Journal articles on the topic 'Magic realism'
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Adama, Roziah, and Asmiaty Amat. "ELEMEN REALISME MAGIS YANG TIDAK DAPAT DIJELASKAN (THE IRREDUCIBLE ELEMENT) DALAM KUMPULAN CERPEN LARON (2010) OLEH JASNI MATLANI." Jurnal Gendang Alam (GA) 8 (December 20, 2018): 113. http://dx.doi.org/10.51200/ga.v8i.1572.
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ABSTRAK
Kajian ini bertujuan menganalisis ciri-ciri realisme magis yang terdapat dalam kumpulan cerpen Laron karya Jasni Matlani (2010) yang menghimpunkan 30 buah cerpen Jasni Matlani. Walau bagaimanapun, kajian ini hanya meneliti lima buah cerpen dalam kumpulan cerpen Laron, iaitu Di Bawah Pohon Angsana, Dua Helai Daun, Kisah di Sebuah Taman dan Perempuan Berbau Harum. Penelitian ciri irreducible element dalam gaya penulisan realisme magis mengikut aliran Wendy B. Faris, iaitu elemen yang tidak dapat dijelaskan menjadi tumpuan analisis kelima-lima cerpen tersebut. Mengikut Wendy B.Faris, Irreducible Element (Ordinary Enchantments Magical Realism and Remystifiction of Narratives) merujuk kepada sesuatu perkara yang tidak dapat dijelaskan mengikut hukum alam berdasarkan logik, pengetahuan biasa atau kepercayaan yang ada. Oleh itu, analisis terpaksa berfokus pada dua unsur utama iaitu objek magis yang merangkumi bunyi, benda dan tempat serta pemerian watak-watak dalam karya dengan melihat bagaimana watak-watak magis dibangunkan dalam ruang realiti. Hasil kajian membuktikan bahawa gaya penulisan Jasni Matlani memenuhi konsep elemen yang tidak dapat dijelaskan (the irreducible element) dan sesuai dikategorikan sebagai karya realisme magis.
ABSTRACTThe purpose of this research is to analyze the characteristics of magic realism contained in Jastni Matlani’s short stories Laron (2010). In the works of magic realism, there widely exists unreasonable magical and strange elements, which are generally recognized as ‘Irreducible Elements’. Though the collection includes 30 short stories in total, this research will only focus on examining five stories, to be specific, that is short stories Laron, Di Bawah Pohon Angsana, Dua Helai Daun, Kisah di Sebuah Taman and Perempuan Berbau Harum. This study is focused on the ‘Irreducible Elements’ of magic realism as highlighted by Wendy B. Faris in Ordinary Enchantments Magical Realism and Demystification of Narratives. ‘Irreducible Element’ refers to the unexplainable things in terms of the natural law of logic, common knowledge or beliefs that exist. Hence, to analyze the selected stories that contain unexplained elements, this research will concentrate on two major elements. Firstly, the magical objects that include sounds, objects and places and secondly, the description of the characters in the work by looking at how magic characters are developed in the realm of reality. Ultimately, the findings of this research prove that Jasni Matlani’s short stories correspond to the concept of irreducible elements, therefore, can be categorized as works of magic realism.
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Botes, N., and N. Cochrane. "’n Ondersoek na die kunstenaarskap in Die swye van Mario Salviati binne die konteks van die magiese realisme." Literator 27, no. 3 (July 30, 2006): 27–50. http://dx.doi.org/10.4102/lit.v27i3.200.
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An investigation into the nature of the artist in The long silence of Mario Salviati within the context of magic realism This article investigates the nature of the artist in “The long silence of Mario Salviati” (2000) within the context of magic realism. This novel by Etienne van Heerden is particularly interesting as the theme of art is directly intertwined with magic realism. The specific relationship between artistry and magic realism in “The long silence of Mario Salviati” has not been the focus of any particular study yet. Several artists in the novel will be analysed within the context of magic realism and according to magic realist characteristics to give an integrated perspective on style and theme. This investigation largely conjoins with the viewpoints of Faris (1995), although perspectives from other theorists are also taken as a point of departure. Some important characteristics of magic realist texts which are discussed within the context of artistry in “The long silence of Mario Salviati” are inter alia the co-existence of two worlds, doubts from the reader concerning the interpretation of events as realist or magical, the questioning of conventional ideas about time, space and identity, the anti-bureaucratic viewpoint and the focus on collective rather than individual memory.
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Mat Hussain, Eizah, Siti Nur Anis Muhammad Apandi, and Nurhasyimah Saidin. "ASPEK REALISME MAGIS DALAM NOVEL CEBISAN MANTERA TERAKHIR." Jurnal Pengajian Melayu 33, no. 2 (October 29, 2022): 27–43. http://dx.doi.org/10.22452/jomas.vol33no2.2.
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Abstract Magical realism, which combines reality and fantasy, has become a trend in the world of literature, sparking a new way of thinking while producing a literary work. Studies on magical realism in literature are crucial as they could reflect the cultural and societal norms of the society featured. This article utilised the theory of magical realism by Faris (2004) to discuss the aspect of magical realism presented in the novel “Cebisan Mantera Terakhir” (2013) by Hasanuddin Md. Isa and published by the Malaysian Institute of Translation and Books (ITBM). The genre of the novel is classified as mystery or mysticism in the setting of a supernatural world where shamans practise “santau” (a type of black magic) in the Malay community. This qualitative study aims to identify and analyse the way the author depicts magical realism through content analysis of the text. Findings showed that the magic element in the form of “santau” was evident in the Malay community featured in the novel. The application of Faris‟s principles showed the clear connection between reality and the magical elements of “santau” which can be categorised into particular aspects of the text, such as objects, events, characters, beliefs and texts. Religion and beliefs are also inseparable from the Malay community, a factor portrayed as a connection between reality and the supernatural worlds. Keywords: magical realism, novel, Cebisan Mantera Terakhir, shaman, santau, black magic Abstrak Kemunculan aliran realisme magis dilihat melalui gabungan antara dua dunia, iaitu dunia nyata dan dunia fantasi yang membawa pemikiran baru dalam karya sastera. Penelitian terhadap realisme magis dalam suatu karya sastera sangat penting kerana pada dasarnya realisme magis merupakan satu cerminan atau refleksi yang nyata mengenai budaya dan sosial masyarakat. Kajian ini mengaplikasikan Teori Realisme Magis oleh Faris (2004) untuk memperlihatkan aspek realisme magis dalam novel Cebisan Mantera Terakhir (2013) karya Hasanudin Md Isa dan diterbitkan oleh Institut Terjemahan & Buku Malaysia Berhad (ITBM). Novel ini memaparkan genre misteri atau mistik yang menerapkan elemen dunia ghaib dan golongan pawang yang terlibat dalam kegiatan santau dalam masyarakat Melayu. Kajian ini bertujuan untuk mengenal pasti dan menganalisis aspek realisme magis dalam novel yang memperlihatkan bagaimana pengarang mengungkapkan elemen realisme magis dalam karya. Kajian ini dilakukan secara kualitatif dengan membuat analisis kandungan teks. Dapatan kajian ini jelas menggambarkan unsur magis yang dapat dikesan dalam amalan santau dengan berlatarkan masyarakat Melayu. Penggunaan prinsip-prinsip oleh Faris (2004) telah menonjolkan perhubungan yang jelas antara unsur realiti dan unsur magis dalam amalan santau itu dengan adanya pembahagian kepada kelompok-kelompok tertentu, iaitu objek, peristiwa, watak, kepercayaan, teks, dan sebagainya. Dalam masyarakat Melayu, konteks agama dan kepercayaan tidak dapat diasingkan dalam tradisinya yang turut dipaparkan sebagai satu perkaitan antara alam nyata dan alam ghaib. Kata Kunci: realisme magis, novel, Cebisan Mantera Terakhir, pawang, santau
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Aldama, Frederick Luis. "Structural Configuration of Magic Realism in the Works of Gabriel García Márquez, Leslie Marmon Silko, Charles Johnson, and Julie Dash." Journal of Narrative and Life History 5, no. 2 (January 1, 1995): 147–60. http://dx.doi.org/10.1075/jnlh.5.2.03str.
