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Magical realism in One hundred years of solititude
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Magical realism in One hundred years of solititude
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Magical Realism as Applied to the Field of Psychology
Three Works Cited Throughout time, one finds many different categories of literature. Magical Realism, a relatively new category, seems to be one of, if not the most, controversial category of the last century. Magical Realism combines a magical, often grotesque, element with a reality based background and allows the reader to view life in a more profound way. The field of psychology, specifically the case of the Wild Child known as Genie, parallels very closely with the ideals of Magical Realism.
Magical Realism may combine two worlds or realms, allowing the reader to see beyond his or her own world. This merging of two realms is a characteristic common to Magical Realism (Faris 172). The two worlds may be fantastic, sublime, or even realistic.
Genie, the Wild Child discovered in 1970, somehow managed to survive for thirteen years even though she was imprisoned in a solitary room by her own father. She was never loved, never spoken to, and was left strapped to a potty chair day after day. When she was not forgotten altogether, she was strapped in a straitjacket and put to sleep in a caged-in crib. She was usually left cold, naked, and hungry. When she was discovered and introduced into a world of which she knew nothing, Genie adapted as best she could. Having heard no speech for the better part of thirteen years, Genie had very obvious linguistic disabilities. Like the merging of the two different worlds in Magical Realism, this merging of Genie's world into the socialized world became essential to the understanding of linguistic acquisition.
Defamiliarization, another Magical Realist characteristic, is often employed by Magical Realist authors. The concept of defamiliarization involves an element of reality that is usually overlooked. This element is explored to new depths and understanding (Simpkins 150). This literary device can be applied to everyday life to explore such things as the acquisition of language.
When Genie's world was merged with reality, the theories of language acquisition could be explored in a new way, just as defamiliarization provides a new perspective on reality. It was proposed that there existed a critical period in a child's mental development. This period was essential for proper language acquisition, and when this period does not take place, as with Genie, the linguistic capabilities of the child are never fully accessed. When tested by physicians and psychiatrists, Genie performed amazingly well on her visual tests, but extraordinarily poorly on her auditory tests. Throughout her life, Genie never surpassed a toddler's level of speech development, usually consisting of two or three word phrases. One usually gives no thought to one's own language or speech patterns because they are so familiar. However, this mode of communication can be considered extraordinary, or "defamiliarized," when observed closely.
The field of psychology, specifically the case of the Wild Child known as Genie, parallels very closely with the ideals of Magical Realism. Magical Realism makes it possible to view reality through a clarified vision, reminding one of all the supernatural elements that exist in everyday life. However, several of the parallels of Magical Realism in reality, such as the case of Genie or even the Holocaust, contain a grotesque quality. The limitless aspect of Magical Realism as well as its ability to convey raw emotions in a way that no other type of literature does may contribute to its strong appeal. Magical Realism clarifies reality and reveals the beauty, or horror, that exists in everyday life.
Works Cited
Faris, Wendy B. "Scheherazade'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: 163-190.
Pines, Maya. "The Civilizing of Genie." Teaching English through the Disciplines: Psychology. Ed. Loretta Kasper. 1997. February 28,2001.
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.
Valade III, Roger M. “A Black Literary Guide to the Harlem Renaissance.” The Journal of Blacks in Higher Education 11 (1996): 102-109. JSTOR. Web. 29 Jan. 2014.
However, “With racism still rampant and economic opportunities scarce, creative expression was one of the few avenues available to African Americans...” (“Great Days in Harlem”). Which led to an increase of black writers and musicians. These writers became popular when, “The white literary establishment soon became fascinated with the writers of the Harlem Renaissance and began publishing them in larger numbers.”(“Great Days in Harlem”). The publishing of these works influenced today’s society by making writers such as W.E.B. Du Bois, Langston Hughes and Arna Bontemps.
After the American Civil War ended in 1865 more jobs and education became available for black. The blacks had finally created a middle class in America. Those blacks were expecting to be treated and have the same life as white Americans. In 1896 equal rights for all races came to a halt when the Plessy v. Ferguson Supreme Court ruled racial segregations acceptable. Separate, but ‘equal’ was their motto. African-Americans in the south were met with harsh conditions for whites as labor needed was reduced. Because of this, more blacks started moving to the north because it was considered less vicious. The north allowed all adult men voting rights and provided better education for African-Americans. More jobs became available thanks to World War 1 and the industrial revolution. This became known as the Great Migration and brought more than seven million African-Americans to the North. What was housing like in Harlem? Housing in Harlem was originally intended for white workers to commute to the city, but developers built houses faster than enough transportation causing middle-class white people to leave. White landlords sold their properties to black estate agents like Philip A Payton and Henry C Parker. Development of midtown cause many blacks to move to Harlem; by 1920 the amount of blacks had doubled. When subways and roadways came to Harlem, most of the country’s best black artist, ...
Simpkins, Scott. "Sources of Magical Realism/ Supplements to Realism in Contemporary Latin American Literature." Magical Realism: Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris. Durham; N.C.: Duke UP, 1995: 145-159.
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.
Laura Esquivel uses magical realism to give the reader a better perspective on these traditions. Magical realism is a literary tool that authors use to fuse two realities in their writing. Magical realism can help the reader understand the deeper meaning that traditions have. Without having the author to just come out and say the meaning of what they are actually trying to
He states that magical realism is unreal and fantasy like fairy tales or made up stories (119). Leal states that the job of magical realism is to express the
Magical realism is clearly present throughout Gabriel-Garcia Marquez's novel Chronicle of a Death Foretold. Magical realism is the juxtaposition of realism with fantastic, mythic, and magical elements. A secondary trait was the characteristic attitude of narrators toward the subject matter: they frequently appeared to accept events contrary to the usual operating laws of the universe as natural, even unremarkable. Though the tellers of astonishing tales, they themselves expressed little or no surprise.
'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).
Magical Realism is the way in which a person views the world through a type of art. Magical realism deals with emotions, and it also discovers what is mysterious and meaningful in life. According to Franz Roh, in painting, is the way a person views the world through art (18, 20). Magical Realism has many characteristics that include many other ideas. Magical Realism can be observed in other subject areas, too, such as the logotherapy of Victor Frankl.
Faris, Windy B. "Scheherazade's Children: Magical Realism and Post Modern Fiction." Magical Realism: Theory, History, Community. Ed. Lois Parkinson Zamora and Windy B. Faris. Durham & London: Duke University Press, 1995. 163-190
Faris, Windy B. "Scheherazade's Children: Magical Realism and Post Modern Fiction." Magical Realism: Theory, History, Community. Ed. Lois Parkinson Zamora and Windy B. Faris. Durham & London: Duke University Press, 1995. 163-190