Magical realism , or amazing realism is a narrative fiction genre and, more broadly, art (literature, painting, film, theater , etc.) which, while embracing subtly different concepts, expressed the most realistic view of the real world while also adding or exposing the magical elements. Sometimes called fabulism , referring to the conventions of fairy tales, myths, and allegories. "Magical realism", perhaps the most common term, often refers to fiction and literature in particular, with magic or supernatural being presented in a real or worldly world setting.
The term is broadly descriptive rather than very strict. Matthew Strecher defines magical realism as "what happens when a very detailed and realistic setting is attacked by something too strange to believe". Many authors have been categorized as "magical realists", confusing the broad terms and definitions. Magical realism is often associated with Latin American literature, especially authors including the genre founders Miguel Angel Asturias, Jorge Luis Borges, Elena Garro, Juan Rulfo, RÃÆ'³mulo Gallegos, Gabriel GarcÃÆ'a MÃÆ'¡rquez and Isabel Allende. In English literature, the main exponents include Salman Rushdie, Alice Hoffman, and Nick Joaquin.
Video Magic realism
Etymology
While the term magical realism first appeared in English in 1955, the term Magischer Realismus, is translated as magical realism, was first used by art critics German. Franz Roh in 1925 refers to the style of painter also known as Neue Sachlichkeit (New Objectivity), an alternative to expressionism fought by fellow German museum director Gustav Hartlaub. The Spirit identifies accurate details of realism magic, subtle photo clarity, and depictions of the 'magical' nature of the rational world. It reflects the obscurity of our people and our modern technological environment. The Spirit believes that magical realism is related to, but different from, surrealism, because the focus of magical realism on material objects and the actual existence of things in the world, is contrary to more cerebral, psychological, and subconscious surrealism. Magical realism was then used to describe extraordinary realism by American painters such as Ivan Albright, Paul Cadmus, George Tooker, and Vienna-born Henry Koerner, alongside other artists during the 1940s and 1950s. However, in contrast to its use in literature, the art of realistic magic does not often incorporate too rich or magical content, but rather sees the world through a hyper-realistic and often mysterious lens.
The German magical realist painting influenced Italian writer Massimo Bontempelli, who was named the first to apply magical realism to writing, aiming to capture the fantastic and mysterious realm of reality. In 1926 he founded the magical realist magazine 900.Novecento, and his writings influenced writers realist realist Belgium Johan Daisne and Hubert Lampo.
The magical realism of the Spirit also influenced writers in Latin America, where it was translated as realismo mÃÆ'¡gico in 1927. Venezuelan writer Arturo Uslar-Pietri, who knew Bontempelli, wrote an influential magical short story in the 1930s. and 40s that focus on the mystery and reality of how we live. Luis Leal proves that Pietri appears to have been the first to adopt the term realismo mÃÆ'¡gico in Latin America in 1948. There is evidence that Mexican writer Elena Garro used the same term to describe ETA Hoffmann's works but refused his own work as part of the genre. The French-Russian Cuban writer Alejo Carpentier, who rejected the spirit spirit realism as a mock impersonation, developed a related concept of marvelous realism, or amazing realism, in 1949. Maggie Ann Bowers writes that amazing realist literature and art reveal "a seemingly contradictory perspective of a pragmatic, practical and real approach to the reality and acceptance of magic and superstition" in different cultural environments.
The term magical realism, contrary to miraculous realism, first appeared in the 1955 essay "Magic Realism in Spanish American Fiction" by Angel Flores critic in reference to writing that incorporates aspects of realism magic and amazing realism. While Flores was named Jorge Luis Borges as the first magical realist, he failed to recognize either Carpentier or Pietri for bringing the realism of the Spirit Spirit into Latin America. Borges is often seen as the forerunner of a magical realist, with only Flores who regard him as a true magical realist.
After the Flores essay, there was a resurgence of interest in the remarkable realism, which, after the Cuban revolution of 1959, led to the term magical realism applied to a new type of literary known material-of-depiction of the fact of a magical event.
Maps Magic realism
Literature
Characteristics
The extent to which the characteristics below apply to certain magic realist texts varies. Each text is different and uses a handful of qualities listed here. However, they accurately describe what is expected of the magic realist text.
Fantastic elements
Magical realism describes a fantastic event with a realistic tone. It brings fables, folklore, and myths into contemporary social relevance. The features of fantasy given to characters, such as levitation, telepathy, and telekinesis, help include modern political realities that can be fantastic.
Real-world settings
The existence of fantasy elements in the real world provides the basis for magical realism. The author did not create a new world but revealed a miracle in this world, as did Gabriel GarcÃÆ'a MÃÆ'Â,rquez who wrote the seminal work of Style, Hundred Years of Loneliness . In the binary realm of magical realism, the supernatural world combines with nature, the world it recognizes.
