A errância fantástica da solidão: o tributo feminino em Cien Años de Soledad

In the soulful balusters that underlie the premises of being, in the emancipatory search for the first object, the child's unconscious fantasies, in their most archaic spectrums, become vital for development and, invariably, circumvent the psychic survival necessary for the advent of ability to be alone. For it is in the disarticulation of reality that the absences can be re-signified and re-elaborated, creating the semblances necessary for (dis)illusion. However, when considering the senses that protect the feeling of loneliness, according to the precepts of psychoanalysis, whose scientific work is structured along the unknown paths of the unconscious, the core of the subjective constitution of being, it will be seen how the feeling in question is the foundation that fundaments the (dis)ordering of the relationships between the self and the judgment of objects, administered by the genesis and learning of being alone. Somewhere, looking at literary arcadia and its ontological knowledge, one glimpses the magnum opus by Gabriel García Márquez (1967), One Hundred Years of Solitude, one of the most emblematic writings of the 20th century and, perhaps, one of the most intimate testimonies of this ambivalent feeling. Not by chance, in the Latin American writer's poetics, the Buendía family follows, subjugated to repetitions and tragedies, cursed by the stigma of incest, which outlines their premeditated future, based on a guiding thread that (de)stabilizes fragility within the family: loneliness. Thus, based on these initiatory conceptions, allowing us to go beyond the archetypal interpretation consecrated by criticism, this research attempts to analyze, based on psychoanalytic assumptions, especially those of Sigmund Freud (1856-1939) and Melanie Klein (1882-1960), the female characters of the novel, observing how loneliness, aesthetically and subjectively, articulates the narrative plans that make up the remarkable work. In this scope, without losing sight of the aesthetic particularities of marvelous realism, and ...