Abstract

It is possible to assimilate the writing of Gabriel García Márquez to a system in which spatial, temporal, and narrative configurations are fractals, a concept defined by mathematician Benoît Mandelbrot in the late 1970s. In fact, fractals, and most notably their self-similar property between the whole and its parts, seem to capture the indefinable topographies of fictional time and space presented by the Colombian. This article shows that the work of García Márquez resembles an open system in which condensations and transpositions of places, moments, and characters appear and reappear in different texts, so that fragments and contingent totalities preserve a self-similar relationship. With a close reading of some chapters from novels and several short stories and opinion columns written by García Márquez, this article contends that besides magic realism, magic fractalism provides another fruitful point of entry into García Márquez’s work.

摘要

可以将加布里埃尔·加西亚·马尔克斯（GabrielGarcíaMárquez）的作品吸收到一个以空间，时间和叙事形态为分形的系统中，这是数学家BenoîtMandelbrot在1970年代后期定义的概念。实际上，分形，尤其是它们的整体与局部之间的自相似特性，似乎捕捉了哥伦比亚人提出的虚构的时空拓扑。本文表明，加西亚·马尔克斯（GarcíaMárquez）的工作类似于一个开放的系统，在该系统中，位置，时刻和人物的凝结和转置在不同的文本中出现并重新出现，因此片段和或然总体保持了一种自相似的关系。仔细阅读了加西亚·马尔克斯（GarcíaMárquez）撰写的小说中的某些章节以及一些短篇小说和民意专栏，