Authorial apostasy
The authoritarian bankruptcy is "deliberately withholding information and explanations of a confusing fictitious world". The narrator is indifferent, a characteristic perfected by the absence of the explanation of this fantastic event; the story goes on with "logical precision" as if nothing extraordinary happened. Magical events are presented as casual occurrences; therefore, the reader receives extraordinary things as usual and general. Explaining the supernatural world or presenting it as something extraordinary will immediately reduce its relative relative to the natural world. The reader will consequently ignore the supernatural as false testimony.
Plenitude
In his essay "The Baroque and the Marvelous Real", Cuban writer Alejo Carpentier defines baroque by lack of emptiness, departure from structure or rule, and "extraordinary" bewildering detail abundance (quote Mondrian as opposed). From this angle, Carpentier sees baroque as a coating of elements, which translates easily into the post-colonial or transcultural Latin American atmosphere which he emphasizes in this Kingdom of the World. "America, a symbiotic continent, a mutation... mestizaje, birthed baroque", was made explicit by the elaborate Aztec temple and Nahuatl's poetry association. This mixing ethnic grows along with the American baroque; the space in between is a "remarkable" visible place. Incredible: does not mean beautiful and fun, but extraordinary, weird, and amazing. Such elaborate coating systems - covered in Latin American "boom" novels, such as Hundred Years of Loneliness - aim to "translate the scope of America". Hybridity
The line of magical realism flows characteristically uses several areas of hybrid reality that take place in the "unarmed arenas of contradictions such as urban and rural, and Western and indigenous".
Metafiction
This trait centers on the role of readers in literature. With a variety of realities and special references to the world of readers, it explores the effects of fiction on reality, the facts about fiction and the role of readers among them; therefore, it is best suited to draw attention to social or political criticism. Furthermore, this is the most important tool in the implementation of a major and related magical realist phenomenon: textualization. This term defines two conditions - first, where a fictitious reader enters a story in a story while reading it, making us aware of our status as readers - and secondly, where the textual world enters the world of our readers. Common sense will negate this process, but "magic" is a flexible convention that allows it.
Increased awareness of the mystery
Something that most critics agree on is this great theme. The magic realist literature tends to read at an intensified level. By taking Hundred Years of Loneliness, the reader must release a pre-existing relationship with a conventional exposition, plot development, linear time structure, scientific reason, etc., To seek awareness of the connectedness of life. or hidden meaning. Luis Leal articulates this feeling as "to capture the mystery that breathes behind things", and supports the claim by saying a writer must raise his consciousness to the point of "estado limite" (translated as "state boundary" or "extreme") in to realizing all levels of reality, the most important is the mystery. Political criticism
Magical realism contains "implicit criticism of society, especially the elite". Particularly related to Latin America, this style breaks out of an indisputable discourse about "special literary centers". This is mainly about and for "eccentric" mode: geographically, socially and economically marginalized. Therefore, the "alternative world" of realism magic works to improve the reality of established viewpoints (such as realism, naturalism, modernism). The magical realist text, under this logic, is a subversive, revolutionary text against a socially dominant force. Alternatively, the socially dominant can apply magical realism to secede from their "power discourse". Theo D'haen calls this change in the "decentering" perspective.
In his review of the Gabriel Garcia MÃÆ'¡rquez 'Chronicle of a Death Foretold' novel, Salman Rushdie argues that the formal experiment of magical realism allows political ideas to be expressed in ways that may not be possible with more established. literary form:
"El realismo magical", magical realism, at least as practiced by MÃÆ'¡rquez, is the development of Surrealism that expresses true awareness of the "Third World". This relates to what Naipaul calls a "semi-finished" society, where a very long struggle against the new, where public corruption and personal grief are somehow more tacky and extreme than they ever got in the so-called "North" in which centuries of wealth and power have formed a thick layer above the surface of what really happened. In MÃÆ'¡rquez's works, as in the world he describes, things that are impossible happen constantly, and quite reasonably, in the open in the midday sun.
Origins
The realism of literary magic comes from Latin America. Authors often travel between their home countries and European cultural centers, such as Paris or Berlin, and are influenced by the art movement at the time. Cuban writers Alejo Carpentier and Venezuelan Arturo Uslar-Pietri, for example, were strongly influenced by the European artistic movement, such as Surrealism, during their stay in Paris in the 1920s and 1930s. One of the great events linking the realism of painters and literary literature was the translation and publication of Franz Roh's book to Spain by the Spanish Revista de Occidente in 1927, led by the main literary figure José Ortega y Gasset. "Within a year, Magic Realism is being applied to the prose of European writers in the literature of Buenos Aires." Jorge Luis Borges inspired and encouraged other Latin American writers in the development of magical realism - especially with the publication of his first magical realist, Universal Historia de la infamia in 1935. Between 1940 and 1950, the magical realism of Latin America reached culminating, with eminent authors emerging mainly in Argentina.
