan Türkçe'ye kazandırılmış. Kitap, Süleyman Doğru, Gökhan Aksay ya da Roza Hakmen gibi yetkin bir çevirmen tarafından orijinal dili olan İspanyolca'dan tekrar dilimize kazandırılsa daha iyi olur kanısındayım.
1922 yılında yazımına başlanıp 1932'de bitirildiği not edilen eser ne yazık ki önemini ve güncelliğini hala koruyor.
June 18, 2023
This masterpiece is the sort of book that will make you fall eternally in love with books if read at a young age, and will remind you of how you fell in love with books if read at a not so young age.
This crushing X- ray of dictatorship with the dictator having little airtime shows the effects of the toxic combination of human deprivation and power (I tend to think the second will inevitably lead to the first) through the lives of those around and under him. The colorful cast features in an intense patchwork – or rather spiderweb – of individual lives painted like vignettes of oppression, during the dictatorship of the Guatemalan Cabrera. The heartbreaking love story delicately woven in exacerbates the pain of individual vulnerability in the face of tyranny. But the most impressive feat of this worthy Nobel winner is the language, oh the language! This is poetry at its highest, cruelest, gentlest.
Not to be missed.
Read
April 11, 2008
This book is one massive, paranoid nightmare. While it drags a bit at times, it's still solid. Not only is it a classic Latin American dictator novel and one of the first magical realist works, it's also worth reading as a surrealist work. Like a Latino Kafka, Asturias scrapes the darkest corners of the paranoiac mind for material, gathering them into a slightly shabby but cohesive whole.
December 24, 2023
2.5*
This book was published in 1946 and for some reason I was expecting this book to refer to a puppet president installed during the Cold War, which is impossible. I had wrong expectations and felt disoriented with this terrifying book. It's no surprise people have no respect for anything and treat each other like animals. The format of the book was really weird on my kindle, which may have affected the enjoyability of my reading. I only started to get into the story when Camilla appeared. She's the symbol of how love is the only thing that can fight against tyranny. Miguel Angel Face was a fascinating character as well, unfortunately I wasn't able to fully grasp his complexity. My own fault. The president is the quintessential dictator, who manipulates the people around him like a puppet master and betrays them to no end. All to feed his own ego. He stages events and those who speak the truth are treated like lunatics and punished. Just shows how crazy (in a bad, extreme way) the world can be if the power balance isn't in check. I didn't enjoy reading this at all.
February 12, 2022
My comments: https://youtu.be/3ShxdI3HunM
Mirror for Colombia of a dictatorship?
In this analysis of the work of the Nobel Prize winner, I highlight several points that show the coincidence between the dictatorship of Manuel Estrada Cabrera in Guatemala and Colombian democracy under the eternal President, where we have extrajudicial executions, corruption, nepotism, criminals who are public servants or public servants who commit crimes, forced displacement to steal lands, massacres, among others. If you dare to see it, I await your comments.
Espejo para Colombia de una dictadura?
En este análisis de la obra del premio nobel, destaco varios puntos que muestran la coincidencia entre la dictadura de Manuel Estrada Cabrera de Guatemala y la democracia colombiana bajo el sempiterno Presidente, donde tenemos ejecuciones extrajudiciales, corrupción, nepotismo, criminales que son servidores publicos o servidores públicos que cometen crímenes, desplazamiento forzado para robar tierras, masacres, entre otras. Si se atreven a verlo, espero sus comentarios.
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correct_award_00058
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FactBench
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2
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https://www.britannica.com/summary/Miguel-Angel-Asturias
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en
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Miguel Ángel Asturias, Guatemalan poet, novelist, and diplomat
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Miguel Ángel Asturias, (born Oct. 19, 1899, Guatemala City, Guat.—died June 9, 1974, Madrid, Spain), Guatemalan poet, novelist, and diplomat.
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en
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/favicon.png
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Encyclopedia Britannica
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https://www.britannica.com/summary/Miguel-Angel-Asturias
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Miguel Ángel Asturias, (born Oct. 19, 1899, Guatemala City, Guat.—died June 9, 1974, Madrid, Spain), Guatemalan poet, novelist, and diplomat. He moved to Paris in 1923 and became a Surrealist under the influence of André Breton. His first major works appeared in the 1930s. He began his diplomatic career in 1946; it culminated in his serving as ambassador to France 1966–70. Asturias’s writings combine a Mayan mysticism with an epic impulse toward social protest, especially against U.S. and oligarchic power. In Men of Maize (1949), often considered his masterpiece, he depicts the seemingly irreversible wretchedness of the Indian peasant. Other major novels, some of which employ the style of magic realism, are El Señor Presidente (1946), a fictional denunciation of Guatemala’s dictator; The Cyclone (1950); The Green Pope (1954); and The Eyes of the Interred (1960). He won the Nobel Prize for Literature in 1967.
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correct_award_00058
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FactBench
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1
| 59
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https://myhero.com/Asturias_memorial_ms_06_ul
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en
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Miguel Angel Asturias
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https://myhero.com/favicon.ico
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The MY HERO Project
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https://myhero.com/Asturias_memorial_ms_06_ul
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Christopher Reeve once said, “A hero is someone who finds the strength to persevere and endure in spite of overwhelming obstacles. They possess unique qualities, such as selfless, extraordinary, respectful, and help people in need. A hero must be committed to what they set their minds to do. Miguel Angel Asturias is a famous poet, novelist, and diplomat from Guatemala.
Miguel Angel Asturias was born on October 19, 1899 and died in 1974. He wrote poems and books about nature and Guatemala’s heritage. This famous poet, novelist, and diplomat really cared for the little people in the country of Guatemala where he lived. He believed in the freewill of the people and wrote about it in his poems.
Miguel Angel Asturias won the Nobel Prize for Literature in 1967, as well as the Silla Monsegur Prize for the best Spanish American book published in France. He traveled in all western European countries, the Middle East, Greece, and in Egypt. Anders Osterling, the Permanent Secretary of the Swedish Academy, in presenting the Nobel Prize for literature in1967 said, "… for his vivid literature achieved, deep-rooted in the national traits and traditions of Indian peoples of Latin American.”
Miguel Angel Asturias is extraordinary because he is above being an ordinary man. He is open-minded because he wrote and cared about the free will of the people. He was hard working and cared for the people of his country. Miguel Angel Asturias is an outstanding man.
In conclusion, a hero is an extraordinary person who dedicates his/her life to what they believe. They achieve great deeds in their lives. Miguel Angel Asturias was a famous poet, novelist, and diplomat from Guatemala. Miguel Angel Asturias cared for the things he believed in, and the people he lived with.
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correct_award_00058
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FactBench
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3
| 40
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https://www.nobelprize.org/prizes/literature/2008/clezio/lecture/
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en
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Marie Gustave Le Clézio – Nobel Lecture
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The Nobel Prize in Literature 2008 was awarded to Jean-Marie Gustave Le Clézio "author of new departures, poetic adventure and sensual ecstasy, explorer of a humanity beyond and below the reigning civilization"
|
en
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NobelPrize.org
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https://www.nobelprize.org/prizes/literature/2008/clezio/lecture/
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Jean-Marie Gustave Le Clézio
Nobel Lecture
Presentation
Jean-Marie Gustave Le Clézio delivered his Nobel Lecture, 7 December 2008, at the Swedish Academy, Stockholm. He was introduced by Horace Engdahl, Permanent Secretary of the Swedish Academy.
Dans la forêt des paradoxes
Jean-Marie Gustave Le Clézio delivered his Nobel Lecture, 7 December 2008, at the Swedish Academy, Stockholm. He was introduced by Horace Engdahl, Permanent Secretary of the Swedish Academy. The lecture was delivered in French.
English
Swedish
French
German
7 December, 2008
In the forest of paradoxes
Why do we write? I imagine that each of us has his or her own response to this simple question. One has predispositions, a milieu, circumstances. Shortcomings, too. If we are writing, it means that we are not acting. That we find ourselves in difficulty when we are faced with reality, and so we have chosen another way to react, another way to communicate, a certain distance, a time for reflection.
If I examine the circumstances which inspired me to write–and this is not mere self-indulgence, but a desire for accuracy–I see clearly that the starting point of it all for me was war. Not war in the sense of a specific time of major upheaval, where historical events are experienced, such as the French campaign on the battlefield at Valmy, as recounted by Goethe on the German side and my ancestor François on the side of the armée révolutionnaire. That must have been a moment full of exaltation and pathos. No, for me war is what civilians experience, very young children first and foremost. Not once has war ever seemed to me to be an historical moment. We were hungry, we were frightened, we were cold, and that is all. I remember seeing the troops of Field Marshal Rommel pass by under my window as they headed towards the Alps, seeking a passage to the north of Italy and Austria. I do not have a particularly vivid memory of that event. I do recall, however, that during the years which followed the war we were deprived of everything, in particular books and writing materials. For want of paper and ink, I made my first drawings and wrote my first texts on the back of the ration books, using a carpenter’s blue and red pencil. This left me with a certain preference for rough paper and ordinary pencils. For want of any children’s books, I read my grandmother’s dictionaries. They were like a marvellous gateway, through which I embarked on a discovery of the world, to wander and daydream as I looked at the illustrated plates, and the maps, and the lists of unfamiliar words. The first book I wrote, at the age of six or seven, was entitled, moreover, Le Globe à mariner. Immediately afterwards came a biography of an imaginary king named Daniel III—could he have been Swedish?—and a tale told by a seagull. It was a time of reclusion. Children were scarcely allowed outdoors to play, because in the fields and gardens near my grandmother’s there were land mines. I recall that one day as I was out walking by the sea I came across an enclosure surrounded by barbed wire: on the fence was a sign in French and in German that threatened intruders with a forbidding message, and a skull to make things perfectly clear.
