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Magical realism definition essay
Magical realism definition essay
World view of magical realism
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Magical Realism
The idea of a genre of art that is called magical realism is less a trend than a tradition, an evolving genre that has its waxings and wanings, where each evolving form expresses an idea that may overlap another, yet at the same time branches off and creates something very different. What began in the visual arts has become a contemporary literary genre due to divergences. Contemporary Latin American writers of this mode include Alejo Carpentier, Jorge Luis Borges, Isabel Allende, Gabriel Garcia Marquez, Octavio Paz, Pablo Neruda, and Majorie Agosin. At the same time there are many writers of the genre world wide, though every form may take one new meaning. The magical realist does not depend on the natural or physical laws or on the usual conception of the real in Western culture, and at the same time it uses these aspects to disrupt reality, to create a disproportionate view (Zamora 146-148). While the mode is one of disruption, a disruption within its own development is also present.
Magical Realism is a term that was created by Franz Roh, a Post-Expressionist painter who devised the term to described the return to Realism following Expressionism's more abstract style. Roh was praising Post-Expressionism's realistic, figural representation. Post-Expression moved to a renewed delight in real objects as it maintained and integrated the formal innovations and spiritual thrust of Expressionism, which had shown an exaggerated preference for fantastic, extraterrestrial, remote objects (Zamora 15). He wanted to indicate that mystery does not descend to the represented world, but rather hides and palpitates behind it, which anticipates the contemporary magical realists. Though, his initial perception of magical...
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...uperate the real; realities that have been obscured or erased by political and social injustice maybe reconstructed, a quality that is revealed in Isabel Allende's "The House of Spirits." With much about Alejo Carpentier already discussed it will just be noted here that his idea of "lo real maravilloso americano" uses what Amaryll Chanaday refers to as "territorialization of the imaginary"(Zamora 7). It becomes a new world phenomenon, an ever-changing phenomenon caught only at a point in time. Magical reality must be set in time though because it is necessary that it be an approach to history as well as literary genre because it supplies a historically resonant time and place, as the paragraphs above signify (Zamora 1-10).
Works Cited
Zamora, Lois Parkinson, and Wendy B. Faris. Magical Realism: Theory, History, Community. Durham: Duke University Press, 1995.
Faris, Wendy B. "Scherazade's Children: Magical Realism and Postmodern Fiction." Magical Realism: Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris. Durham; N.C.: Duke UP, 1995.
...story telling traditions. All storytellers are children of the ones, which came before them and stand on the shoulders of those who have told the tales in the past. Marquez and Anaya did not hesitate to make liberal use of magical realism, both as a way to create tension in their stories and to contact the deeper hearing of their audience. Magical realism was just another tool in their literary boxes, to be used with skill and discretion for the greater benefit of the tale being told. It worked well for the cantadora, sitting in the doorway weaving her basket as she wove her tale and it works equally well today as we pause from our lives, quiet our souls, and prepare to listen as the story unfolds.
Delbaere-Garant, Jeannie. "Variations on Magical Realism". Magical Realism Theory, History, Community. Ed. Lois Parkison Zamora and Wendy B. Faris. Durham" Duke U.P., 1995. 249-263.
Flores, Angel. "Magical Realism in Spanish American Fiction." Magical Realism. Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris. Durham, N.C.: Duke UP, 1995. 109-116.
For the purposes of this paper, I would like to adopt the synthesized definition editors Zamora and Faris distill from several key writers and academics featured in the anthology/reader Magical Realism: Theory, History, Community:
Marquez's "A Very Old Man with Enormous Wings" fulfills every characteristic of Magical Realism. His short story contains magic that exists in a realistic background. One can easily see why Marquez is such a forerunner in the field of Magical Realism.
The truth is within the past two generations a phenomenon has taken place in connection to children across this country. Today one and a half million children take medication to focus attention and control hyperactive behavior (Freed 216). Most of these children have been diagnosed with Attention Deficit Hyperactivity Disorder. There are three types of ADHD the first consists of inattention only or the inability to focus attention. The second consists of hyperactivity and impulsivity. The third form of ADHD is a combined type where the child or adult has difficulty dealing with attention and hyperactivity and impulsivity. Children with ADHD are typically prescribed a drug called Ritalin (or one similar to it), which is a methylphenidate (recently amphetamines have been used also) making it easier to control behavior.
Faris, Wendy B. Ordinary Enchantments: Magical Realism and the Remystification of Narrative. Nashville: Vanderbilt UP, 2004. 24 Sept. 2012. Web. 15 Mar. 2014. 21
Flores, Angel. "Magical Realism in Spanish American Fiction." Magical Realism. Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris. Durham, N.C.: Duke UP, 1995: 109-116.
Magical Realism evolved only in the last century. Franz Roh was the first to use the term to describe paintings and the new style that had come about after the expressionistic era (7, p.15), however it was Alejo Carpentier who used it to describe Latin America's fanatastical writing styles (3, p.373). He felt that magical realism expounded upon reality and "was able to elude realism's insufficiency, in its inablility to describe an ex-centric experience"(3, p.373). Latin America, though perhaps the first to name the new writing phenomena, was not the only country to use it. In the course of this paper I will compare and contrast several different novels from female authors who evoked magical realism into their writing styles. These authors come from Latin America, Africa, and the Caribbean, showing the wide range of history and environments. Feeling that the Caribbean alone may prove to narrow a topic for a style that has taken the world by storm, I felt it only fitting that other countries should be included the theme of women in the paper. Also, I selected Africa and parts of Latin America to compare to Caribbean writings because these two continents play a pivotal role in shaping what the Caribbean has become today.
Flores, Angel. "Magical Realism in Spanish American Fiction." Magical Realism. Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris. Durham, N.C.: Duke UP, 1995: 109-116.
Magical Realism can be observed in other subject areas, too, such as the logotherapy of Victor Frankl. Finding examples in other "real-world" fields of study helps in understanding Magical Realism as a
In order to see how Magical Realism is found in this treatment, one must first consider at least one of the identifying marks of Magical Realism. Among the characteristics that identify Magical Realism is the feeling of transcendence that the reader has while reading a Magical Realist text (Simpkins 150). During transcendence, a reader senses something that is beyond the real world. At the same time, however, the reader still feels as if he or she were rooted in the world (Sandner 52). After the reader undergoes transcendence, then he or she should have a different outlook on life.
Magical realism is a term that describes contempory fiction. Magical realism blends magical or fantastical elements with reality this means that they put something that’s real, and is meant to be fake to be used as reality. It tells its story from the perspective of people who live in our world and experience a different reality from the one we call objective. Magical realism is used in a lot of stories, but it takes a role in one of the stories we read in class which was “The Handsomest Drowned Man”.
Obviously the most concise definition of magical realism is that it is the combination of magical and real elements. The magical elements that exist in works of magical realism are; superstitions, exaggerations, dreams that come true, universal humor and the coincidence of bizarre events. All of these Elements are present within Chronicle of a Death Foretold.