The theoretical implications of artistic magic realism are strongly influenced by European and Latin American literature. Italy Massimo Bontempelli, for example, claims that literature can be a means of creating collective consciousness by "opening up new mystical and magical perspectives on reality", and using his writings to inspire an Italian state ruled by Fascism. Pietri is closely related to the spirit spirit form of spirit and knows Bontempelli in Paris. Instead of following a Carpentier development version of "real Latin America," Uslar-Pietri's writing emphasizes "the mystery of human life among the realities of life." He believes the realism of magic is "a continuation of the modernist writings of the modernist vanguardia [or avant-garde] of Latin America".
Topic in critics
Ambiguity in definition
Mexican critic Luis Leal concluded the difficulty of defining magical realism by writing, "If you can explain it, then it is not a magical realism." He offers his own definition by writing, "Without thinking about the concept of magical realism, every writer gives expression to the reality he observes in people, to me, magical realism is the attitude of the character in the novel to the world," or to nature.
Leal and Irene Guenther both cite Arturo Uslar-Pietri, who describes "human being as a mystery surrounded by realistic facts, poetic prediction or poetic rejection of reality," for lack of any other name can be called magical realism. It should be noted that Pietri, in presenting his term for this literary tendency, has always maintained his definition of openness by using more lyrical and evocative language than is highly critical, as in this 1948 statement. When academic critics seek to define magical realism with scientific precision, they find that it is stronger than exact. Criticism, frustration by their inability to write down the meaning of the term, has exhausted its complete abandonment. But in the vague and considerable use of Pietri, magical realism was very successful in summarizing for many readers their perception of Latin American fiction; This fact indicates that the term has its usefulness, as long as it is not expected to function with the expected accuracy of technical and scientific terminology.
Western and original worldview
A critical perspective on magical realism as a conflict between reality and abnormality comes from the dissociation of Western readers with mythology, the roots of magical realism more easily understood by non-Western cultures. Western confusion about magical realism is due to the "real conception" created in the magical realist texts: rather than explaining reality using natural or physical laws, as in typical Western texts, magical realist texts create reality "where the relationship between incident, and arrangements can not be based on or justified by their status in the physical world or their normal acceptance by the bourgeois mentality ".
The article of Guatemalan writer William Spindler, "Magical Realism: Typology", suggests that there are three types of magical realism, which are however not at all incompatible: "European metaphysical" magical realism, with a sense of alienation and extraordinary, exemplified by Kafka Fiction; "ontological" magical realism, characterized by "fact-matter" in relating "unexplained" events; and "anthropological" magical realism, in which the original worldview is arranged side by side with the Western rational worldview. Spindler's spindler realism typology has been criticized as "an act of categorization that seeks to define Magic Realism as a special project of culture, by identifying to its readers (non-modern) societies in which myth and magic survive and where Magic Realism may be expected. The Western model of rationalism may not really describe Western ways of thinking and it is possible to understand instances where both knowledge orders are simultaneously possible. "
Lo real maravilloso
Alejo Carpentier comes from the term lo real maravilloso (roughly "extraordinarily real") in his novel prologue Kingdom of the World (1949); However, some debate is whether he is really a magical realist writer, or just a predecessor and a source of inspiration. Maggie Bowers claims she is widely recognized as the originator of the magical realism of Latin America (both as novelist and critic); he describes the concept of the Carpentier as a kind of ultimate reality in which miraculous elements can arise when they appear natural and without coercion. He suggests that by separating himself and his writings from the realism of the spirit painter, Carpentier aims to show how - based on the diverse history, geography, demographics, politics, myths, and Latin American beliefs - impossible and extraordinary things are possible. Furthermore, Carpentier means that Latin America is a land full of miracles, and that "writing about this land automatically produces a great literature on reality".
"Incredible" may easily be confused with magical realism, because both modes introduce supernatural events without surprising the implied author. In both, this magical event is expected and accepted as a daily occurrence. However, the extraordinary world is a one dimensional world. The implied author believes that anything can happen here, because the whole world is filled with supernatural beings and situations to begin with. The tale is a great example of a remarkable literature. The important idea in defining the extraordinary is that the reader understands that this fictitious world is different from the world in which they live. The "unusual" one-dimensional world is different from the magical realism world, as in the latter, the supernatural world combines with nature, the known world (arrives at a combination of two layers of reality : bidimensional). While some use the term magical realism and lo real maravilloso interchangeably, the main difference lies in the focus.