It is easy, in such a context, to understand the urge to escape—hence, to dream, and put those dreams in writing. My maternal grandmother, moreover, was an extraordinary storyteller, and she set aside the long afternoons for the telling of stories. They were always very imaginative, and were set in a forest—perhaps it was in Africa, or in Mauritius, the forest of Macchabée—where the main character was a monkey who had a great talent for mischief, and who always wriggled his way out of the most perilous situations. Later, I would travel to Africa and spend time there, and discover the real forest, one where there were almost no animals. But a District Officer in the village of Obudu, near the border with Cameroon, showed me how to listen for the drumming of the gorillas on a nearby hill, pounding their chests. And from that journey, and the time I spent there (in Nigeria, where my father was a bush doctor), it was not subject matter for future novels that I brought back, but a sort of second personality, a daydreamer who was fascinated with reality at the same time, and this personality has stayed with me all my life—and has constituted a contradictory dimension, a strangeness in myself that at times has been a source of suffering. Given the slowness of life, it has taken me the better part of my existence to understand the significance of this contradiction.
Books entered my life at a later period. When my father’s inheritance was divided, at the time of his expulsion from the family home in Moka, in Mauritius, he managed to put together several libraries consisting of the books that remained. It was then that I understood a truth not immediately apparent to children, that books are a treasure more precious than any real property or bank account. It was in those volumes—most of them ancient, bound tomes—that I discovered the great works of world literature: Don Quijote, illustrated by Tony Johannot; La vida de Lazarillo de Tormes; the Ingoldsby Legends; Gulliver’s Travels; Victor Hugo’s great, inspired novels Quatre-vingt-treize, Les Travailleurs de la Mer, and L’Homme qui rit. Balzac’s Les Contes drôlatiques, as well. But the books which had the greatest impact on me were the anthologies of travellers’ tales, most of them devoted to India, Africa, and the Mascarene islands, or the great histories of exploration by Dumont d’Urville or the Abbé Rochon, as well as Bougainville, Cook, and of course The Travels of Marco Polo. In the mediocre life of a little provincial town dozing in the sun, after those years of freedom in Africa, those books gave me a taste for adventure, gave me a sense of the vastness of the real world, a means to explore it through instinct and the senses rather than through knowledge. In a way, too, those books gave me, from very early on, an awareness of the contradictory nature of a child’s existence: a child will cling to a sanctuary, a place to forget violence and competitiveness, and also take pleasure in looking through the windowpane to watch the outside world go by.
Shortly before I received the—to me, astonishing—news that the Swedish Academy was awarding me this distinction, I was re-reading a little book by Stig Dagerman that I am particularly fond of: a collection of political essays entitled Essäer och texter. It was no mere chance that I was re-reading this bitter, abrasive book. I was preparing a trip to Sweden to receive the prize which the Association of the Friends of Stig Dagerman had awarded to me the previous summer, to visit the places where the writer had lived as a child. I have always been particularly receptive to Dagerman’s writing, to the way in which he combines a child-like tenderness with naïveté and sarcasm. And to his idealism. To the clear-sightedness with which he judges his troubled, post-war era—that of his mature years, and of my childhood. One sentence in particular caught my attention, and seemed to be addressed to me at that very moment, for I had just published a novel entitled Ritournelle de la faim. That sentence, or that passage rather, is as follows: “How is it possible on the one hand, for example, to behave as if nothing on earth were more important than literature, and on the other fail to see that wherever one looks, people are struggling against hunger and will necessarily consider that the most important thing is what they earn at the end of the month? Because this is where he (the writer) is confronted with a new paradox: while all he wanted was to write for those who are hungry, he now discovers that it is only those who have plenty to eat who have the leisure to take notice of his existence.” (The Writer and Consciousness)
This “forest of paradoxes”, as Stig Dagerman calls it, is, precisely, the realm of writing, the place from which the artist must not attempt to escape: on the contrary, he or she must “camp out” there in order to examine every detail, explore every path, name every tree. It is not always a pleasant stay. He thought he had found shelter, she was confiding in her page as if it were a close, indulgent friend; but now these writers are confronted with reality, not merely as observers, but as actors. They must choose sides, establish their distance. Cicero, Rabelais, Condorcet, Rousseau, Madame de Staël, or, far more recently, Solzhenitsyn or Hwang Sok-yong, Abdelatif Laâbi, or Milan Kundera: all were obliged to follow the path of exile. For someone like myself who has always—except during that brief war-time period—enjoyed freedom of movement, the idea that one might be forbidden to live in the place one has chosen is as inadmissible as being deprived of one’s freedom.
But the privilege of freedom of movement results in the paradox. Look, for a moment, at the tree with its prickly thorns that is at the very heart of the forest where the writer lives: this man, this woman, busily writing, inventing their dreams—do they not belong to a very fortunate and exclusive happy few? Let us pause and imagine an extreme, terrifying situation—like the one in which the vast majority of people on our planet find themselves. A situation which, long ago, at the time of Aristotle, or Tolstoy, was shared by those who had no status—serfs, servants, villeins in Europe in the Middle Ages, or those peoples who during the Enlightenment were plundered from the coast of Africa, sold in Gorée, or El Mina, or Zanzibar. And even today, as I am speaking to you, there are all those who do not have freedom of speech, who are on the other side of language. I am overcome by Dagerman’s pessimistic thoughts, rather than by Gramsci’s militancy, or Sartre’s disillusioned wager. The idea that literature is the luxury of a dominant class, feeding on ideas and images that remain foreign to the vast majority: that is the source of the malaise that each of us is feeling—as I address those who read, who write. Of course one would like to spread the word to all those who have been excluded, to invite them magnanimously to the banquet of culture. Why is this so difficult? Peoples without writing, as the anthropologists like to call them, have succeeded in inventing a form of total communication, through song and myth. Why has this become impossible for our industrialized societies, in the present day? Must we reinvent culture? Must we return to an immediate, direct form of communication? It is tempting to believe that the cinema fulfils just such a role in our time, or popular music with its rhythms and rhymes, its echoes of the dance. Or jazz and, in other climes, calypso, maloya, sega.
The paradox is not a recent one. François Rabelais, the greatest writer in the French language, waged war long ago against the pedantry of the scholars at the Sorbonne by taunting them to their face with words plucked from the common tongue. Was he speaking for those who were hungry? Excess, intoxication, feasting. He put into words the extraordinary appetite of those who dined off the emaciation of peasants and workers, just long enough for a masquerade, a world turned upside down. The paradox of revolution, like the epic cavalcade of the sad-faced knight, lives within the writer’s consciousness. If there is one virtue which the writer’s pen must always have, it is that it must never be used to praise the powerful, even with the faintest of scribblings. And yet just because an artist observes this virtuous behaviour does not mean that he may feel purged of all suspicion. His rebellion, denial, and imprecations definitely remain to one side of the barrier, the side of the language of power. A few words, a few phrases may have escaped. But the rest? A long palimpsest, an elegant and distant time of procrastination. And there is humour, sometimes, which is not the politeness of despair, but the despairing of those who know too well their imperfections; humour is the shore where the tumultuous current of injustice has abandoned them.
Why write, then? For some time now, writers have no longer been so presumptuous as to believe that they can change the world, that they will, through their stories and novels, give birth to a better example for how life should be. Simply, they would like to bear witness. See that other tree in the forest of paradoxes. The writer would like to bear witness, when in fact, most of the time, he is nothing more than a simple voyeur.
And yet there are artists who do become witnesses: Dante in the La Divina Commedia, Shakespeare in The Tempest—and Aimé Césaire in his magnificent adaptation of that play, entitled Une Tempête, in which Caliban, sitting astride a barrel of gunpowder, threatens to blow himself up and take his despised masters with him. There are also those witnesses who are unimpeachable, such as Euclides da Cunha in Os Sertões, or Primo Levi. We see the absurdity of the world in Der Prozess (or in the films of Charlie Chaplin); its imperfection in Colette’s La Naissance du jour, its phantasmagoria in the Irish ballad Joyce created in Finnegans Wake. Its beauty shines, brilliantly, irresistibly, in Peter Matthiessen’s The Snow Leopard or in Aldo Leopold’s A Sand County Almanac. Its wickedness in William Faulkner‘s Sanctuary, or in Lao She’s First Snow. Its childhood fragility in Dagerman’s Ormen (The Snake).