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Abstract This article raises the question of how contemporary multicultural authors and film directors build upon the magic-realist convention, with its specific narra-tive-discourse configurations (the way the story is told) to allow their audience access to foreign, often bizarre worlds. The first section of the analysis deals with understanding the precise structural configurations that make a text work as magic realism and explores variations that complicate the schemata. The second section relies on the first section's discussion of magic-realist codes to look closely at Julie Dash's film Daughters of the Dust , a text type that utilizes its visual and auditory tracks to work as magic realism. (Magic Realism; Visual and Literary Theory; Multicultural Images)
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Delbaere, Jeanne. "Magic Realism in Jack Hodgins’s Short Stories." Recherches anglaises et nord-américaines 20, no. 1 (1987): 41–49. http://dx.doi.org/10.3406/ranam.1987.1164.
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Magic realism in Jack Hodgins’s Short Stories. After tracing the development of magic realism and attempting to bring out its main features the author shows that Canadian magic realism combines elements of the two main orientations found elsewhere - fabulation and the marvellous - with a strong visual element borrowed from the school of painting of the same name. She then proceeds to analyse the magic realist elements in Jack Hodgins and more particularly in three of his stories, «Separating », «Spit Delaney’s Island », and «The Plague Children ».
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Azizmohammad, Fatemeh, and Atieh Rafati. "A Comparative Study of Isabel Allende “Ines of My Soul” and Gabriel Garcia Marquez “Love in the Time of Cholera” from the View Point of Features of Magic Realism." English Language and Literature Studies 8, no. 1 (February 8, 2018): 57. http://dx.doi.org/10.5539/ells.v8n1p57.
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This tentative study suggests Isabel Allende “Ines of my soul” and Gabriel Garcia Marquez “Love in the Time of Cholera” from magic realism point of view. Magic Realism is a Latin American literary movement which attempts to depict the reality in human’s mind. This literary movement is originated in the Latin American’s fiction in the middle of twentieth century. Isabel Allende, who is famous because in the most of her novels the magic realism is used, depicts the life of Ines Suarez, without whom the settlement of Chile could not be achieved, in the historical novel “Ines of my soul”.The father of magic realist writers, Gabriel Garcia Marquez in “Love in the time of cholera”, depicts the inside and outside worlds of man in this world, with the using of magic realism, he wants to show these opposites clearly.In this study, firstly, a model of analysis will be assumed by the features of magic realism. Next, Allende’s and Marquez’s novels will be read and analyzed within the magic realism pattern, the magic realism’s features will be traced in the novel. Finally, possible implications of both the model and the findings of the research for literary criticism and teaching novels of this kind will be discussed.
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Yudono, Kristophorus Divinanto Adi, Godang Lamtiur Sitanggang, and Nugroho Widiyanto. "Realisme Magis dalam Naskah Drama Kejahatan Membalas Dendam Karya Idrus Tahun 1948." Indonesian Journal of Performing Arts Education 3, no. 1 (June 22, 2023): 8–14. http://dx.doi.org/10.24821/ijopaed.v3i1.8602.
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AbstrakRealisme magis merupakan karya sastra yang mengaburkan batas antara nalar dan luar nalar. Aliran ini tidak terlepas dari masyarakat Indonesia dengan masing-masing kepercayaan berkaitan magis/mistis yang merupakan unsur kebudayaan. Kajian ini dilakukan untuk menganalisis dan mendeskripsikan unsur realisme magis yang terdapat pada naskah drama Kejahatan Membalas Dendam karya Idrus. Analisis realisme magis pada naskah drama dilakukan berdasarkan penanda realisme magis yang dipetakan oleh Wendy Bush Faris. Pendekatan kajian ini adalah kualitatif deskriptif. Teknik dokumentasi literatur dilakukan sebagai metode pengumpulan data. Analisis dilakukan dengan simak catat, dengan cara membaca naskah drama dan mengklasifikasi naskah berdasarkan ciri realisme magis. Naskah Kejahatan Membalas Dendam karya Idrus memuat lima penanda realisme magis, yakni irreducible element, phenomenal world, unsettling doubt, merging realms, dan disruption identity. Penanda realisme magis ini tampak melalui dialog dan petunjuk lakuan atau tindakan tokoh. Berdasarkan hal tersebut, naskah Kejahatan Membalas Dendam karya Idrus tergolong naskah drama dengan unsur realisme magis. AbstractMagical realism is a literary work that blurs the boundaries between reason and beyond reason. This flow is inseparable from Indonesian society with their respective beliefs related to magic/mystics, which are elements of culture. This study was conducted to analyze and describe the elements of magical realism found in Idrus's drama Crimes of Revenge. The analysis of magical realism in the drama script is based on the markers of magical realism mapped by Wendy Bush Faris. The approach of this study is descriptive qualitative. The literature documentation technique is used as a data collection method. The analysis was carried out by observing notes, by reading the drama scripts and classifying the scripts based on the characteristics of magical realism. Idrus's manuscript of Evil Membas Revenge contains five magical realism markers: irreducible element, phenomenal world, unsettling doubt, merging realms, and identity disruption. This marker of magical realism can be seen through the dialogue and instructions for the behavior or actions of the characters. Based on this, the script for Crimes of Revenge by Idrus is classified as a drama script with elements of magical realism.
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Andalas, Maharani Intan. "NARASI REALISME MAGIS DALAM PUISI “GONG” KARYA NIRWAN DEWANTO." GENTA BAHTERA: Jurnal Ilmiah Kebahasaan dan Kesastraan 3, no. 2 (December 1, 2017): 147–59. http://dx.doi.org/10.47269/gb.v3i2.12.
