The History, Theory, and Evolution of Magical Realism
What comes to mind when one hears the word "magical"? He or she probably thinks of charms, spells, wizards, and disappearing doves. The term "Realism" may represent the everyday world-that with which we are already familiar. Could these two words ever be coupled together to represent one idea? Magical Realism represents the marriage of these two words. A name originally given to a new art form in the early twentieth century, Magical Realism evolved into a literary genre and now represents much more-an attitude, the window through which to view the world, a philosophy of life. By examining the history, theory, and evolution of Magical Realism, this term, seemingly an oxymoron, will make sense.
The term Magical Realism is thought by most critics to have originated in the early twentieth century as a new art form. 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. The portrayal was simply a caricature of reality, with no significant meaning or stimulation other than the obvious, realistic qualities with which viewers were already familiar. Expressionism, in contrast, sought to portray something with a very deep meaning, refusing to portray reality because it was too mundane and familiar. Intelle...
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Works Cited
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Community. Ed. Lois Parkinson Zamora and Wendy B. Faris. Durham, N.C.: Duke UP, 1995: 125-144.
Flores, Angel. "Magical Realism in Spanish American Fiction." Magical Realism: Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris.
Durham, N.C.: Duke UP, 1995: 109-117.
Leal, Luis. "Magical Realism in Spanish American Literature." Magical Realism: Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris.
Durham, N.C.: Duke UP, 1995: 119-124.
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: 15-31.
Gabriel García Márquez, 1982 Nobel Laureate, is well known for using el realismo magical, magical realism, in his novels and short stories. In García Márquez’s cuento “Un Señor Muy Viejo con Alas Enormes,” García Márquez tactfully conflates fairytale and folklore with el realismo magical. García Márquez couples his mastery of magical realism with satire to construct a comprehensive narrative that unites the supernatural with the mundane. García Márquez’s not only criticizes the Catholic Church and the fickleness of human nature, but he also subliminally relates his themes—suffering is impartial, religion is faulty by practice, and filial piety—through the third-person omniscient narration of “Un Señor Muy Viejo con Alas Enormes.” In addition to García Márquez’s narrative style, the author employs the use of literary devices such as irony, anthropomorphism, and a melancholic tone to condense his narrative into a common plane. García Márquez’s narrative style and techniques combine to create a linear plot that connects holy with homely.
Watching a film, one can easily recognize plot, theme, characterization, etc., but not many realize what basic principle lies behind nearly every story conceived: the hero’s journey. This concept allows for a comprehensive, logical flow throughout a movie. Once the hero’s journey is thoroughly understood, anyone can pick out the elements in nearly every piece. The hero’s journey follows a simple outline. First the hero in question must have a disadvantaged childhood. Next the hero will find a mentor who wisely lays out his/her prophecy. Third the hero will go on a journey, either literal or figurative, to find him/herself. On this journey the hero will be discouraged and nearly quit his/her quest. Finally, the hero will fulfill the prophecy and find his/herself, realizing his/her full potential. This rubric may be easy to spot in epic action films, but if upon close inspection is found in a wide array of genres, some of which are fully surprising.
Faris, Wendy B. Ordinary Enchantments: Magical Realism and the Remystification of Narrative. Nashville: Vanderbilt UP, 2004. 24 Sept. 2012. Web. 15 Mar. 2014. 21
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.
However, even though the exiles were allowed to return to their ancestral homeland of Judah, many of the people chose not to return but to remain in the recently conquered city of Babylon. There are many contributing factors concerning why these Hebrew exiles chose to remain. Even so, it is difficult to understand why a people, who were located in Palestine for over a millennium and who had such strong religious beliefs and practices, would choose to abandon the location of their now destroyed sacred Temple and ancestral home after being exiled for only fifty years.
the adventures of a hero. The hero is usually a figure of high social status
So what defines one as a hero? Well, a definition of what a hero is “A person noted for special achievement in a particular field” (hero, n.d). Our concept of a hero alters drastically from person to
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.
...teristics and literary devices. The general archetypical description of a hero follows an outline of a muscular figure and super abilities. Yet on the contrary, in myths, heroes may not possess any of those traits. Whether the so-called hero is learning their lesson, overcoming struggle or even descending into darkness, all heroes share some similar and almost identical characteristics. A vast majority of all mythological heroes share the same basic idea which, helps audiences identify whether or not the character is indeed a hero or not. From story to myth or fairytale to drama, the hero is one character who changes the plot entirely. Whether that hero may be saving a burning building, or discovering who they are themselves, our heroes all give us hopes and dreams that one day even our worth will be recognized by ourselves and others as our admirable hero’s are.
Marquez's "A Very Old Man with Enormous Wings" fulfills every characteristic of Magical Realism. His short story contains magic that exists in a realistic background. One can easily see why Marquez is such a forerunner in the field of Magical Realism.
At first, German art critic Franz Roh used the term "Magical Realism" to describe a style of painting (Roh 15). Eventually, Arturo Uslar Pietri adapted the term in order to describe a type of literature (Leal 120). While the exact definition of Magical Realism is open to interpretation, it is certain that Magical Realism gives a deeper meaning to ordinary life by unearthing mysteries that hide behind the world (Roh 16-17). In order to uncover these mysteries, Magical Realism combines fantasy with reality (Flores 110-111). Although Magical Realism is now well-known as a genre of literature, Magical Realism extends into "real life" through a treatment in psychology known as Traumatic Incident Reduction.
Magical Realism evolved only in the last century. Franz Roh was the first to use the term to describe paintings and the new style that had come about after the expressionistic era (7, p.15), however it was Alejo Carpentier who used it to describe Latin America's fanatastical writing styles (3, p.373). He felt that magical realism expounded upon reality and "was able to elude realism's insufficiency, in its inablility to describe an ex-centric experience"(3, p.373). Latin America, though perhaps the first to name the new writing phenomena, was not the only country to use it. In the course of this paper I will compare and contrast several different novels from female authors who evoked magical realism into their writing styles. These authors come from Latin America, Africa, and the Caribbean, showing the wide range of history and environments. Feeling that the Caribbean alone may prove to narrow a topic for a style that has taken the world by storm, I felt it only fitting that other countries should be included the theme of women in the paper. Also, I selected Africa and parts of Latin America to compare to Caribbean writings because these two continents play a pivotal role in shaping what the Caribbean has become today.
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.
Our society has created heroes, because think that others can be a helping hand or even a role model to a better world. The need for heroes has gradually increased because more countries are falling about. In today’s world, we can confuse a famous person to be a hero. For example, Tom Cruise