But there is a fundamental instability in the work resulting from the opposition of the moral and the means in which it is presented. The intention of the work is to depict the error of confusing fiction for reality, yet does this through fiction. The reader is expected to believe in the validity of the story’s moral, which is not to believe in stories. A work that denies its own foundation cannot function, and this remains true for “The Female Quixote.” But this contradiction can only exist if there is clearly an instructive message within it. In this novel, there is no question of the negative influence of romances, only how ridiculous it makes the main character, Arabella, seem.
For instance, the author present the struggles encounter by the country which are not written in history. Therefore, this research focuses on literature that portrays the magic realism in everyday life. It is significant to find out how magic realism associated to the effects of colonization in the novel written by Salman Rushdie’s Midnight’s Children. There are various studies done on the use of magic realism as the recitation technique and devices to depict the post-colonial and postmodern days, conversely only few are done, only contemplate on magic realism as their subject. Therefore, this research will expectantly make a contribution in closing the gap of expertise in literature regarding the use of magic realism as recommended by its
There is always a room to remark on the clash of diverse cultures and the disparity of political, economic or social power. Magic realist writer pertain different rules to the world of fiction, but still embody them in a pragmatic way. They make the reader believes in the story as a matter-of-fact. In their story, the weirdness becomes known; the magical becomes real and the dead become alive. Hence, once the character accepts the magic, the reader will have a propensity to tag on automatically.
Many believe that the interrelations between the “I” and the “not- I”, the self and the other is the essential relationship in order to understand fantasy literature. As Rosemary Jackson stipulated in her text Fantasy: the Literature of Subversion the limitations of realist novels comes from their “rational, ‘mono- logical’ world” (172) were “otherness cannot be known or represented except was foreign, irrational” (172). She goes on to suggest that since the other cannot be accepted it is “either rejected altogether… or written out as romance or as fable” (172). The concept of the “I” and the “not- I” within fantasy literature is what has allowed this growing form of writing to explore the deep, shadowy and sometimes vicious depths of the human psyche we attempt to hide, while elaborating upon the art of the fantasy novel in modern literature. Dan Simmons Song of Kali heavily relies on the interrelationship between the “I” and the “not- I” in order to broaden the readers journey into the fantastic world they have created.
The writer should strongly respect the magic or else the magic would go into folk belief or complete fantasy and split from the term of magic that relates it to Angel Flores (111). Authorial reticence another feature of magical realism, refers to the lack of clear opinions of the accuracy of events of the worldviews expressed by the characters in the stories. This technique promotes acceptance in magical realism. The simple fact of explaining the supernatural worldview can be part of reality (Wendy Faris, 165). Magical Realism can be art, poetry, and literature.
There seems to be a worrying pattern for the genre fiction authors that have gained mainstream appeal but lost control of their craft afterwards. But if anything, the forms of popular fiction have become the place for the more serious scholarly questions where the boundaries becomes increasingly endless to the writers. Despite the fact that “fantasy fiction is an alternative to realist fiction, not the alternative, they are nonetheless viewed as opposites, if not opponents” (Wilkins, 273). An author is the “meaning maker”, that recognises the purpose of writing and to construct and communicate a specific message between the author and the reader. For the author, popular fiction offers a wide range of freedom in style of writing that the literary fiction simply no longer does.
Shakespeare's audiences would have undoubtedly believed in witches, yet his portrayal of the hallu... ... middle of paper ... ...ical this tragedy is. The small drop of doubt left in the audience's minds as to whether the witches are real or not enables Shakespeare to combine a vivid external presentation of the forces of evil with a profound exploration of their psychological sources and effects in the human mind. 'Hover through the fog and filthy air' is delivered in a slow, ominous moan. The gypsies are meant to disappear into thin air as directed in the text, but I feel it is much better to leave it up to the audience to decide if these women have supernatural powers. In order to allow this, the oil drum fire sputters wildly and, with another chilling bell chime, fades out in the torrential rain.
Banquo's importance in the play stems, in large part, from his different response to these witches. Like Macbeth, he is strongly tempted, but he does not let his desires outweigh his moral caution: But 'tis strange, And oftentimes to win us to our harm The instruments of darkness tell us truths, Win us with honest trifles to betray's In deepest consequence. (1.3.120-124) Macbeth cannot act on this awareness because his desires (kept alive by his active imagination and his wife's urging) constantly intrude upon his moral sensibilities. Hence, he seizes upon the news that he has just been made Thane of Cawdor, using that information to tell him what he most wants to believe, that the witches tell the truth. This supernatural soliciting Cannot be ill, cannot be good.
Macbeth has over trusted the witches and has only looked at one dimension of their apparitions and not taken into account that their message could be interpreted differently. this provesa to be his downfall ====================================================================== In the play "Macbeth," there were many interesting sections which could be related on due to the suspense and the involvement of the supernatural.. Without the witches, the ghost, the visions, and the apparitions, "Macbeth" would have been a dull and tiresome play, it was a key element in making the concept of the play work and in making the play interesting. Looking through each Act and Scene of the play I have concluded that this ancient superstition of spirits and witchcraft enhanced the play dramatically.
Society lives on both factors as well. Fantasy art can either make or brake a world, just by the ideas and thoughts that are used with the imagination. This fantasized world is mainly inspired by reality and especially religious beliefs. Considering that fantasy literature is one of the oldest works, that any period of history can relate to; many stories seem to be fictional, if analyzed they become parallel to any cultural society. The characters in fantasy art works may represent actual people in everyday life, for example an evil witch may be compared to a mean motherly figure.