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Belicová, Klára. "Pojetí přírody ve filmovém magickém realismu." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-367414.
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The purpose of this thesis is to define the term ,,magical realism“ and reveal its main features. Based on that I choose four films that differ both in time and place of origin but share common magickorealistic tendency. The most important aspect of this research is the approach to representation of the nature and natural elements in these movies.
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Berg, Sharon Louise. "Magic in the North : magical realism in contemporary Scandinavian fiction /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/10243.
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Jansen, Anne Mai Yee. "Momentary Magic: Magical Realism as Literary Activism in the Post-Cold War US Ethnic Novel." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365952312.
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Rave, Maria Eugenia B. "Magical Realism and Latin America." Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/RaveMEB2003.pdf.
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Stockwell, Trefor. "Magical realism : master or servant?" Thesis, Bangor University, 2014. https://research.bangor.ac.uk/portal/en/theses/magical-realism--master-or-servant(686d8e14-4843-4a96-8973-8d051d3abd33).html.
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This study seeks to show the process of development by which my writing of this series of short stories has responded to my relationship to a welcoming, albeit alien, culture; namely: a small mountain village in south west Bulgaria. It also explores my responses to living and working within that c.ulture, and the ways in which my studies of the folk culture, history and the impact of western culture on existing cultural beliefs and values have also affected both my writing and my own rather ambiguous cultural background (see introduction p. 1). The core of the thesis is a collection of eighteen short stories, written to be performed, and consequently written in storyteller's style. All of the stories, excluding the first and the eighteenth, were written during my two year stay in Bulgaria, and linked using the conceit of the fictional storyteller, Ivan levsky, and all were written in response either to historical events, cultural events or local incidents or characters. It also seeks to illustrate the way in which my work became increasingly reliant on the freedom that Magical Realism allows. It was this freedom that led me to write this collection in the style in which it is written, and led me to the final conclusion that I had no other option of saying what I wished to say in the way in which it was said; hence the rather ambiguous title: Magical Realism; Master or Servant? The literary background is explored through critical reflections in the final chapters. Where appropriate I have explained the genesis of each work and, where appropriate, the influences of the work of other writers upon my writing; in particular the works of Salman Rushdie and Angela Carter. I have also included short critical explorations of the major works of both of these writers. As the stories contain Bulgarian and Turkish words which may not be familiar to some readers I have also included a glossary. For the same reason I have included a brief historical time line relevant to each story.
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Robinson, Lorna Sophia. "Magical realism in Ovid's 'Metamorphoses'." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1446551/.
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This thesis explores aspects of magical realism in Ovid's Metamorphoses . It uses the Cien anos de soledad of Gabriel Garcia Marquez as a comparative tool, examining narrative devices common to both texts; each chapter analyses an important feature of magical realist theory or technique. The first chapter studies the narrative methods that create magical realism, such as anachronism, hybridism and use of internal narrators. In the second chapter, the theory that magical realism arises from a clash of cultures is explored by analysing magical realist episodes in each text from a cultural perspective. The third chapter focuses exclusively on magical realism's connection to Latin America, while the fourth chapter uses case studies of characters from each text to examine how effectively the mode depicts reality. The final chapter investigates the representation of artists and creativity in each work. By exploring Ovid's poem using a modern critical theory, this thesis provides fresh insight into magical aspects of Metamorphoses and broadens the scope of magical realism as a literary term.
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Boyd, Joan. "From realism to magical realism : the American Vietnam War novel." Thesis, University of Ulster, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551596.
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This thesis argues that changes in the form of the novel in post Second World War America, particularly certain novelists' considerations of realism as a viable mode of expression, have had a profound and lasting effect on Vietnam War literature and have been sustained into the twenty first century by a new generation of writers from ethnic minority groups. It examines prior criticism and points of view concerning the work of a number of established authors and considers the recent opinions on contemporary writers addressing the Vietnam experience for the first time. Where necessary the work will be contextualized with social history. The contribution to knowledge is fulfilled by the inclusion of Mexican- American writing within the past decade and by explaining its place in the overall literary contribution to the American Vietnam War novel. The method of investigation is literary critical analysis of selected novels from 1968 to 2002 as applied to examples of the authors' use of realism and magical realism, their imaginative language, the effect of trauma on literary expression and the manifestation of trauma in memory. When necessary, reference is made to myth criticism. The thesis outlines the tendency to go beyond realism and the forces which contributed to it, and argues that the more recent evolution from realism to magical realism, within the wide range of the Vietnam narrative, has facilitated a potentially more powerful and valid means of expression. The investigation concludes that despite being overtaken by other theatres of war, the conflict in Vietnam still maintains its place in American consciousness and that the recent examples of magical realism offered by ethnic minority writers have made a significant contribution to ensuring that the voices from a wider cultural mix are being added to the literary representations of the Vietnam experience.