Critics Luis Leal proves that the Carpentier is the original pillar of the magical realist style by implicitly referring to the last critical work, writing that "The amazing real existence is what initiates the magical realist literature, which some critics claim is American literary truly ". It can therefore be drawn that the "real maravilloso lo" of the Carpentier is quite different from the magical realism by the fact that the former applies specifically to America . On that note, Lee A. Daniel categorizes Carpentier critics into three groups: those who do not regard him as any magical realist (ÃÆ' ngel Flores), those who call him "an author of mÃÆ'¡gicorealista without mentioning his" real "maravilloso" ( GÃÆ'³mez Gil, Jean Franco, Carlos Fuentes) ", and those who use two terms in turn (Fernando Alegria, Luis Leal, Emir Rodriguez Monegal). Latin American exclusivity
The criticism that Latin America is the birthplace and the capstone of all things magical realists is quite common. ÃÆ' ngel Flores does not deny that magical realism is an international commodity but articulate that it has a Hispanic birthplace, writes that "Magical realism is a continuation of the romantic realist tradition of Spanish literature and its European counterparts." Flores is not alone on this front; there is an argument among those who see magical realism as a discovery of Latin America and those who see it as a global product of the postmodern world. Irene Guenther concludes, "Unexpectedly, in Latin America that [magic realism] is primarily confiscated by literary criticism and, through translation and literary plunder, is altered." Magic realism has taken internationalization: dozens of non-Hispanic writers are categorized thus, and many believe that it really is international commodity.
The Theory of Hispanic Origin: If considering all the quotes given in this article, there are problems with Guenther and other critics of "Hispanic origin theory" and conclusions. With the entry of this article, the term "magical realism" first became an artistic use in 1927 by German critic Franz Roh after the publication of 1915 the Franz Kafka novel "The Metamorphosis," both visual and literary representations and the use of magical realism, regardless of suffix nitpicking. The Russian writer, Nikolai Gogol and his story "The Nose" (1835), is also the predecessor of Hispanic origin theory. All of this is questioned by Borges's critical position as a true supernaturalist versus the precursor of magical realism and how the date of publication between Hispanic and European works is compared. Magic realism has enjoyed a "golden age" in the Hispanic community. It is undeniable that the Hispanic community, Argentina in particular, has supported the movement and great talent in magical realism. One can legitimately state that the height of magical realism has been seen in Latin American countries, though, feminist readers may disagree. Virginia Woolf, Angela Carter, Toni Morrison, and Charlotte Perkins Gilman posed a tremendous critical challenge to the notion of Hispanic magic realism as a full and varied aesthetic. Allende becomes a later contribution to this gender-conscious discourse. Frida Kahlo, of course, became important to this as well, but also later on than Woolf and Gilman. This feminist mapping, however, is not required in identifying basic truth. Kafka and Gogol preceded Borges. They each have their own magical form of realism, but each with a much broader definition in the identification given by this article: "a very detailed and realistic setting is attacked by something too strange to believe...."
The issue of feminist studies in magical realism and its origins is also an important discourse. It should not be ignored. Given that magical realism, due to the nature of the craft, allows less-represented and minority voices to be heard in a more subtle and representational context, magical realism can be one of the better forms available to authors and artists who express unpopular scenarios in the socio- -political.. Again, Woolf, Allende, Kahlo, Carter, Morrison and Gilman serve as excellent examples of gender diversity and ethnicity in magical realism. For this purpose, Hispanic origin theory does not apply.
Gender diversity is set aside, the beginnings of the foundations of magical realism are far more diverse and complicated than what Hispanic theory would suggest as defined in this article. At the beginning of the article, we read a broader definition: "[magic realism is] what happens when very detailed settings are realistically attacked by something too weird to believe..." It's "too strange to believe" European aesthetics - namely Works of Woolf, Kafka, and Gogol. Later, we read the other definitions and seem to be precedent theories of Hispanic origin: "Magical realism is a continuation of the romantic realist tradition of Spanish literature." This "continuation" is part of the broader definition and standard of wizard realism. The Hispanic "continuation" and "romantic realist Spanish tradition" subsets certainly identify why magical realism is rooted and developed further in the Hispanic community, but does not set a precedent for zero origin or pure ownership in Hispanic culture. Magic realism comes from Germany just as in Latin American countries. Both can claim a more specific aesthetic, but to identify the broader term of magical realism as Hispanic is just a theory not supported by the quotes in this article. Maybe it's time to identify each one as his own as part of a wider and less biased umbrella.
Magic realism is an advanced craft in many countries that have contributed in the early stages. Germany became the first country and Latin American countries became the second. Of course there is a difference in aesthetics between European and Hispanic magical realists, but both are magical realists. For this reason, Hispanic magical realists should really have such exact designations but not a thorough umbrella of the broader terms as this article suggests.
Postmodernism
Considering that, theoretically, magical realism was born in the 20th century, some argue that linking it with postmodernism is the next logical step. To further link the two concepts, there is a descriptive equation between two Belgian critics discussed by Theo D'haen in his essay, "Magical Realism and Postmodernism". While writers like GÃÆ'¼nter Grass, Thomas Bernhard, Peter Handke, Italo Calvino, John Fowles, Angela Carter, John Banville, Michel Tournier, Giannina Braschi, Willem Brakman and Louis Ferron may be widely considered postmodernist, they can be "easily categorized... realist magic ". The list has been compiled from the characteristics normally attributed to postmodernism, but which can also describe the magical realism of literature: "self-reflexiveness, metaphiction, eclecticism, redundancy, multiplicity, discontinuity, intertextuality, parody, character dispersal and narrative examples, boundary deletion, and destabilization readers ". To further connect the two, magical realism and postmodernism share the theme of post-colonial discourse, in which time and focus leaps can not be completely explained scientifically but with magical reasoning; textualization (from readers); and metafiction.
