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Lived experience For some readers, Remedios is meaningful because she reminds them of their relatives, while a writer claims that tourists will feel her presence when visiting Aracataca: In recalling the event, a US knitting pattern designer has to admit her failing memory: Artistic commensuration This pattern, on the contrary, yielded more results, ranging from Ancient and modern literary classics to contemporary painting. Forty-two years later, an emerging Argentine writer also referred to the Chagall comparison ibid, Indeed, the data confirm how in non-vernacular contexts, audiences have produced distorted views about the book by transforming a specific event into widespread behavior.
So claims a US scholar: Furthermore, critics have disapproved of the event for not being a literary novelty ibid, and Yet in the last four decades, the event has been used to convey meaningful information about literary value and lived experience. The analysis found that the available pool of meanings for the elements under analysis was tied to a particular context of use, which was neither controlled by the VOC that produced the cultural object nor by the non-VOCs that have appropriated these elements.
Tracing how, in 56 coun- tries over the past 47 years, different actors and organizations have imagined these indexicals showed the progressive disembedding of OHYS from its VOC. Since actors cannot recall all details from OHYS, they invoke some indexically a character, a sentence, an episode and, by using indexical expressions from OHYS, they have stabilized their meaningfulness and obtained better that is, more collectively sanctioned access to macro-sociological planes that, via literature, inform human cognition cf.
Silverstein, Approaches focused on organizational embeddedness cannot account for the process of diachronic, transnational meaningfulness that is central to construct the value of a cultural object as a classic. Discussion This article studied how a cultural object transcends its VOC and attains long- lasting value in being appropriated by actors and organizations that had no share in its original production.
More specifically, this article advanced four interrelated arguments: Whereas previous research emphasized organizational embeddedness, the article confirmed that an artwork, like an individual, can have a long life and an independent career outside the VOC that produced it Becker et al, This finding can contribute to growing research in sociology of art concerned, not with the organizations that produce artworks, but mainly with how artworks do things to people Gell, ; DeNora, , ; Born, The case of OHYS revealed that over the past four decades and across 56 countries the novel has gathered its own agency and now informs human cognition.
Yet more detailed research is needed to understand a particular aspect: Similarly, new research in literary studies posits that classics are a clear instance of works that exist in literary systems beyond their cultures of origin Mukherjee, For that reason, in this article, the notion of conditional universals sought to specify some key principles and parameters involved in the valuation of literary classics across organizational contexts.
However, broader and new questions raised about valuation Lamont, cannot be satisfactorily addressed without a more detailed understanding of the domain of literature as a whole and its striking similarities with other art domains Haskell, ; Weber, Not only can indexical analysis throw new light on the articulation between macro and micro levels Collins, ; Silverstein, It can also serve as a tool to bring closer internalist and externalist approaches to literary analysis, for the indexical refers to 1 an inherent textual attribute a character, a passage, and so on that 2 obtains its meaningfulness in human interaction via reading groups, academic discussions, and so on.
Thus, indexicals are suitable for textual analysis as well as for understanding the social processes they index for example, the classicization of a literary work. And 4 using indexical analysis makes more salient the need to distinguish between meaning and meaningfulness.
Such a distinction is necessary to address a key problem: This distinction can reconcile the multiplicity of meanings of cultural objects with the presence of stable principles and conditions that render their contents meaningful.
The indexical analysis of OHYS made it possible to study a literary text and its collective appropriation by different actors and organiza- tions without concentrating on the contingent fabrication of meaning Griswold, This is possible because indexicality is part of a collective process that sets the boundaries of meaningfulness, not of meaning.
There are encouraging signs in this direction. To move into that direction, rather than a meaning-centered analysis, this article proposed an analysis of cultural objects centered in their meaningfulness 1 as they transcend their original context of production and 2 as their contents are appropriated by non-vernacular audiences. If taken in that direction, the study of meaningfulness could help to develop more robust interpretations of cultural objects, while continue to acknowledge their changing meanings.
