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Theory of magical realism
Thesis on magical realism
Magical realism theory
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Angela Carter wrote in various forms, she wrote novels, poetry, film scripts and she also translated the fairy tales of Charles Perrault and edited the Virago Book of Fairy Tales1. The Magic Toyshop is Angela Carter's second novel and winner of the John Llewellyn Rhys Prize (1969)2. The Magic Toyshop is a Bildungsroman, it follows the coming of age of Melanie, as she becomes aware of herself, her environment, and her own sexuality. The Magic Toyshop can in many ways be seen as following the conventions of a fairy tale and has been categorised as some as 'Magic Realism'. In a Concise Glossary of Contemporary Literary theory this has been defined as “involve the sudden incursion of fantastic or 'magical' elements into an otherwise realistic plot and setting”3. In this essay I will discuss how Carter exploits the fluid boundary between reality and fantasy.
As stated above it can be said that The Magic Toyshop adapts narrative conventions borrowed from fairy tales I.e. there is an orphaned protagonist who has to leave her own world for another and set off on an arduous journey (of self discovery). However there are allusions to mythology and theatre. The Magic Toyshop is at first set in a typical upper class family setting and then swiftly moves onto mainly be set in South London within a working class family. The setting in itself is realistic. In this way Carter creates a world in which the reader can relate to and understand with potentially realistic characters. Throughout the book the reader also goes on a journey with the protagonist where the boundaries of reality and fantasy become blurred. In a sense Carter creates a feeling of lulling the reader into a false sense of security in giving us this realistic setting.
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...se”23. The story does not end in a typical fairy tale ending but with a sense of uncertainty,
As we have seen Carter uses various different techniques to exploit the fluid boundary between reality and fantasy by using literary techniques from fairy tales, mythology, and even the bible. She allows the reader to have a false sense of security and then introduces something out of the norm so we can step out of the norm and perhaps view things which are different from the world we live in more subjectively.
Works Cited
Bacchilega, Christina et al, Angela Carter and the fairy tale, Detroit, Mich, Wayne State University Press, c2001.
Carter, Angela, The Magic Toyshop, London, Virago, 1967
Hawthorn, Jeremy, A Concise Glossary of Contemporary Literary Theory, London, Edward Arnold, 1992
Peach, Linden, Angela Carter, Basingstoke, McMillan, 1998
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.
Roh, Franz. "Magic Realism: Post-Expressionism." Magical Realism. Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris. Durham, N.C.: Duke UP, 1995. 15-30.
...h peace at the end of the tale, many unnecessary struggles and burdens were cast upon them in spite of their rectitude.
...haracters, the 'oppressed female seeking liberation' is a common theme and concept that is explored throughout the collection. The characters seem to blend into each other and become indistinguishable from one another when recognising this theme in the text. Carter effectively draws out the theme of feminism by contrasting traditional elements of Gothic fiction ; which usually depicted female characters as weak and helpless ; with strong female protagonists. By contrasting the barren and horrific atmosphere found typically within the Gothic to the strong heroines of her story, Carter is able to create sexually liberated female characters that are set against the more traditional backdrop of the fairy tale. In doing so, Carter reinvents the outdated fairy tales and offers insight on the archetypes and stereotypes of women in these well-known and celebrated stories.
Fairy tales have been told for generations and now every child has dolls, movies and books filled with magical adventure. Cinderella, Sleeping beauty, and Snow white have become classics in every household. However, J.R.R. Tolkien described in his essay “On Fairy Stories” that the world has corrupted fairy tales by making them childlike and denoting them to evil. Our culture prescribed fairies to be diminutive, supernatural creatures; however, fairies are neither small nor necessarily supernatural. A fairy is a direct product of Faerie, which is “the realm or state in which fairies have their being” (Tolkien “On” 2). Fairy stories are derived from the human mind, more so the imagination. Without the imagination, Faerie would be dull. The imagination produces images that result in a Secondary World, or Fantasy. Tolkien believed that Fantasy is an inherent human action that provides recovery, escape, and consolation; all of which readers can experience in The Fellowship of the Ring, the first of Tolkien’s fairy tale trilogy filled with hobbits, elves, and magical rings.
Through his portrayal of characters and unorthodox style of writing throughout the fairy tale, Goldman pokes fun at the literary process and ordinary fairy tales. Through his fairy tale, The Princess Bride, Goldman ridicules numerous tropes of fairy tales and simultaneously critiques overdone expositions. Every character represents an archetype of a common fairy tale, but they all have glaring flaws that directly contradict how they are supposed to act. William Goldman sets forth his satirical theme that the literary industry’s rigid rules reflect its inability to adapt in an ever changing society.
Welcome to the doll factory! Personalities are free, dreams are additional charges. Sometimes taking a step back and looking at the big picture before jumping at your dreams sounds like something we would never think to do. In the book Valley of the Dolls by Jacqueline Susann she reaches in to the real and vulnerable lives of three women wealthy white women, (something we dare to dig into in our everyday lives) who are just trying to achieve their dreams.
Opportunities struck me when my teacher, Mr. Boardman gave his class time to touch the history of their chosen genre. I knew exactly what I wanted to search to build on fairy tales. I started by digging ...
Bettelheim, Bruno “The Importance of Externalization”. The Uses of Enchantment. The Meaning and Importance of fairytales. New York: Vintage books 1976
Neil Gaiman uses magical realism in the novel “Neverwhere” to engage the reader in a coming of age story. gaiman distorts many elements in the book from reality into fantasy. The magical elements in the book symbolize adulthood for Richard, and the realistic elements in the book symbolize childhood for Richard. The unrealistic elements in the book keep the reader enthralled in the tale.
Bettelheim, Bruno. “Fairy Tales and The Existential Predicament.” The Uses of Enchantment: the Meaning and Importance of Fairy Tales. New York: Knopf, 1976. Print
Blanche is a delusional character who creates life from her imagination to help her pass through the hardness of life. Blanche admits that living in fantasy is much better than living in reality. When she was talking to her lover “Mitch”, she admits that the world of fantasy is much kinder as she says, “I don't want realism. I want magic!” (Williams, 117). Blanche does not care if this magic is factual or not. The importance of magic to Blanche is that she has the choice to choose fantasy which allows her to believe in and hope for something better than harsh world. She is aware of that, making the world as attractive as sh...
Zipes, J. (2007) ‘Why Fairy Tales Stick: The Evolution and Relevance of a Genre’ Routledge: New Ed.
Andersen, H. C., and Erik Christian Haugaard. The complete fairy tales and stories. [1st ed. Garden City, N.Y.: Doubleday, 1974. Print.
Supernatural elements – religious figures and activities, ghosts, witches, and anthropomorphized animals among others – have been used throughout the history of literature from its origins in oral folktales to Shakespeare’s plays to Tolkien’s Lord of the Rings series. Throughout the history of literature, supernatural elements have been useful in developing themes that reflect the nature of humanity. Supernatural elements are often used to outline and comment on conflict and power struggles: both within the plot of the work and within society at the time of the work’s publication. These otherworldly components are also commonly used to adapt, expand upon, and make a work of literature more applicable to its settings. Supernatural elements also play a r...