The best writer as witness is the one who is a witness in spite of himself, unwillingly. The paradox is that he does not bear witness to something he has seen, or even to what he has invented. Bitterness, even despair may arise because he cannot be present at the indictment. Tolstoy may show us the suffering that Napoleon’s army inflicted upon Russia, and yet nothing is changed in the course of history. Claire de Duras wrote Ourika, and Harriet Beecher Stowe Uncle Tom’s Cabin, but it was the enslaved peoples themselves who changed their own destiny, who rebelled and fought against injustice by creating the Maroon resistance in Brazil, in French Guiana, and in the West Indies, and the first black republic in Haiti.
To act: that is what the writer would like to be able to do, above all. To act, rather than to bear witness. To write, imagine, and dream in such a way that his words and inventions and dreams will have an impact upon reality, will change people’s minds and hearts, will prepare the way for a better world. And yet, at that very moment, a voice is whispering to him that it will not be possible, that words are words that are taken away on the winds of society, and dreams are mere illusions. What right has he to wish he were better? Is it really up to the writer to try to find solutions? Is he not in the position of the gamekeeper in the play Knock ou Le Triomphe de la médecine, who would like to prevent an earthquake? How can the writer act, when all he knows is how to remember?
Solitude will be his lot in life. It always has been. As a child, he was a fragile, anxious, excessively receptive boy, or the girl described by Colette, who cannot help but watch as her parents tear each other apart, her big black eyes enlarged with a sort of painful attentiveness. Solitude is affectionate to writers, and it is in the company of solitude that they find the essence of happiness. It is a contradictory happiness, a mixture of pain and delight, an illusory triumph, a muted, omnipresent torment, not unlike a haunting little tune. The writer, better than anyone, knows how to cultivate the vital, poisonous plant, the one that grows only in the soil of his own powerlessness. The writer wanted to speak for everyone, and for every era: there he is, there she is, each alone in a room, facing the too-white mirror of the blank page, beneath the lampshade distilling its secret light. Or sitting at the too-bright screen of the computer, listening to the sound of one’s fingers clicking over the keys. This, then, is the writer’s forest. And each writer knows every path in that forest all too well. If, now and again, something escapes, like a bird flushed by a dog at dawn, then the writer looks on, amazed—this happened merely by chance, in spite of oneself.
It is not my wish, however, to revel in negativity. Literature—and this is what I have been driving at—is not some archaic relic that ought, logically, to be replaced by the audiovisual arts, the cinema in particular. Literature is a complex, difficult path, but I hold it to be even more vital today than in the time of Byron or Victor Hugo.
There are two reasons why literature is necessary:
First of all, because literature is made up of language. The primary sense of the word: letters, that which is written. In French, the word roman refers to those texts in prose which for the first time after the Middle Ages used the new language spoken by the people, a Romance language. And the word for short story, nouvelle, also derives from this notion of novelty. At roughly the same time, in France, the word rimeur (from rime, or rhyme) fell out of use for designating poetry and poets—the new words come from the Greek verb poiein, to create. The writer, the poet, the novelist, are all creators. This does not mean that they invent language, it means that they use language to create beauty, ideas, images. This is why we cannot do without them. Language is the most extraordinary invention in the history of humanity, the one which came before everything, and which makes it possible to share everything. Without language there would be no science, no technology, no law, no art, no love. But without another person with whom to interact, the invention becomes virtual. It may atrophy, diminish, disappear. Writers, to a certain degree, are the guardians of language. When they write their novels, their poetry, their plays, they keep language alive. They are not merely using words—on the contrary, they are at the service of language. They celebrate it, hone it, transform it, because language lives through them and because of them, and it accompanies all the social and economic transformations of their era.
When, in the last century, racist theories were expressed, there was talk of fundamental differences between cultures. In a sort of absurd hierarchy, a correlation was drawn between the economic success of the colonial powers and their purported cultural superiority. Such theories, like a feverish, unhealthy urge, tend to resurface here and there, now and again, to justify neo-colonialism or imperialism. There are, we are told, certain nations that lag behind, who have not acquired their rights and privileges where language is concerned, because they are economically backward or technologically outdated. But have those who prone their cultural superiority realized that all peoples, the world over, whatever their degree of development, use language? And that each of these languages has, identically, a set of logical, complex, structured, analytical features that enable it to express the world, that enable it to speak of science, or invent myths?
Now that I have defended the existence of that ambiguous and somewhat passé creature we call a writer, I would like to turn to the second reason for the necessity of literature, for this has more to do with the fine profession of publishing.
There is a great deal of talk about globalization these days. People forget that in fact the phenomenon began in Europe during the Renaissance, with the beginnings of the colonial era. Globalization is not a bad thing in and of itself. Communication has accelerated progress in medicine and in science. Perhaps the generalization of information will help to forestall conflicts. Who knows, if the Internet had existed at the time, perhaps Hitler’s criminal plot would not have succeeded—ridicule might have prevented it from ever seeing the light of day.
We live in the era of the Internet and virtual communication. This is a good thing, but what would these astonishing inventions be worth, were it not for the teachings of written language and books? To provide nearly everyone on the planet with a liquid crystal display is utopian. Are we not, therefore, in the process of creating a new elite, of drawing a new line to divide the world between those who have access to communication and knowledge, and those who are left out? Great nations, great civilizations have vanished because they failed to realize that this could happen. To be sure, there are great cultures, considered to be in a minority, who have been able to resist until this day, thanks to the oral transmission of knowledge and myths. It is indispensable, and beneficial, to acknowledge the contribution of these cultures. But whether we like it or not, even if we have not yet attained the age of reality, we are no longer living in the age of myths. It is not possible to provide a foundation for equality and the respect of others unless each child receives the benefits of writing.
And now, in this era following decolonization, literature has become a way for the men and women in our time to express their identity, to claim their right to speak, and to be heard in all their diversity. Without their voices, their call, we would live in a world of silence.
Culture on a global scale concerns us all. But it is above all the responsibility of readers—of publishers, in other words. True, it is unjust that an Indian from the far north of Canada, if he wishes to be heard, must write in the language of the conquerors—in French, or in English. True, it is an illusion to expect that the Creole language of Mauritius or the West Indies might be heard as easily around the world as the five or six languages that reign today as absolute monarchs over the media. But if, through translation, their voices can be heard, then something new is happening, a cause for optimism. Culture, as I have said, belongs to us all, to all humankind. But in order for this to be true, everyone must be given equal access to culture. The book, however old-fashioned it may be, is the ideal tool. It is practical, easy to handle, economical. It does not require any particular technological prowess, and keeps well in any climate. Its only flaw—and this is where I would like to address publishers in particular—is that in a great number of countries it is still very difficult to gain access to books. In Mauritius the price of a novel or a collection of poetry is equivalent to a sizeable portion of the family budget. In Africa, Southeast Asia, Mexico, or the South Sea Islands, books remain an inaccessible luxury. And yet remedies to this situation do exist. Joint publication with the developing countries, the establishment of funds for lending libraries and bookmobiles, and, overall, greater attention to requests from and works in so-called minority languages—which are often clearly in the majority—would enable literature to continue to be this wonderful tool for self-knowledge, for the discovery of others, and for listening to the concert of humankind, in all the rich variety of its themes and modulations.
I think I would like to say a few more words about the forest. It is no doubt for this reason that Stig Dagerman’s little sentence is still echoing in my memory, and for this reason that I want to read it and re-read it, to fill myself with it. There is a note of despair in his words, and something triumphant at the same time, because it is in bitterness that we can find the grain of truth that each of us seeks. As a child, I dreamt of that forest. It frightened me and fascinated me at the same time—I suppose that Tom Thumb and Hansel must have felt that way, when they were deep in the forest, surrounded by all its dangers and its wonders. The forest is a world without landmarks. You can get lost in the thickness of trees and the impenetrable darkness. The same could be said of the desert, or the open ocean, where every dune, every hill gives way to yet another identical hill, every wave to yet another perfectly identical wave. I remember the first time I experienced just what literature could be—in Jack London’s The Call of the Wild, to be exact, where one of the characters, lost in the snow, felt the cold gaining on him just as the circle of wolves was closing round him. He looked at his hand, which was already numb, and tried to move each finger one after the other. There was something magical in this discovery for me, as a child. It was called self-awareness.