Since the argument was made on the basis of a single case, a way of further supporting it would be to provide a detailed artwork-centered comparison of some of the 14 literary counterfactuals mentioned in this article, namely, works that were published before, the same year and after the release of OHYS but did not attain classic status.
This comparison could clarify whether the 10 disembeddings of OHYS are all necessary for other literary works to attain the transcendence leading to classicization, and also the comparison could reveal differences in the ways these works were appropriated in non-vernacular contexts.
In addition, researchers could investigate other paths towards classicization, since OHYS only typifies the standard path: Other relevant questions to be approached differently are: The classicization of OHYS is likely to continue. Between and most Latin American countries celebrate the th anniversary of their colonial independence from Spain.
Preliminary data already suggest that the indepen- dence celebrations are deepening such an ideological disembedding by starting to present OHYS as one of the works that best exemplifies the cultural indepen- dence of Latin America and the birth of a continental identity. He is interested in processes and systems of valuation of cultural objects and the 51 In July , international media amply reported the end of his writing career due to dementia.
Buenos Aires: Sudamericana; Madrid: For full list, see Online Appendix. References Alexander, J. Giddens and J. Turner eds. Social Theory Today.
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Palo Alto, CA: Stanford University Press, pp. Alexander, J. The material feeling of meaning. Thesis Eleven 1: Cultural sociology today. The Oxford Handbook of Cultural Sociology. New York: Oxford University Press, pp. Allen, M. Social Forces 82 3: Bange, P. Poetics 15 1—2: Bar-Hillel, Y. Mind 63 Barcia, P. Madrid and Mexico City: Bartmanski, D. The intellectual pursuits of Malinowski and Foucault. European Journal of Social Theory 15 4: Baumann, S. Film in the United States. American Sociological Review 66 3: How art worlds are like social movements.
Poetics 35 1: Baxandall, M. Oxford, UK: Clarendon Press. Becker, H. Berkeley, CA: University of California Press. Jazz, Painting, Writing, and Other Improvisations. Chicago, IL: University of Chicago Press. Benedetti, M. Santiago de Chile, Chile: Editorial Universitaria. Bennett, T. The role of cultural value in the historical sociology of Pierre Bourdieu.
British Journal of Sociology 56 1: London and New York: Berkers, P. Classification of ethnic minority fiction authors in American, Dutch and German anthologies and literary history books, — Poetics 37 5—6: Bevers, T. A comparative analysis of the content of secondary school exams for music and art in England, France, Germany, and the Netherlands, — Poetics 33 5—6: Biernacki, R. Decoding Facts and Variables. Palgrave Macmillan. Bloom, H. The Books and School of the Ages. Harcourt Brace. Born, G.
For a post-Bourdieuian theory of cultural production. Cultural Sociology 4 2: Bourdieu, P. Bromberg, M.
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A study of culture in the making. Cultural Sociology 6 2: Donoso, J. Barcelona, Spain: Dowd, T. The repertoires of major US symphony orchestras, — Poetics 30 1—2: Eco, U.
Bloomington, IN: Indiana University Press. Escarpit, R. Presses Universitaires de France. Espeland, W. Annual Review of Sociology Evans, P. States and Industrial Transformation. Princeton, NJ: Princeton University Press. Eyal, G. Gorski ed. Bourdieu and Historical Analysis. Durham, NC: Duke University Press, pp. Fau, M. An Annotated Bibliography, — West- port, CT: Greenwood Press. Ferrer, C. The trajectory of a concept.
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Kerman, J. Von Hallberg ed. The case of Jacques Derrida. American Journal of Sociology 93 3: Lamont, M. Inside the Curious World of Academic Judgment. Cambridge, MA: Harvard University Press.
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gabriel garcia marquez
Perceptions of western films among American Indians and Anglos. American Sociological Review 57 6: Silverstein, M.
Basso and H. Selby eds. Meaning in Anthropology.
Albuquerque, NM: University of New Mexico Press, pp. Siskind, M. Quayson ed. The Cambridge History of Postcolonial Literature. Smith, B. Critical Inquiry 10 1: Tompkins, J. The Cultural Work of American Fiction, — Modern Language Association of America. On the threefold selection practised by literary criticism.
