An Andi und Helge!

[youresogreat]

ja natürlich!

bin ganz auf deiner seite! :hää?deppat?: :hää?deppat?:

[Ultra88]

:aaarrrggghhh: :aaarrrggghhh: :aaarrrggghhh: :aaarrrggghhh: :aaarrrggghhh:

No comment!

[ante jazic]

gibts ja nid, alle tage taucht jemand auf, der gleich mal 5 threads aufmacht. ich habe den verdacht, da kann sich jemand seine usernamen & passwörter nid merken.

& die edith meint der fuentes wär ein ziemlich guter mexikanischer schriftsteller. hat sie recht?

bearbeitet 2. Oktober 2005 von ante jazic

[Picard]

@fuentes

Nana, wir sind doch nicht der GAK.

Hoffentlich verletzt sich bei diesen bedeutungslosen Spielen aber keiner, das hätt uns grad noch gefehlt. Das NT kann, wie schon richtig angemerkt, unter Stickler scheissen gehn..

[pirate man]

fuentes? was bist du für a unlustiga kaschpal?? :aaarrrggghhh:

bearbeitet 2. Oktober 2005 von pirate man

[ante jazic]

damit das ganze noch wirklich was bringt:

Carlos Fuentes (1928- ) 

Mexican novelist, journalist, playwright, and essayist, who made his international breakthrough with The Death of Artemio Cruz in 1962. Major themes in Fuentes's work are the limitless power of fantasy, the dilemma of national identity, and the promise and failure of the Mexican revolution. Fuentes has been frequently mentioned as a candidate for the Nobel Prize for literature

"I tighten my face muscles, I open my right eye, and I see it reflected in the squares of glass sewn onto a woman's handbag. That's what I am. That's what I am. That old man whose features are fragmented by the uneven squares of glass. I am that eye. I am that eye. I am that eye furrowed by accumulated rage, and old, forgotten, but always renewed rage." (from The Death of Artemio Cruz)

Carlos Fuentes was born in Panama City, but his parents were Mexican, and he later became a Mexican citizen. Fuentes's father, Rafael Fuentes Boettiger, loved books and movies. He was a career diplomat and travelled all over the world. At the age of twenty-five, she married the eighteen-year-old Berta Macías Rivas, Fuentes's mother, who was not so liberal-minded as his father. As a child Fuentes lived with his family in the United States, Chile, and Argentina. Berta insisted that the family spoke only Spanish at home, but after education in Washington, Fuentes became bilingual from an early age. At home his father made him read Mexican history, which Fuestes saw as a history of crushing defeats compared with the United States. "I learned to imagine Mexico before I ever knew Mexico", Fuentes once said.

Fuentes's upbringing was privileged. He received a cosmopolitan education in private schools. At the age of 16 Fuentes returned to Mexico, where he attended the prestigious Colegio de México. As a posture of rebellion, Fuentes decided to be a writer, but eventually followed the advice of Alfonso Reyes: "You must become a licenciado, a lawyer; then you can do whatever you please, as I did." Fuentes entered the School of Law at the National University of Mexico, receiving his LL.B. in 1948. He also studied economics at Institut des Hautes Études Internationales in Geneva. During his university years Fuentes became a Marxist and joined the Communist Party. In 1959 Fuentes married the famous Mexican actress Rita Macedo; they had a daughter. Macedo, "dark-skinned, with large, almond-shaped eyes and prominent cheekbones," as Fuentes described her, appeared in the last scene of Luis Buñuel's Exterminating Angel. The marriage ended in divorce in 1966. In 1973 Fuentes married Sylvia Lemus; they had two children.

From 1950 to 1952 Fuentes was a member a of the Mexican delegation to the International Labor Organization. Returning to Mexico in 1954 he became assistant head of the press section of the Ministry of Foreign Affairs, and from 1957 to 1959 he was head of Department of Cultural Relations. Fuentes also worked as secretary, then assistant director of the Cultural Department at the National Autonomous University of Mexico. From 1959 Fuentes devotes himself to writing.

During the 1960s Fuentes lived mostly in Europe. His third major novel, Cambio de piel (1967, A Change of Skin), which depicted a group of people on a journey from Mexico City to Vera Cruz, won a prestigious prize in Barcelona, Spain. However, the book was criticized as "pornographic, communistic, anti-Christian, anti-German and pro-Jewish" and censors did not allow its publication in the country. Due to his political views Fuentes was persona non grata in the United States and was forbidden to enter Puerto Rico. He protested the Mexican government's brutal repression of student revolution in Tlatelolco Square before the Olympic Games in 1968 and was exiled in Paris. With other leftist intellectuals and labor leaders he attacked in 1971 the dominant Partido Revolucionario Institucional, or PRI. In A New Time For Mexico (1994) he described President Carlos Salinas de Gortari's economic policies as "archaic, savage capitalism, concentrating wealth in a minority and waiting for the impossible miracle of trickle-down."