To the forest I owe one of the greatest literary emotions of my adult life. This was about thirty years ago, in a region of Central America known as El Tapón del Darién, the Darién Gap, because that is where, in those days (and I believe the situation has not changed in the meantime), there was an interruption in the Pan-American Highway that was meant to join the two Americas from Alaska to the tip of Tierra del Fuego. In this region of the isthmus of Panama the rainforest is extremely dense, and the only means of travelling there is to go upriver by pirogue. In the forest there lives an indigenous population, divided into two groups, the Emberá and the Wounaans, both belonging to the Ge-Pano-Carib linguistic family. I had landed there by chance, and was so fascinated by this people that I stayed there several times for fairly lengthy periods, over roughly three years. During the entire time I did nothing other than wander aimlessly from one house to the next—for at the time the population refused to live in villages—and learn to live according to a rhythm that was completely different from anything I had known up to that point. Like all true forests, this forest was particularly hostile. I had to draw up a list of all the potential dangers, and of all the corresponding means of survival. I have to say that on the whole the Emberá were very patient with me. They were amused by my awkwardness, and I think that to a certain degree, I was able to repay them in entertainment what they shared with me in wisdom. I did not write a great deal. The rain forest is not really an ideal setting. Your paper gets soaked with the humidity, the heat dries out all your ball point pens. Nothing that has to work off electricity lasts for very long. I had arrived there with the conviction that writing was a privilege, and that I would always be able to resort to it in order to resolve all my existential problems. A protection, in a way; a sort of virtual window that I could roll up as I needed to shelter from the storm.
Once I had assimilated the system of primitive communism practised by the Amerindians, as well as their profound disgust for authority and their tendency towards natural anarchy, I came to see that art, as a form of individual expression, did not have any role to play in the forest. Besides, these people had nothing that resembled what we call art in our consumer society. Instead of hanging paintings on a wall, the men and women painted their bodies, and in general were loath to create anything lasting. And then I gained access to their myths. When we talk of myths, in our world of written books, it seems as if we are referring to something that is very far away, either in time, or in space. I too believed in that distance. And now suddenly the myths were there for me to hear, regularly, almost every night. Near the wood fire that people built in their houses on a hearth of three stones, amidst the dance of mosquitoes and moths, the voice of the storytellers—men and women alike—would set in motion stories, legends, tales, as if they were speaking of a daily reality. The storyteller sang in a shrill voice, striking his breast; his face would mime the expressions and passions and fears of the characters. It might have been something from a novel, not a myth. But one night, a young woman came. Her name was Elvira. She was known throughout the entire forest of the Emberá for her storytelling skills. She was an adventuress, and lived without a man, without children—people said that she was a bit of a drunkard, a bit of a whore, but I don’t believe it for a minute—and she would go from house to house to sing, in exchange for a meal or a bottle of alcohol or sometimes a few coins. Although I had no access to her tales other than through translation—the Emberá language has a literary variant that is far more complex than the everyday form—I quickly realized that she was a great artist, in the best sense of the term. The timbre of her voice, the rhythm of her hands tapping against her chest, against her heavy necklaces of silver coins, and above all the air of possession which illuminated her face and her gaze, a sort of measured, rhythmic trance, exerted a power over all those who were present. To the simple framework of her myths—the invention of tobacco, the first primeval twins, stories about gods and humans from the dawn of time—she added her own story, her life of wandering, her loves, the betrayals and suffering, the intense joy of carnal love, the sting of jealousy, her fear of growing old, of dying. She was poetry in action, ancient theatre, and the most contemporary of novels all at the same time. She was all those things with fire, with violence, she invented, in the blackness of the forest, amidst the surrounding chorus of insects and toads and the whirlwind of bats, a sensation which cannot be called anything other than beauty. As if in her song she carried the true power of nature, and this was surely the greatest paradox: that this isolated place, this forest, as far away as could be imagined from the sophistication of literature, was the place where art had found its strongest, most authentic expression.
Then I left that region, and I never saw Elvira again, or any of the storytellers of the forest of Darién. But I was left with far more than nostalgia—with the certainty that literature could exist, even when it was worn away by convention and compromise, even if writers were incapable of changing the world. Something great and powerful, which surpassed them, which on occasion could enliven and transfigure them, and restore the sense of harmony with nature. Something new and very ancient at the same time, impalpable as the wind, ethereal as the clouds, infinite as the sea. It is this something which vibrates in the poetry of Jalal ad-Din Rumi, for example, or in the visionary architecture of Emanuel Swedenborg. The shiver one feels on reading the most beautiful texts of humankind, such as the speech that Chief Stealth gave in the mid-19th century to the President of the United States upon conceding his land: “We may be brothers after all…”
Something simple, and true, which exists in language alone. A charm, sometimes a ruse, a grating dance, or long spells of silence. The language of mockery, of interjections, of curses, and then, immediately afterwards, the language of paradise.
It is to her, to Elvira, that I address this tribute—and to her that I dedicate the Prize which the Swedish Academy is awarding me. To her and to all those writers with whom—or sometimes against whom—I have lived. To the Africans: Wole Soyinka, Chinua Achebe, Ahmadou Kourouma, Mongo Beti, to Alan Paton’s Cry the Beloved Country, to Thomas Mofolo’s Chaka. To the great Mauritian author Malcolm de Chazal, who wrote, among other things, Judas. To the Hindi-language Mauritian novelist Abhimanyu Unnuth, for Lal passina (Sweating Blood) to the Urdu novelist Qurratulain Hyder for her epic novel Ag ka Darya (River of Fire). To the defiant Danyèl Waro of La Réunion, for his maloya songs; to the Kanak poetess Déwé Gorodey, who defied the colonial powers all the way to prison; to the rebellious Abdourahman Waberi. To Juan Rulfo and Pedro Paramo, and his short stories El llano en llamas, and the simple and tragic photographs he took of rural Mexico. To John Reed for Insurgent Mexico; to Jean Meyer who was the spokesman for Aurelio Acevedo and the Cristeros insurgents of central Mexico. To Luis González, author of Pueblo en vilo. To John Nichols, who wrote about the bitter land of The Milagro Beanfield War; to Henry Roth, my neighbour on New York Street in Albuquerque, New Mexico, for Call it Sleep. To Jean-Paul Sartre, for the tears contained in his play Morts sans sépulture. To Wilfred Owen, the poet who died on the banks of the Marne in 1914. To J.D. Salinger, because he succeeded in putting us in the shoes of a young fourteen-year-old boy named Holden Caulfield. To the writers of the first nations in America – Sherman Alexie the Sioux, Scott Momaday the Navajo for The Names. To Rita Mestokosho, an Innu poet from Mingan, Quebec, who lends her voice to trees and animals. To José Maria Arguedas, Octavio Paz, Miguel Angel Asturias. To the poets of the oases of Oualata and Chinguetti. For their great imagination, to Alphonse Allais and Raymond Queneau. To Georges Perec for Quel petit vélo à guidon chromé au fond de la cour? To the West Indian authors Edouard Glissant and Patrick Chamoiseau, to René Depestre from Haiti, to André Schwartz-Bart for Le Dernier des justes. To the Mexican poet Homero Aridjis who allows us to imagine the life of a leatherback turtle, and who evokes the rivers flowing orange with Monarch butterflies along the streets of his village, Contepec. To Vénus Koury Ghata who speaks of Lebanon as of a tragic, invincible lover. To Khalil Gibran. To Rimbaud. To Emile Nelligan. To Réjean Ducharme, for life.
To the unknown child I met one day, on the banks of the river Tuira, in the forest of Darién. At night, sitting on the floor in a shop, lit by the flame of a kerosene lamp, he is reading a book and writing, hunched forward, not paying the slightest attention to anything around him, oblivious of the discomfort or noise or promiscuity of the harsh, violent life there just next to him. That child sitting cross-legged on the floor of that shop, in the heart of the forest, reading all alone in the lamplight, is not there by chance. He resembles like a brother that other child I spoke about at the beginning of these pages, who was trying to write with a carpenter’s pencil on the back of ration books, in the dark years immediately after the war. The child reminds us of the two great urgent tasks of human history, tasks we are far, alas, from having fulfilled. The eradication of hunger, and the elimination of illiteracy.
For all his pessimism, Stig Dagerman’s phrase about the fundamental paradox of the writer, unsatisfied because he cannot communicate with those who are hungry—whether for nourishment or for knowledge—touches on the greatest truth. Literacy and the struggle against hunger are connected, closely interdependent. One cannot succeed without the other. Both of them require, indeed urge, us to act. So that in this third millennium, which has only just begun, no child on our shared planet, regardless of gender or language or religion, shall be abandoned to hunger or ignorance, or turned away from the feast. This child carries within him the future of our human race. In the words of the Greek philosopher Heraclitus, a very long time ago, the kingdom belongs to a child.
J.M.G. Le Clézio, Brittany, 4 November 2008
Translated by Alison Anderson
Copyright © The Nobel Foundation 2008
Copyright © The Nobel Foundation 2008
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Miguel Angel Asturias, 1967 Nobel Prize of Literature laureate Stock Photo
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Download this stock image: Miguel Angel Asturias, 1967 Nobel Prize of Literature laureate - 2GJEMPJ from Alamy's library of millions of high resolution stock photos, illustrations and vectors.
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https://www.alamy.com/miguel-angel-asturias-1967-nobel-prize-of-literature-laureate-image441646650.html
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You can only use this image in editorial media and for personal use. Editorial media includes use as a visual reference to support your article, story, critique or educational text. Personal use allows you to make a single personal print, card or gift for non-commercial use. Not for resale.
