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Theories of magical realism
Thesis on magical realism
Theories of magical realism
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What is “magic”? One dictionary definition describes the word as “Any mysterious and overpowering quality that leads singular distinction and enchantment”, and another as “Possessing distinctive qualities that produce unaccountable of baffling events” (“Magic”). Magical realism as a literary technique encompasses all literary documents that weave any supernatural elements into the natural world, has integrated itself into many modern texts, and has close cousins in the literary genre universe.
For most people, the first thing that comes to mind when a person says “magic” is a group of persons with wands conjuring all sorts of fanciful images from thin air. Similarly, magical realism is a literary technique that combines a “…rational view of reality and … the acceptance of the supernatural as prosaic reality…” (Moore). The entirety of the idea is that supernatural and natural parts can coexist in a completely plausible way. The characteristics of such a classification involve a hybrid quality, “illustrated in the inharmonious arenas of such opposites as urban and rural and Western and indigenous… borders, mixing and change”, and ambiguity in regards to the “accuracy of events and the credibility of the world views expressed by the characters…” while keeping the supernatural happenings unquestionable (Moore).
The first recorded appearance of magical realism occurred as an art category described by Fran Roh, an art critic, who saw it as “a way of representing and responding to reality and pictorially depicting the enigmas of reality.” (Moore). Later, around the 1940’s, “magical realism was a way to express the realistic American mentality and create an autonomous style of literature.” in Latin America (Moore). This particularl...
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...ical realism can be found almost anywhere the extraordinary and ordinary collide, stems from artistic roots yet is found in several modern literary works, and holds its own against fantasy and science fiction stereotypes. The use of magical realism can create interest in almost any plot line, and can intensify messages or themes to the reader.
Works Cited
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"Fantasy." Encyclopedia Britannica. Encyclopedia Britannica INC., 19 Sept. 2012. Web. 15 Feb 2014.
"Magic." THE AMERICAN HERITAGE DICTIONARY OF THE ENGLISH LANGUAGE. New York: 1969.
Moore, Lindsay. ""Magical Realism"." Postcolonial Studies at Emory Pages. N.p., n.d. Web. 13 Feb 2014.
Nexon, Daniel. ""Harry Potter" and Magical Realism." CBS News. Scholastic, 20 Jul 2007. Web. 15 Feb 2014.
...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.
Faris, Wendy B. Ordinary Enchantments: Magical Realism and the Remystification of Narrative. Nashville: Vanderbilt UP, 2004. 24 Sept. 2012. Web. 15 Mar. 2014. 21
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.
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.
In the book Like Water for Chocolate by Laura Esquivel, magical realism plays a large roll in the book. Magical Realism blends realistic elements with magical elements to create ‘magical realism.’ As a matter of fact, magical realism is used for a graphical explanation to access a better comprehension of reality; therefore, the readers can understand the connection from primeval or magical. In other words, fictional realism emphasis the elements of everyday life. Laura Esquivel effectively uses a fictional style to voice magical elements such as, Tita’s breast milk, the quail with rose pedals in the soup and the death of Pedro and Tita.
An essential difference, then, between realism and magical realism involves the intentionality implicit in the conventions of the two modes…realism intends its version of the world as a singular version, as an objective (hence ...
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.
As nurses, it is important that we “be both empowered and competent enablers of patient empowerment.” (Burkhardt & Nathaniel, 2014, p. 493) We took an oath to follow an ethical code which requires us to act as our patient’s advocate while providing safe nursing care. Nevertheless, we cannot make every medical choice or decision on their behalf. We also cannot empower them, “because to do so removes the element of choice.” (Burkhardt & Nathaniel, 2014, p. 501) We can, however, “facilitate empowerment by working directly with patients and through addressing social, political, and environmental factors affecting empowerment of individuals and communities.” (Burkhardt & Nathaniel, 2014, p. 493) In this paper, I will discuss how nurses can provide empowerment, some of the issues and constraints affecting empowerment, and how I feel regarding empowerment in my workplace.
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.
Fantasy, Magical, Supernatural, Sublime, and Realism are all several genres of literature that may be familiar to many people. However, there may be one that is not as well-known as these: Magical Realism. Although Magical Realism is mostly common in the Latin American countries, one may wonder where and how Magical Realism got its start. On the other hand, one may simply wonder what some of the characteristics of Magical Realism are. By looking at the history and theory of Magical Realism as well as some of its characteristics and influences, these questions will be answered.
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.
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
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.
Magical realism literature consists of seven characteristics, which are determined by official authors. Magical Realism describes magical phenomenon and in stories the magic is accepted as a part of everyday life. Bible has affected magical realism because it has had an impact on people who wrote magical realism stories. Moreover, Bible complies with the requirements of magical realism. Bible is a book, written by over forty authors, a collection of 66 books written in three different languages and on three different continents.
'The formal technique of "magic realism,"' Linda Hutcheon writes, '(with its characteristic mixing of the fantastic and the realist) has been singled out by many critics as one of the points of conjunction of post-modernism and post-colonialism' (131). Her tracing the origins of magic realism as a literary style to Latin America and Third World countries is accompanied by a definition of a post-modern text as signifying a change from 'modernism's ahistorical burden of the past': it is a text that 'self-consciously reconstruct[s] its relationship to what came before' (131). The post-modern is linked by magic realism to 'post-colonial literatures [which] are also negotiating....the same tyrannical weight of colonial history in conjunction with the past' (131).