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Chronicle of a Satirical Tragedy in Colombia: The Mock Annunciation

This satirical novel set in 1920s Colombia blends religious imagery, humor, and postmodern themes, following the foretold fate of Santiago Nasar. Through a mix of duality, mock investigative reporting, and magical realism, the narrative delves into the tragic events surrounding Santiago, interweaving themes of honor, duty, machismo, and superstition. The story unfolds with a mock-serious tone, punctuated by hyperbole, irony, and understatements that challenge societal norms while exploring concepts of love, sacrifice, and the complexities of human behavior. Discover the intricate web of characters and families, the dark comicality of fate, and the blurred lines between innocence and guilt in this compelling portrayal of a community's collective tragedy.

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Chronicle of a Satirical Tragedy in Colombia: The Mock Annunciation

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  1. CRONICA DE UNA MUERTE ANUNCIADA • Religious Imagery as Satire: •  The Annunciation • Legend of Juan Diego (Virgen de Guadalupe) • The Passion of Christ (Stations of the Cross)

  2. Virgen de Guadalupe

  3. Stations of the Cross

  4. Parody • Mock Greek Tragedy: fate, dramatic irony, tragic hero, hamartia, hubris, scapegoat, chorus • Dionysian festivities: the three-day wedding/sacrificial rites • Duality (saints/sinners) • Mock Investigative Reporting---“chronicle” of time and weather and insignificant details (Memorable line: “…trying to put the broken mirror of memory back together from so many scattered shards.”) • Tone: mock serious “tongue in cheek” • Humor (hyperbole/understatement) • Mock Romance (bathos)

  5. Epigraph: • “Love is like falconry.” • Who are the falcons? • Who are the falconers? • “Honor is love” • “Love can be learned” • “Love is a disorder”

  6. Setting: Colombia, South America (1920’s?) ·Cultural beliefs, values, and traditions Gender roles Machismo/Virginity Family Honor/Duty Catholic/Pagan/Superstitions ·Names: Christian Saints/Arabic/Pagan ·Imagery-violence, religious, animals, trees, birds, water, flowers, poop ·Scapegoat/Collective Rite of Sacrifice

  7. MAGICAL REALISM=saying something fantastic with a straight face; responding to something fantastic in a matter of fact way; often juxtaposes hyperbole and understatement. • Santiago’s dreams • (hyperbole) bullet shattering saint • Placida Linero’s eternal headache • The smell of Santiago permeates the village • Santiago’s “crime” and death • “There had never been a death more foretold.”

  8. FIRST FAMILY AND ASSOCIATES • oSantiago Nasar (machismo) HIS NAME? • o Placida Linero (Santiago’s mother, interpreter of dreams—not!) • oIbrahim Nasar (Santiago’s father) HIS NAME? • oVictoria Guzman (the cook) • o Divina Flor (cook’s daughter) HER NAME? • oCristo Bedoya (Santiago’s best friend) NAME? • oFlora Miguel (Santiago’s fiancé) NAME? • Maria Alejandrina Cervantes (IRONY?)

  9. THE SECOND FAMILY: (HYPOCRISY!) • Pedro and Pablo Vicario (the macho twins) Trace their actions (duty!) • oAngela Vicario (their sister, the alleged virgin) • oPurisima del Carmen (mother) • oPoncio Vicario (blind father)

  10. THE THIRD FAMILY: ties to the other two • (POSTMODERNISM) • The Narrator: “Gabriel?” Garcia-Marquez • Luisa Santiaga (his real mother/Santiago’s godmother) • Margot (Marquez’s real sister) • Mercedes (Marquez’s real wife) • Other family members (real names)

  11. THE FOURTH FAMILY • Bayardo San Roman—whatever Bayardo wants, Bayardo gets: music box, Xius’s house (subtext?), Angela • Silver and gold, “enchanting,” “a fairy,” “a devil,” superhuman, rich, knows Latin • How does he win over the Vicario family and the other villagers? MONEY!

  12. Cult of death: Angela dressed in black Cult of virginity: artificial flowers? Angela: “He’s too much of a man for me.” Angela’s mother: “Love can be learned.” Angela’s “stain of honor” (p. 37) San Roman family vs. Vicario family (p. 39-40) The wedding day/night Santiago=no flowers at his funeral Butterflies/wings/angels/holy spirit/birds

  13. DOUBLE STANDARD • Pablo and Pedro: “We killed him openly, but we’re innocent.” •  Retracing their steps: “There had never been a death more foretold.” Trace the behavior of every villager. • Duty and Honor/Macho Men and Virtuous Women  • Prudencia Cotes, Pablo’s fiancée: “I knew what they were up to, and I didn’t only agree, I never would have married him if he hadn’t done what a man should do.” •  Narrator to Santiago about Maria: “A falcon who chases a warlike crane can only hope for a life of pain.” •  Serenading the newlyweds  

  14. PARODY: Autopsy and Romance •  The autopsy: They massacre him all over again. The medal in Santiago’s intestines=“virgin del carmen” and “the stigma of the crucified Christ.” •  Maria eats! (Like a Babylonian whore.) •  Aftermath: The Vicario family •  Bayardo, the victim. •  Xius’ house (holy spirit or caged bird)? •  Angela’s testimony 23 years later (page 89-90). • Her friends: “She told us about the miracle but not the saint.” •  Angela and Bayardo (Falcon/Falconer?)

  15. SANTIAGO’S FINAL MOMENTS=SCAPEGOAT=DIES ON THE “ALTAR”=A PIECE OF MEAT OR DIVINE BEING? • Twelve days after crime, investigator called for troop reinforcements to control the crowd pouring in to testify, each one eager to “show off his own important role in the drama.” •  Metafiction: Investigator never thought it legitimate that life would make use of so many coincidences forbidden literature. • Investigator: no proof that Santiago deserved to die: “Give me a prejudice and I will move the world.” •   Santiago’s very behavior during his last hours was proof of his innocence (page 101)

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