Artykuły w czasopismach na temat „Realiso magico”
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Botes, N., i N. Cochrane. "’n Ondersoek na die kunstenaarskap in Die swye van Mario Salviati binne die konteks van die magiese realisme". Literator 27, nr 3 (30.07.2006): 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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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, nr 2 (1.01.1995): 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, nr 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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Mahesh Chandra Tiwari. "Magic Realism in the Works of Isabel Allende and Gabriel García and Laura Esquivel". Creative Launcher 6, nr 5 (30.12.2021): 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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Azizmohammad, Fatemeh, i 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, nr 1 (8.02.2018): 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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Sharma, Khum Prasad. "Magic Realism as Rewriting Postcolonial Identity: A Study of Rushdie’s Midnight’s Children". SCHOLARS: Journal of Arts & Humanities 3, nr 1 (1.03.2021): 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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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, nr 9 (3.03.2015): 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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Subedi, Yubaraj. "Magic Realism in Rabindra Sameer's Mrityuko Aayu". Journal of Janta Multiple Campus 3, nr 1 (24.05.2024): 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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Ajeng, Galuh Dwi, i 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, nr 1 (14.06.2023): 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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Mahmudah, Mahmudah. "Magical Realism in Aḥmad Sa‘dāwiy’s Frankenstein fī Bagdād". Jurnal Humaniora 28, nr 2 (12.11.2016): 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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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, nr 01 (2.09.2021): 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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Murtaza, Aemen, Mamona Yasmin Khan i Masroor Sibtain. "Magical Realism: Portrayal of Human Suffering in The Particular Sadness of Lemon Cake by Aimee Bender". Global Social Sciences Review VI, nr I (30.03.2021): 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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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, nr 1 (1.09.2016): 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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Grobler, G. M. M. "Extraordinary events and primeval images: Magic realism in the works of Northern Sotho novelist O.K. Matsepe". Literator 14, nr 1 (3.05.1993): 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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Rahayu, Anik Cahyaning, Sudarwati Sudarwati i 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, nr 1 (24.06.2024): 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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Mahesh Chandra Tiwari. "Magic Realism in African Literature: A Study on Selected Works of Ben Okri and Nadine Gordimer". Creative Launcher 6, nr 4 (30.10.2021): 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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Dr. R. Hithayath Khan. "Magical Realism in Indian Literature". Tuijin Jishu/Journal of Propulsion Technology 44, nr 3 (9.10.2023): 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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Hammer, Yvonne. "Conflicting Ideologies in Three Magical Realist Children’s Novels by Isabel Allende". Papers: Explorations into Children's Literature 18, nr 2 (1.12.2008): 41–47. http://dx.doi.org/10.21153/pecl2008vol18no2art1167.
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A recent movement to establish ecopoetic frames in children’s literature has led to the exploration of a critical confluence of magical realism with ecocriticism. Because of a common capacity to interrogate dominant Western value systems, magical realist discourse has been linked with ecopoetic frames that promote narrative representations of environmental justice movements. such an alignment is possible because the postcolonial heritage of magical realism, founded by Latin American authors, offers a site of resistance by which the dominant ideologies of colonising nations are interrogated. In fictions which form the basis for ecocriticism authors may create similar narrative spaces of resistance to encode representations of ecological malpractice which are enacted upon indigenous peoples by an invasive non-indigenous presence. This ideological confluence between magical realist strategies and ecocritical frames represents a problematic interface between indigenous and non-indigenous subjectivities because representations of ecological intervention are primarily Western in origin, while magical realism promotes representations of indigenous voice. the problems that arise from this alignment are particularly evident in Allende’s three quest fictions for children in that the two dominant eco-warrior protagonists are non-indigenous and narrative perspective is largely derived from Western subject focalisations. the author’s magical realist frame by which Western cultural positions are interrogated has thus been compromised by the fact that subject focalisations privilege non-indigenous perceptions about the plight of tribal peoples in a manner that limits indigenous voice. even though each eco-warrior quest instigates magical realist strategies – irreducible elements of magic, phenomenological elements, merged frames that anchor magical elements in mimetic detail (Faris, 2004) – the authorial intent to expose exploitation of indigenous peoples is framed by Western ecocritical perspectives. Furthermore, because representations of magical power saturate depictions of eco-warrior agency, the grounding mimetic is disrupted and quest resolutions are imbued by fantasy.
