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Journal articles on the topic 'Magical realism'
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Arkhagha, Leen, and Yousef Awad. "Faith, Identity and Magical Realism in Leila Aboulela’s Bird Summons." Advances in Language and Literary Studies 12, no. 4 (August 31, 2021): 115. http://dx.doi.org/10.7575/aiac.alls.v.12n.4.p.115.
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This article adopts a literary analytical approach to illuminate the use of magical realism in the contemporary Anglophone Arab narrative of Leila Aboulela’s Bird Summons (2019). The study follows a methodology which combines two critical approaches to magical realism: first, a textual approach, and then a contextual one. Accordingly, the study uses key magical realist elements in Bird Summons to delineate the poetics of magical realism within the narrative, before determining the context in which magical realism functions in the narrative. Simultaneously, the study benefits from Christopher Warnes’s two strands of magical realism, ‘faith-based magical realism’ and ‘irreverent magical realism’ in providing a coherent basis for the use of magical realism in the text. This study aims at examining the significance of the magical realist narrative in articulating Arab British identity in Bird Summons. The analysis will interpret the role of magical realism in conveying and undermining the dominant ethnic and racial discourses which shape Arab British identities in Britain. The study’s findings demonstrate how the use of magical realism in the examined Anglophone Arab novel reinforces the fictional purposes of Aboulela as a hyphenated Arab, as it allows her to undermine dominant discourses on hyphenated Arab identities. At the same time, the use of magical realism allows Aboulela to (re)construct Arab British identities within her novel, apart from essentialist views of identity.
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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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Prytoliuk, Svitlana. "Conceptual Dimensions of German Magical Realism." Pitannâ lìteraturoznavstva, no. 108 (December 29, 2023): 112–28. http://dx.doi.org/10.31861/pytlit2023.108.112.
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The article outlines the vectors of methodological research of magical realism and identifies the differential features of this literary phenomenon in the theoretical discourse of German literary criticism. The author of the article focuses on the ambivalence of German magical realism, caused by the combination in magical realist texts of two inherently opposite ways of depicting reality – realistic and irreal. In magical realist texts, the magical appeal of reality is emphasized, when the objects of reality only hint at the existence of another world beyond it, acquiring a numinous aureole in the aesthetic focus of realism. The specificity of magical realism lies in its heterogeneity, and therefore requires the appropriate selection of methodological tools that would open the way to the world of magical realist texts, which in many cases has a multi-level structure with polysemantic content. Special attention within the context of the conceptualization of magical realism is paid to the semiotic model of “double conditioning” by A. Koschorke and the concept of “ruderal space” by B. Schaefer. In conclusion, the author emphasizes that magical realism demonstrates the synergistic effect of the emergence of a certain new artistic space with hidden deep meanings and elliptical structures that form the semantic polyphony of the text with a variable multiplicity of meanings. Through liminality and transgression, the semantic potential of the magical is activated, aimed at overcoming the boundary between the immanent and transcendent worlds.
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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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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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Isnaeni, Ummu, Sinnta Usada, and Selvi Fitriani. "REALISME MAGIS DALAM NOVEL STASIUN KARYA PUTU WIJAYA." AKSARABACA Jurnal Bahasa, Sastra, dan Budaya 1, no. 1 (May 1, 2024): 36–43. http://dx.doi.org/10.47313/aksarabaca.v1i1.3141.
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ABSTRAKPenelitian ini berjudul “Realisme Magis Dalam Novel Stasiun Karya Putu Wijaya”. Peristiwa yang terjadi dalam novel ini di analisis menggunakan teori realisme magis Wendy B. Faris. Penelitian ini bertujuan untuk mendeskripsikan unsur-unsur atau wujud realisme magis dalam Novel Stasiun karya PutuWijaya.Metode dalam penelitian ini adalah metode deskriptif kualitatif, di mana peneliti hanya berfokus pada menjelaskan dan menempatkan makna, deskripsi, dan informasi yang berbeda dalam konteksnya. Secara teoritis peneliti menggunakan teori realisme magis Wendy B. Faris yang menyatakan bahwa terdapat adanyakelima unsur yang terdiri dalam realisme magis yaitu; The Irreducible Element, The Phenomenal World, Merging Realism, Unsettling Doubts, dan Disruption of Time, Space, and Identify. Hasil dalam penelitian yang diperoleh peneliti dalam penelitian ini adalah; (1) ditemukan empat peristiwa yang menggambarkanunsur the irreducible element; (2) empat peristiwa yang menggambarkan unsur the phenomenal world; (3) tiga peristiwa yang menggambarkan unsur merging realism; (4) lima peristiwa yang menggambarkan unsur unsettling doubts; (5) empat peristiwa yang menggambarkan unsur disruption of time, space, and identify. Kata kunci: realisme magis, novel, metode deskriptif kualitatif ABSTRACTThis study is entitled "Magical Realism in the Novel Station by Putu Wijaya". The events that occur in this novel are analyzed using Wendy B. Faris' magical realism theory. This study aims to describe the elements or forms of magical realism in Putu Wijaya's Novel Stasiun. The method in this study is a qualitativedescriptive method, in which the researcher only focuses on explaining and placing different meanings, descriptions, and information in context. Theoretically, the researcher uses Wendy B. Faris' magical realismtheory which states that there are five elements that comprise magical realism, namely; The Irreducible Element, The Phenomenal World, Merging Realism, Unsettling Doubts, and Disruptionof Time, Space, and Identify. The results of the research obtained by the researchers in this study were; (1) four events were found that described the irreducible element; (2) four events that describe the elements of the phenomenal world; (3) three events that illustrate the elements of merging realism; (4)five events that illustrate the elements of unsettling doubts; (5) four events that illustrate the elements of disruption oftime, space, and identify. Keywords: magical realism, novel, qualitative description methods
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Prasetyohadi, Dio Catur, Hat Pujiati, and Irana Astutiningsih. "Magical Realism-Like in Shakespeare's A Midsummer Night's Dream (Serupa Realisme Magis dalam “A Midsummer Night's Dream” karya Shakespeare)." JENTERA: Jurnal Kajian Sastra 7, no. 1 (June 30, 2018): 52. http://dx.doi.org/10.26499/jentera.v7i1.508.