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Miguel Ángel Asturias, Guatemalan poet, novelist, and diplomat
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Miguel Ángel Asturias, (born Oct. 19, 1899, Guatemala City, Guat.—died June 9, 1974, Madrid, Spain), Guatemalan poet, novelist, and diplomat.
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Encyclopedia Britannica
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https://www.britannica.com/summary/Miguel-Angel-Asturias
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Miguel Ángel Asturias, (born Oct. 19, 1899, Guatemala City, Guat.—died June 9, 1974, Madrid, Spain), Guatemalan poet, novelist, and diplomat. He moved to Paris in 1923 and became a Surrealist under the influence of André Breton. His first major works appeared in the 1930s. He began his diplomatic career in 1946; it culminated in his serving as ambassador to France 1966–70. Asturias’s writings combine a Mayan mysticism with an epic impulse toward social protest, especially against U.S. and oligarchic power. In Men of Maize (1949), often considered his masterpiece, he depicts the seemingly irreversible wretchedness of the Indian peasant. Other major novels, some of which employ the style of magic realism, are El Señor Presidente (1946), a fictional denunciation of Guatemala’s dictator; The Cyclone (1950); The Green Pope (1954); and The Eyes of the Interred (1960). He won the Nobel Prize for Literature in 1967.
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https://www.goodreads.com/book/show/73723.The_President
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en
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The President
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Read 538 reviews from the world’s largest community
for readers. Guatemalan diplomat and writer Miguel Angel Asturias (1899–1974) began this award-winning …
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Goodreads
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https://www.goodreads.com/book/show/73723.The_President
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November 24, 2021
El Señor Presidente = Mister President = The President, Miguel Ángel Asturias
Mister President is a 1946 novel written in Spanish, by Nobel Prize-winning Guatemalan writer and diplomat: Miguel Ángel Asturias (1899–1974).
A landmark text in Latin American literature, Mister President explores the nature of political dictatorship and its effects on society.
Asturias makes early use of a literary technique now known as magic realism. One of the most notable works of the dictator novel genre, Mister President developed from an earlier Asturias short story, written to protest social injustice in the aftermath of a devastating earthquake in the author's home town.
تاریخ نخستین خوانش: روز نهم ماه نوامبر سال1972میلادی و بار دیگر سال1999میلادی
عنوان: آقای رئیس جمهور؛ میگل آنجل آستوریاس؛ مترجم: زهرای خانلری (کیا)؛ تهران، خوارزمی، سال1348، در408ص، موضوع داستانهای نویسندگان گواتمالایی به زبان اسپانیا - سده20م
داستان «آقای رئیس جمهور»، داستان «استرادا گابررا»، دیکتاتور خشن «گواتمالا»، در نخستبن سالهای سده ی بیستم میلادی است؛ رئیس جمهوری که خود را خدای مردمان آن کشور میدانستند، و بجای مردمان کشور خود، و برای آنها تصمیم گیری نیز میکردند؛ حکومتی که به برهان نارضایتی و شجاعت «افراد ویژه»، به آنها انواع و اقسام جرمها را، نسبت میدهد؛ محکومین، و شاهدهای رویدادهای گوناگون را در زندان، به زور شکنجه، مجبور به اعترافات دلخواه خویش میکند، و ....؛ در این داستانِ سیاست و اختناق، خوانشگر شاهد یک عشق، و سرانجام آن، در چنان حکومتی نیز هست؛ آقای «استوریاس» داستان را با شیوه های خیال آمیز، و شاعرانه با روایتی بسیار زیبا بازگو کرده اند
تاریخ بهنگام رسانی 25/09/1399هجری خورشیدی؛ 02/09/1400هجری خورشیدی؛ ا. شربیانی
April 17, 2020
I read the English translation of this Spanish language novel, which was published in 1946. I broke off reading it about halfway through to better understand the background, and it seems the title character is based on the real-life Manuel Estrada, President of Guatemala from 1898 to 1920. I’d not heard of him before. The story is set during the 1910s.
I’ve read a number of novels by Latin American authors where the reader is taken into a sort of nightmare world, and this is another to add to that list. It seems to me the author wanted to illustrate the effects of dictatorship on society, especially the effects produced by the sort of dictator with which Latin America has historically been so cursed. In this novel the merest chance can lead to someone being tortured or executed, and the society is a sort of kleptocracy where those in power extort money from everyone else. Cruelty and fear are the dominant themes, and people are cruel to one another in the most casual fashion. Others are driven by fear to disown friends and relatives who have been arrested, terrified they will be tarred by association. There are one or two characters who behave with decency, but they are the exceptions. Many of the male characters spend their time getting blindingly drunk. Apparently alcoholism really was a major problem in Guatemala at this time, but I get the feeling the author’s message is that the rottenness of the society he describes was something that originated at the top and spread downwards.
Despite the book’s title, the President is not the main character, that role falling to someone with the curious moniker of “Miguel Angel-Face”, an advisor to the President. Several times his name is linked with the phrase “He was as beautiful and as wicked as Satan”. I found this a curious expression and wondered whether there was something to it that was lost either in translation or across the gaps of time and place. Despite the comparison with old Beelzebub, Miguel is one of the book’s more sympathetic characters. He falls in love with the daughter of one of the President’s political opponents and becomes a better person as a result.
“Magic realism” is another well-known feature of Latin American literature and this novel was one of the early examples of that genre. It isn’t always a style that I appreciate but it’s comparatively restrained in this novel. Most of the dream like sequences are identified as dreams. There are a few mystical elements based around aspects of Catholicism.
Is it hope or depravity that triumphs? It’s a question I would enjoy discussing, and I rate a novel a success when it leaves me with the desire to discuss it with others. However, to take that discussion further in this review would be to include spoilers.
May 13, 2023
С самых первых строк, тех самых ономатопеических, стало ясно, что это великий мастер слова.
"Бьем-бьем-бьем! бьем-лбом, бьем-лбом! – били-били-лбом! – белым лбом… бьем… бьем!… – били колокола, ранили слух, луч сквозь мглу, мгла сквозь свет. – Били-бьем! Би-ли-бьем! Бьем-бьем… белым-белым лбом… бьем! бьем! бьем! "
Но Астуриас не только мастер слова, он мастер и подачи идей, и смешения жанров, стилей и техник. Он виртуозно смешивает исторический роман с магическим реализмом, сюрреализм с потоком сознания, роман о диктаторе с мифологией коренных народов Гватемалы. Его язык образен, ярок и, одновременно, поэтичен и страшен в обличительной силе.
Центральной темой его романа является диктатор и люди, живущие при диктатуре. Он не называет ни страну, ни имени диктатора, и из-за каждый диктатор прошлого или современности чем-то похож на Сеньора Президента.
Этот человек, пришедший к власти, больше всего на свете боится. Боится потерять власть, боится, как близкое окружение, генералов и полковников, так и свой народ. Этот страх поощряет доносительство. Доносят все и на всех тоже из страха. Сеньор Президент может бороться со своим страхом только запугивая и внушая страх всем - и близкому окружению, своим фаворитам, подчинённым, так и простым людям. Этого можно достичь только необузданной жестокостью, изощрёнными, извращёнными пытками духа и тела. Мало просто убить, нужно внушить ужас, нужно истязать. Мало просто посадить в тюрьму, нужно заставить страдать. Вот эту природу страха, присутствующей в любой диктатуре, Астуриас великолепно изобразил.
Страх порождает и культ личности. Сеньору Президенту важно каждый день слышать слова восхваления из страха потерять власть. Его окружению самая неприкрытая лесть позволяет выслужиться, а народу, славословящему диктатору - выжить, подтвердить свою благонадёжность.
Роман полон сновидений или просто видений, как у Кара де Анхеля во время аудиенции у Сеньора Президента, когда перед его мысленным образом возник образ Тоиля - Властителя Огня - требующего человеческих жертв. Эти сновидения и просто видения создают образы, которые играют важную роль в создании параллельного, мистического восприятия сюжетных деталей.
В романе Сеньор Президент убивает не только оружием или нечеловеческими условиями, например лишением воды, но и словом, клеветой или обманом. Отец и муж Камилы умерли от навета, так сильно слово.
Любовь способна изменить человека, считает автор. Но мне кажется, что Мигель, с одной стороны, почувствовал свою неприязнь к патрону и осознал его ничтожность не под воздействием любви. Он продолжал и был готов продолжать свою работу, подавляя свои чувства из элементарного самосохранения и желания благополучия. Но Сеньор Президент, страдая параноидальным страхом никому не верит и часто меняет фаворитов.
На мой взгляд, многие второстепенные персонажи вышли даже сильнее, цельнее главных героев. Таковы образы Пелеле, Федины, кукольника.
April 9, 2012
One of the finest novels you will ever read. It will tear your heart out and all the while make you feel as if something magical is happening. Asturias is a deft weaver of stories, not to mention a grandfather of the magical realism genre in literature. He wrote all his books in Spanish, of course, and I, of course, had to read the translated verions, which must suffer from the kind of loss all translations suffer, and yet, I cannot fathom how this novel could be any better than it is. The essence of Asturias' talent does not get lost in translation here. It may take a little work to get a copy of this...it may cost a little extra money...it's so much more than merely worth it. It's a tale you will never forget.