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AbstrakPengaruh kesusastraan global berupa realisme magis ditemukan dalam sastra Indonesia, baik dalam prosa maupun puisi. Salah satu indikasi karya realisme magis adalah dihadirkannya mitos dalam konteks masa kini. Masalah yang dibahas dalam penelitian ini adalah bagaimana yang magis dan yang nyata dinarasikan berdasarkan elemen-elemen yang menjadi karakteristik realisme magis dalam puisi “Gong” serta hubungan antarelemen dan kadar realisme magis di dalamnya. Penelitian ini menggunakan teori naratif realisme magis Wendy B. Faris. Metode penelitian didasarkan pada teori berupa penentuan data dan pengumpulan data yang meliputi klasifikasi data menjadi dua kategori utama, yaitu data magis dan data riil. Dalam hasil dan pembahasan, dibuktikan bahwa puisi “Gong” mengandung narasi realisme magis atas mitos Calon Arang melalui lima karakteristik realisme magis yang terdapat di dalamnya. Selain itu, terdapat hubungan relasional di antara elemen yang menjadi karakteristik tersebut. Kadar realisme magis dilihat dari tokoh dan peristiwa dapat dikatakan cukup kuat. Puisi ini menggarisbawahi isu perempuan dan akhir patriaki. Isu tersebut berkait dengan konteks posmodernisme. Penggunaan mitos dalam puisi memperlihatkan cara pandang posmodernisme yang tidak terlepas dari Jakarta sebagai konteks sosial penyair. Kata kunci: mitos, narasi, realisme, magis, karakteristik AbstractThe impact of global literature of magical realism is found in Indonesia literature in both prose and poetry. One indication of the work of magical realism is the representation of myth in the contemporary context. The problem discussed in this research are the narration of the magic and the real in Gong poem and the connection between elements, also the level of magical realism in it. This research used narrative theory of magical realism by Wendy B Faris. This research method was based on magical realism theory in the form of data determination and data collection which included the classification into two categories namely magical data and real data. In result and discussion proved that Gong poem contained a narrative of magical realism upon Calon Arang myth through five characteristic of magical realism in it beside the relation among the elements. Magical realism level seen from character and events was strong enough. This poem underlines the issues of women and the end of patriarchy. The issues are related with postmodernism context. The myths in poem shows postmodernism point of view that can’t be separate from Jakarta as social context. Keywords: myth, narrative, magical, realism, characteristic
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Mahesh Chandra Tiwari. "Magic Realism in the Works of Isabel Allende and Gabriel García and Laura Esquivel." Creative Launcher 6, no. 5 (December 30, 2021): 30–37. http://dx.doi.org/10.53032/tcl.2021.6.5.04.
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To begin, this article provides a short overview of Magic Realism. The meaning of the term the origins and development of Magical Realist literature, as well as "Magic Realism," must be explored next. Three famous authors will be discussed: Garcia Marquez, Isabelle Allende, and Laura Esquivel, as well as female writers Isabelle Allende and Laura Esquivel. In addition, a number of outstanding works by well-known authors connected with the literary movement Magical Realism are critically analysed. A Very Old Man with Enormous Wings, Like Water for Chocolate and The House of the Spirits are among the notable literary works to be studied in terms of their Magical Realist aspects.
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Sharma, Khum Prasad. "Magic Realism as Rewriting Postcolonial Identity: A Study of Rushdie’s Midnight’s Children." SCHOLARS: Journal of Arts & Humanities 3, no. 1 (March 1, 2021): 74–82. http://dx.doi.org/10.3126/sjah.v3i1.35376.
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Magic realism as a literary narrative mode has been used by different critics and writers in their fictional works. The majority of the magic realist narrative is set in a postcolonial context and written from the perspective of the politically oppressed group. Magic realism, by giving the marginalized and the oppressed a voice, allows them to tell their own story, to reinterpret the established version of history written from the dominant perspective and to create their own version of history. This innovative narrative mode in its opposition of the notion of absolute history emphasizes the possibility of simultaneous existence of many truths at the same time. In this paper, the researcher, in efforts to unfold conditions culturally marginalized, explores the relevance of alternative sense of reality to reinterpret the official version of colonial history in Salman Rushdie’s Midnight’s Children from the perspective of magic realism. As a methodological approach to respond to the fiction text, magic realism endows reinterpretation and reconsideration of the official colonial history in reaffirmation of identity of the culturally marginalized people with diverse voices.
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Luburić-Cvijanović, Arijana. "Magic, realism and the river between: The cultural weight of postcolonial magic(al) realism." Kultura, no. 168 (2020): 69–87. http://dx.doi.org/10.5937/kultura2068069l.
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Magic(al) realism has for long attracted critical attention as one of the more theoretically elusive concepts which has been termed magic, magical, and magic(al), interpreted as a narrative genre, mode, or strategy, and analyzed alongside similar terms and neighbouring genres. While it briefly summarizes the troubling terminology associated with magic(al) realism, this paper focuses on the cultural significance of-magic(al) realism for postcolonial writing, and delves into its role as a strategy of resistance in the representation of culture and history, its destabilizing project, and the possible pitfalls in its employment.
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Dr. R. Hithayath Khan. "Magical Realism in Indian Literature." Tuijin Jishu/Journal of Propulsion Technology 44, no. 3 (October 9, 2023): 1958–61. http://dx.doi.org/10.52783/tjjpt.v44.i3.625.
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Magic realism or magical realism is a genre where magical or unreal elements play a natural part in an otherwise realistic environment. Although it is most commonly used as a literary genre, magic realism also applies to film and the visual arts. An example of magic realism occurs when a character in the story continuous to be alive beyond the normal length of life and this is subtly depicted by the character being present throughout many generations. On the surface the story has no clear magical attributes and everything is conveyed in a real setting and breaks the rules of our real world. Magic realism is term used to describe the everyday reality with supernatural events. The two terms ‘magic’ and ‘realism’ have become to intertwined that strange, unearthly happenings become almost an accepted, even normal part of daily life. Magic realism considers being a postcolonial phenomenon. Magic realism is to be found only in the post colonial texts. The writers of colonized countries incorporate magic realism in their writings as a mode of resistance to western rationalism. There is no place for logic in magic realism. In countries like India, People believe in myths and ghosts as they believe in history. Magical things do not constitute the Indian culture. There is realism also. Diaspora writers’ characters make use of magic realism to escape to a world of fantasy for it provides them pleasure, relief, and an escape from the excruciating pain they experience in an alien land. The term magical realism was introduced by Franz Roh, a German art critic in 1952. When Roh coined the term the mean it to create an art category the strayed from the strict guidelines of realism, but the term did not name an artistic movement until the 1940s in Latin America and the Caribbean. Magic realism or Magical realism is a genre of 20th century English literature. This paper deals Magical Realism in Indian literature and its authors.
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Subedi, Yubaraj. "Magic Realism in Rabindra Sameer's Mrityuko Aayu." Journal of Janta Multiple Campus 3, no. 1 (May 24, 2024): 167–80. http://dx.doi.org/10.3126/jjmc.v3i1.66155.