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This article uses concepts of magical realism by Wendy B. Faris to analyze Shakespeare's A Midsummer Night's Dream. We analyze elements of magical realism of the work in mapping discourses between the text and the real life. The chosen material object that published earlier than the theory we chose make this work contributes to describe the trace of the civilization development; event of in-betweeness of human consciousness. However, we have found that A Midsummer Night’s Dream is only a magical realism-like mode, since realism is dominant in the text as the trace of modernity. Meanwhile, the characteristics of Magical Realism that is postulated by Faris is in-between realism and fantasy as a trace of transition era; modern to postmodern. Abstrak: Artikel ini menggunakan konsep-konsep realism magis oleh Wendy B. Faris untuk menganalisis “A Midsummer Night’s Dream” karya Shakespeare. Kami menganalisis elemen-elemen realism magis yang ada dalam karya untuk memetakan wacana-wacana yang ada antara teks dan kenyataan. Pemilihan objek materi yang telah dipublikasi lebih awal dari kelahiran teori yangkami pilih ini berkontribusi untuk menjelaskan jejak perkembanan peradaban Kebudayaan; peristiwa keberantaraan pada kesadaran manusia. Namun demikian, kami menemukan bahwa “A Midsummer Night’s Dream” hanyalah moda tulisan Serupa Realisme Magis, karena dominan teks lebih pada realisme yang merupakan jejak dari modernitas. Sementara syarat realism magis yang ditawarkan Faris adalah keberantaraan realisme dan fantasi sebagai jejak era transisi modern menuju postmodern.
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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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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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Widijanto, Tjahjono. "JAGAD ALUS MISTIS JAWA DALAM CERPEN-CERPEN DANARTO DAN FANTASI MAGIS TERNATE DALAM NOVEL CALA IBI KARYA NUKILA AMAL." JENTERA: Jurnal Kajian Sastra 7, no. 1 (June 30, 2018): 102. http://dx.doi.org/10.26499/jentera.v7i1.682.
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Abstrak: Artikel ini mengkaji kumpulan cerpen Godlob karya Danarto dan novel Cala Ibi karya Nukila Amal dari sudut pandang realisme magis. Realisme magis dipahami sebagai gaya estetetik yang mengandung unsur-unsur magis bercampur aduk dengan realitas. Dalam realisme magis wilayah mistis dan realitas empiris diperlakukan sejajar karena yang fantasi dan supranatural mengakar pada realitas kultural dan historis. Kajian dalam tulisan ini berdasarkan pandangan bahwa teks sastra pasti akan terpengaruh oleh kultur masyarakat dan pengarangnya. Muatan makna yang terdapat di dalam karya sastra akan dipengaruhi dan ditentukan oleh kosmologi budaya, nila-nilai, norma, konvensi sosial budaya atau bahkan ideologi pengarangnya. Metode dalam tulisan ini menggunakan metode kualitatif deskriptif, yakni prosedur penelitian yang menghasilkan data-data deskriptif berupa kata-kata atau kalimat tertulis yang menunjukkan kadar realisme magis dalam cerpen-cerpen Danarto yang terkumpul dalam kumpulan cerpen Godlob dan dalam novel Cala Ibi karya Nukila Amal. Dalam kumpulan crpen Godlob karya Danarto maupun novel Cala Ibi Nukila Amal dapat ditemukan ciri-ciri realisme magis, yakni elemen yang tidak dapat direduksi, dunia fenomenal, keraguan-keraguan yang menggoyahkan, penggabuangan antara yang magis fantasi dengan realitas dan rusaknya batas, ruang, waktu dan identitas. Dalam cerpen-cerpen Danarto, realisme magis berlandaskan mistisisme Jawa berupa konsep-konsep sangkan paraning dumadi, mulih-mulanira, dan manunggaling kawula-gusti, sedangkan dalam novel Cala Ibi, realisme magis berdasarkan mitos-mitos historis Ternate, dan sufisme Islam dengan konsep wahdatul wujud. Abstract: These article investigate the short story collections of Godlob by danarto and novel Cala Ibi by Nukila Amal from from point of view magical realism. Magical realism is being understood as an aesthetic style which is consist of magical elements that mixed by reality. In magical realism, the mistic and empirical reality treated parallely because of the fantasy and supranatural which is rooted to cultural and historical reality. The study of these writing based on a view that literature writing will be affected and determined cultural cosmology, values, norm, cultural social converence or even the writer ideology. The metode in these writing using descriptive qualitative metode, that is research procedure which is produced descriptive datas contain word`s or `written sentences pointed Godlob and the novel Cala Ibi by Nukila Amal can be found in the magical realism: elements that cannot be reducted, fenomenal world, faltering doubts, merging between magical fantasy with reality and the damage limit, space, time and identity. In Danarto’s short story, magical realism based on Javanese mistism such as concept sangkan paraning dumadi,mulih mulanira and manunggaling kawula gusti. While in the novel Cala Ibi, magical realism based on Ternate historical myths and Islamic sufism with wihdatul wujud comcept.
