Miguel Angel Asturias

(redirected from El Senor Presidente)

Asturias, Miguel Angel

 

Born Oct. 19, 1899, in Guatemala. Guatemalan writer.

Asturias graduated from a university in 1923 and lived as an émigré in Europe between 1925 and 1933. In Paris he drew on folklore themes to create the book Legends of Guatemala (1930). By 1933 he completed the novel Mister President (published 1946; Russian translation, 1959), which exposed the tyrannical regime. In 1949 he published the novel Men of Corn. His trilogy about the fate of the Guatemalan people in the 20th century—the novels Strong Wind (1950), The Green Pope (1954; Russian translation, 1960), and Eyes of the Buried (1960; Russian translation, 1968)—won world renown; it is imbued with ideas of liberation. Asturias also wrote the novel The Mulattress (1964) and the book of legends The Mirror of Lida Sal (1967). The writer’s ties to the native population of Guatemala—the Mayan Indians—and their folklore are perceptible in his work. He was awarded the International Lenin Prize for Strengthening Peace Between Nations in 1966 and the Nobel Prize in 1967.

WORKS

Obras escogidas, vols. 1–3. Madrid, 1961–66.
Teatro. Buenos Aires, [1964].
In Russian translation:
Uik-end v Gvatemale. Moscow, 1958.

REFERENCES

Ospovat, L. “Golos nepokorennoi Gvatemaly (Romany Migelia Ankhelia Asturiasa).” Inostrannaia literatura, 1958, no. 6.
Dashkevich, Iu. “M. A. Asturias.” Ibid., 1962, no. 12.
Kuteishchikova, V. “Glazami indeitsev Gvatemaly.” Voprosy literatury, 1963, no. 9.
Migel’ Ankhel’ Asturias: Biobibliografich, ukazatel’. Moscow, 1960. [Compiler and author of introductory article, Iu. A. Pevtsov.]
Bellini, G. La narrativa di M. A. Asturias. Milan-Varese, [1966].

L. S. OSPOVAT

References in periodicals archive ?
The "Conclusion" wishes that the study serve as a buttress to the author's previously published Proppian analyses of the Popol Vuh and Miguel Angel Asturias's El Senor Presidente (1946), suggesting that "the human brain has created--and, indeed, can create--only a restricted number of pristine, core narrative structures; that all stories are variants of these said core narrative structures" (125); and that "what Propp has discovered is the pristine, morphologic, core structure of narrative form from which subsequent diegetic schemes derive" (125).
She discusses forging a national identity by feminizing the Other in Jose Marti's chronicles and essays, unveiling the mask of modernity in Amistad funesta, transgendering and the emergence of ambiguously constructed subjects in Dona Barbara and feminine imagery in El Senor Presidente.
There is much about Cueto's novel that reminds one of the Nobel Prize-winner Miguel Angel Asturias's El senor Presidente (Guatemala; 2946), especially in the narrative metaphor of the spider spinning his web in which an entire society falls victim (although, unlike Asturias's highly poetic prose, Cueto opts for a sparse and often elliptic style).
In addition to this, the academic year, which ended in October, was also a good excuse to lead into a salute to El Senor Presidente, whose own birthday was on November 21.
Although initially townspeople were inspired to have their own temples of Minerva and a healthy dose of competition spurred them on, over the years the additional duties to prove loyalty to El Senor Presidente grew more onerous.
The future Nobel laureate Miguel Angel Asturias went along with his fellow classmates to visit Dario at his pension, and in his memoirs Asturias described how Dario was initially reluctant to speak, embarrassed by his situation and the fact that he was in the pay of El Senor Presidente.
Gerald Martin, responsible for Journeys through the Labyrinth and currently the "official" biographer of Gabriel Garcia Marquez, ought to be congratulated: not only has his translation an incredible breadth, but his lifelong devotion to Asturias has helped make the Guatemalan less evasive, more accessible to students like me, who first encountered El Senor Presidente, Leyendas de Guatemala, Men of Maize, and other works in the mid-eighties, as the hoopla about Latin American letters was beginning to die down.
Chapter three initiates this section with a study of Asturias's El senor presidente (1946).
Since the publication of El senor presidente (1946), writers have begun to offer up on a regular basis nonmimetic representations of reality, employing innovative narrative techniques with mythic and fantastic elements as vehicles for their political commentary and social criticism.
The aggressive femme fatale in Marti's Amistad Funesta, the intimidating and very masculine Dona Barbara of Gallegos' novel by the same name, and the fragmented "feminine" narrative style of El senor presidente by Asturias all figure prominently in Swier's investigation of bi-gendered national fictions.
In the last chapter, Swier moves from a study of characters to a study of narrative style as she considers Asturias's use of language in El senor presidente.
El Senor Presidente no consiguio arrebatarle a Cara de Angel el amor que sentia por Camila, en cambio, Trujillo si: lo aleja de su amada y lo obliga a amar a otra.