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Laws, Jennifer. "Magic at the margins: towards a magical realist human geography". cultural geographies 24, nr 1 (23.06.2016): 3–19. http://dx.doi.org/10.1177/1474474016647367.
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The purpose of this article is to put forward the case for a magically realist human geography, drawing on geographical research into the lives and lifeworlds of people with long-term and disabling mental health difficulties. In the article, I move between extracts from my own ethnographic research with mental health service users and survivors and the equally unusual stories of the literary genre, magical realism, in which I find a framework for addressing what I understand as a narrative paucity in much of mainstream research writing about mental distress. The article reflects upon the strange and sometimes magical qualities of illness and recovery in the context of individuals living with severe and enduring mental health problems and how traditional constructions of ‘evidence’ variously exclude or overlook such experiences. The contributions of the article are both to explore how ‘magic’ might encapsulate certain aspects of living with mental distress and – developing ongoing discussions in the sub-discipline around geographies of enchantment, magic and spirituality – to consider how a magical realist framework for geographical research might do justice to the rich, marvellous and irreducible experiences of everyday life, which are often excluded from conventional evidence bases.
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Reza, Dr Md Mohoshin. "Investigating Laura Esquivel’s Magical Realist Techniques in Like Water for Chocolate". Praxis International Journal of Social Science and Literature 6, nr 7 (25.07.2023): 146–56. http://dx.doi.org/10.51879/pijssl/060716.
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The present research critically analyzed the nature, function and dimension of magical realism used by Mexican novelist Laura Esquivel in her Like Water for Chocolate. In the study, the magical realist images were found quite attached to Mexican socio-political contexts. The power of desire and passion, and the struggle for liberty were found to be the major themes in the novel. Magical realistic exaggerations with power of love and memories manifested though the images of food. The study being qualitative employed document, content and textual analysis methods for collecting data. Logical interpretation process was followed in data analysis. The study investigated nature, functions, motives, dimensions and traits of magical realistic images and events as used in Like Water for Chocolate.
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Neupane, Nabaraj. "Demystifying the Magic in Diamond Shumsher’s Seto Bagh: History Reconsidered". SCHOLARS: Journal of Arts & Humanities 3, nr 2 (28.08.2021): 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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Palmer, Stephanie C. "Realist Magic in the Fiction of William Dean Howells". Nineteenth-Century Literature 57, nr 2 (1.09.2002): 210–36. http://dx.doi.org/10.1525/ncl.2002.57.2.210.
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William Dean Howells was committed to determining what would inspire people from different economic, political, and religious backgrounds to imagine each other as respected members of a human community. Scholars have debated whether his realist aesthetic was suited to do that. Some have argued that realism works to contain the lower classes, and others have argued that it portrays a heterogeneous society in which social problems can be solved through human negotiation between the middle classes and others. Scholars have not, however, addressed how Howells performs the necessary shift in his fiction from a space in which characters focus on their own interests to a space in which they seek to enact justice through negotiating with disparate people. This article identifies and names what enacts that necessary shift: the literary device of accident. In Howells's fiction chance meetings, feelings of accidental connection, and injuries during travel force his middle-class characters into understanding labor politics, slum dwellers, and morally compromised millionaires. His use of accident changes over time, from The Undiscovered Country (1880) to Annie Kilburn (1889) and A Hazard of New Fortunes (1890). This essay traces that change in order to reflect on the democratic and antidemocratic implications of Howells's realist aesthetic.
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Pritchard, William H. "Realism without Magic". Hudson Review 42, nr 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 (1.03.2020): 221–37. http://dx.doi.org/10.1086/710830.
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Ananyeva, S. V., i A. K. Kalieva. "From Social Realism to Magic Realism". Contemporary Issues of Literary Studies - International Symposium Proceedings 16 (11.12.2023): 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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Luburić-Cvijanović, Arijana. "Magic, realism and the river between: The cultural weight of postcolonial magic(al) realism". Kultura, nr 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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P., Muthunagai, i Marie Josephine Aruna. "Demystifying Magical Realism: A Close Reading of Quichotte". ENSEMBLE 2, nr 2 (7.06.2021): 166–73. http://dx.doi.org/10.37948/ensemble-2020-0202-a017.