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Coulter, Cathy. "A Diffractive Story." Qualitative Inquiry 26, no. 10 (November 9, 2020): 1213–21. http://dx.doi.org/10.1177/1077800420939207.
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Magical realism is a literary genre that offers possibilities as a posthumanist narrative research project. Magical realism employs literary tools such as a nonlinear aspect of time, a subjective sense of causality, and a conflation of the magical and the ordinary. Such tools offer possibilities in narrative research to create ontological sense-events that exist within assemblages that entangle the reader, the narrator, the place, the writer, and the participants temporally, spatially, and sensually within a flattened event. This article explores the possibilities of magical realism, offering a fleeting assemblage and a subsequent diffractive analysis. It employs a magical realist narrative construction based on a collaborative partnership between an Alaska Native village and a public university in which language revitalization efforts are sought through various school-based projects, including a teacher-training program, creation of subsistence-based native language curriculum, and other projects.
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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, no. 2 (December 1, 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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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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Lukáš, Jakub. "Los rasgos característicos del realismo mágico en la novela Žluté oči vedou domů de Markéta Pilátová." Studia Romanistica 23, no. 2 (December 2023): 57–69. http://dx.doi.org/10.15452/sr.2023.23.0008.
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The study deals with a comparison between the novel Žluté oči vedou domů (2007) written by Markéta Pilátová and one variation of the aesthetic concept of magical realism. The story based on author’s own experience is focused on several stories of the principal characters of the novel that are living in different surroundings. A significant portion of the novel unfolds in South America, where the tension between reality and the supernatural is perceptible. The goal of the article is to show thematically specific passages of the novel and analyse them on the basis of the defined characteristic features of magical realism. The theoretical base of this article is formed by the ideas about magical realism by Emil Volek (1990), summarized in the article Realismo mágico entre la modernidad y la postmodernidad: hacia una remodelización cultural y discursiva de la nueva narrativa hispanoamericana. Volek’s article focuses on Latin American literature; however, his theses about magical realism are universally applicable.
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Ganzin, Maxim. "Organizational Magical Realism." Academy of Management Proceedings 2016, no. 1 (January 2016): 18199. http://dx.doi.org/10.5465/ambpp.2016.18199abstract.
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Huilgol, NagrajG. "India-magical realism." Journal of Cancer Research and Therapeutics 8, no. 1 (2012): 1. http://dx.doi.org/10.4103/0973-1482.95165.
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Wu, Liangyu. "Magical Realism Cinema." Film International 21, no. 1 (March 1, 2023): 26–36. http://dx.doi.org/10.1386/fint_00202_1.
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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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Tamrin, Andi Febriana, Onna Onna, and Basri Basri. "Characteristics of Magical Realism in Fantastic Beasts and Where to Find Them Film By J.K. Rowling." Interference: Journal of Language, Literature, and Linguistics 4, no. 1 (March 6, 2023): 1. http://dx.doi.org/10.26858/interference.v4i1.42421.
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Abstract. This research analyzes the characteristics of magical realism in the film Fantastic Beasts and Where to Find Them by J.K. Rowling. This study uses the magical realism theory of Wendy B. Faris. This research aimed to determine the characteristics of magical realism contained in the Fantastic Beasts and Where to Find Them film. This research method uses the documentation technique. The data source of this research is the film Fantastic Beasts and Where to Find Them by J.K. Rowling, which was released in 2016 and with duration 2 hours 3 minutes. The main theory in this study uses the magical realism theory of Wendy B. Faris, which is contained in the book Ordinary Enchantments Magical Realism and the Remystification of Narrative (2004). The results of this research indicate that there are five characteristics of magical realism in Fantastic Beasts and Where to Find Them, namely the irreducible element, unsettling doubt, merging realism, disruption of space, and disruption of identity. Keywords: Magical Realism, Characteristics of Magical Realism, FIlm
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Sundusiah, Suci. "MEMAHAMI REALISME MAGIS DANARTO DAN MARQUEZ." LINGUA: Journal of Language, Literature and Teaching 12, no. 1 (March 1, 2015): 123–36. http://dx.doi.org/10.30957/lingua.v12i1.76.
