| A dominant theme in One Hundred Years of Solitude is the inevitable and inescapable repetition of history in Macondo. |
Dominantna tema u 100 godina samoće je neizbježno ponavljanje istorije u Makondu. |
| The protagonists are controlled by their pasts and the complexity of time. |
Protagonisti su pod kontrolom njihove prošlosti i složenosti vremena. |
| Throughout the novel the characters are visited by ghosts. |
Kroz roman likove posjećuju duhovi. |
| "The ghosts are symbols of the past and the haunting nature it has over Macondo. The ghosts and the displaced repetition that they evoke are, in fact, firmly grounded in the particular development of Latin American history". |
"Duhovi su simboli prošlosti i proganjajuće prirode koju ona ima nad Makondom. Duhovi i izmješteno ponavljanje koje oni izazivaju su, u stvari, čvrsto utemeljeni u posebnom razvoju latinoameričke istorije." |
| "Ideological transfiguration ensured that Macondo and the Buendías always were ghosts to some extent, alienated and estranged from their own history, not only victims of the harsh reality of dependence and underdevelopment but also of the ideological illusions that haunt and reinforce such social conditions." |
"Ideološka transformacija je osigurala da Makondo i Buendijas uvijek budu duhovi do neke mjere, otuđeni i odvojeni od sopstvene istorije, ne samo žrtve surove realnosti zavisnosti i nerazvijenosti, već i ideoloških iluzija koje ih proganjaju i pojačavaju takve društvene uslove." |
| The fate of Macondo is both doomed and predetermined from its very existence. |
Sudbina Makonda je i prokleta i unaprijed određena samim njegovim postojanjem. |
| "Fatalism is a metaphor for the particular part that ideology has played in maintaining historical dependence, by locking the interpretation of Latin American history into certain patterns that deny alternative possibilities. The narrative seemingly confirms fatalism in order to illustrate the feeling of entrapment that ideology can performatively create." |
"Fatalizam je metafora za određeni dio koji je ideologija odigrala u održavanju istorijske zavisnosti, zaključavajući interpretaciju latinoameričke istorije u određene oblike koji negiraju alternativne mogućnosti. Narativ naizgled potvrđuje fatalizam kako bi ilustrovao osjećaj zarobljenosti koji ideologija može performativno da stvori." |
| García Márquez uses colours as symbols. |
Garsija Markez koristi boje kao simbole. |
| Yellow and gold are the most frequently used colors and they are symbols of imperialism and the Spanish Siglo de Oro. |
Žuta i zlatna su najčešće korišćene boje i simbol su imperijalizma i španskog Zlatnog vijeka. |
| Gold signifies a search for economic wealth, whereas yellow represents death, change, and destruction. |
Zlatno označava potragu za ekonomskim bogatstvom, dok žuto označava smrt, promjenu i uništenje. |
| The glass city is an image that comes to José Arcadio Buendía in a dream. |
Stakleni grad je slika koja se javlja Hoseu Arkadiju Buendiji u snu. |
| It is the reason for the location of the founding of Macondo, but it is also a symbol of the ill fate of Macondo. |
To je razlog za lokaciju osnivanja Makonda, ali je i simbol zle sudbine Makonda. |
| Higgins writes that, "By the final page, however, the city of mirrors has become a city of mirages. Macondo thus represents the dream of a brave new world that America seemed to promise and that was cruelly proved illusory by the subsequent course of history." |
Higins piše da je, "Do poslednje strane, međutim, grad ogledala postao grad fatamorgana. Makondo tako predstavlja san o hrabrom novom svijetu koji se činilo da Amerika obećava i za koji je kasnijim tokom istorije dokazano da je okrutno iluzoran." |
| Images such as the glass city and the ice factory represent how Latin America already has its history outlined and is, therefore, fated for destruction. |
Slike kao što su stakleni grad i fabrika leda pokazuju da Latinska Amerika već ima svoju istoriju ocrtanu i da je, stoga, osuđena na uništenje. |