Regarding the attitude towards the audience, both have, some argue, many similarities. Magical realist works do not merely satisfy popular audiences, but on the contrary, sophisticated audiences must be tailored to pay attention to textual "softness". While the postmodern author condemns escapist literature (such as fantasy, evil, ghostly fiction), he is closely related to it concerning the reader. There are two modes in postmodern literature: one, commercially successful pop fiction, and the other, philosophy, better suited to intellectuals. A single reading of the first mode will create a distorted or reductive understanding of the text. Fictitious readers - such as Aureliano of 100 Years of Solitude - are hostages used to express the author's anxiety on the matter of who is reading the work and for what purpose, and how the author forever depends on the needs and desires of the reader (market). The realist magician with difficulty must achieve a balance between sales and intellectual integrity. Wendy Faris, speaking of magical realism as a contemporary phenomenon that abandoned modernism for postmodernism, says, "Magicist realist fiction does look younger and more popular than their modernist predecessors, in that they often (though not always) fulfill the plot of the story in the direction of our basic desires to hear what happens next, so they may be more clearly designed for reader entertainment. "
When trying to define what it is is , it is often useful to define what it is not . It is also important to note that many literary critics try to classify novels and literary works in only one genre, such as "romantic" or "naturalist", not always taking into account that many works fall into several categories. Much of the discussion is quoted from Maggie Ann Bowers's Magic (al) Realism, in which she tries to limit the terms of magical realism and magical realism by examining relationships with other genres such as realism, surrealism, fantastic literature, science fiction and the African version, Animism Realism.
Realism
Realism is an attempt to create real-life imagery; a novel depends not only on what is presented but how it serves it. In this way, the realist narrative acts as the framework that readers use to build the world using the raw materials of life. Understanding magical realism and realism in the realm of narrative mode is the key to understanding both terms. Magical realism "depends on the representation of real, imaginary or magical elements as if they are real, dependent on realism, but only in order to stretch what is accepted as real to the limit."
As a simple point of comparison, the Spirit's differentiation between expressionism and post-expressionism as described in 20th century German art can be applied to magical realism and realism. Realism deals with the terms "history", "mimetic", "culture", "empiricism/logic", "narrative", "closed-closing/reductive naturalism" and "rationalization/cause and effect". On the other hand, magical realism includes the terms "myths/legends", "fantastic/supplements", "defamiliarization", "mysticism", "meta-narration", "open romanticism", and "imagination/negative abilities".
Surrealism
Surrealism is often equated with magical realism because both of them explore aspects of humanity and existence that are illogical or non-realistic. There is a strong historical connection between the concept of magical realism and the surrealism of Franz Spirit, as well as the effect it has on Carpentier's extraordinary reality; However, important differences remain. Surrealism "furthest from magical realism [in it] the aspects it examines are not related to material reality but with imagination and mind, and in particular it seeks to express the 'inner life' and human psychology through art.". It seeks to express the subconscious, the unconscious, the oppressed and the unexpressed. Magical realism, on the other hand, rarely presents the extraordinary in the form of dreams or psychological experiences . "To do so," Bowers writes, "takes the magic from recognizable material reality and places it into a little understood realm of magic The magical wonders of magical realism depend on the position it receives and undoubtedly in real and visible material reality. i>. "
Imaginary realism
"Imaginary realism" is the term first coined by Dutch painter Carel Willink as a magic realism pendant. Where magical realism uses fantastic and unreal elements, imaginary realism strictly uses realistic elements in the imagined scene. Thus, classical painters with their biblical and mythological scenes can be qualified as 'imaginary realists'. With the increasing availability of photo editing software, as well as art photographers such as Karl Hammer and others create artistic works in this genre.
Fabulism
Fabulism traditionally refers to fairy tales, parables, and myths, and is sometimes used in contemporary contexts for authors whose work is inside or associated with Magic Realism. Italo Calvino is an example of a writer in a genre that uses the term "fabulist" .
Fantasy
Leading English fantasy writers say that "magical realism" is just another name for fantasy fiction. Gene Wolfe said, "magic realism is a fantasy written by the people who speak Spanish," and Terry Pratchett says magical realism "is like a polite way to say you write fantasy".