From 1974 to 1977 Fuentes served as the Mexican ambassador to France. He has been a teacher and fellow at various universities, including Columbia University, New York, the University of Pennsylvania, Philadelphia, Princeton University, New Jersey, and Harvard University, Cambridge, Massachusetts. Fuentes has received several awards, including Villaurrutia Prize (1975), Gallegos Prize (1977), Reyes Prize (1979), Mexican National Award for Literature (1984), Cervantes Prize (1987), Darío Prize (1988), New Order of Cultural Independence (1988), Prince of Asturias Prize (1994), Grinzane Cavouch International Prize (1994), National Order of Merit (1997). He has also honorary degrees from several universities.

Fuentes started his writing career in the late 1940s. Along with Emmanuel Carballo and Octavio Paz he founded the review Revista Mexicana de Literatura in 1954. He edited El Espectador (1959-61), Siempre from 1960, and Política from 1960. Fuentes's first collection of short stories, Los días emmascarados, was published in 1954. La región más transparente (1958, Where the Air Is Clear) was Fuentes's first novel. It gave a panoramic picture of Mexico City and has been compared to John Dos Passos's novel Manhattan Transfer (1925), set in New York City. The narrator is an Indian, who has a double personality as an avatar of the Aztec God of war and a trickster.

Fuentes has been often paired with the Argentinian writer Jorge Luis Borges, of whom he has also written. "... he seemed to be literally looking inside himself, as if this were the only thing that counted in matters of sight," Fuentes wrote in 'Borges in Action', "seeing outside being a totally frivolous affair." When Borges uses history as a basis for pure fantasy, Fuentes maintains a realistic stance of power and politics in Latin America - myths of the past and wide range of cultural references are combined with social critique. Fuentes also uses experimental techniques familiar from the nouveau roman and postmodern fiction. In later novels Fuentes has dealt the question of Mexican identity and its relationship to other cultures.

The Death of Artemio Cruz is told in the first, second, and third person. Artemio Cruz is a poor peon and supporter of revolutionary ideals. He gains wealth and becomes a corrupt, ruthlessness business magnate, a symbol of international capitalist greed. As he lies on his deathbed, Fuentes follows his fragmented thoughts and images wavering between past and present. The haunting novella Aura (1962) is told in the second person narrative. Thus the reader and the fictional protagonist are united in a story which deterministically leads to change of identities. A young historian, Felipe Motero, starts to complete the memoirs of General Llorente in a strange, old house. He fells in love with the beautiful young Aura. She is the niece of his employer, Señora Consuelo, the widow of the general. Eventually Felipe finds his reincarnated identity and Consuelo tells him that Aura is the projection of her younger self. Fuentes started to write the novel in Paris, which he has called a double city. In the story Fuentes recreated a girl he had met as a child in Mexico and years later again in Paris: "She was another, she had been another, not she who was going to be but she who, always, was being."

Terra Nostra (1975) is Fuentes's major novel on Spanish and Latin American history. It moves freely in time from ancient Rome to the apocalyptic end of the 20th century. "Time is the subject matter of all my fiction", Fuentes has once said. One of the main settings is the 16th century Spain, where Philip II constructs the monastery-palace of El Escorial. El gringo viejo (1985, The Old Gringo) was a triangle drama of an American woman, Harriet Winslow, Tomás Arroyo, a general, and the American journalist and writer Ambrose Bierce, who disappeaed during Pancho Villa's revolution in 1913. "She sees, over and over, the specters of Tomás Arroyo and the moon-faced woman and the old gringo cross her window. But they are not ghosts. They have simply mobilized their old pasts, hoping that she would do the same and join them." The book was filmed by Luis Puenzo in 1989, starring Jane Fonda and Gregory Peck. In Instinto de Inez (2001) Gabriel Atlan-Ferrara, a symphony conductor, realizes at the age of 93, that the future means for him death but in the past are love and Inez, the eternity. Like Artemio Cruz at the end of his life, Garbriel studies the choices he has made in his life. At the center of the story is a mystic crystal seal which unites space and time. Fuentes dedicated the book to his son Carlos Fuentes Lemus, who died in 1999.