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Begun as a theme of painting art, magical realism exists as a typical place in litarature. The works of magical realism literature efforts to appear magical aspects such as superstition, beliefs, folklor and spiritual substance exceding from the logic into reality of daily lifes. The substance of the magic is integrated in the accepted traditions and cultures. This article analyzes short stories of Danarto and a novel of Marquez. Both aouthors are selected as they represent pionneers of writing style of magical realism from two different cultures. Both authors express the same writing style, but their patterns of rhetoric differ. Danarto focuses on the magical realism of religion, sufism and Javanese cultures, combining magical realism with surealism styles. In addition, Marquez brings readers to the structure of Latin American society that produces unpredictable magical cultures.
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Asmida, Emi. "Magical Realism in Audrey Niffenegger’s The Time Traveler’s Wife." Eralingua: Jurnal Pendidikan Bahasa Asing dan Sastra 4, no. 1 (March 1, 2020): 39. http://dx.doi.org/10.26858/eralingua.v4i1.11891.
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This study aims to explore the five elements of magical realism which are portrayed in the novel The Time Traveler’s Wife by Audrey Niffenegger in order to find out whether the novel can be categorized as magical realism or not. The writer chooses this novel to be analyzed because the novel won the Exclusive Books Boeke Prize and a British Book Award and it has been adapted into a film. The data of this study are characters’ utterances and author narration which contain five elements of magical realism. The data is collected by applying the intensive reading and highlighting the data. This study uses magical realism theory, especially five elements of magical realism proposed by Wendy B. Faris. The results of the study show that The Time Traveler’s Wife contains five elements of Magical Realism. Those are Irreducible Element, Phenomenal World, Unsettling Doubt, Merging Realms, and Disruption of Time. However, the five elements described as the representation of the postcolonial context since magical realism also can be categorized as a way to reveal the authoritative colonialist attitude. Thus, this study found the cultural history of Chicago where the time traveler’s lives as the result of postcolonial side of magical realism.
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Vera C Debora and Susanne A.H. Sitohang. "Magical Realism in Toshikazu Kawaguchi's Before The Coffee Gets Cold." Jurnal Onoma: Pendidikan, Bahasa, dan Sastra 9, no. 1 (May 3, 2023): 581–96. http://dx.doi.org/10.30605/onoma.v9i1.2353.
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This study discusses magical realism in Toshikazu Kawaguchi's Before The Coffee Gets Cold. The aims of this study are to find the characteristics of magical realism and to explain the significance of utilizing the magical realism portrayed in the novel. The method applied is descriptive qualitative by presenting dialogues and narration relating to the topics of this study. The results found are that there are five characteristics of magical realism in the novel; 1) the irreducible elements of magic, 2) the phenomenal world, 3) unsettling doubts, 4) merging realms, and 5) the disruption of time. It is also found that the time-travelling and the ghost presented in the novel are significant for utilizing magical realism to explore and understand reality from a different point of view as well as to criticize perceived, knowable reality.
keywords: magical realism, ghost, Japan
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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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Yasir, Hassan Hadi, and Hussein Shayyal Fnteel. "An investigation of the Use of Magical Realism in the Novels of Salman Rushdie and Gabriel Garcia Marquez." Journal of Asian Multicultural Research for Educational Study 4, no. 2 (August 31, 2023): 16–23. http://dx.doi.org/10.47616/jamres.v4i2.418.
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This article investigates the use of magical realism in the novels of two iconic writers, Salman Rushdie and Gabriel Garcia Marquez. Through literary analysis and critical review of their work, the study highlights the significant role of magical realism in contemporary literature, examining the unique stylistic features of Rushdie and Marquez's works. The study also emphasizes the differences and similarities between their approach to magical realism. Furthermore, the article suggests future research directions for exploring this fascinating and diverse topic, highlighting the need for more comparative studies on the use of magical realism in different cultural contexts. The impact of this technique on readers' perceptions of the world around them and the influence of technological advancements on the use of magical realism are among the topics suggested for further research. Overall, the article provides valuable insights into the ways in which magical realism continues to shape contemporary literature and the impact of this technique on the audience.
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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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Allgood, Krista L., and Isabel Allende. "Eroticism and Magical Realism." English Journal 84, no. 4 (April 1995): 81. http://dx.doi.org/10.2307/819777.
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Cooke, Miriam. "Magical Realism in Libya." Journal of Arabic Literature 41, no. 1 (April 1, 2010): 9–21. http://dx.doi.org/10.1163/157006410x486701.