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This article analyzes the novel Mrityuko Aayu in the light of Magic Realism. Applying magic realism is methodological approach for critical analysis of the novel in this article. It follows interpretive textual analysis. Free translation has been used while taking the citation from the novel. I have drawn the conclusion that the novel is a magic realist novel as it has introduced innovative style of narrating the story. The story begins from the death of the protagonist, but he is capable of seeing everything even after the death. It has blended mundane and supernatural, ordinary and extraordinary and real and fantastical elements in an unquestionable way. The novel's extracts are analyzed within five parameters that include fantastical elements, real world setting, incorporation of myth, meta-fiction and social/ political critique. Even after the death of the protagonist, the story moves ahead from the spirit's perspective. The spirit is capable of seeing, feeling and experiencing everything. The readers accept all such actions and happenings as normal without questioning the reliability of them and feel sorry for his painful and pathetic condition. Therefore, the writer is successful in using magic realism in the novel. It is hoped that this article will encourage researchers to study other works of fiction from the point of view of Magic Realism.
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Pritchard, William H. "Realism without Magic." Hudson Review 42, no. 3 (1989): 484. http://dx.doi.org/10.2307/3850828.
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Golan, Romy. "Is Fascist realism a magic realism?" Res: Anthropology and aesthetics 73-74 (March 1, 2020): 221–37. http://dx.doi.org/10.1086/710830.
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Ananyeva, S. V., and A. K. Kalieva. "From Social Realism to Magic Realism." Contemporary Issues of Literary Studies - International Symposium Proceedings 16 (December 11, 2023): 51–56. http://dx.doi.org/10.62119/cils.16.2023.7521.
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Entire layers of fiction in retrospective light might escape the attention of modern literary criticism. Russian speaking writers and poets living in Kazakhstan introduce elements of Kazakh culture into their work: these are details of Kazakh life, song culture, and the bright imagery inherent in Kazakh literature and its unique artistic flavor. Regional Russian literature, connected by roots with Slavic literature, contributed to the development and mutual enrichment of literary ties between Kazakhstan and Russia. Already by the beginning of the 1920s, two directions in the approach to the Kazakh theme emerged: a contemplative attitude towards the historical past of the Kazakh people, the desire to idealize antiquity in a traditionally romantic sense, and a progressive perception and coverage of everything connected with the life of the Kazakhs.
Russian-language literature in Kazakhstan has gone from socialist realism to magical realism. It is closely connected with the reality, history and traditions of the ethnic groups of Kazakhstan. Historical and revolutionary themes were developed in the spirit of the dominant ideology. The range of material covered included the period of collectivization before the development of virgin lands and the problems of the scientific and technological revolution. Magical realism gives literary texts a unique originality.
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Mahmudah, Mahmudah. "Magical Realism in Aḥmad Sa‘dāwiy’s Frankenstein fī Bagdād." Jurnal Humaniora 28, no. 2 (November 12, 2016): 142. http://dx.doi.org/10.22146/jh.v28i2.16397.
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This article discusses the use of magic realism as a literary device in the Iraqi novel Frankenstein fī Bagdād written by Aḥmad Sa‘dāwiy. The novel is set in the period of inter-ethnic conflict which arose after the American invasion of 2003. Hādī, the main character of the novel, ‘creates a monster’ namely Syismah from the corpses of the many bomb victims in Baghdad. The writer combines setting of the novel with belief of the Iraq people, horoscope practice, and magic, in mystical and illogical atmosphere. Given its magic realist qualities, the analysis draws on the approach of Wendy B. Faris. The article identifies five key elements from magic realism present in the novel, and discusses the relationship between these elements in order to better understand the social, ideological, and political context of the novel. The analysis shows that there are relationships between two worlds: death and life, human and ghost, physical and metaphysical, natural and supernatural.
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Linhares, Bruno J. "Theopoetic and Pastoral Counseling. Using Magic Realism and Reframing: A Latin American Perspective." REFLEXUS - Revista Semestral de Teologia e Ciências das Religiões 7, no. 9 (March 3, 2015): 9. http://dx.doi.org/10.20890/reflexus.v7i9.132.
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Baseado em um artigo de Rubem Alves, escrito em 1977, sobre os Cuidados Pastorais sob a perspectiva da Teologia da Libertação, e no uso do Realismo Mágico na literatura e religião, sugiro ser o Reenquadramento uma proposta genuinamente latino-americana para a poimênica, sobretudo o aconselhamento, seguindo uma prática já feita por Rubem Alves. Palavras-Chave: Rubem Alves, Teologia da Libertação, Realismo Mágico, literatura latino-americana, poimênica. Based on a 1977 article written by RubemAlves about Pastoral Care under the perspective of theology of liberation and on the use of Magic Realism in literature and religion, I suggest being reframing a truly Latin American proposal for Pastoral Care, particularly Pastoral Counseling, a practice already done by RubemAlves. Keywords: RubemAlves, Theology of Liberation, Magic Realism, Latin American Literature, Pastoral Care.
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Sharma, Khum Prasad. "Blending of Fiction with Historical Reality in Salman Rushdie’s Midnight’s Children and Grabiel Gracia Marquez’s One Hundred Years of Solitude." Literary Studies 34, no. 01 (September 2, 2021): 67–76. http://dx.doi.org/10.3126/litstud.v34i01.39525.
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This paper investigates the use of magic realism as a strategic tool in Salman Rushdie’s Midnight’s Children (1981) and Gabriel Garcia Marquez’s One Hundred Years of Solitude (1967). Both the authors belong to two distinct continents; still, they have similar histories and stories of struggle. They develop a unique relationship while untangling reality. They create the mysterious relationship between the human beings and their circumstances in a way more realistic than the realist text.Also, the textual analysis reveals the basic goal of both the novelist to revisit their past through magic realism as both of them believe in the distortion of reality as outcome of colonial impact in their respective societies. In this sense, this paper justifies the rationale behind the blending of fiction and historical reality in both the novels. In doing so it explores how the unsayable in today’s world of asymmetrical power and domination could be said through the use of tools and elements of magic realism such as hybridity, authorial presence, metafiction, awareness of mystery in a real world setting.
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Pieldner, Judit. "Magic Realism, Minimalist Realism and the Figuration of the Tableau in Contemporary Hungarian and Romanian Cinema." Acta Universitatis Sapientiae, Film and Media Studies 12, no. 1 (September 1, 2016): 87–114. http://dx.doi.org/10.1515/ausfm-2016-0005.