December 31, 2008
I just finished this novel and it was an exhausting and depressing read. Don't get me wrong; it is a fantastic novel and well worth the time and emotional investment. Asturias writes in an almost poetic prose that really draws you in. His characters are engaging and his settings are such that I was able to really visualize his scenes. The story itself is sad and his words carry you along like a silent observer of some hateful crime that you are unable to prevent but of which you are almost omniscient. It is really frustrating and I found myself wanting to yell out to the characters to "STOP!" several times. And of his characters, Asturias brings seemingly insignificant characters from early chapters back as more major players throughout the story, so if you plan to read this pay attention to every character.
I highly recommend this book, especially to those who enjoy reading works of historical fiction.
October 29, 2013
قرأت هذا الكتاب أثناء وجودي في السجن عام 1991، وكان صادماً بعمقه وتعريته للاستبداد وما يفعله بالبشر، الجميل في الكتاب هو تجربة الانشقاق وتحمل تبعات اتخاذ السبيل الصحيح مهما كانت مؤلمة ومفجعة.
March 14, 2018
Miguel Ángel Asturias's El Señor Presidente is the ultimate novel about Latin American political dictatorships -- and it is also the earliest. It was written in 1933, but for various reasons not published until 1946. It is set during the presidency of Manuel Estrada Cabrera, which lasted from 1898-1920. Although the president is never named, it is set during the First World War, when Estrada Cabrera was in office.
Early in the novel, he president decides to blame General Canales for the death of Colonel Sonriente, one of the leader's favorite hatchet men. (He was actually killed by a loony whom he was teasing.) In the course of executing Estrada's orders, Miguel Angel Face (is it significant that the character has 2/3 of the author's name?) kidnaps the General's daughter and hauls her to a bar across the street. In the process, he falls in love with her and marries her.
This does not sit well with the president: marrying his avowed enemy. The tone of his presidency is set by this comment, which the Judge Advocate makes to one of his servants:
When will you understand that you mustn't encourage people to hope? In my house the first thing everyone, down to the cat, has to learn is that there are never grounds for hope of any description for anyone. It's only possible to go on holding a position like mine if you obey orders; the President's rule of conduct is never to give grounds for hope, and everyone must be kicked and beaten until they realise the fact. When this lady comes back you must return her her letter, neatly folded, and tell her there is no way of finding out where her husband is buried.
Interestingly, Estrada Cabrera was forced out of office after he was unable to lead the country after a series of devastating earthquakes in 1917-1918.
Asturias went on to win the Nobel Prize for Literature in 1967. He has written a number of other novels, which are also excellent, especially Men and Maize and Mulata as well as a trilogy excoriating the United Fruit Company's treatment of the campesinos who worked for it.
October 10, 2018
reaffirms that my sweet spot for literature seems to be the 20s and 30s. Some real gut-punches of brutality, and just exceptionally well written and structured.
elements of surrealism and magical realism, as well as some pure documentary realism, all beautifully mixed together.
in the age of Trump, it is also perhaps useful to engage with a text like this. Power and brutality and selfishness abound....
June 20, 2020
'The President' is the depiction of life under the rule of a cruel and capricious dictator in a nameless South American country. There is an almost acrid atmosphere to the book, as Asturias lures you in with the lurid lives of the characters, from the Machiavellian, but ultimately tragic Angel Face, to the innocent Camilla who is caught up his web of deceit, to the dictator himself, a man consumed with paranoia and hatred.
The nightmarish tone of the novel is set in the opening chapter, which depicts a scene in which various tramps congregate in a church, one of whom ends up murdering a general and, thus setting in motion the events which take place during the book. This nightmarish atmosphere is reinforced throughout the book; from frequent description to the orangeade sky, to the constant stream of betrayals which the characters subject each other too, the people who populate the story are not so much humans as they are puppets dancing on the strings of the all-powerful dictator.
Not only is 'The President' a powerful and prescient depiction of life under a dictator, it is also an exploration of the ceaseless cruelty created by any tyrannically government and the meaningless sense of violence it perpetuates.
July 3, 2018
Bu kitabı ikinci okuyuşum, ilk kez 1971 yılında okumuştum. Siyasi mesajından çok etkilenmiştim, o dönem politik bilinçlenme için önerilen kült kitaplardan biriydi. Yeniden okuduğumda o zaman çok farklı bir kitabı okumuştum herhalde diye düşündüm. Bu kitap ciddi bir edebi eser çünkü. Gerçi abartma, dramatize etme, gerçekçi olmayacak kurgulamaları olsa da, ideolojik bir kitaptan çok edebi yönü olan bir kitap buldum.
Yazar bu kitabı Guatemala’da 1898 ile 1920 yılları arasında ülkeyi diktatörlükle yöneten, hile ile seçim kazanan ve muhaliflerine karşı çok acımasız olan Başkan Manuel Estrada Cabrera’yı yermek için yazmış. Gerçi yıllar farketmiyor, genelde diktatörlerin karşı düşünceye karşı uyguladığı yöntemler üç aşağı beş yukarı aynı.
Bu okuyuşumda kitap beni politik olarak nedense etkilemedi, kitapta yazılanlara karşı duyarsızlaşmak ya da kanıksamak söz konusu olamayacağına göre kitabın okunuş yaşı, zamanı ve o zamanki ruh durumunun ne kadar etkili olduğunu bir kez daha anladım. Okumanızı öneririm, zamanıdır :)
January 11, 2020
It's clear to see how this powerful, incisive gem of a political satire earned Asturias the Nobel Prize for Literature. What's less clear is how it can have fallen into moderate obscurity since then. It remains relevant today and is quite vivid in this excellent translation by Frances Partridge, whose talents earned her the respect of the Bloomsbury Group.
4.5 stars
February 13, 2014
إذا كان الكتاب الروس قد خرجوا من معطف جوجول
فإن كل كتاب أمريكا اللاتينيه قد ثاروا على ديكتاتورياتهم
وخرجوا من أرصفه السيد الرئيس
June 14, 2023
Miguel Ángel Asturias – Prémio Nobel da Literatura, 1967
"pela sua realização literária vívida, profundamente enraizada nos traços nacionais e tradições dos povos indígenas da América Latina"
Uma das coisas boas destas viagens literárias é despachar um país, a Guatemala, junto com um prémio Nobel da Literatura.
Miguel Ángel Asturias (1899-1974) nasceu na Cidade da Guatemala, filho de pai mestiço e advogado, e mãe índia e professora. Foi um consagrado escritor, jornalista e diplomata, reconhecido no mundo da literatura e um dos precursores do «boom latino-americano», que surgiu entre os anos 60 e 70. Viveu exilado durante vários anos, devido à sua oposição pública à tirania. Em 1923 viajou para a Europa, com o objectivo de estudar em Inglaterra, mas acabou por ficar dez anos em Paris, cidade onde escreveu, entre outros, este livro.
O Senhor Presidente foi inspirado no governo do ditador Manuel José Estrada Cabrera, presidente da Guatemala no período de 1898 e 1920, e que afectou directamente a família do autor.
O romance tem como ponto de partida o assassinato de coronel José Parrales Sonriente, um militar próximo do Presidente. A partir daqui tudo serve para perseguir opositores do regime e antigos aliados.
Não pergunte a si mesmo, general, se é culpado ou inocente: pergunte apenas se conta ou não com a proteção do amo, pois um inocente que está mal com o governo, acha-se em piores condições do que se fosse culpado.
Não foi uma leitura fácil (com muitas metáforas e onomatopeias), chegou a ser asfixiante com tanta violência, abusos de autoridade, torturas e acusações, mas valeu a pena.
O peso dos mortos faz a terra girar de noite e o peso dos vivos, de dia... Quando os mortos forem em maior número do que os vivos, a noite será eterna, não terá fim; para o dia retornar faltará o peso dos vivos.
