I suggest you the combination of the Greimas narratological method, and the Bajtin studies about chronotropic

what about the model of Gerard Genette

By far the best model for In Evil Hour (or: "This Town of Sh*t") by Marquez would be Literary Darwinism.

See: Evolution and Literary Theory - by Joseph Carroll, (1995)

and also - articles in Evolution, Literature and Film: A Reader (2010)

The reasons I say this are that - the story involves events/plots/themes that are all explained in Literary Darwinism, including the marital infidelity/murder scenario.

Also given all the gossip in the (Marquez) story (In Evil Hour), see:

Grooming, Gossip, and the Evolution of Language - by Robin Dunbar

http://www.hup.harvard.edu/catalog.php?isbn=9780674363366

Hope this helps

JT

PS - For a summary of Joe Carroll's model, see:

http://storyality.wordpress.com/2013/09/08/storyality-74-how-does-life-work-in-literature-and-film/

Well, I do not think that there is a best model to approach this great novel that can be analyzed form different perspectives, theories and techniques.But in terms of narratology I have used and recommend Genette's narratological model, specially as exposed in his work Narrative Discourse (1972), (trans. from Figure III). It is a thorough model that systematically analyses the diegetic structure of a narration from three basic components: Time, Voice and Mood. These components are amplified, subdivided and explained in detail with examples one by one. Narrative Discourse is a very comprehensible text, very well written and enjoyable to read. I would also suggest a look to a web text, Jan Christoph Meister. "Narratology", The living handbook of narratology (rev. 2014), http://www.lhn.uni-hamburg.de/article/narratology. It is part of a narratology project of the University of Hamburg. It will give you a well documented perspective of the narratological theory that will fill many gaps on narratology. Mike Bal's Narratologie (1977) is an authoritative text on narratology that clarifies and exemplifies many concepts. Seymour Chatman's Story and discourse (1978), is a very important narratology text. This will broaden many concepts, very well written and authoritative. I would use Genette as my core text but will also use Bal, Chatman and The living book..., they complement Genette. But you can use either one of them as your core text, they are all authorities in narratology. Last but not least, take a look at Tzvetan Todorov and Mijail Bajtin. I hope that this can help.

Sometimes I think we get so wrapped up in the latest analytical or critical fad, theories, concepts, methods, procedures, approaches, etc. in consideration of a piece of literature (or art or music for that matter) that we entirely overlook a work's beauty, artistic value, message, emotional impact and the other components that make a creative piece worth reading, viewing, or listening to in the first place.  We miss the enjoyment of the tree because we are too engrossed in studying the forest around it.

But thanks to my colleagues on RG and thanks to RG itself I get plenty of inspiration for stories--one yesterday, and now this one today.

I think it will have to be written in the vein of Borges--the master of books and libraries.  Here's a synopsis so I don't forget to write it--some day!

THE LAST GREAT LITERARY MASTERPIECE by John F. Wilhite

In the year 2025 every library in the world and book depositories on the web will contain but one book.  It is located at the center of the libraries with a million other books surrounding it.  "The book" is known as the last great literary masterpiece, though no one knows why.  The author is unknown and the title is a dim echo of countless titles of great works since the beginning of the written word but none of them are discernible enough to give seekers of the book a clue.  Everyone thinks that the book is important but they don't know why, or remember why.  Everything that is to be known about the book--characters, plot, setting, style, theme and everything else that can be said or imagined about the last great masterpiece--is to be found in the million books surrounding the book.  They rest on circular shelves in a circular labyrinth.  In each book that elucidates the book there are but two or three words that can be used to shed light on the last great literary masterpiece.  All the other words are exact repetitions of the same words in thousands of books about the book.  Thousands of books are not about the book; they are about books that are about the book; and thousands more are about those books, and so on into a circular labyrinth of circular shelves holding a million books.  Seekers of the book must read every one of the million books about the book and extract the two or three words from each that can help unlock the mysteries of the book.  The one who succeeds in this task will have the glory and accolades for revealing to the world why the book is the last great literary masterpiece.

My apologies for boring you all with this; it doesn't even answer the question (all the answers above are excellent and provide abundant resources).  After teaching Garcia Marquez, Borges, and the rest of the "nueva narrative" bunch for so many years I just couldn't help myself. 

Love it JF. Reminds me of the wonderful Borges parable about the Library of Babel. (There's a great analysis of that Borges story in Dan Dennett's `Darwin's Dangerous Idea', 1995)

We have to put up with so much postmodernist nonsense, written about masterpieces. Soooo much Continental Philosophy. (Why, why, why?)

Here's the antidote: http://storyality.wordpress.com/2013/08/23/storyality-71-consilience-is-coming-read-all-about-it/

eg Exemplary analysis such as Brian Boyd's `On The Origin of Stories' (2009)

A meaningful `contribution to knowledge' actually examines the creative process in the work (for artists and audiences) - or, at least connects with other disciplines (eg Science)... Continental Philosophy runs in the other direction. No wonder there's a crisis in the Humanities. Writing academic nonsense about masterpieces is not a valid contribution to knowledge.

(Just my personal view of course :)

Cheers

JT

PS - 

`Show me a cultural constructivist at 30,000 feet, and I'll show you a hypocrite' (Dawkins). Your brilliant story (above) cuts right to the heart of the problem JF.

JT,

Thank you so much for your kind words, especially since I was concerned that the reaction to my micro-cuento, micro-story, might be quite negative.  You nailed my influence (theft); I was thinking of La biblioteca de Babel when I wrote that.  I saved it to a Word doc since I'm encouraged to work on it at some point by your approval of it.  (I wasn't even going to keep it until I read your comments.)  It's just a synopsis off the top of my head but at least it's a start.

I'm familiar with you from the "narratology in crime fiction" question of Cassy Nunan.  I was going to comment there but you gave Cassy volumes of comprehensive info and resources there was not much left for me to say. 

You mentioned your dissertation (literary fiction, wasn't it?) was very long and you had a lot of cutting to do.  You are no doubt very aware of this but in case, don't delete anything!  Cut and paste into a separate file.  For example, the doctoral committee might say "cut these ten pages" and later a publisher says "I wish you would expand this chapter by ten pages." 

Your comments gave me an idea for an addition to the story.  I would "name names" of those in the library fruitlessly searching for the meaning of "the last great literary masterpiece" using some of each critic's jargon and catch phrases.  But I would be sued or worse! 

JT, I hope to see you around commenting on some of these questions.  I sense that we're like-minded on issues of writing and publishing.

Best regards,

John   

Many models may be relevant to studying this novel.

I would choose testimony studies. Even if this novel is not testimonial.

لا اعتقد هناك دراسة بعينها وانما يتم تحديد الدراسة وفق المادة المطروحة للتحليل السردي على تنوعها

It's important to remember, as others have already suggested, that the "best" models and theories you use in literary criticism are those that are best suited to the questions you ask about the text. So the answer depends on what you want to know about the story, or what you find interesting in it. If you find the way it is narrated interesting, the best model will certainly be different than it would be if you were primarily interested in, say, its use of temporality, or its politics.