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... ... middle of paper ... ...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.
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.
Franz Roh, to whom we attribute having coined the term, describes this "new" art form in his 1925 article "Magical Realism: Post Expressionism." Roh defines Magical Realism through a chronological examination of artistic styles preceding this "new art." The two periods on which he focuses primarily are Impressionism and Expressionism. Impressionism, which preceded Expressionism, focused on the artists' desire to portray something that existed in reality. An artist may examine the texture, light, or the shapes of an object.
Magic Realism: A Problem "Magic Realism" is a term used by critics to describe a mingling of the mundane with the fantastic. This may seem a straightforward enough approach unless one happens to be a student of postcolonial studies - or at least, a student of postcolonialism should smell a rat. A brief history of the term is required for us to see why the term should be deemed problematical. In 1925 Franz Roh, a German art critic, used the term to describe a new post-expressionistic form that was emerging. Essentially the art described as "magic realism" was realist but was simultaneously possessed of a strange or dreamlike quality.
Then looking at Amaryll Chanady, I learned that Flores stated that, "practitioners of magical realism clings to reality as if to prevent their myth from flying off, as in fairy tales, to supernatural realism." Luis Leal also has many different opinions toward magical realism. However, I did not agree with a few of them. I did understand and agreed with a few, though. In Luis Leal's essay, I learned that Roh explained the origin of the term by saying that with the word "magical," as opposed to "mystical," he wanted to emphasize that the mystery does not descend to the represented world, but rather hides and palpitates behind it (120-121).
This interplay and interrelationship between the “self” and the otherness must be considered as the symbiotic and necessary themes within fantasy literature. The questioning of the “self” and the otherness within Simmons’ novel Song of Kali aids in defining the reality that has been set out for the beginning and thus in the fanciful world it does so by clinging to a general lack of social conventions or taboos. Nor does it accept or reject the impending process that is modernity, instead it leaves room for the magical and the mysterious to inhabit. Thereby allowing the accepted “self” to be questioned deconstructed and rebuilt in a new fashion by the “other.”
The novel effectively reduces each to their flaws, but does not attempt to hide its limitations behind a manufactured authority. It is this absence, or seeming absence, of controlled writing that brings Heart of Darkness closer to "the real" than any authoritative work of realism. Works Cited Conrad, Joseph. Heart of Darkness. 1902.
Magical Realism and Psychology "Magical realism was first used by the art critic Franz Roh to designate the pictorial output of the Postexpressionist period, beginning around 1925" (Leal 120). Later, this term was applied to forms of literature. This type of literature contains characteristics such as real and unreal elements, no hesitation, and hidden meanings. Given these and other characteristics, it is easy to see that magical realism can be applied to things outside of literature, such as psychology. In magical realism stories, the places and things are real and unreal at the same time.
This short story was included in the 1984 book Magical Realist Fiction: An Anthology. By identifying the characteristics that seem inconsistent with the characteristics most critics ascribe to Magical Realist literature, a more concise understanding of Magical Realism can be obtained. "The text [magical realist text] contains an 'irreducible element' of magic, something we cannot explain according to the laws of the universe as we know them" (Faris 167). In addition to these "magical" elements, Magical Realist fiction, by name, includes "realistic" elements that serve to counterbalance the "magical" elements. The plots are logically conceived (Leal 120).
By looking at the history and theory of Magical Realism as well as some of its characteristics and influences, these questions will be answered. Interestingly, the term "Magical Realism" was first used in 1925 by a German art critic, Franz Roh. In his essay, "Magic Realism: Post-Expressionism," Roh used the term "Magical Realism" to actually characterize a style of painting instead of a style of literature (15). However, there are still at least two different viewpoints as to where and when Magical Realism truly had its start. In Angel Flores' essay, "Magical Realism in Spanish America," he claims that Magical Realism had its basis in the works of Franz Kafka.