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Abstract The paper surveys two modes of representation present in contemporary Hungarian and Romanian cinema, namely magic realism and minimalist realism, as two ways of rendering the “real” in the Central Eastern European geocultural context. New Hungarian Film tends to display narratives that share the features of what is generally assumed as being magic realist, accompanied by a high degree of stylization, while New Romanian Cinema is more attracted to creating austere, micro-realistic universes. The paper argues that albeit apparently being forking modes of representation that traverse distinct routes, magic realism and minimalist realism share a set of common elements and, what this study especially focuses on, converge in the preference for the tableau aesthetic. The paper examines the role of tableau compositions and tableaux vivants in representative films of the Young Hungarian Film and the Romanian New Wave, namely Szabolcs Hajdu’s Bibliothèque Pascal (2010) and Cristian Mungiu’s Beyond the Hills (După dealuri, 2012). An excessive use of the tableau can be detected in both films, with many thematic connections, in subtle interwovenness with female identiy and corporeality performed as a site of traumatic experiences, upon which (institutional, colonial) power relations are reinscribed. The tableau as a figuration of intermediality performs the tension between the sensation of the “real” and its reframed image, and proves especially suitable for mediating between low-key realism and highly stylized forms.1
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SPINDLER, WILLIAM. "MAGIC REALISM: A TYPOLOGY." Forum for Modern Language Studies XXIX, no. 1 (1993): 75–85. http://dx.doi.org/10.1093/fmls/xxix.1.75.
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Murtaza, Aemen, Mamona Yasmin Khan, and Masroor Sibtain. "Magical Realism: Portrayal of Human Suffering in The Particular Sadness of Lemon Cake by Aimee Bender." Global Social Sciences Review VI, no. I (March 30, 2021): 246–55. http://dx.doi.org/10.31703/gssr.2021(vi-i).24.
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Magical realism is a genre of literature where fantasy and magic are normalized in reality, and the real world has an undercurrent of magical elements going on. The research is based on the qualitative method within the framework of the theory of Magical Realism presented by Wendy B. Faris (2004). The study at hand explores different aspects of magical realism in the selected novel by analyzing major themes according to Faris's theory of Magical Realism. The research aims to show how the typical presences of people in the novel have been super naturalized through heavenly magical realist segments. Moreover, the significance of this study lies in the fact that it explored seemingly opposite phenomena of 'magic' and 'realism' and established a connection between them. The study seeks to find how each character of the novel The Particular Sadness of Lemon Cake is enduring in their own particular manner, representing the suffering of individuals in the real world considering the situation after World Wars. This research will open the ways for future researchers to work in the direction of magical realism and enhance its scope in general.
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Prof. Sanjay Kumar Swarnkar and Shalini Shukla. "The Elements of Supernatural and Magic Realism in Toni Morrison’s Beloved." Creative Launcher 6, no. 3 (August 30, 2021): 40–43. http://dx.doi.org/10.53032/tcl.2021.6.3.08.
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The present research paper is a study of the elements of Magic Realism and the supernatural elements in the novel, Beloved by the Nobel laureate novelist Toni Morrison. The term Magic Realism was originally applied in the 1920s to the school of surrealist German painters and was later used to describe the process fiction of writers like George Luis Burges, Gabriel Garcia Marquez, and Salman Rushdie etc. These writers weave a sharply etched realism representing ordinary events and details together with fantastic and dream-like elements, as well as with material derived from myth and fairy tales. The German critic Franz Roz introduced the concept of Magic realism in 1920 and it was first used in paintings. The term was introduced in the book Post-expressionism, Magic Realism: Problem of the Most Recent European Paintings in 1925. The purpose here is to analyze the elements of magic realism in the novel, Beloved. We can see supernatural elements in Sethe’s house that bring chaos by haunting everyone through its mysterious presence, and making Sethe’s both the sons Howard and Buglar run away. It appears to be the ghost of a baby which was murdered by Sethe. The ghost causes the things in the house to break and shake mysteriously. In magic realism fiction the ghosts are the central characters generally. In the novel Beloved Morrison has portrayed the ghost as a living person. Thus, the dominance of a unique, mystical and gloomy atmosphere can be seen throughout the novel.
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Shafiq, Qasim, Sardar Ahmad Farooq, and Asim Aqeel. "Magical Realism Revisited in Erdrich's Tracks: An Interactional Thick Inscription." Global Social Sciences Review IV, no. IV (December 30, 2019): 487–93. http://dx.doi.org/10.31703/gssr.2019(iv-iv).59.
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This study revisits Louise Erdrich's practice of 'magic realism' to explain how the realistic presentation of unreal elements in Erdrich's writings differs from the western expression of magic realism. With the interactional thick inscription of Erdrich's magic realism, this study argues that the unreal events in Tracks are not based on Erdrich's imagination but the spiritual facts of her inheritance. Her description of naturalcum-supernatural elements cohesively achieves a synthesis of the Chippewa Anishinaabe magic-realistic world and, simultaneously, derives the social and cultural hierarchy of the Native American world. She appropriates the western concept of 'magic realism' to enlighten her oral tradition in 20th-century non-native societies. This appropriation explores the individuality of Native American traditional ways of being that have been considered cultural nonsense in modern academia. This interactional thick inscription of delimited text systematically inscribes the pre-Columbian context of 20th century Chippewa Anishinaabe, the Canadian border, and defines Erdrich's quest for her native identity.
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Chernyshova, Svitlana. "Elements of ontological magical realism in Ibi Zoboy's American Street." MESSENGER of Kyiv National Linguistic University. Series Philology 24, no. 2 (January 27, 2022): 87–95. http://dx.doi.org/10.32589/2311-0821.2.2021.252115.
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The article explores the novel American Street by contemporary US writer of Haitian origin Ibi Zoboy from the perspective of using the technique of magical realism. The novel embraces magic, faith in spirits, otherworldly forces as well as strategies of realism. The narrative mode of magic realism dominates in postcolonial writings as well as in fictional works that describe migration experience. The development of magical realism in different national traditions caused its variety and diverse forms of expression. Therefore, in this paper, the term magic realism or marvelous realism is considered from different theoretical perspectives. The term and the phenomenon it denotes started its history from the Weimar Republic modernist movement when German art critic Franz Roh coined the term. Then, in 1955 the narrative mode of magic realism became popular in Latin America. Alejo Carpentier, Angel Flores underlined that it is different from its European counterpart as its main task is to express the unique and extraordinary reality of Latin America. They argued that magic and magical elements are derived from the 'supernatural' elements of 'local' or 'indigenous' myths, religions and cultures. Moreover, magical realism relies upon the presentation of the imagined or magical as if they were real.The article focuses on how these different definitions are related and discussed by various theoreticians. It is concluded that the most relevant is Echevarría’s typology. He differentiated two kinds of magical realism: the ontological and the epistemological. Ontological magical realism has as its material beliefs or practices from the cultural context in which the text is set.The author considers the notion of ontological magical realism to analyse Ibi Zoboy’s novel American Street, in which magical beliefs and rituals help the main character survive in a difficult situation. It is emphasized that the religious component is an important part of migration fictional discourse.
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Deore, Manisha. "The Interplay of Magic Realism and Historical Realism: Amitav Ghosh's Novels." Shodh Sari-An International Multidisciplinary Journal 03, no. 03 (July 1, 2024): 238–46. http://dx.doi.org/10.59231/sari7731.