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Zorpette, Glenn. "Keya Banerjee Magical Realism." IEEE Spectrum 46, no. 2 (February 2009): 34–35. http://dx.doi.org/10.1109/mspec.2009.4772179.
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Gaylard, Gerald. "Meditations on magical realism." Current Writing 11, no. 2 (January 1999): 92–109. http://dx.doi.org/10.1080/1013929x.1999.9678065.
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REVUTSKA, Svitlana, and Hanna UDOVICHENKO. "SPIRITUALITY OF MAGICAL REALISM." Humanities science current issues 2, no. 58 (2022): 208–12. http://dx.doi.org/10.24919/2308-4863/58-2-29.
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Najmuldeen, Raqee. "MAGICAL REALISM IN ADVERTISING." International Design Journal 8, no. 2 (April 1, 2018): 327–36. http://dx.doi.org/10.21608/idj.2018.85980.
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Nurrahman, Sadam, and Mohamad Ikhwan Rosyidi. "Magical Realism as Historical Discourse Reflected on Eka Kurniawan's 'Beauty is A Wound'." Rainbow: Journal of Literature, Linguistics and Cultural Studies 9, no. 1 (April 30, 2020): 87–102. http://dx.doi.org/10.15294/rainbow.v9i1.37820.
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This study aims to uncover magical realism as historical discourse portrayed in the novel Beauty is A Wound by Eka Kurniawan. Descriptive qualitative method used in this study. The data were collected by reading, classifying and interpreting. The result is the novel Beauty is A Wound has five elements of magical realism as Faris stated, they are; irreducible elements, phenomenal world, the unsettling doubt, merging realms and disruptions of time, space and identity. In relation with magical realism, New Historicism also applied to unearth Indonesia historical discourse since the time of late Dutch colonization, the invasion of Japan, the Independence Era and the New Order Era. Then, the massacre of everyone who were labeled as communist. And the genocide of all the thugs or preman in order to make safer and better society. In this novel, the history of Indonesia was camouflaged and mixed with magical realism because every event that categorized as magical realism led to the past events which related to the history of Indonesia.
Keywords: historical discourse, magical realism, new historicism
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Shahab, Ali, Faruk Faruk, and Arif Rokhman. "French Literature: From Realism to Magical Realism." Jurnal Poetika 8, no. 2 (December 26, 2020): 170. http://dx.doi.org/10.22146/poetika.v8i2.58651.
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The purpose of the article is to explore the evolution of French literature between the late 19th century and early 21st century. Although French literature has long been dominated by rationalistic ways of thinking, based on the thoughts of René Descartes and John Locke, authors have used different means to express their perceptions of society. The novel Madame Bovary (1856), including its depiction of conjugal relationships, can be considered to have pioneered realism in French literature. During the Second World War, existentialism and absurdism appeared as new ways of examining not only the relationship among humans, but also between humans and God. In the late 20th century, magical realism emerged as a new literary stream that explicitly recognized the irrationality of human thinking. This article finds that the rationality of realism was necessary for magical realism to be accepted; in this rationality, although works of magical realism were irrational, they had to be recognized as fine examples of French literature that embodied such revolutionary ideas as liberté (liberty), égalité (equality), and fraternité (fraternity). To study this phenomenon, we examine the history of french literature by applying archeological method in order to understand the world views of the authors and how they change over time.
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Nurhidayah, Sri, and Rahmat Setiawan. "Traversing Magical Realism in Postcolonial Literature." NOTION: Journal of Linguistics, Literature, and Culture 4, no. 1 (May 10, 2022): 23–33. http://dx.doi.org/10.12928/notion.v4i1.5692.
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This article aims at traversing historical traces, concepts, and characteristics of magical realism and how it is pertinent in literary analysis. The pivot of the conceptual framework of this article in on Faris’ perspective on magical realism. The approach of this study is grounded theory. The data are quotations taken from referential books and journals. The techniques of data collection are documentation and quoting. The technique of analysis is thematic interpretation. This article figures out that magical realism deconstructs the status of magical and the real into a somersaulting realm. Western historical narrative establishes the real through rationality and alienates the magical which is identical to the East, the Other, or the indigenous. This rational narrative is propagandized and turns to be power relation. Therefore, magical realism, through some literary works, deconstructs the rational perspective with logical-magical narrative as one of postcolonial studies.
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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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Jaafar, Jihad. "Magical Realism in Garcia's "One Hundred Years of Solitude " as a Reflection of the Political Climate." International Journal of Language and Literary Studies 5, no. 1 (March 14, 2023): 346–57. http://dx.doi.org/10.36892/ijlls.v5i1.1249.