However, Amaryll Beatrice Chanady distinguishes the magical realist literature of fantasy literature ("fantastic") based on the differences between the three shared dimensions: the use of antinomies (the simultaneous presence of two conflicting codes), inclusion of events that can not be integrated into a logical framework, and use of authorial silence. In fantasy, the presence of supernatural code is considered a problem, something of special interest - where in magical realism, a supernatural presence is accepted. In fantasy, while authorial reluctance creates a disturbing effect on the reader, it works to integrate the supernatural into a natural framework in magical realism. This integration is possible in magical realism because the author presents the supernatural as equally valid as nature. There is no hierarchy between the two codes. The ghost of MelquÃÆ'ades in MÃÆ'¡rquez's Hundred Years of Loneliness or a baby ghost in Toni Morrison Beloved who visited or haunted their previous occupants, both presented by the narrator as a casual occurrence; the reader, therefore, receives the extraordinary as usual and general.
For Clark Zlotchew, the distinguishing factor between fantastic and magical realism is in the fantastic literature, such as Kafka
In Leal's view, fantasy literary authors, such as Borges, can create "a new world, perhaps a new planet." In contrast, writers like GarcÃÆ'a MÃÆ'Â,rquez, who use magical realism, create no new world, but suggest miracles in our world. In magical realism, the supernatural world combines with a natural and intimate world. This double world of occult realism is different from the folding world that can be found in fantasy tales and literature.
animistic realism
"Animism realism" is a term for conceptualizing African literature that has been written based on the strong presence of imaginary ancestors, traditional religions and especially African cultural animism.
This term is used by Pepetela (1989) and Harry Garuba (2003) to be a new conception of magical realism in African literature.
Science fiction
While science fiction and magical realism bend the idea of ​​what is real, toy to human imagination, and is a form of fiction (often fantastic), they are very different. Bower cites Aldous Huxley's Brave New World as a novel that exemplifies the requirements of a science fiction novel about "rational, physical, explanation for unusual events". Huxley describes a world in which the inhabitants are heavily controlled by mood enhancing drugs, which are controlled by the government. In this world, there is no relationship between copulation and reproduction. Humans are produced in giant test tubes, where chemical changes during pregnancy determine their fate. Bowers argues that, "The different narratives of science fiction that differ from magical realism is that it is organized in a world different from every known reality and its realism is in the fact that we can recognize it as a possibility for our future.Unlike magical realism, it is not has realistic settings that can be recognized in relation to past or present reality. "
Although critics and authors debate which authors or works belong to the genre of magical realism, the following authors represent the narrative mode. In the Latin American world, the most iconic of the magical realist writers is Jorge Luis Borges, Isabel Allende, and Laureate Laureate Gabriel GarcÃÆ'a MÃÆ'¡rquez, whose novel Hundred Years of Solitude is an instant success of the world.
GarcÃÆ'a MÃÆ'¡rquez confessed: "My most important problem is destroying the demarcation line that separates what looks real from what looks fantastic." Allende is the first Latin American woman writer to be recognized outside the continent. His most famous novel, The House of the Spirits , is practically similar to Magical realist writing style GarcÃÆ'a MÃÆ'¡rquez. Another famous novelist is Laura Esquivel, who Like Water for Chocolate tells the story of the lives of female households living on the outskirts of their families and communities. Her protagonist, Tita, is guarded from happiness and marriage by her mother. "The unrequited love and exclusion of his family leads him to harness his extraordinary power in immersing his emotions in the food he produces.In turn, the person who eats his food makes his emotions for him.For example, after eating a wedding cake made by Tita while suffering from forbidden love, the guests were all suffering from a wave of longing.The Mexican Juan Rulfo spearheaded the exposition through a non-linear structure with his short novel Pedro PÃÆ'¡ramo telling the story of Comala as both a living city during the eponymous Pedro PÃÆ'¡ramo and as a ghost town through the eyes of his son Juan Preciado who returned to Comala to fulfill a promise to his deceased mother.
In the English-speaking world, key authors include British Indian writer Salman Rushdie, African American novelist Toni Morrison and Gloria Naylor, Latinos, as Ana Castillo, Rudolfo Anaya, Daniel Olivas, and Helena Maria Viramontes, original American writers Louise Erdrich and Sherman Alexie; English-language writer Louis de BerniÃÆ'¨res and British feminist writer Angela Carter. Perhaps the most famous is Rushdie, whose "language of magical realism straddles both the surreal tradition of magical realism as it developed in Europe and the mystical tradition of magical realism as it developed in Latin America." Morrison's most famous work, Beloved, tells the story of a mother who, haunted by her son's ghost, learns to overcome her traumatic childhood memories as a tortured slave and the burden of nurturing children into a violent and brutal society. Jonathan Safran Foer uses magical realism in exploring stetl and Holocaust history at Everything Is Illuminated .
In the Portuguese-speaking world, Jorge Amado and Nobel Prize-winning novelist José © Saramago are some of the most famous writers of magic realism.
In Norway, the writers Erik Fosnes Hansen, Jan KjÃÆ'Â|rstad, and the young novelist, Rune Salvesen, have marked themselves as the main authors of magical realism, something that has been seen as very un-Norwegian.
Dimitris Lyacos's Poena Damni trilogy, originally written in Greek, is also seen as displaying the characteristics of magical realism in a simultaneous fusion of real and unreal situations in the context of the same narrative.
