By Stephen M. Hart, Wen-chin Ouyang
This new spouse to Magical Realism offers an evaluate of the world-wide impression of a circulation which was once incubated in Germany, flourished in Latin the United States after which unfold to the remainder of the area. It offers a collection of updated checks of the paintings of writers characteristically linked to magical realism comparable to Gabriel GarcÃa MÃ¡rquez (in specific his lately released memoirs), Alejo Carpentier, Miguel ngel Asturias, Juan Rulfo, Isabel Allende, Laura Esquivel and Salman Rushdie, in addition to bringing into the fold new authors comparable to W.B. Yeats, Seamus Heaney, JosÃ© Saramago, Dorit Rabinyan, Ovid, MarÃa Luisa Bombal, Ibrahim al-Kawni, Mayra Montero, Nakagami Kenji, JosÃ© Eustasio Rivera and Elias Khoury, mentioned for the 1st time within the context of magical realism. Written in a jargon-free type, and with all quotations translated into English, this booklet bargains a clean new interdisciplinary slant on magical realism as a global literary phenomenon rising from the trauma of colonial dispossession. The better half additionally has a advisor to additional studying.
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Extra info for A Companion to Magical Realism
Aside from the location of the fantastic – that in magical realism it is grafted on reality and in fantasy on a never-land – the motors driving narrative and the trajectories of this narrative are, in a sense, more similar than not. The politics of fantasy, like those of magical realism, are driven by desire at one level to grapple with reality and the epistemological systems in place for knowing it, and at another level to transcend here and now and imagine an alternative world. 54 More important, 50 Maggie Ann Bowers, Magic(al) Realism, The New Critical Idioms series (London: Routledge, 2004), pp.
17). ’11 Objects that had been lost to abstraction were now being recuperated by the magical-realists, the world was being made newly available to the senses of the beholder. Roh’s formulation echoes the Russian Formalist Victor Shklovsky’s famous definition of defamiliarization in his essay ‘Art as Technique’, written in 1917, eight years before Roh’s essay. The renewed apprehension of the familiar world was, for Shklovsky in 1917, as it was for Franz Roh in 1925, not only the function of art, but its very definition.
The two remaining essays in this section focus on the seminal Americanist and Classical myth of the Golden Age. Lorna Robinson, in ‘The Golden Age Myth in Gabriel Garcia Marquez’s One Hundred Years of Solitude and Ovid’s Metamorphoses’, for example, shows how the myth of prelapsarian bliss evoked in One Hundred Years of Solitude as a time when the world ‘was so recent that many things lacked names’, recalls its portrayal in a number of Classical authors ranging from Plato to Ovid to Virgil. Despite the difference of their respective contextual settings – Ovid was writing during a period of peace and prosperity, García Márquez during a time of violence and corruption – One Hundred Years of Solitude and the Metamorphoses are characterised by a sense of belatedness and literary syncretism.