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Reeds, Kenneth S. "An evolutionary definition of magical realism." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/16684/.
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This thesis, titled ‘An Evolutionary Definition of Magical Realism’, studies the changing meaning attached to the term in the secondary literature and, more importantly, contextualizes the criticism with a detailed analysis of key literary texts from throughout magical realism’s more than eighty years of evolution. The work of Jorge Luis Borges and Alejo Carpertier is used to elucidate the magical-realist pre-history, with particular focus on two tropes: the ‘neo-fantastic’ (a term created by Jamie Alazraki for a notion first outlined by Tzvetan Todorov) and ‘recasting of history’. The thesis subsequently analyses the presence of these two tropes in five test-cases taken from various stages in magical realism’s evolution: Gabriel García Márquez’s Cien Años de soledad, Salman Rushdie’s Midnight’s Children, Günter Grass’s The Tin Drum, Toni Morrison’s Son of Solomon, and Orhan Pamuk’s Snow. The thesis’s final goal is to demonstrate that magical realism is a combination of the neo-fantastic and recasting of history and with this definition and the close-readings which support it, confront the critical imprecision which has beleaguered the magical-realist debate for many years.
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Aldea, Ewa Veverica. "A new theory of magical realism." Thesis, Royal Holloway, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538316.
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Lyons, Reneé C. "Magical Realism Fosters Creativity to Innovation." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2368.
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Do you hope to promote, encourage and foster critical thinking and creativity in your library? Visit this session to discover reader response, literature-based, and interdisciplinary activities appropriate to selected works of magical realism (grades 4-7).
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Spence, Leah Mogford. "Magic words : a reconceptualization of magic realism /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9423.
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Brännborn, Vendela. "Att hitta sin magiska väg : Den magiska realismen i Det bortglömda folket." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-27438.
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Pedrós-Gascón, Antonio Francisco. "Diálogos transatlánticos: un “Boom” De Ida Y Vuelta." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1187031136.
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Young, Jennifer Maria. "Paradidomi : magical realism and the American South." Thesis, University of Southampton, 2009. https://eprints.soton.ac.uk/169817/.
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The thesis is comprised of a novel and a critical reflection. The novel component, entitled The Mathers’ Land, draws on traditions of magical realism, storytelling, memory and metafiction. The framing narrative of the novel follows Luanne Richardson, a librarian who has moved South with her new boyfriend, Kenneth Miers. As soon as they arrive in Peebles, North Carolina, Kenneth disappears. Luanne only knows that he last visited a particular house that belongs to the Mathers, the richest family in Peebles. Luanne forces an encounter with the head of the family, Walter Mathers. Despite her initially confrontational contact, Walter Mathers offers Luanne a job to construct a history of his family through interviews and records. He hopes the history will provide an answer to why his only son Eric has not produced an heir. Luanne’s research draws her into a claustrophobic society where no one seems to notice the frequent deaths of the wives of the Mathers family or their odd attachment to roses and a dogwood tree, as elements of magical realism occur in the frame story. The interviews Luanne conducts appear on the pages of the novel as fully developed stories, which draw on themes of tradition, loss and family attachment. These themes are explored through perceptions of memory and storytelling. The critical reflection component considers both what methods and writings made it to the thesis as well as what methods and writings did not. It explores the modes of construction, from the use of Oulipian and metafictional techniques to the use of magical realism. The major influences from specific writers are addressed in terms of structure, magical realism and Southerness, specifically Harry Mathews, Joseph McElroy, Mischa Berlinksi, Sharyn McCrumb, Randall Kenan, Steven Sherrill, and particularly Doris Betts. The reflection concludes by addressing what it means to be an expatriate ‘Southern’ writer.
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Bundy, Dallin J. "Magical Realism and the Space Between Spaces." DigitalCommons@USU, 2012. https://digitalcommons.usu.edu/etd/1309.
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Magical realism comes from Franz Roh, a german art historian and critic, who first used the term to describe the Post-Expressionism movement in visual art. His seminal writings and definitions on Post-Expressionism, then known as magical realism, were translated into Spanish and made available to Latin America in the mid twentieth century. Authors like Jorge Luis Borges and Gabriel Garcia Marquez adopted Roh's writings and re-appropriated magical realism into literary art, and from there the new genre proliferated through the Latin American Boom and magical realism in literary fiction reached global recognition, inspiring authors across the world to take it up and continue the tradition into the present.