For a detailed list of authors and works that are considered magical realists, please see the novel of Wizarding realism.
Visual art
Historical development
The style of painters began to develop as early as the first decade of the twentieth century, but 1925 was when Magischer Realismus and Neue Sachlichkeit was officially recognized as a major trend. This is the year that Franz Roh published his book on this issue, Nach Expressionismus: Magischer Realismus: Probleme der neuesten europÃÆ'¤ischen Malerei (translated as After Expressionism: Miraculous Realism: Recent Problems European Painting ) and Gustav Hartlaub curated the seminal exhibition on the theme, entitled just Neue Sachlichkeit (translated as New Objectivity ), at Kunsthalle Mannheim in Mannheim, Germany. Irene Guenthe most often refers to the New Objectivity, rather than magical realism; which is associated with new objectivity on the basis of practical, referential (for real practice artists), whereas magical realism is theoretical rhetoric or criticism. Finally under the guidance of Massimo Bontempelli, the term magical realism is fully embraced by the Germans and also in the Italian practicing community.
The New Objectivity sees total rejection of the impressionist and earlier expressionist movements, and Hartlaub curates his exhibit under guidance: only those, "who remain true or have returned to positive, palpable reality," to reveal the truth of times, "will be included. divided into two subcategories: conservative classical painting, (neo-), and generally leftist, politically motivated veris.This quote by Hartlaub distinguishes both, albeit largely with reference to Germany However, one might apply logic to all relevant European countries. "In the new arts, he sees"
right, left wing. One, conservative against Classicism, takes root in timelessness, wants to sanctify healthy, physical plastics in a pure image after nature... after so many peculiarities and chaos [references to the effects of World War I]... Others, the left, very contemporary, far less artistic, more born of art negation, trying to uncover the chaos, the true face of our times, with addictions to the primitive and embarrassing self-discovery of the facts... There is nothing left to confirm [new art] especially as it seems strong enough to increase the new artistic will.
Both sides were seen throughout Europe during the 1920s and 1930s, ranging from the Netherlands to Austria, France to Russia, with Germany and Italy as centers of growth. Indeed, Italian Giorgio de Chirico, producing works in the late 1910s under the style of arte metaphysics (translated as Metaphysical art), is seen as a precursor and has "influence"... bigger than any other painter in New Objectivity artist ".
Furthermore, later American painters (in the 1940s and 1950s, for the most part) created a magical realist; the relationship between these artists and the Neue Sachlichkeit of the 1920s was explicitly made in the New York Museum of Modern Art exhibit, entitled "American Realists and Magical Realists." France's magical realist Pierre Roy, who works and demonstrates success in the United States, is said to have "helped propagate Franz Roh's formula" into the United States.
Magic realism that excludes extraordinary outrageous
When art critic Franz Roh applied the term magical realism to visual art in 1925, he pointed to a visual art style that brought extreme realism to the depictions of worldly subject matter, revealing the "interior" mystery, rather than imposing outer, bright features - a magical enchantment into this everyday reality. Spirit explained,
We were offered a new style that is truly a world celebrating the world. The world of this new object is still unfamiliar with the current idea of ​​Realism. It uses a variety of techniques that bless all things with deeper meaning and reveal the mystery that always threatens the safe serenity of simple and simple things.... it is a question of representing before our eyes, in an intuitive, factual, figures, from the outside world.
In painting, magical realism is a term often interchangeable with post-expressionism, as RÃÆ'os points out, because the 1925 Spirit ice title is "Magic Realism: Post Expressionism". Indeed, like Dr. Lois Parkinson Zamora of the University of Houston wrote, "The Spirit, in his essay in 1925, describes a group of painters we now categorize as Post-Expressionists."
The Spirit uses this term to describe paintings that mark back to realism after the extravagance of expressionism, which seeks to redesign the object to reveal the spirit of the objects. Magical realism, according to the Spirit, faithfully depicts the outer part of an object, and thus the spirit, or magic, of the object reveals itself. One can connect this exterior magic all the way back to the 15th century. The Flemish painter Van Eyck (1395-1441) highlights the complexity of the natural landscape by creating the illusion of a continuous and invisible region that seeps into the background, leaving it to the imagination of viewers to fill the gaps in the image: for example, in rolling landscapes with rivers and hills -Hill. Miracles are contained in the observer's interpretation of the mysterious parts of the unseen or hidden image. Other important aspects of magical realist painting, according to the Spirit, include:
- Back to the regular subject compared to the fantastic one.
- A juxtaposition of forward movement with a sense of distance, as opposed to the tendency of Expressionism for the subject's foreshorten.
- The use of miniature detail even in large paintings, such as large landscapes.