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Magical Realism is a genre that brings in together two completely different dimensions of study, namely realism and fantastic imagination (magic). There is always an air of eerie complexity around the genre due to the confluence of such contradictions. Salman Rushdie is one of the most important Indian Diaspora writers prominently known for the triumphant utilization of this genre through innovative techniques in his work. Some of his most famous literary productions of this genre are The Midnight’s children, Shame, etc., This present paper takes Rushdie’s (2019) recent blockbuster publication Quichotte under study, and scrutinizes it from a hermeneutical point of view. It uses the principles theorized by W. B. Frais (2004) in her book Ordinary Enchantments and attempts to analyse the book under the derived perspective. This brief analysis underscores the hidden elements that are unanimously typical of all Magical Realist texts with reference to Quichottein and endeavours to demystify it.
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Prof. Sanjay Kumar Swarnkar i Shalini Shukla. "The Elements of Supernatural and Magic Realism in Toni Morrison’s Beloved". Creative Launcher 6, nr 3 (30.08.2021): 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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Chernyshova, Svitlana. "Elements of ontological magical realism in Ibi Zoboy's American Street". MESSENGER of Kyiv National Linguistic University. Series Philology 24, nr 2 (27.01.2022): 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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Shafiq, Qasim, Sardar Ahmad Farooq i Asim Aqeel. "Magical Realism Revisited in Erdrich's Tracks: An Interactional Thick Inscription". Global Social Sciences Review IV, nr IV (30.12.2019): 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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SPINDLER, WILLIAM. "MAGIC REALISM: A TYPOLOGY". Forum for Modern Language Studies XXIX, nr 1 (1993): 75–85. http://dx.doi.org/10.1093/fmls/xxix.1.75.
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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, nr 03 (1.07.2024): 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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Fangyuan, JIANG. "A Comparative Study on Magic Realism in Beloved and Big Breasts & Wide Hips". Asia-Pacific Journal of Humanities and Social Sciences 3, nr 2 (30.06.2023): 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, nr 2 (7.02.2021): 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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Zakrevskaya, Anna Andreyevna. "Magic Realism of André Delvaux". Journal of Flm Arts and Film Studies 5, nr 2 (15.05.2013): 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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Manfrecola, Sonia. "Una Sardegna magica: tradizione e innovazione nei racconti fantastici di Grazia Deledda". Revista de la Sociedad Española de Italianistas 16 (20.09.2023): 107–19. http://dx.doi.org/10.14201/rsei.31312.
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L’articolo è volto ad analizzare la figura di Deledda come autrice di letteratura fantastica, ruolo che non le fu mai riconosciuto dai compilatori delle prime antologie italiane sul fantastico, nonostante la scrittrice avesse dato vita a racconti originali, in cui il magico si univa indissolubilmente al folclore e all’essenza sarda. Infine, attraverso un’analisi contrastiva, si prenderanno in esame elementi della sua produzione novellistica che anticiparono alcuni caratteri del realismo magico latinoamericano.
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Jaffar Shah, Ghulam Rasool i Zia-ur-Rehman. "Magic Realism: An Overview of Gabriel Garcia Marquezs’ One Hundred Years of Solitude". Al-Burz 11, nr 1 (25.12.2019): 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, nr 2 (10.05.2018): 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., i 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 (30.03.2024): 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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Wechsler, Jeffrey. "Magic Realism: Defining the Indefinite". Art Journal 45, nr 4 (1985): 293. http://dx.doi.org/10.2307/776800.
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Morwood, Nicholas. "From ‘Magic’ to ‘Tragic Realism’". Interventions 19, nr 1 (8.01.2016): 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, nr 2 (styczeń 1986): 301–25. http://dx.doi.org/10.1086/448333.
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Wechsler, Jeffrey. "Magic Realism: Defining the Indefinite". Art Journal 45, nr 4 (grudzień 1985): 293–98. http://dx.doi.org/10.1080/00043249.1985.10792313.