52/198 – Guatemala
July 25, 2021
Enfes bir kitap, enfes. Latin Amerika edebiyatının temel konularından olan “diktatör romanları”nın harika örneklerinden biri. (Marquez’in “Başkan Babamızın Sonbaharı”nı veya Llosa’nın “Teke Şenliği”ni sevenler bunu da sever; bir de Guatemala'ya uğramış olursunuz hem.) Aynı zamanda da büyülü gerçekçiliğin erken dönem örneklerinden biri, ilk sesleri, oluşma adımları. Diktatörlüğün bir toplumda yarattığı yozlaşmayı, toplumsal olanın bireysel olanı ne kadar derinden etkileyip şekillendirdiğini, çürümenin nasıl ve ne biçimde sızabileceğini çok sarsıcı şekilde anlatıyor Asturias. Bir de tabii kelimeler. Nasıl güçlü kelimeler. Kurgunun, karakterlerin başarısı bir yana, bu kitap edebi açıdan da bir cevher elbette ki. Anlattığı vahşet de, aşk da, korku da çok güçlü, çok etkileyici. Bu okuduğum üçüncü Asturias’dı, devamı kesinlikle gelecek. “Sevmek umudunu yitirip yalnızca sevilmekle yetinen sevdalılar gemisine götürün onu…”
April 21, 2014
استمد الكاتب ميغيل انخيل استورياس هذه الرواية من سنوات حكم الديكتاتور كابريرا الذي حكم جمهورية جواتيمالا لسنوات طويلة، هذه الرواية تحكي بشكل دامٍ الكوارث التي يخلفها الاستبداد في روح الشعب وأيامه ومستقبله وكرامته ، ما يحدثه المستبد من شروخ في الجسد الوطني وما يتبع ذلك من فضائع على المستوى الفردي ، النهب والقتل والتلاعب بالقوانين واستخدام السلطة في التنكيل بالآخرين بلا ذنب أو تهمة غالباً ، تحويل الزعيم الأوحد إلى صنم تدور حوله كل الدولة والشعب والقيادات وهو وحده مصدر السلطات وعليه تنعقد آمال الوصوليين والمتسلقين ومصاصي الدماء واللصوص ، الرواية مفعمة بكثير من المشاهد المرعبة وصور المعاناة التي عاشها شعب فقير تحت نير الطاغية وأزلامه ، كذلك تحتوي الرواية بشكل كبير على كثير من تفاصيل الحياة والحكايات والأساطير الشعبية ،، الرواية بدأت بمأساة وانتهت بمأساة وهكذا حياة الشعوب المسحوقة تحت الحكم الدكتاتوري
January 11, 2018
FESTIVAL NARRATIVO
Es un tema recurrente entre los corrillos de entendidos en literatura y críticos que el lenguaje puede salvar a una novela y que, quizás, al final, es lo que perdura de un texto. También es habitual que las editoriales nos vendan novelas que, en sus paratextos, sean elogiadas por la forma en la que están escritas. En el caso de El Señor Presidente, esto es una realidad, porque la obra de Asturias es, fundamentalmente, lenguaje, pero un lenguaje entendido como un personaje más, quizás el auténtico personaje protagonista del texto.
Desde el mismo inicio, desde la primera palabra, desde ese ya archiconocido “¡Alumbra lumbre de alumbre, Luzbel de piedralumbre!”, Asturias ya deja muy clara su voluntad de que el libro será un festival narrativo asentado en todo el poder de la lengua con la que se expresa. Ese primer párrafo define gran parte de la utilización del lenguaje en la novela: la sinestesia, el empleo de onomatopeyas, de palabras que por su sonoridad remiten a otras, la utilidad del adjetivo para conformar la personalidad de los personajes, un derroche de originalidad expresiva en una explosión a veces näif y colorista que, incluso, adorna de una pátina luminosa a las escenas más trágicas, sangrientas o brutales, sabiendo ser delicado en momentos tan terribles como el encarcelamiento y muerte de Miguel Cara de Ángel o la desazonadora, pero no por ello menos lírica, muerte del bebe en brazos de la Niña Fedina mientras, en un golpetazo de realidad, “el amanuense se chupaba las muelas”.
El lenguaje ilumina la novela por completo. En Asturias, el lenguaje narrativo es capaz de levantar mundos y de crear voces personalísimas a través de los discursos que articulan los personajes, repletos de giros característicos, de las formas del habla de las calles o de los palacios, de los políticos y de los poetas, dotando a cada uno de los seres que desfilan por el texto (y son muchísimos) de una personalidad propia que se cuaja en el mismo instante en que abren la boca y se expresan. Ejemplar es la aparición del Señor Presidente, definido por la palabra que utiliza repetidamente en ese capítulo: ANIMAL, con mayúsculas.
Esa delicadeza de orfebre con las formas de hablar de los personajes que tiene Asturias cala en la voz del narrador, incansable en un despliegue de juegos de palabras, retruécanos, onomatopeyas (grande es el valor que concede Asturias a la onomatopeya en su discurso narrativo), incluso en giros rebosantes de originalidad e ingenio que, a veces, recuerdan a las greguerías. El adjetivo de unas ���calles intestinales”, para retratar los suburbios, la onomatopeya de la risa que se articula con las cinco vocales para mostrar una humillación, las asociaciones simbólicas casi surrealistas como “la casa que era una regadera de ladridos”, o la adjetivación barroca para hacernos palpar la niebla que es “estuquería de natas con color de pulque y olor a verdolaga”, así como la repetición de ciertas frases en la reiterada descripción de los personajes importantes al estilo de ese “Miguel Cara de Ángel era bello y malo como Satán”, son ejemplos de cómo se desencadena este festival de narratividad que construye Asturias por y para el uso de un lenguaje que adquiere un relieve por encima de los personajes y las situaciones, llegando a ser, casi, el fin mismo de la novela -de sucesos tan brutales que quizás no podría soportar un lenguaje que no los anestesiara con su lirismo inagotable- ya que, no en vano, se cierra con una abstracción lingüística de pura recitación: la letanía de un rosario. No podía ser de otro modo.
Protagonista: el lenguaje. Una lección magistral que aturde y fascina y emboba. Sonoro, maestro y monumental ejercicio de lenguaje.
Read
August 22, 2021
“The weight of the dead makes the earth turn by night, and by day it is the weight of the living... When there are more dead than living there will be eternal night, night without end, for the living will not be heavy enough to bring the dawn.”
P 219, 1963 Gollancz edition.
January 3, 2018
"...¿Creéis seguir viviendo en un siglo en el que los reyes estaban, como vos os quejáis de haberlo estado, a las órdenes y a la discreción de sus inferiores?… Estoy fundando un Estado en el que solo habrá un amo...¡El Estado SOY YO!..." (Alejandro Dumas, El vizconde de Bragelonne, palabras que pone en boca del rey Luis XIV).
Estas palabras que el gran Alejandro Dumas atribuye al rey Luis XIV denotan claramente el espíritu que ronda y que constituye el fundamento y piedra angular de los regímenes totalitarios, denominación moderna que recibe aquello que, con anterioridad a la Revolución Francesa, era llamado de absolutismo, y en los cuales existe, como ya se ha dicho un solo amo situado en la cúspide de todo y el cual siquiera está sometido a la ley, puesto que su voluntad es la ley misma. Quien crea que estas palabras puestas por Dumas en boca de Luis XIV pertenecen a un pasado remoto, vive en una burbuja apartada de la realidad.
El señor presidente de Miguel Ángel Asturias (Premio Nobel de Literatura) se inscribe en la corriente que podría ser llamada como Literatura de dictaduras pues el trasfondo político llevado al plano literario da lugar a estas novelas. Mi primer contacto con este tipo de obras fue en el ya lejano año de 2001 momento en el cual no contaba yo con más de 15 años y aún cursaba la secundaria (a la que llaman instituto en España), y cuando para un trabajo correspondiente a la clase de Literatura se me asignó la lectura de Yo, el Supremo principal obra del más aclamado escritor de mi país Augusto Roa Bastos (Premio Cervantes en 1989). En esta obra, el autor utiliza el mote de "El Supremo" para hacer referencia a la figura histórica de José Gaspar Rodríguez de Francia, hombre que gobernó Paraguay en solitario desde 1814 hasta su muerte en 1840 y cuyo título oficial era Supremo Dictador de la República (así iniciaba sus documentos oficiales: Yo, el Supremo Dictador de la República del Paraguay).
Con un estilo bastante distinto, Asturias nos presenta a otro Dictador, aquí se tiene una particularidad compartida con Roa Bastos, si en Yo, el Supremo se hace referencia al dictador con el título de El Supremo, Asturias lo hace con el de Señor Presidente, sin que se asigne un nombre propio al dictador que rige los destinos del país, empero los literatos especializados señalan que la figura de este Presidente se basa en el guatemalteco Manuel Estrada Cabrera. Esta afirmación de parte de algunos estudiosos, incluido el autor de la introducción a la edición que he leído (la de que este Presidente se basa en esa figura histórica) me llevó a indagar acerca del período en que ese hombre gobernó Guatemala, tras leer suficiente, pude notar algo llamativo, y es que este dictador sin nombre no necesariamente es guatemalteco, puesto que puede ser extrapolado a cualquiera de los demás países latinoamericanos que, en algún momento de su historia, padecieron este tipo de gobiernos autocráticos.
Latinoamérica no solo es bastante homogénea en cuanto a su configuración étnica (proveniente en lo principal del mestizaje entre autóctonos y españoles) y cultural (en lo esencial seguimos las mismas tradiciones, baste con ver que, por ejemplo, la Semana Santa es festejada de manera casi similar desde Argentina hasta México), sino que la misma historia de esta región es casi convergente en el momento y forma de desarrollarse los hechos. Así, cada país que ha padecido un gobierno dictatorial puede identificarse plenamente con la atmósfera opresiva, sangrienta, injusta y dura descrita por Asturias en esta obra. Así, el dictador sin nombre bien puede ser Alfredo Stroessner, Augusto Pinochet, Rafael Videla, Hugo Banzer, Emilio Medici, Anastacio Somoza, Porfirio Díaz, Fidel Castro, Leónidas Trujillo, Juan Velasco Alvarado, Juan María Bordaberry y tantos otros.