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This article explores the use of magical realism in Gabriel Garcia Marquez's seminal novel, "One Hundred Years of Solitude," and its reflection on the political climate of Latin America during the time of its publication. Through an analysis of the novel's magical elements and their relation to historical events, the article argues that Marquez's use of magical realism is not merely a stylistic device, but rather a political statement on the social and political realities of Latin America. The article further examines the impact of "One Hundred Years of Solitude" on the literary and political landscape of Latin America, cementing Marquez's status as a leading figure of magical realism and a prominent voice for the region's cultural and political identity. Gabriel Garcia Marquez's novel "One Hundred Years of Solitude" is a masterpiece of magical realism, a literary style that blends the fantastical with the everyday. In this article, we explore how Garcia Marquez's use of magical realism reflects the political climate of Latin America during the time of its publication. The novel was first published in 1967, a time when many Latin American countries were experiencing political turmoil and upheaval. Through magical realism, Garcia Marquez is able to weave together a rich tapestry of history, mythology, and social commentary that speaks to the complex realities of life in Latin America. By examining the ways in which magical realism is used in "One Hundred Years of Solitude," we can gain a deeper understanding of the political, social, and cultural context in which it was written, and the enduring impact it has had on literature and culture around the world. This research explores the use of magical realism in Gabriel Garcia's "One Hundred Years of Solitude" and its reflection on the political climate of Latin America. Through a literary analysis of the novel, the study examines the author's employment of magical realism as a literary technique to highlight the political turmoil and social upheaval prevalent in Latin America during the 20th century. The research also delves into the methodology employed by Garcia to weave together the mystical and the mundane in the narrative. The main results suggest that the author's use of magical realism in the novel enables him to provide a critique of the political systems in Latin America and to depict the region's unique cultural identity. The research concludes that Garcia's innovative use of magical realism in "One Hundred Years of Solitude" is a powerful tool for social commentary and reflects the complexities of Latin America's political and cultural landscape.
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Chokoeva, Dilbar. "SIGNS OF MAGICAL REALISM IN THE IMAGE OF THE OLD MAN ORGAN IN CH. AITMATOV'S STORY "PIEBALD DOG RUNNING ALONG THE EDGE OF THE SEA"." Alatoo Academic Studies 23, no. 3 (September 30, 2023): 331–38. http://dx.doi.org/10.17015/aas.2023.233.33.
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Theme of the article: magical realism in Ch. Aitmatov's story "Piebald dog running along the edge of the sea". The purpose of the work: to study the signs of magical realism in the image of the protagonist of the story, the old man Organa. Research method: comparative literature. As a result: the image of the old Organ in the story of the writer Ch. Aitmatov is studied from the point of view of magical realism, evaluated individually and tries to prove that the writer's appeal to magical realism is not accidental. Relevance of the topic: The image of the old man is studied from the point of view of magical realism for the first time. The practical significance of scientific research is considered as the introduction of a new aspect into the process of integrating domestic literary criticism into the world literary criticism. It is necessary to study the method of magical realism in Kyrgyz fiction, because, although magic has always been an element of the content of national literature, it has not been specifically studied so far. The study was carried out to fill this gap.
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Salsabila, Ananda Farah, and Karkono. "Unsur Elemen tak Tereduksi (Irreducible Element) Realisme Magis Dalam Novel Bumi Karya Tere Liye." JoLLA: Journal of Language, Literature, and Arts 1, no. 1 (January 30, 2021): 49–61. http://dx.doi.org/10.17977/um064v1i12021p49-61.
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Abstract: Magical realism is a theory by Wendy B. Faris that tells about a narrative that combines the elements of fantasy and reality. The term magical realism was created in 1925 throughout the world of painting and was introduced by Franz Roh, a German art critic. The novel Bumi by Tere Liye that was published in 2014 has the concept of magical realism in it. The writing in this novel contains an imaginary adventure where the main characters are trying to find their true self until they reach the parallel universe. This qualitative research uses a library research method. The data collected were verbal and linguistic data that contains an irreducible element in the data source that is the novel Bumi by Tere Liye. Irreducible element contained in the narrative includes the magical abilities of the main characters, such as Raib who can turn invisible, Seli who can radiate blue lightning, and Ali who can transform into a giant bear. There are also magical objects in this novel, such as the moving alley, The Book of Life, The Sun gloves, and others. The existence of a parallel universe is also a factor that strengthens the irreducible element in this novel.
Keywords: magical realism, irreducible element, Bumi novel
Abstrak: Realisme magis adalah sebuah teori yang dirumuskan oleh Wendy B. Faris mengenai narasi yang memadukan unsur fantasi dan realita. Istilah realisme magis lahir pada 1925 melalui dunia lukis dan diperkenalkan oleh Franz Roh, seorang kritikus seni Jerman. Novel Bumi karya Tere Liye yang terbit pada tahun 2014 mengangkat konsep realisme magis. Penulisan dalam novel ini mengandung petualangan imajinasi dimana para tokoh-tokoh utamanya dikisahkan bahwa mereka sedang berada dalam petualangan mencari jati diri mereka dan pencarian itu mereka lakukan hingga ke dunia paralel. Penelitian kualitatif ini menggunakan pendekatan kepustakaan. Data yang dikumpulkan berupa data verbal dan kebahasaan yang mengandung unsur Irreducible Element dalam sumber data berupa novel Bumi karya Tere Liye. Unsur Irreducible Element yang terdapat dalam narasi meliputi kemampuan magis tokoh-tokoh utama, seperti Raib yang dapat berubah menjadi tak kasat mata, Seli yang dapat memancarkan petir biru, dan Ali yang dapat berubah menjadi beruang raksasa. Dalam novel ini juga terdapat objek-objek magis seperti lorong berpindah, Buku Kehidupan, sarung tangan Klan Matahari, dan lain sebagainya. Keberadaan Dunia Paralel juga merupakan faktor yang memperkuat unsur Irreducible Element dalam novel ini.