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Munawar, Bushra, Hina Rafique i Huma Amin. "An Analysis of the Darkest Part of the Forest by Holy Black in Light of Wendy B. Faris’ Model of Narrative Techniques in Magical Realism". NUST Journal of Social Sciences and Humanities 6, nr 2 (2.02.2021): 172–93. http://dx.doi.org/10.51732/njssh.v6i2.57.
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This research study focuses on the analysis of the narrative techniques of the text The Darkest Part of the Forest by Holy Black, an American novelist, in light of Wendy. B. Faris’ theory of narrative techniques in magical realism proposed in Ordinary Enchantment: Magical Realism and the Remystification of Narrative (2004) that serves as theoretical framework. In this context, the present research is a post-modernist analysis of the text since magical realism is mode of writing under Post Modernism. The study negotiates that text appears as a magical realist text because it shows several instances, settings, plot and characters which present it more than a fantasy. The plot revolves around the horned boy, a faerie prince, faeries, their encounter with human beings, magic, spell, and pastoral settings. The analysis of juxtaposition of realistic elements with fantasy or unrealistic happenings is the focus of this research. Wendy B. Faris has proposed five primary elements as the narrative building blocks of the binary opposition between realism and fantasy: the irreducible element, unsettling doubts, the phenomenal world, merging realms and, the distortion of time, space and identity. The researchers’ aim is to investigate whether Faris’ five elements may be successfully applied to the text under analysis. The findings of this research study amplify that this text is a post-modernist piece of writing and it truly exhibits the amalgamation of fantasy and real word occurrences. By discerning narrative elements in the text through discussion and textual references, the researchers have negotiated how these narrative elements served as building blocks of magical realism in the selected text. This research is qualitative and descriptive and adds to the body of Fantasy, American and Post-Modernist literature.
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Rozier, Louise. "Paola Masino's Short Fiction: Another Voice in the Collective Experience of Italian Neorealism". Quaderni d'italianistica 29, nr 1 (1.01.2008): 145–63. http://dx.doi.org/10.33137/q.i..v29i1.8497.
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Known for her fantastical and allegorical style and for her affiliation with "magic realism," Paola Masino's reputation rests chiefly on her novels, particularly Nascita e morte della massaia, and on works that are seemingly confined to female subjectivity and the private sphere. This article examines Masino's short fiction to reveal a more public, engagé, side of the author. After a close reading of "Fame," "Famiglia," "Lino," "Terzo anniversario" and "Paura," it focuses on the two racconti brevi "Una parola che vola" and "Il nobile gallo" in order to highlight the neo-realist aspect of the pieces and to argue that Masino drew on allegories, fables, and parables to engage with history. It also maintains that Masino used her pen as a political tool to denounce the horror and suffering of war, to foster a commitment to the Resistance, and to call for the cultural and political reconstruction of Italy.
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Fuchs Knill, Margo. "Trust the Pianofish: Shaun McNiff and the magically realistic expressive arts". Journal of Applied Arts & Health 14, nr 3 (1.10.2023): 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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Diler, Elif, i Derya Emir. "Politics and History in Ben Okri’s the Famished Road". European Journal of Language and Literature 6, nr 1 (1.12.2016): 90. http://dx.doi.org/10.26417/ejls.v6i1.p90-95.
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In the post-World War II period, magical realism, as a distinctive mode of fiction, has offered cultural hybridity, transformation and intermingling, and has thus been a significant means of communication for the postcolonial world. It has enabled postcolonial authors to get the chance of observing the world from a different perspective and seeing the truth with a ‘third eye’. The Nigerian-British author Ben Okri’s The Famished Road, which was awarded the Booker Prize in 1991, is one of the postcolonial magical realist novels aiming at viewing the world with a third eye. In The Famished Road, Okri attempts to investigate sociopolitical and historical realities, to understand and solve the paradoxes and secrets of history in the language of magic and dreams. In the novel he connects politics directly with the concept of history; his conception of ‘inviolate’ African consciousness becomes the base for his representation of history. The aim of this study is to scrutinize the ways in which Okri encodes African consciousness versus Western epistemology and reevaluates history. The study tries to analyze how Okri redreams postcolonial potentials for his hometown, Nigeria, by extension for the whole African continent, through magical realism functioning as a third eye in The Famished Road.