For further reading: Carlos Fuentes by Daniel de Guzman (1972); Nostalgia del futuro en la obra de Carlos Fuentes by Liliana Befumo Boschi and Elisa Calabrese (1974); Carlos Fuentes: A Critical View, ed. by Robert Brody and Charles Rossman (1974); The Achetypes of Carlos Fuentes by Glorian Durán (1980); Los disfraces: La obra mestiza de Carlos Fuentes by Georgina Garciá Gutiérrez (1981); Carlos Fuentes by Wendy D. Faris (1983); Carlos Fuentes: Life, Work, and Criticism by Alfonso Gonzáles (1987); Interpretaciones a la obra de Carlos Fuentes, ed. by Ana María de López Hernández (1990); The Writings of Carlos Fuentes by Raymond Leslie Williams (1996); The Postmodern Fuentes by Chalene Helmuth (1997); Carlos Fuentes desde la crítica, ed. by Georgina Garcia-Gutierrez (2001) - For further information: - Carlos Fuentes -

Selected works:

Los días emmascarados, 1954

La región más transparente, 1958 - Where the Air Is Clear

Las buenas conciencias, 1959 - The Good Conscience (trans. by Sam Hileman)

La muerte de Artemio Cruz, 1962 - The Death of Artemio Cruz (trans. by Alfred J. Mac Adam) - Artemio Cruzin kuolema

Aura, 1962 - trans. - Aura (suom. Sari Selander)

Tha Argument of Latin America, 1963

Cantar de ciegos, 1964

Pedro Paramo, 1966 (screenplay, based on Juan Rulfo's novel)

Tiempo de morir, 1966 (screenplay)

Los caifanes, 1967 (screenplay)

Zona sagrada, 1967 - Holy Places, in Triple Cross

Cambio de piel, 1967 - A Change of Skin (trans. by Sam Hileman)

Paris: La revolución de mayo, 1968

Cumpleaños, 1969

El mundo de José Luis Cuevas, 1969

La nueva novela hispanoamericana, 1969

Casa con dos puertas, 1970

Todos los gatos son pardos, 1970 (play)

El tuerto es rey, 1970 (play)

Tiempo mexicano, 1971

Poemas de amor, 1971

ed.: Los signos en rotación y otra ensayos, 1971

Los reinos originarios, 1971 (includes Todos los gatos son pardos and El tuerto es rey)

Cuerpos y ofreadas, 1972

Chac Mool y otros cuentos, 1973

Obras completas, 1974 -

Terra Nostra, 1975 - trans.

Cervantes, o, La crítica de la lectura, 1976 - Don Quixote; or, The Critique of Reading

La cabeza de la hidra, 1978 - The Hydra Head - Lohikäärmeen pää

Una familia lejana, 1980 - Distant Relations - Tarina Heredian suvusta

Agua quemada, 1981 - Burnt Water

Orquídeas a la luz de la luna, 1982 (play) - Orchids in the Moonlight

High Noon in Latin America, 1983

Juan Soriano y su obra, 1984

On Human Rights: A Speech, 1984

El gringo viejo, 1985 - The Old Gringo - Vanha gringo - film 1989, dir. by Luis Puenzo, starring Jane Fonda, Gregory Peck, Jimmy Smits, Patricio Contreras

Latin America: At War with the Past, 1985

Palacio Nacional, 1986 (with Guillermo Tovar y de Teresa)

Gabriel García Marquez and the Invention of America, 1987

Cristóbal nonato, 1987 - Christopher Unborn

Myself with Others: Selected Essays, 1988

Valiante mundo nuevo, 1990

La campaña, 1990 - The Campaign

Constancia, y otras novelas para vírgenes, 1990 - Constance and Other Stories for Virgins

The Buried Mirror, 1991 (television series)

El espejo enterrado, 1992 - The Buried Mirror

Geografía de la novela, 1993

Tres discursos para dos aldeas, 1993

Nuevo tiempo mexicano, 1994 - A New Time for Mexico (trans. by Marina G. Gutman)

Frontera de cristal, 1995 - The Crystal Frontier, 1997 (trans. by Alfred J. Mac Adam)

Diana o la Cazadora Solitaria, 1996 - Diana: the goddess who hunts alone (trans. by Alfred Mac Adam)

Por un progreso incluyente, 1997

Los años con Laura Díaz, 1999 - The Years with Laura Diaz, 2000 (trans. by Alfred Mac Adam)

Instinto de Inez, 2001 - Inez (trans. by Margaret Sayers Peden) - Inez (suom. Tarja Härkönen)

En esto creo, 2002 - This I Believe (trans. by Kristina Cordero)

La Silla del Águila, 2003 - Kotkan istuin (suom. Tarja Härkönen)

Contra Bush, 2004

von hier

[youresogreat]

damit das ganze noch wirklich was bringt:

von hier

837190[/snapback]

hab mir s jetzt nicht durchgelesnen aber werd ich dann gleich machen!

solche threads sind ja doch noch für gute dinge da!!

[neuron]

Gut, es wird "unlustig"....

[ZU]