Experimentation in Barranquilla group literature before Macondo
Keywords:
Baranquilla Group, Caribbean, Intermediality, Experimentation, SurrealismAbstract
This article aims to read Álvaro Cepeda Samudio and Gabriel García Márquez literature form an intermedial perspective. It reviews their experimental period as young journalists at the port town of Barranquilla, Colombia during the 50’s. They came part of a bohemian group of artists who looked forward to challenge traditional literature and seek new aesthetic possibilities. Their unconventional style defined by the relation between media dialogues-journalism, cultural gathering and cinema became a decisive step to the contemporary Colombian literature.
Downloads
References
Bolter Jay, David y Grusin, Richard. Remediation. Massachusetts: The MIT press, 1999.
Cepeda Samudio, Álvaro. Todos estábamos a la espera. Bogotá: Punto de Lectura, 2009.
Cepeda Samudio, Álvaro, Enrique Grau Araújo, Luis Vicens, y Gabriel García Márquez. La langosta azul (1954). 13/12/2016. <https://www.youtube.com/watch?v=lYfGQ-jw-TI>.
Cobo Borda, Juan Gustavo, “La lectura plural de Gabiel García Márquez”. Poliantea 10 (2005): 325-331.
Comolli, Jean–Louis. Cine contra espectáculo, Buenos Aires: Manantial, 2009.
Gil Montoya, Rigoberto. “Álvaro Cepeda Samudio: Nuevos visos en la cuentística colombiana”. Revista de Ciencias Humanas 29 (2001): 55-65.
Gilard, Jacques. “El Grupo de Barranquilla”. 1984. Pittsburgh: Revista Iberoamericana. 15/07/2016. <http://revistaiberoamericana.pitt.edu/ojs/index.php/Iberoamericana/article/download/3978/4146>.
Gilard, Jacques. “El Grupo de Barranquilla y la renovación del cuento colombiano”. Lectura crítica de la literatura americana: Actualidades fundacionales. Ed. Saul Sosnowski. Caracas: Ayacucho, 1996.
García Márquez, Gabriel. La hojarasca. Barcelona: Plaza & Janés, 1974.
Fiorillo, Heriberto. La Cueva. Crónica sobre el Grupo de Barranquilla. Barranquilla: Editorial Heriberto Fiorillo, 2002.
Marieniello, Silvestra. “Cambiar la tabla de operación. El medium intermedial”. Acta Poética 30-2 (2009): 59-85.
Martínez Pardo, Hernando. Historia del cine colombiano. Bogotá: Editora Guadalupe, 1978.
Pasolini, Pier Paolo. “Gabriel García Márquez: un escritor indigno”. 1973. Amsterdam Sur. 3/11/2016. <https://milinviernos.com/2014/04/20/la-indignidadde-garcia-marquez-segun-pier-paolo-pasolini/>.
Rajewski, Irina. Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality. 10/05/2016. <http://cri.histart.umontreal.ca/cri/fr/intermedialites/p6/pdfs/p6_rajewsky_text.pdf>.
Rama, Ángel. García Márquez: La violencia americana. 29 oct 2017. Marcha. 27/10/2016. <http://www.literatura.us/garciamarquez/angelrama.html>.
Romero, Antonio. El cine en el Caribe colombiano. <https://elcallejondelaluz.files.wordpress.com/2011/03/el-cine-en-el-caribe-colombiano.pdf>.
Suárez, Juana. Cinembargo Colombia. Cali: Editorial Universidad del Valle, 2009.
Téllez, Hernando. “La hojarasca”. El Espectador. [Bogotá, Colombia] 12 Jun 1955: 3.
Downloads
Published
Issue
Section
License
Copyright (c) 2022 Revista de humanidades (Santiago. En línea)

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
You are free to:
Share — copy and redistribute the material in any medium or format
The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
-
Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
-
NonCommercial — You may not use the material for commercial purposes.
-
NoDerivatives — If you remix, transform, or build upon the material, you may not distribute the modified material.
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
Notices:
- You do not have to comply with the license for elements of the material in the public domain or where your use is permitted by an applicable exception or limitation.
- No warranties are given. The license may not give you all of the permissions necessary for your intended use. For example, other rights such as publicity, privacy, or moral rights may limit how you use the material.