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Peyser ed. The Orchestra: Origins and Transformations. Scribner, pp. And anyway, it doesn't take too many chapters or a genius to figure out they all share the same names for a reason. Also, I must say, if you don't like the first pages, you probably aren't going to like the rest of the book. It stays like that Plus, the first Jose Arcadio Buendia is one of the more entertaining characters in the book, in my opinion.
I was cracking up throughout their scenes. Although I feel I missed a lot about what was going on symbolically whilst reading mostly a lot of the religious stuff , I still found this book to be extremely enjoyable. It's inspiring and surreal, whimsical, funny and sad--and it all causes a person to feel very introspective, because it blends so many aspects of what makes up a person's life.
I looked up some of the themes and motifs after reading to make sure I caught everything, and I prefer many of my own interpretations. And I think Gabriel Garcia Marquez meant to write it in a way that was a more personal experience.
At the end notes, he mentions in an interview how he wanted to capture the way an abuela tells stories to her grandchildren-- and I got that vibe the whole time.
And a lot of times, the surreal in crazy old latin american stories is what makes you remember the life lessons behind the story. And I feel like that's what happened here. But again, I feel like most people I know wouldn't like this book, and I can see where they're coming from. It definitely isn't for everyone. And I must stress that that's not coming from a pretentious place.
His writing style will be frustrating to many readers I'd presume, because it's really just incredibly unique.
But, if you can get past the style long paragraphs, little fluctuation in narration, mentioning things that haven't really happened yet, or no main protagonist It isn't perfect, but It's great. And even though I started this review planning to give it four stars, after writing it--I think it's an important enough, and intricately weaved enough, and a unique enough a piece to warrant a 5-star from this fella.
Yes, but all for an intended purpose. I picked up this book for an AP Lit project and browsed through some of the reviews to see just what I was about to read. But there were also the reviews that focused on the enriching side of the book. The side that people often overlook. So I figured I would give it a try.
It is not a book I would normally have picked up, but it soon surprised me. I remember flipping to the first page and reading the very first line of the book: There was so much going on in that first line, the rest of the book just had to be interesting too. The book goes through generations of families as they tell their story over time.
There is no set protagonist, which bothered me at first, but then I became comfortable with it as I continued reading.
Throughout the book you discover your favorite characters with their quirky personalities. The Buendia family is full of weird adventures and mystical encounters. From the gypsies to the invention of ice, the book jumps around from sentence to sentence illustrating the personality of this family simply in syntax.
Many reviews had issues with the numerous similar names and found the book simply confusing. But if you were reading the book with a close eye, you realize that it was all for a reason.
The circular motif. How everything comes around in time. That fate is such a huge force in everything that happens. Overall, I would give this book 4 stars. That seems low for all the good things I had to say about it, but in the end I rate it lower than 5 stars simply because I struggled to relate with it. Customers who bought this item also bought. Page 1 of 1 Start over Page 1 of 1.
La casa de los espiritus: Isabel Allende. One Hundred Years of Solitude P. Harper Perennial Modern Classics. Gabriel Garcia Marquez. Don Quijote de la Mancha Spanish Edition. Read more. Product details Paperback: Vintage Espanol; Spanish edition September 22, Language: Spanish ISBN Don't have a Kindle? Try the Kindle edition and experience these great reading features: Literary Fiction.
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Write a customer review. Customer images. See all customer images. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. Kindle Edition Verified Purchase. Porque en la familia de mi esposo hay fantasmas, tesoro enterrado, santos, revolucionarios y todos los detailles sabrosos que incluye Gabriel Garcia Marquez. Que lo disfruten! If there were more stars, I would give this book more.
Garcia Marquez's writing is just exquisite -- just study the opening paragraphs of this book. He captures the atmosphere of this Caribbean part of Colombia masterfully using his magic realism style. It did help that I have a wonderful Spanish teacher who explained the connections and allusions to me.
A visit to the region only intensified my love for this novel.