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Every reader of literature interprets the literary text on the basis of information they have acquired from previous reading, and according to norms they have established, either consciously or not, with regard to a work of literature. In this study, originally published in 1985, the author clarifies the concepts of magical realism and the fantastic, and establishes a series of guidelines that will allow us to distinguish between the two similar yet independent modes. The reader will thus be able to identify the implicit framework upon which the author of the fantastic and of magical realism bases their text.
The Palgrave Handbook of Magical Realism in the Twenty-First Century examines magical realism in literatures from around the globe. Featuring twenty-seven essays written by leading scholars, this anthology argues that literary expressions of magical realism proliferate globally in the twenty-first century due to travel and migrations, the shrinking of time and space, and the growing encroachment of human life on nature. In this global context, magical realism addresses twenty-first-century politics, aesthetics, identity, and social/national formations where contact between and within cultures has exponentially increased, altering how communities and nations imagine themselves. This text assembles a group of critics throughout the world—the Americas, Europe, Africa, Asia, the Middle East, and Australia—who employ multiple theoretical approaches to examine the different ways magical realism in literature has transitioned to a global practice; thus, signaling a new stage in the history and development of the genre.
On magical realism in literature
This book calls for a re-conceptualisation of the public health evidence-base to include crucial forms of creative and relational data about people’s lived experiences that cannot be accessed through the biomedical approach to generating and using evidence. Drawing from the author’s ethical, ontological and epistemological dilemmas when studying controversial topics, and methodological evaluation framework to measure impacts of creative community engagement, the book argues that traditional methodologies and conceptualisations of evidence have the potential to exacerbate health inequalities by excluding and misrepresenting minorities. Fantastical realities based on ‘truthful’ research findings are intertwined with traditional public health approaches through artistic engagement with so-called ‘hard-to-reach’ groups. Working with their (sur)real life stories, the author reflects on how the population’s breadth is inadequately reflected which threatens validity and generalisability in public health research and decision making. Through different ways of knowing (epistemology) and different ways of being (ontology), this book shows how to design studies, make recommendations and adapt services that are aligned with views and experiences of those living on the margins and beyond. As such, it is an essential read for public health researchers and students.
This book follows the hybrid and contradictory history of magic realism through the writings of three key figures – art historian Franz Roh, novelist Alejo Carpentier, and cultural critic Fredric Jameson – drawing links between their political, aesthetic, and philosophical ideas on art’s relationship to reality. Magic realism is vast in scope, spanning almost a century, and is often confused with neighbouring styles of literature or art, most notably surrealism. The fascinating conditions of modernist Europe are complex and contradictory, a spirit that magic realism has taken on as it travels far and wide. The filmmakers and writers in this book acknowledge the importance of feeling, atmosphere, and mood to subtly provoke and resist global capitalism. Theirs is the history of magic-realist cinema. The book explores this history through the modernist avant-garde in search of a new theory of cinematic magic realism. It uncovers a resistant, geopolitical form of world cinema – moving from Europe, through Latin America and the former Soviet Union, to Thailand – that emerges from these ideas. This book is invaluable to any reader interested in world modernism(s) in relation to contemporary cinema and geopolitics. Its sustained analysis of film as a sensory, intermedial medium is of interest to scholars working across the visual arts, literature, critical theory, and film-philosophy.
Essay from the year 2016 in the subject Didactics for the subject English - Literature, Works, grade: 2:1, Falmouth University, course: Millennium, language: English, abstract: This essay will explore García Márquez’ novel One Hundred Years of Solitude (1967) and the concerns it raises with literary histories and forms such as realism. I will be exploring the concerns aimed at literary histories which provide a version of reality that acts as a true representation while displaying only a version or subjective viewpoint of the world. First, this essay will place the text within the context of the New Novel in Latin America as a response to Post-Colonialism, and then as a magical realist novel which comes to questions forms of representation of reality. Amaryll Chanady in her work on the territorialisation of the imaginary in Latin America, makes a clear distinction between the fantastic and magical realism: ‘the magical realist writer “does not need to justify the mysterious nature of events, as the writer of fantastic stories has to. In fantastic literature the supernatural invades the world ruled by reason”.’ In fact, it is its matter-of-fact narrative which describes in great detail the everyday lives of the people of Macondo, despite the interweaving of the fantastical that allows for the text to question the realist form. By analyzing Márquez’ distortion of time and space, in connection to Eva Aldea’s essay on magical realism and Deleuze, I will argue that the text has the ability to display signs not as representations of reality, but as real in and of themselves. Through the analysis of the carnivalesque with David K. Danow and play and playfulness within the novel with Enrique A. Giordano, I will argue towards the text’s ability to embrace both the realist and the fantastic forms fully, embracing both within the limits of each other. Finally, by exploring the character Melquiades I will argue that the narrative in the form of the manuscript, is a force which not only subvert the realist form but also transcends it. Eva Aldea argues that ‘Thus One Hundred Years of Solitude takes us through a kind of apprenticeship of signs, from the illusory referentiality of realism,’ to ‘the essential signs of art which reveal the structure of reality itself’ and therefore this essay will aim to analyze the novel’s signs in an attempt to capture the concerns it raises in connection to literary histories and forms.