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This abstract delves into the captivating blend of magic realism and historical realism in the works of renowned Indian author Amitav Ghosh. Ghosh, celebrated for his historical and socio-political narratives, occasionally infuses elements of magic realism into his storytelling. Notable novels such as “The Shadow Lines,” “The Calcutta Chromosome,” and “Sea of Poppies” serve as examples where Ghosh adeptly blurs the boundaries between the magical and the real. This research paper emphasizes the diverse ways in which Ghosh explores the interplay between reality and fantasy, encouraging the readers to engage with his narratives on multiple levels and promoting discussions about the thin boundaries of literary genres. Magic realism, which is generally characterized by the inclusion of supernatural or magical elements within a realistic backdrop, challenges the distinction between the extraordinary and the ordinary. Though it is associated with Latin American literature, this genre has been embraced and adapted by writers from a variety of cultural backgrounds. However, the complexities of Ghosh’s narratives and the depth of his characterizations leave room for diverse interpretations, possibly aligning with the principles of magic realism. This paper aims to illuminate the dynamic relationship between representing facts and stimulating the imagination, it also highlights the multi-faceted nature of literary genres and the subjective lens through which readers perceive and interpret literary works.
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Ajeng, Galuh Dwi, and Aksendro Maximilian. "Reading Magical Realism in Salman Rushdie’s Midnight’s Children for Supporting EFL Students’ Cross-Cultural Awareness." Ksatra: Jurnal Kajian Bahasa dan Sastra 5, no. 1 (June 14, 2023): 195–208. http://dx.doi.org/10.52217/ksatra.v5i1.1245.
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The present study explores the magical realism contents in the Midnight’s Children by Salman Rushdie. It also aims to investigate the way the magical realism contents to be adapted and integrated into the cross-cultural understanding material to support the EFL students’ cross-cultural awareness. The qualitative research method is employed for analysing the primary source by consulting it to the secondary sources. From the story, it is found that the struggle is available between two opposing structures in a mystical realist document, and one of them is working toward the development of a fantasy universe from the other. These are the worlds of fantasy and life, and they are all present and vying for the reader's interest. Thus, the study may deduce that Rushdie employs magical realist features such as time dilation and the introduction of myth, legends, and folklore. Rushdie has built something unique with Midnight’s Children, and Saleem is honestly attempting to tell the tale of his existence, and the life of the new country. Moreover, based on the contents found, the instructional activities can be designed by adapting the magic realism content found in the story to build the cross-cultural awareness of the Indonesian EFL students. Moreover, magic realism content can also be an alternative and variation on the language and cultural classes.
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Zakrevskaya, Anna Andreyevna. "Magic Realism of André Delvaux." Journal of Flm Arts and Film Studies 5, no. 2 (May 15, 2013): 134–43. http://dx.doi.org/10.17816/vgik52134-143.
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The article explores the artistic merit of the underestimated Belgian director’s major films which combine magic irrational elements with visible real life attributes. Employing imaginary space and cinematic time in the films which could be classified as “magic realism”, helps reveal a specific truth: the shift of the angle enables one to see the hidden depth and the mystery, to create a complex picture of the world.
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Wechsler, Jeffrey. "Magic Realism: Defining the Indefinite." Art Journal 45, no. 4 (1985): 293. http://dx.doi.org/10.2307/776800.
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Morwood, Nicholas. "From ‘Magic’ to ‘Tragic Realism’." Interventions 19, no. 1 (January 8, 2016): 91–107. http://dx.doi.org/10.1080/1369801x.2015.1129912.
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Jameson, Fredric. "On Magic Realism in Film." Critical Inquiry 12, no. 2 (January 1986): 301–25. http://dx.doi.org/10.1086/448333.
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Wechsler, Jeffrey. "Magic Realism: Defining the Indefinite." Art Journal 45, no. 4 (December 1985): 293–98. http://dx.doi.org/10.1080/00043249.1985.10792313.
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Fangyuan, JIANG. "A Comparative Study on Magic Realism in Beloved and Big Breasts & Wide Hips." Asia-Pacific Journal of Humanities and Social Sciences 3, no. 2 (June 30, 2023): 066–82. http://dx.doi.org/10.53789/j.1653-0465.2023.0302.009.p.
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Originating in Latin America in the 1950s, magic realism has become a literary trend because of its artistic and aesthetic values. World-renowned writers such as Gabriel Garcia Marquez, Toni Morrison, and Mo Yan have published a series of literary masterpieces embedded with magical realistic elements, which draw the attention of many literary critics. This thesis uses text analysis and comparative study as research methods and examines the magical realistic elements in Mo Yan and Toni Morrison’s representative works Beloved and Big Breasts & Wide Hips. The discussion focuses on similarities and differences from the perspective of magic and reality, magic narrative techniques, magic-realistic symbols, as well as mythological archetypes and sacred scripture in those two novels. Based on this, I find that hallucinatory realism is a better term in further magical realism studies because it shows magic realism’s acceptance and transmission in China.
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Rizkita Laily, Vany. "NARRATIVE OF MAGIC REALISM IN THE JOHN BELLAIRS’ NOVEL: THE HOUSE WITH THE CLOCK IN ITS WALLS." ANAPHORA: Journal of Language, Literary and Cultural Studies 3, no. 2 (February 7, 2021): 88–101. http://dx.doi.org/10.30996/anaphora.v3i2.4621.
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This research aims to analyze the relationship between the novel written by John Bellairs entitled The House With A Clock In Its Walls and the magical elements of realism. By using Wendy B. Faris magic realism theory which focuses on the five characters of magic realism, namely, irreducible, phenomenal world, unsettling doubt, merging of nature, and the disturbance of time, space and identity. This research also uses a descriptive qualitative approach. Through this approach, this research can find the results that the five elements or characters of magical realism can be found in the novel.
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Rahayu, Anik Cahyaning, Sudarwati Sudarwati, and Susie Chrismalia Garnida. "Magical Phenomena in Reality in Rick Riordan’s Percy Jackson and The Olympians: The Lightning Thief." Seltics Journal: Scope of English Language Teaching Literature and Linguistics 7, no. 1 (June 24, 2024): 109–25. http://dx.doi.org/10.46918/seltics.v7i1.2198.
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This research examines the elements of magical realism, using descriptive qualitative method, a literary genre depicting magic in the modern world, in Rick Riordan's "Percy Jackson and the Olympians: The Lightning Thief." Applying Wendy B. Faris' theory of magical realism's five characteristics: the irreducible element, the phenomenal world, unsettling doubts, merging realism, and disruption of time/space/identity. The research identifies these aspects in the novel. The analysis reveals the novel contains irreducible magical elements like worlds, characters, and objects, exemplified by Percy's encounter with the shape-shifting monster Erinyes disguised as his teacher. The phenomenal world encompasses magical places and beings. Unsettling doubts arise from Percy directly addressing the reader about his experiences. Merging realism intertwines the magical realm rooted in myths with the tangible world, as monsters and gods frequently intermingle with reality. Disruption of time manifests when Percy experiences slowed time at the Lotus Hotel during his quest. The study concludes that "The Lightning Thief" exhibits all five characteristics of magical realism by integrating mythological magic into the contemporary setting. Irreducible magical elements, a phenomenal, magical world, narrator-induced unsettling doubts, the merging of mythical and real realms, and space-time distortions collectively categorize the novel as an exemplar of magical realist fiction.