Kata kunci: realisme magis, irreducible element, novel Bumi
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Ishlahiyah, Hadiyatul, and Sufi Ikrima Sa'adah. "Magical Realism in Leslye Walton’s The Strange and Beautiful Sorrows of Ava Lavender." NOBEL: Journal of Literature and Language Teaching 9, no. 2 (September 30, 2018): 73–87. http://dx.doi.org/10.15642/nobel.2018.9.2.73-87.
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This article focuses on the description of magical realism in Leslye Walton’s debut novel The Strange and Beautiful Sorrows of Ava Lavender. This study applies Wendy B. Faris’ characteristic of magical realism in order to uncover the magical realism within the novel. The result of this study confirms that this novel portrays all of Faris’ characteristics of magical realism. They are: the irreducible elements represented by Ava’s wings, the phenomenal world seen through Ava’s normal life, the unsettling doubt coming from the doubts on Ava’s wings, the merging realms portrayed by the transformation and apparition, the disruptions of time and space through the existence of odd plant and seasons.
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Munawar, Bushra, Hina Rafique, and 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, no. 2 (February 2, 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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Rogova, E. N., and L. S. Yanitskiy. "Traditions of Magical Realism in M. Shishkin's <i>Letter Book</i> and N. Abgaryan's <i>Simon</i>." SibScript 25, no. 1 (March 16, 2023): 136–46. http://dx.doi.org/10.21603/sibscript-2023-25-1-136-146.
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The article describes the traditions of magical realism in M. Shishkin's Letter Book and N. Abgaryan's Simon. The research involved comparative, mytho-poetic, hermeneutic, formal, and structural methods. V. I. Tyupa's theory of artistic discourse and F. Schlegel's idea of irony served as the basic theory in identifying the motifs associated with magical realism and generated by the ironic type of artistic completion. The term of magical realism covers works that belong to very different literary movements. The authors used the ironic type of aesthetic completion to explain similar elements in different poetics of magical realism fiction. The traditions of magical realism in the twentieth-century fiction revealed the following features: an ironic type of artistic integrity; dual worlds and miracles; fantasy intertwined with reality; myths, traditions, and legends; archetypes (father, savior, eternal lover, etc.) and symbols (tree, sea, etc.); unmotivated fantasy; fantastical timeline with no clear boundaries between the past and the future; a highly rhythmical pattern, etc.
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Hudayat, Asep Yusup. "PEREMPUAN, ALAM, SILUMAN, DAN TABU DALAM NOVEL BURAK SILUMAN KARYA MOH. AMBRI: TINJAUAN REALISME MAGIS." Tsaqofah 19, no. 02 (December 29, 2021): 91. http://dx.doi.org/10.32678/tsaqofah.v19i02.5482.
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Women, nature, ghost, and taboo are the main discourses related to magical realism in “Burak Siluman”, a novel by Moh. Ambri. In Burak Siluman, women (the main sign) were connected to the discourse of nature, ghost, and taboo. In it, women represent the suppressed desires of the lower class for wealth, position, honor wrapped in narratives of fascination, search, wandering, misfortune, and a curse. Discourses on the supernatural, half-ghost, and taboo legends in the novel are important traditional realities that are studied and seen by the workings of the concepts of magical realism in the colonial period of the Dutch East Indies. The main problem is: how does the concept of magical realism affect the construction of the world (physical and supernatural), especially related to ghost and taboo narratives in “Burak Siluman”. Thus, the main objective of this research is the interaction of the influence of magical realism on narratives construction related to women, nature, ghost, and taboo. To resolve the issue, the concept of contemporary magical realism is used from a postcolonial perspective. The results of this study is the placement of the "between" space (magic in rational) which is represented in the wandering figure is the core idea of magical realism in “Burak Siluman”.
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Dhiya Ulhaq, Salma. "REALISME MAGIS SEBAGAI REPRESENTASI KRITIK KEADAAN DALAM MANUSIA KELELAWAR KARYA DAMHURI MUHAMMAD." Jurnal Ilmiah SEMANTIKA 5, no. 01 (August 31, 2023): 49–56. http://dx.doi.org/10.46772/semantika.v5i01.1170.