The pictorial ideals of the original magic realism of the Spirit attracted a new generation of artists through the last years of the 20th century and beyond. In a 1991 review of the New York Times, critic Vivien Raynor said that "John Stuart Ingle proves that the life of Magical Realism" in his "spirit" watercolor remains alive. Ingle's approach, as described in his own words, reflects the early inspiration of the magical realism movement as described by the Spirit; that is, the aim is not to add magical elements to realistic paintings, but to pursue the realization of radical realities; the "magic" effect on viewers comes from the intensity of the effort: "I do not want to make random changes in what I see to paint pictures, I want to paint what is given.The whole idea is to take something that is given and explore that reality as much as possible. "
Further developments: magical realms that combine fantastik
While Ingle represents a "miraculous realism" that recalls the ideas of the Spirit, the term "magical realism" in the 20th century visual arts tends to refer to works incorporating elements that are too fantastic, somewhat by way of literary counterparts.
Occupying an intermediary in this line of development, the work of several European and American painters whose most important works date from the 1930s to the 1950s, including Bettina Shaw-Lawrence, Paul Cadmus, Ivan Albright, Philip Evergood, George Tooker, Ricco , even Andrew Wyeth, as in his famous work, Christina's World, was designated a "magical realist". This work departs sharply from the definition of the Spirit, in the sense (according to artcyclopedia.com) "anchored in everyday reality, but has the tone of fantasy or miracle". In Cadmus's work, for example, the surrealist atmosphere is sometimes achieved through unrealistic style or exaggeration distortions.
"Magical realism" has recently surpassed the fantastic or surreal "tones" to portray a frankly magical reality, with increasingly fragile designations in "everyday reality." Artists associated with such magic realism include Marcela Donoso and Gregory Gillespie.
Artists such as Peter Doig, Richard T. Scott, and Will Teather have been associated with this term at the beginning of the 21st century.
Painter
Movies and TV
Magical realism is not a legally recognized film genre, but the characteristics of magic realism present in the literature can also be found in many moving pictures with fantasy elements. These characteristics can be presented bluntly and occur without explanation.
Many films have magical realist narratives and contrasting events between real and magical elements, or different modes of production. This device explores the reality of what exists. Fredrick Jameson, in "On Magic Realism in Film", advanced the hypothesis that magical realism in film is a formal mode that is constitutionally dependent on the kind of historical raw material in which structured structured disjunctions. Like Water for Chocolate (1992) begins and ends with the first person narrative to build a storytelling frame of magical realism. Telling a story from a child's point of view, historical gaps and hole perspectives, and with a cinematic color that heightens its presence, is a magical realist tool in the film. Some other films that convey the elements of magical realism are The Green Mile (1999), AmÃÆ'Â © lie (2001), Mistress > (2005), Undertow (2009), Biutiful (2010), Animals from the Wild South (2012), Birdman > (2014), a number of films by Woody Allen (including Rose Purple Cairo (1985), Alice (1990), Midnight in Paris (2011), Scoop (2006), and To Rome With Love (2012)). In addition, most of the movies directed by Terry Gilliam are heavily influenced by magic realism, the animated film Hayao Miyazaki often uses magic realism, and some films from Emir Kusturica contain elements of magical realism, the most famous being i Gypsy Time (1988).
Magical realism is mentioned in the Netflix 2015 Narcos series, which opens with a title card, from which the narrator reads: "Magical realism is defined as what happens when a very detailed, realistic setting is attacked by something too strange to believe. There is a reason magical realism was born in Colombia ".
New video and media game
Initial video games such as the 1986 text adventure Trinity combine elements of science fiction, fantasy, and magical realism. In his essay Half-Real , MIT professors and ludologist Jesper Juul argue that the intrinsic nature of the video game is a magical realist. Hover and click adventure games like 2017 Memoranda releases recently embraced the genre. The release of 2013 Kentucky Route Zero is also embedded in the magical realist tradition.
In the electronic literature, early writer Michael Joyce's Afternoon, a story spreading ambiguity and dubious narrator characteristics of high modernism, along with some elements of tension and romance, in a story whose meaning can be changing dramatically depending on the course. taken through lexias on each reading. Recently, Pamela Sacred captured the genre through La Voie de l'ange , a continuation of The Diary of Anne Frank written in French by the fictional character of her > The Passenger hypertext saga.
See also
- Central Arrogance
- List of genres
- Referring to the literature
- Category: Novels of magic realism
- Fantasy/Low fantasy
- Latin American Boom
- Realism of hallucinations
- Hysterical realism
- McOndo
- Southern Gothic
- With reference to visual art
- Realism fantastic
- Art metaphysics
- New Objectives
- With reference to both
- Metarealism
- Postmodernism
- Romantic Realism
- Surrealism
References
External links
- The Essence of Magical Realism - Critical Study of the origins and development of Magic Realism in art.
- Ten Gallery of Dreams - A comprehensive discussion of the historical development of Magical Realism in painting
- Time Capsule of Magical Realism
- The montage video of George Tooker The Subway , which re-creates mood through image editing and sound on YouTube
Source of the article : Wikipedia
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