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Chengcheng, YOU. "Strange Encounter: Depicting An “Other” Reality for Young Readers". Journal of Urban Society's Arts 2, nr 1 (1.04.2015): 25–34. http://dx.doi.org/10.24821/jousa.v2i1.1267.
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This article explores fantastic encounters between humans and non-humans inChinese and Japanese Children’s literature. Naoko Awa’s collection of short storiesThe Fox’s Window and Other Stories is closely read to elucidate narrative features ofwhat I call as “strange encounter”, the magic realistic human-animal encounter inChinese and Japanese cultural context. Chinese supernatural literature and culturaltradition of yaoguai, which have been assimilated into Japanese culture (Japaneseyōkai), are referred to throughout my discussion. Todorov’s approach to thefantastic, Judith Zeitlin’s study of Strange Tales of Liaozhai Studio, and RosemaryJackson’s study of fantasy are drawn upon to illuminate the meaning of encountersbetween men and animals. I argue that magic realism as a relatively new genrefor young readers, not only reflects the author’s individual creative experienceof the fantastic but also partakes in the sense of an “other” reality that resonatesthroughout a cultural community.Perjumpaan Ganjil: Gambaran suatu Realitas “Liyan” bagi Pembaca Muda.Artikel ini membahas perjumpaan fantastis antara ‘manusia’ dan ‘non-manusia’ didalam sastra anak Cina dan Jepang. Antologi cerita pendek karangan Naoko Awa TheFox’s Window and Other Stories akan dikupas untuk memaparkan fitur naratif yangdisebut sebagai ‘perjumpaan aneh’ (strange encounter), perjumpaan magis-realis antaramanusia dengan binatang dalam konteks kebudayaan Cina dan Jepang. Karya sastrasupernatural Cina dan keberadaan yaoguai yang telah diasimilasi dalam kebudayaanJepang (disebut youkai) menjadi sebuah referensi penting dalam artikel ini. Pendekatanfantasi dari Todorov, studi Judith Zeitlin tentang Strange Tales of Liaozhai Studio,dan studi fantasi dari Rosemary Jackson digunakan untuk memperjelas arti dariperjumpaan antara manusia dan binatang. Magis-realis sebagai sesuatu yang baru bagi pembaca muda tidak hanya merefleksikan pengalaman kreatif pribadi sang pengarang akan fantasi, tetapi juga berperan dalam pembentukan realitas “liyan” dalam sebuahkomunitas budaya.
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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, nr 1 (10.10.2016): 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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Adhikary, Ramesh Prasad. "Exploring the Fusion of Magic and Realism in Harris's Chocolat: A Beacon of Hope for Liberation". KDU Journal of Multidisciplinary Studies 5, nr 1 (11.07.2023): 1–10. http://dx.doi.org/10.4038/kjms.v5i1.58.
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With an emphasis on the novel's description of magical realism and social reformation, this research paper seeks to study Joanne Harris's Chocolat and its depiction of a society in which the residents strongly regard the so-called Christian orthodoxy. The researcher used a qualitative research method, such as literary analysis, to analyze the novel and explore its themes and motifs. For this, the novel is examined in detail, themes and motifs are identified, and the characters and their interactions are analyzed in detail. The researcher used quotes from the novel to support his claim. The female protagonist, Vianne, challenges this orthodoxy through her chocolate boutique in front of the church and initiates social reformation. The novel explores the negative portrayal of Vianne by the townspeople as a witch, outsider, and atheist, but she overcomes these issues by exposing the hypocrisy of the Christian orthodoxy and advocating for humanity, freedom, and social change through her chocolate shop. The author strikes a balance between magical and realist explanations in her writing. At the same time, the main character possesses a magical ability to intuit her customers' preferences and artfully win their affections. The novel encourages readers to accept the mystical elements of everyday life and scientific rationality. The findings and conclusion of this research is that Harris's Chocolat is a unique blend of magical realism and social reformation, challenging traditional Christian orthodoxy and advocating for a more humane, free, and accepting society.