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Indonesian people are one of many eastern countries that still believe in the tradition of honoring their ancestors, therefore people still believe in mystical things. This has led some writers to use people's 'trust' in mysticism in their literary works. This article provides insight into how Wendy B. Faris' magical realism theory can be applied in the analysis of fictional stories. by analyzing magical realism in the selected short story by Kompas, “Bat Man” Damhuri Muhammad in 2022, through magical realism elements; (a) irreducible elements; (b) world phenomenal; (c) dimensions of the amalgamation; (d) unsetting doubts; and (e) disruption of time, space and identity in short stories. The five seek to establish a connection between real and magical life through the boundaries between the elements that have been broken. The use of this theory helps broaden the understanding of magical realism as a literary approach that allows social criticism through magical representations of complex social situations. The results of the study found that the 'bat man' who died horribly in this story represents the situation towards the hunting of bats that caused the spread of the virus, showing the arrogance of humans who seem to be brutal towards other living things. Keywords: Critique of Circumstances; Bat-Man; Magical Realism; Wendy B. Farris
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Minhas, Nabeel Ahmed, and Ghulam Murtaza. "Preservation of Native American Culture: An Analysis of Louise Erdrich’s Tracks." Pakistan Journal of Humanities and Social Sciences 10, no. 1 (March 13, 2022): 191–98. http://dx.doi.org/10.52131/pjhss.2022.1001.0186.
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This paper examines Louise Erdrich’s practice of promoting the oral tradition and magical realism as a way of preserving Native American culture in Tracks. She writes stories in the novel to assimilate Native American culture in modern times and this ultimately helps the Native traditions to find their way to modern readers. She represents magical elements in a realistic manner totally opposed to western concepts of magical realism. This study argues that Erdrich uses stories and magical realism as a tool to not only promote Native American culture but also preserve it. It is qualitative research and Gerald Vizenor’s Theory of Resistance and Survivance has been used to analyze the text. The textual analysis reveals that oral tradition and magical realism have deep roots in Native American culture and Erdrich uses them to promote as well as preserve this culture.
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Lubarsky, R. V. "ELEMENTS OF «MAGICAL REALISM» IN KIRA YARMYSH's PRISON PROSE." Bulletin of Udmurt University. Series History and Philology 32, no. 3 (July 8, 2022): 608–14. http://dx.doi.org/10.35634/2412-9534-2022-32-3-608-614.
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Kira Yarmysh's novel «Incredible incidents in women's cell No. 3» is a prison prose, which traces the traditions of depicting the prison life of heroes in the camp prose of A.I. Solzhenitsyn. However, there are also elements of "magical realism" in her work. The relevance of the study of this problem is determined by the fact that the prison prose of K.Yarmysh is characterized by a new approach to depicting the realistic world in modern literature, including through elements of «magical realism». The reflection of elements of "magical realism" in Kira Yarmysh's novel «Incredible incidents in women's cell No. 3» is one of the most pressing problems in modern literature. The article shows the main ways of manifestation of the «unreal» in the work in the context of «mystical realism». The essence of the consistency of magical elements in relation to the real picture of the world of Kira Yarmysh is considered. The open ending is analyzed as an element of «mystical realism» in the novel Yarmysh. The essence of mystical visions and mythological references as an integral component of the author's «mystical realism» is investigated. It is concluded that the main character Kira Yarmysh accepts the «unreal», which is one of the elements of «magical realism».
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Muždeka, Nina. "Alchemical Cities, Apocalyptic Cities: The City as an Exponent of Magical Realism and Ideology in Angela Carter’s Novels." American, British and Canadian Studies 34, no. 1 (June 1, 2020): 49–68. http://dx.doi.org/10.2478/abcsj-2020-0004.
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AbstractReality in Angela Carter’s magical realist novels is depicted through the deployment of numerous picturesque details that correspond to the readers’ experiential reality, differentiating such a world from non-realist forms. Though the magical realist fictional world is akin to the one outside of the fictional reality, the mode’s strategy still differs from that of traditional realism due to the absence of a purely mimetic role. Initially serving to establish what Roland Barthes termed l’effet de reel (the effect of reality), the city in Carter’s novels is indeed constructed according to the principles of magical realism and creates plausible links between textual and extratextual realities. Further inclusion of magical, uncanny elements into such a world, in one respect, leads to the creation of excentric spaces that promote the position of the marginalized Other and allow alternative outlooks on life to gain prominence. A hybrid reality that is the ultimate result of the coexistence of the normal and the uncanny leads to the subversion of what Carter saw as patriarchal stereotypes, primarily due to the fact that it problematizes and ultimately negates their very foundation. In other words, if we cannot agree on the criteria for what is real, how can we trust the ultimate authority of any other criteria? The city in Carter’s novels thus acts as a suitable literary venue for revealing the author’s ideological position.
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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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Laws, Jennifer. "Magic at the margins: towards a magical realist human geography." cultural geographies 24, no. 1 (June 23, 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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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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Hart, Patricia, Lois Parkinson Zamora, and Wendy B. Faris. "Magical Realism: Theory, History, Community." World Literature Today 70, no. 3 (1996): 770. http://dx.doi.org/10.2307/40042325.
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