Muchos de los pasajes de este libro me resultaron extrañamente familiares, pues mucho de lo que Asturias hace padecer a sus personajes es el vivo relato de cuanto me ha contado mi madre de la vida bajo el gobierno dictatorial (tengo 31 años, cuando cayó la dictadura de Alfredo Stroessner contaba yo con 3 años, así que no recuerdo nada) que en el caso de Paraguay había durado largos 35 años (1954-1989, fue el segundo período dictatorial después del de Rodríguez de Francia 1814-1840). Una de ellas es el cumpleaños del dictador. En un capítulo del libro, se festeja el onomástico del dictador con una gran fiesta, día de fiesta nacional, con el pueblo saludando al Líder y alabando su gobierno con encendidos discursos, pues bien, aquí en Paraguay, el cumpleaños del dictador (3 de noviembre) era feriado nacional y todos los empleados públicos, docentes, militares y policías estaban obligados a ir rendir pleitesía al dictador, quienes no estaban en la Capital debían festejar tan importante fecha en sus respectivas ciudades.
Asimismo, la opresión relatada, y principalmente las torturas (de hecho uno de los pasajes que me desgarró el alma es uno en que los militares dejan morir de hambre a un bebé para que su madre confiese algo que ni sabía) forman parte del itinerario de todas las dictaduras, al menos de las más recientes, en Paraguay, Argentina, Brasil y Chile existen sendos informes relativos a los abusos a los derechos humanos cometidos en los períodos de gobierno dictatorial, y en el Cono Sur la cuestión fue aún lejos debido a la Operación Condor que constituyó un marco de acuerdo de colaboración entre las dictaduras de Paraguay, Argentina, Chile, Brasil y Uruguay, merced al cual desaparecieron y murieron miles de personas.
La lectura de la mejor obra de Asturias fue como leer un Manual de Historia no solo de mi país sino de casi toda Latinoamérica. Debería hacerme un hueco en mis lecturas de este año para leer La fiesta del chivo de Mario Vargas Llosa, libro basado en el cruel y sanguinario Leónidas Trujillo y quizá, La casa de los espíritus de Isabel Allende.
Cuatro estrellas pues en algunas partes el ritmo de la narración decae, pero no por ello he dejado de disfrutar con esta buena obra. Absolutamente recomendada.
April 5, 2023
Llosa’nın “Teke Şenliği” tadında bir okuma olacağını düşündüğüm için çok yüksek beklenti ile başlamıştım. Belki de bu nedenle beklentimi karşılamadı kitap.
Kitabın ilk bölümlerinde, ana karakter zannettiğim General Canales’in ve Sayın Başkan karakterlerinin daha detaylandırılmış öyküsünü okumak isterdim. 250. Sayfaya kadar General Canales’in başına gelenler ile ilgili bir kelime bile geçmiyor. Sayın Başkan’ın anlatı içindeki payı ise oldukça az yer kaplıyor. Dünyadaki diktatörlük rejimlerinden deneyimimiz nedeni ile başkana peşinen bir karakter yüklüyoruz (ve kuvvetle muhtemel yanılmıyoruz) ama yazar bize sayın başkan karakteri için çok az eklemede bulunmuyor. Ana olaya tanık ya da dahil olanların yaşadıkları üzerinden diktatörlük eleştirisi yapılması elbette çok kıymetli ama eserin bütününde beni tatmin etmeyen bir şeyler var.
——Spoiler ———
General Canales’ in son 50 sayfada birden bire ortaya çıkan ihtilal girişimine dair neden hiçbir şey anlatılmamış anlayan okur varsa lütfen bana da anlatabilir mi? Bence bu eser daha uzun ve ayrıntılı olmalıydı🤷🏻♀️
June 24, 2017
Cuando leo a Miguel Ángel Asturias me siento como en casa. Me viene a la memoria el barrio San José donde crecí, y voy reconstruyendo a partir de ese punto en mi cabeza el centro histórico de principios de siglo XX . Los personajes se desprenden fácilmente de entre la niebla de las calles, que va cediendo ante el colorido relato. A pesar de ser una denuncia clara y abierta a la dictadura de Manuel Estrada Cabrera, no deja de ser jocoso y ameno su discurso. No me extraña que fuera de las fronteras de mi país, pocos sean los adeptos de Asturias pues resulta complicada su traducción; además, siendo precursor del realismo mágico, por momentos se puede perder el hilo de la historia. Ojalá mis connacionales logren descubrir toda la riqueza de esta y otras novelas del autor. Hoy más que nunca necesitamos apoyarnos en los grandes pilares de la historia, para construir una Guatemala más unida.
April 16, 2022
"Başkan'ın güvenini kazanmak için en etkili davranış bir suç işlemek veya kendini savunamayacak kimseleri açıktan açığa aşağılamak veya halka üstün gücünü hissettirmek ya da milletin sırtından zenginleşmektir."
Nobel Edebiyat ödülü verilmiş Guatemalalı yazar M. Angel Asturias'ın büyülü gerçekçilik türünün ilk örneklerinden kabul edilen eseri. Yazarın romanlarımdan en tehlikelisi dediği, Güney Amerikalı diktatör prototipinin başarılı bir şekilde anlatıldığı kitap.
Anlatım diliyle çeviri ve düzeltideki sorunlar nedeniyle başlarda hikayenin içine girmekte zorlandım. Karakterler kafamda oturduğunda anlatı akıp gitti. Metin Almanca'dan Türkçe'ye kazandırılmış. Kitap, Süleyman Doğru, Gökhan Aksay ya da Roza Hakmen gibi yetkin bir çevirmen tarafından orijinal dili olan İspanyolca'dan tekrar dilimize kazandırılsa daha iyi olur kanısındayım.
1922 yılında yazımına başlanıp 1932'de bitirildiği not edilen eser ne yazık ki önemini ve güncelliğini hala koruyor.
June 18, 2023
This masterpiece is the sort of book that will make you fall eternally in love with books if read at a young age, and will remind you of how you fell in love with books if read at a not so young age.
This crushing X- ray of dictatorship with the dictator having little airtime shows the effects of the toxic combination of human deprivation and power (I tend to think the second will inevitably lead to the first) through the lives of those around and under him. The colorful cast features in an intense patchwork – or rather spiderweb – of individual lives painted like vignettes of oppression, during the dictatorship of the Guatemalan Cabrera. The heartbreaking love story delicately woven in exacerbates the pain of individual vulnerability in the face of tyranny. But the most impressive feat of this worthy Nobel winner is the language, oh the language! This is poetry at its highest, cruelest, gentlest.
Not to be missed.
Read
April 11, 2008
This book is one massive, paranoid nightmare. While it drags a bit at times, it's still solid. Not only is it a classic Latin American dictator novel and one of the first magical realist works, it's also worth reading as a surrealist work. Like a Latino Kafka, Asturias scrapes the darkest corners of the paranoiac mind for material, gathering them into a slightly shabby but cohesive whole.
December 24, 2023
2.5*
This book was published in 1946 and for some reason I was expecting this book to refer to a puppet president installed during the Cold War, which is impossible. I had wrong expectations and felt disoriented with this terrifying book. It's no surprise people have no respect for anything and treat each other like animals. The format of the book was really weird on my kindle, which may have affected the enjoyability of my reading. I only started to get into the story when Camilla appeared. She's the symbol of how love is the only thing that can fight against tyranny. Miguel Angel Face was a fascinating character as well, unfortunately I wasn't able to fully grasp his complexity. My own fault. The president is the quintessential dictator, who manipulates the people around him like a puppet master and betrays them to no end. All to feed his own ego. He stages events and those who speak the truth are treated like lunatics and punished. Just shows how crazy (in a bad, extreme way) the world can be if the power balance isn't in check. I didn't enjoy reading this at all.
February 12, 2022
My comments: https://youtu.be/3ShxdI3HunM
Mirror for Colombia of a dictatorship?
In this analysis of the work of the Nobel Prize winner, I highlight several points that show the coincidence between the dictatorship of Manuel Estrada Cabrera in Guatemala and Colombian democracy under the eternal President, where we have extrajudicial executions, corruption, nepotism, criminals who are public servants or public servants who commit crimes, forced displacement to steal lands, massacres, among others. If you dare to see it, I await your comments.
Espejo para Colombia de una dictadura?
En este análisis de la obra del premio nobel, destaco varios puntos que muestran la coincidencia entre la dictadura de Manuel Estrada Cabrera de Guatemala y la democracia colombiana bajo el sempiterno Presidente, donde tenemos ejecuciones extrajudiciales, corrupción, nepotismo, criminales que son servidores publicos o servidores públicos que cometen crímenes, desplazamiento forzado para robar tierras, masacres, entre otras. Si se atreven a verlo, espero sus comentarios.
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