Contemporary Caribbean Writing and Deleuze maps a new intellectual and literary history of postcolonial Caribbean writing and thought spanning from the 1930s surrealist movement to the present, crossing the region's language blocs, and focused on the interconnected principles of creativity and commemoration. Exploring the work of René Ménil, Édouard Glissant, Wilson Harris, Derek Walcott, Antonio Benítez-Rojo, Pauline Melville, Robert Antoni and Nalo Hopkinson, this study reveals the explicit and implicit engagement with Deleuzian thought at work in contemporary Caribbean writing. Uniting for the first time two major schools of contemporary thought - postcolonialism and post-continental philosophy - this study establishes a new and innovative critical discourse for Caribbean studies and postcolonial theory beyond the oppositional dialectic of colonizer and colonized. Drawing from Deleuze's writings on Bergson, Nietzsche and Spinoza, this study interrogates the postcolonial tropes of newness, becoming, relationality and a philosophical concept of immanence that lie at the heart of a little-observed dialogue between contemporary Caribbean writers and Deleuze.
For at least a century, scholarship on realist narrative, and occasional polemics against realist narrative, have assumed that realism promotes the values of sameness against those of otherness, and that it does so by use of a narrative mode that excludes certain epistemologies, ideologies, and ways of thinking. However, the truth is more complex than that, as the essays in this volume all demonstrate. Realism’s Others examines the various strategies by which realist narratives create the idea of difference, whether that difference is registered in terms of class, ethnicity, epistemology, nationality, or gender. The authors in this collection examine in detail not just the fact of otherness in some canonical realist and canonical magical-realist and postmodern novels, but the actual means by which that otherness is established by the text. These essays suggest that neither realist narrative nor narratives positioned as anti-realist take otherness for granted; rather, the texts discussed here actively create difference, and this creation of difference often occasions severe difficulties for the novels’ representational schema. How does one represent different types of knowledge, other aesthetic modes or other spaces, for example, in texts whose epistemology has long been seen as secular and empirical, whose aesthetic mode has always been approached as pure descriptive mimesis, and whose settings are largely domestic? These essays all begin with a certain collision—of nationalities, of classes, of representational matrices, of religions—and go on to chart the challenges that this collision presents to our ideas or stereotypes of realism, or to the possibilities of writing against and beyond realism. This question motivates examination of key realist or social-realist texts, in some of these essays, by Honoré de Balzac, George Eliot, Franz Grillparzer, Theodor Storm, Gottfried Keller, Theodor Fontane, Wilhelm Raabe, María Amparo Ruiz de Burton, Henry James, William Dean Howells, Charles Chesnutt, Theodore Dreiser, H. T. Tsiang, Alan Sillitoe, and Richard Yates. However, it is no less central a question in certain non-realist texts which engage realist aims to a surprising degree, often to debate them openly; some of these essays discuss, in this light, fantastic, magical realist, and postmodern works by Abram Tertz, Paul Auster, Alejo Carpentier, Toni Morrison, Gabriel García Márquez, Salman Rushdie, and A. S. Byatt. Realism becomes more than an aesthetic aim or narrative mode. It becomes, rather, a value evoked and discussed by all of the works analyzed here, in order to reveal its impact on fiction’s treatment of ethnicity, nationality, ideology, space, gender, and social class.
Japanese animation has been given fulsome academic commentary in recent years. However, there is arguably a need for a more philosophically consistent and theoretically integrated engagement. While this book covers the key thinkers of contemporary aesthetic theory, it aims to reground reflection on anime within the aesthetics of R.G. Collingwood.