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Jaffar Shah, Ghulam Rasool, and Zia-ur-Rehman. "Magic Realism: An Overview of Gabriel Garcia Marquezs’ One Hundred Years of Solitude." Al-Burz 11, no. 1 (December 25, 2019): 21–31. http://dx.doi.org/10.54781/abz.v11i1.57.
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Magic Realism refers to the method of describing reality in a mythical, magical and supernatural version of the indigenous cultures. This paper highlights the significance of the tool of Magic Realism with reference to Gabriel Garcia Marquez’s One Hundred Years of Solitude as a fantastic literary form employed by the writer to present his culture, society and political history. Reality combined with magical elements, this paper has Magic Realism as theoretical framework to prove how Gabriel Garcia Marquez manipulates this tool to tell the reality of his national history, colonialism, and post-colonialism period. Employing the tool of Magic Realism, the writing is all about troubles, loss and death in the Colombia. The intention is to combine fantastic in order to present his Colombia, where myths and modern inventions are part of the same environment; where the indigenous culture has not been subdued by the advent of modern technology. The writer of the novel also wants his people to acquire true knowledge in lieu of mere imitation of the West. The main source of the data in this paper was literature review that helped identify the gap. This paper is meant to bridge the gap identified through the literature. The specific objective is to ascertain as to how Magic Realism has been employed by Gabriel Garcia Marquez in One Hundred Years of Solitude so as to stick to the truth of his national history.
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Hossain, Md Amir. "Magic Realism in Shakespeare’s The Tempest and Rushdie’s Midnight’s Children." Studies in Linguistics and Literature 2, no. 2 (May 10, 2018): 63. http://dx.doi.org/10.22158/sll.v2n2p63.
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<em>The aim of this paper is to examine a comparative study between Shakespeare’s The Tempest and Salman Rushdie’s Midnight’s Children in the light of Magic Realism. It aims to examine Shakespeare’s and Rushdie’s treatment of Magic Realism during 16th century England and 20th century India, respectively. For this propose, it attempts to portray some important characters, like Prospero, Caliban, and Ariel in the play, The Tempest and the narrator, Saleem Sinai in the novel, Midnight Children. It aims to look at applying the theory of Magic Realism made by prominent critics and scholars. It also wants to focus on magic, supernatural, occult, imagination, reality, and mystery. Both Shakespeare’s and Rushdie’s literary texts are analyzed within the parameters of these issues. Finally, this paper presents the art of characterization, themes and situations, writing forms, similarities and differences in various phases of the two famous writers.</em>
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Flenninacia Basil Raj, B., and K. B. Shalini. "Diving into the Enigma: The Magic Realism of Haruki Murakami’s “Kafka on the Shore”." Shanlax International Journal of Arts, Science and Humanities 11, S2-March (March 30, 2024): 69–72. http://dx.doi.org/10.34293/sijash.v11is2-march.7513.
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In literature, magic realism presents real-world occurrences that combine elements of fantasy, magic, and dreams. Magic realism makes it difficult to distinguish between fact and fiction and infuses regular events and ordinary life with a dreamlike quality. Most frequently, the term “magic realism” refers to the literary subgenre made popular by Latin American authors like Ruben Dario and Jose Marti in the 1950s. Japanese author Haruki Murakami was born in Kyoto in 1949, during Japan’s post-World War II era. His writings are influenced by many different cultures and traditions and frequently contain magic and fantasy. In his paintings, allusions to both Western society and Japanese tradition collide. Hear the Wind Sing was the title of his debut manuscript. In Kafka on the Shore, a fifteen-year-old boy named Kafka narrates his journey in the first person as he flees his family’s curse and his father, believing that his life is condemned, but memories and dreams follow him. The book also narrates the tale of an elderly man named Satoru Nakata, who becomes able to communicate with cats despite losing his ability to read and write. Their lives are lived in parallel, and their worlds collide with one another. Portals to different worlds open up, and mysterious events start to take place. Through the use of a mystical stone known as the “entrance stone,” the lives of these two individuals merge at the end of the narrative. Time, space, and reality are all blurred in Kafka on the Shore, a literary maze full of magic, fantasies, unsettling coincidences, and mind-bending images. The main objective of the article is to present Murakami’s Kafka on the Shore as a work of magic realism by analysing the features of magic realism that are employed in the book and how the plot develops with dream-like instances that blur the boundaries between reality and the world of dreams.
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Grobler, G. M. M. "Extraordinary events and primeval images: Magic realism in the works of Northern Sotho novelist O.K. Matsepe." Literator 14, no. 1 (May 3, 1993): 89–98. http://dx.doi.org/10.4102/lit.v14i1.692.
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Fictive reality in the conventional novel is required to adhere to the laws of real life. Magic realism, however, presents a peculiar and unique world: a fictive but everyday reality, interspersed with extraordinary or 'unreal’ events. In addition, primeval images or archetypes operate in the text, e.g. the image of happiness or paradise, of the father, of the wise old man, of the Messiah and of the eternal return. The art of O.K. Matsepe sufficiently displays these features to justify the conclusion that he may be regarded as a magic realist in the mould of Hubert Lampo and Gabriel García Márquez, among others.
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Mahesh Chandra Tiwari. "Magic Realism in African Literature: A Study on Selected Works of Ben Okri and Nadine Gordimer." Creative Launcher 6, no. 4 (October 30, 2021): 148–56. http://dx.doi.org/10.53032/tcl.2021.6.4.24.
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This article examines the evolution of magical realism as a narrative style used by African writers throughout the transition period, and how it became increasingly suited to African literary sensibilities at the time. At the same time, magical realism relies heavily on African oral traditions, serving as a site of convergence for black and white writing under apartheid, as well as exemplifying the synthesis of Eurocentric Western logic and African tradition. This article discusses the possible origins of the proliferation of African texts embracing this narrative mode in the immediate aftermath of apartheid's demise, as well as the possible reasons for the gradual abandonment of magical realist narrative strategy in the post-millennial era, while discussing magic realism in relation to Ben Okri's and Nadine Gordimer's post-apartheid novels. As a consequence of the short cohabitation of the two literary forms in African literary history, African magical realism works will be located at the intersection of celebration and disillusionment literature.
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Kerr, R. A., and Maria-Elena Angulo. "Magic Realism: Social Context and Discourse." Hispania 79, no. 3 (September 1996): 452. http://dx.doi.org/10.2307/345525.
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Menton, Seymour, and Maria-Elena Angulo. "Magic Realism. Social Context and Discourse." Hispanic Review 65, no. 2 (1997): 256. http://dx.doi.org/10.2307/474423.
