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Relevant bibliographies by topics / British magic realist fiction

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Journal articles

Academic literature on the topic 'British magic realist fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "British magic realist fiction"

1

Diler, Elif, and Derya Emir. "Politics and History in Ben Okri’s the Famished Road." European Journal of Language and Literature 6, no. 1 (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,

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2

Palmer, Stephanie C. "Realist Magic in the Fiction of William Dean Howells." Nineteenth-Century Literature 57, no. 2 (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 fi

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3

Zhang, Xiaohong, and Peiyi Ou. "Magic realism and science fiction: Salman Rushdie’s inter-generic writing." International Journal of Arts and Humanities 2, no. 1 (2021): 36–43. http://dx.doi.org/10.25082/ijah.2021.01.001.

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Salman Rushdie’s fiction is well-known for its abundant mixes of magic realist and science fiction textual elements. By resorting to three writing strategies, namely “meta-writing,” “split-writing” and writing about identity-related issues, Rushdie generates a type of “inter-generic writing” that serves to voice authorial appeals for hybridity, impurity and plurality. Meta-writing is an authorial construction of the neo-historicist verisimilitude justifying the legitimacy and self-sufficiency of literary writing. Split-writing reveals “the alterity of selves,” thus advocating tolerance and plu

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4

Yamashita, Karen Tei. "A Boom Interview." Boom 6, no. 3 (2016): 18–24. http://dx.doi.org/10.1525/boom.2016.6.3.18.

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Jonathan Crisman and Jason Sexton interview Karen Tei Yamashita about motivating and influential features behind her novels and plays, which are difficult to define by genre: they have been called science fiction, speculative fiction, postmodern, postcolonial, magic realist, and most certainly experimental. Between her transnational history, her role as a maker, and the strong spatiality of her writing, Yamashita’s insights have shaped the way urban humanities are practiced. Her landmark 1997 novel, Tropic of Orange, has become a key text and model for creative practice for urban humanists bas

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5

Strout, Laura. "Casting Shadows at Chesney Wold: Empty-House-Time and Realism in the British Novel." Novel 53, no. 2 (2020): 165–92. http://dx.doi.org/10.1215/00295132-8309533.

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Abstract What insights into literary realism can be found by dwelling in the empty rooms and abandoned spaces of Bleak House, a novel more often read for its representation of overcrowded environments? Traveling between and imaginatively inhabiting empty houses of Charles Dickens's and Virginia Woolf's construction, this article proposes empty-house-time as a distinctive narrative chronotope, one that nineteenth- and twentieth-century British writers use to investigate the processes of realist fiction, especially its affective dimensions. Taking the character-less built environment as a figure

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6

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 (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 po

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7

Waters, Thomas. "Magic and the British Middle Classes, 1750–1900." Journal of British Studies 54, no. 3 (2015): 632–53. http://dx.doi.org/10.1017/jbr.2015.56.

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AbstractThis essay explores the attitudes of the British middle classes towards witchcraft, ghosts, and other so-called superstitions from the mid-eighteenth to the late nineteenth centuries. Conventional historiographical wisdom maintains that belief in magic among middle-class Britons declined gradually between the early modern and modern eras. Grounded in the study of newspapers, antiquarianism, public lectures, and literary fiction, this essay proposes a more precise chronology for the decline and subsequent resurgence of magic. It argues that it was only from the 1820s that the middle cla

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8

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 (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 fathe

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9

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 (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 re

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10

Rozier, Louise. "Paola Masino's Short Fiction: Another Voice in the Collective Experience of Italian Neorealism." Quaderni d'italianistica 29, no. 1 (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 p

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