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Pearson, Lon, María-Elena Angulo, Arnold M. Penuel, Lois Parkinson Zamora, Wendy B. Faris, and John Thieme. "Magic Realism: Social Context and Discourse." Chasqui 25, no. 2 (1996): 108. http://dx.doi.org/10.2307/29741291.
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Fuchs Knill, Margo. "Trust the Pianofish: Shaun McNiff and the magically realistic expressive arts." Journal of Applied Arts & Health 14, no. 3 (October 1, 2023): 315–24. http://dx.doi.org/10.1386/jaah_00144_1.
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In resonance with lived art-based research, this article aims to let the art speak through image and poetry and to reflect the phenomenon of imagination and reality within expressive arts in an interdisciplinary mode. The article focuses specifically on Shaun McNiff’s cover image Pianofish of his book Integrating the Arts in Therapy: History, Theory, and Practice through poetic response, dialogue and expressive arts theory of practice. The notion of different realities and imagination as we know it from the literary genre ‘magic realism’ have been central components since the inception of the field of expressive arts at Lesley University. This article reflects ‘magic realism’ in its play with different realities and Shaun McNiff’s appeal to stay with the image. The author refers to Salman Rushdie’s notion of ‘magic realism’ in the context of the phenomenologically based expressive arts.
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Mulia, Sandra Whilla. "REALISME MAGIS DALAM NOVEL SIMPLE MIRACLE DOA DAN ARWAH KARYA AYU UTAMI." Lakon : Jurnal Kajian Sastra dan Budaya 5, no. 1 (October 10, 2016): 30. http://dx.doi.org/10.20473/lakon.v5i1.2780.
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This study are intend to reach some goals. First, this aimed to uncover the magic realism which is narrated in Ayu Utami’s novel, entitled Simple Miracle DoaDan Arwah. Second, this study aimed to discover socio cultural context which form the background of the emerging of magic realism of narrative in Ayu Utami’s novel entitled Simple Miracle Doa dan Arwah. This research utilizes magic realism narrative theory on the book Ordinary Enchantments Magical Realism andRemystifiction of Narratives written by Wendy B. Faris (2004). This is a qualitative study which employed textual analysis to analyze the obtained data. The results of 2 this study were magic realism which was narrated in the novel were not only loaded by the characteristics of Faris’ magic realism by showing the exquisite existence of myth in this modern era, but also written to be in charge of bracing and reorganizing people’s believe in Javanese myth. Socio cultural context which form the background of the emerging of this novel was Javanese culture that still exist in this modern era. This was also added by the comeback of traditional ambience which made its existence popular nowadays. From the analysis this had emerged two issues, social issues and signification issues. The emerging social issues are the Javanese culture in which the people tend to fancy mystics. These mystics are related to ghosts. In addition, the other issue is about acculturation of religions in Java Island. Besides the issues, the signification obtained were: (1) Javanese will always hold their believe in ghost; (2) in Java, shaman and spirits or ghost are correlated to the second alternative to realize dreams; (3) shaman identity is identical with someone who has an ability to see and communicate with spirits or ghosts; (4) there is a believe that spirits and ghosts are everywhere; (5) Javanese believe that every dead person will soon become spirits and ghosts and they will eternally live around them; (6) atheist will rarely be seen in Java; (7) religions in Java Island will always blend themselves with the culture.
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Rahmani, Gulrahman, and Sayed Mojtaba Nayel. "Magic Realism and Fantastic in Contemporary Literature." International Journal of Middle Eastern Research 3, no. 1 (January 6, 2024): 01–03. http://dx.doi.org/10.32996/ijmer.2024.3.1.1.
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Magical Realism and Fantastic are two widely used concepts in contemporary literature. Fantastic is such fiction that blends the realities of our physical world with the supernatural in an indistinguishable manner, with the aim of leading minds of varying abilities on different trails. Both are used in combination to complete the novel. The reader is amazed by the inability to differentiate between real life and the world of fantasy. In Magical Realism, as the name implies, magic, history, fiction and myths are employed. The characters often possess supernatural abilities. It is often mistaken for imaginary realism. The main difference between the two is that in Fantastic, the characters feel shocked and horrified by the happenings, as in Harry Potter’s series, where the sudden disappearance of ‘the mirror’ causes shock. By contrast, in magical realism, the characters tend to react to the occurrence of magic. Another important point is the relation of both to scientific fiction, where events are analyzed on the basis of facts and scientific development in order to enable humans to face life intelligently.
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Krasovskaya, N. V. "Magic Realism as a Way of Representing the Conceptual Metaphor Code of Latin America." Izvestiya of Saratov University. Philology. Journalism 9, no. 2 (2009): 14–18. http://dx.doi.org/10.18500/1817-7115-2009-9-2-14-18.
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Magic realism is an original area of Latin American Literature of the 20th century which possesses a peculiar conceptual system of its own. The «miraculous» reality of the continent is represented in the works within magic realism through a combination of reality elements and fantastic and mythological motifs. The writers deliberately choose and modify folk and mythological substratum of Indian and Black cultures in order to reveal and proclaim the cultural identity of Latin America. Polysemanticism, excessive imagery and the symbolic language of the text are the consequences of the new way of depicting reality.
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Neupane, Nabaraj. "Demystifying the Magic in Diamond Shumsher’s Seto Bagh: History Reconsidered." SCHOLARS: Journal of Arts & Humanities 3, no. 2 (August 28, 2021): 108–15. http://dx.doi.org/10.3126/sjah.v3i2.39430.
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Diamond Shumsher’s masterpiece, Seto Bagh, is a significant historical novel in Nepali literature. The novel made a vibrant debut in depicting historicity in fictional prose in the Nepali context. In particular, the reconsideration of the portrayal of history from a new perspective is relevant. Traditionally, this is considered a historical realist novel. Nevertheless, magical elements are profusely used in the novel. In this study, this niche opens up avenues to re-evaluate the historicity vis-à-vis magical elements. I have adopted Maggie Ann Bowers’ and Wendy B. Faris’s notions and perspectives on the theoretical lens of magical realism to demystify the magic and history in the text. Further, I have adapted the content analysis method to analyze the textual evidences from the selected novel. The main finding exhibits that the novelist has amalgamated historical facts with magical elements like supernatural beings and happenings. Thus, the novel is an example of historical magical realism. This implies that only established beliefs and theories are not sufficient to judge the literary works rightly. Therefore, new lenses should be explored to enter into the world of fictional prose works as such.
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FatenHouioui, Dr. "Re-thinking Female Subjectivity through Magic Realism." IOSR Journal of Humanities and Social Science 22, no. 06 (June 2017): 31–39. http://dx.doi.org/10.9790/0837-2206053139.
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Estevez, Pablo A. "Magic Realism and Smart Worlds [President's Message]." IEEE Computational Intelligence Magazine 12, no. 1 (February 2017): 3–12. http://dx.doi.org/10.1109/mci.2016.2627663.
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