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Daie, Fabio Salem. "A glória e a queda: construção e desagregação do romance na periferia do capitalismo." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-10042014-114554/.
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O presente trabalho visa explorar a forma do romance na periferia do capitalismo no século XX e XXI, tendo como paradigmas dois de seus mais destacados escritores, Alejo Carpentier e Mia Couto. Para tanto, analisa-se aqui as obras Los Pasos Perdidos (Carpentier) e O Outro Pé da Sereia (Couto) à luz da teoria do realismo de György Lukács. O que se deseja demonstrar é: visto que o romance é a epopéia do mundo burguês, autores como Carpentier se valeram do período de desenvolvimentismo industrial no continente latino-americano inserido no crescimento mundial do capitalismo pós-Segunda Guerra (1945-1975) para lançar o conflito entre a afirmação definitiva da modernidade e seu universo pré-moderno: a isto muitos deram o nome de realismo maravilhoso. Por sua vez, em Moçambique, o histórico colonial e a independência tardia na época da crise estrutural do capital (a partir de 1975) determinaram uma frágil afirmação dos padrões sociais burgueses. Tal condição tem conseqüências na produção romanesca de autores como Mia Couto. Entre elas: o maravilhoso aparece como princípio formal, elidindo tensões necessárias ao romance e restringindo assim o alcance de sua ficção.The present work aims to explore the form of the novel in capitalisms periphery in the XX and XXI centuries, using as paradigms two of its most illustrious writers, Alejo Carpentier and Mia Couto. To do so, Los Pasos Perdidos (Carpentier) and O Outro Pé da Sereia (Couto) are studied from the perspective of György Lukácss realism theory. The intent is to demonstrate the following: since the novel is the bourgeois worlds epopee, authors such as Carpentier made use of the industrial development period in Latin America in the context of post-Second World War capitalisms growth in the world (1945-1975) to draw the conflict between modernitys definitive affirmation and its pre-modern universe: which many have named magical realism. In turn, in Mozambique, the colonial past and the late independence by the time of capitalisms structural crisis (starting in 1975) have defined a fragile affirmation of bourgeois social patterns. Such situation has consequences in the novel production of authors such as Mia Couto. Amongst which: the magical element appears as formal principle, suppressing necessary tensions to the novel, thus restricting its fictional reach.
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Schlosser, Tobias. "„Knowing that Magical Things Were Still Living in the World“." Doctoral thesis, Universitätsbibliothek Chemnitz, 2018. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-qucosa-233141.
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Die vorliegende Studie beschäftigt sich mit dem Phänomen der zeitgenössischen kanadischen Geistergeschichten. Ausgangspunkt ist die außergewöhnlich hohe Anzahl an veröffentlichten Geistergeschichten, die es um bzw. seit Anfang der Jahrtausendwende gab. Die Besonderheit liegt darin, das Kanada gemäß seines Selbstverständnisses ein „matter-of-fact-country“ ist, das im Gegensatz zu seinem südlichen Nachbarn, den USA, weder Gründungsmythen noch eine reichhaltige Tradition an Schauerliteratur vorweisen kann.
Dieses Phänomen wird unter einer ästhetisch-ontologischen Perspektive untersucht. Mithilfe romantischer Philosophie (v.a. Friedrich J. W. Schelling), aber auch zeitgenössischen philosophischen Ansätzen sowie traditionellen Mythen kann erklärt werden, dass die Aufklärung und der damit einhergehenden rationalen rationalen Weltsicht, die nicht zuletzt die Kolonialgeschichte bestimmte, in sich begrenzt ist – schließlich kreiert die Aufklärung selbst einen neuen Mythos: nämlich den von ihrer Allmacht. In dieser Arbeit wird dargelegt, dass es ein menschliches Bestreben ist die Welt eben nicht nur rational und logisch zu betrachten. In diesem Sinne verstehen sich, so die These, die Geistergeschichten als ein längst überfälliges Gegenspiel zum rationalistischen Selbstverständnis der kanadischen Kultur. In diesem Zusammenhang setzt sich die Arbeit mit theoretischen Ansätzen wie der Schauerliteratur und des Magischen Realismus kritisch auseinander und schlägt vor eine pantheistische Lesart zu entwickeln (pantheistisch, da in den Geschichten alle übersinnlichen Kräfte der Welt immanent sind).
Diese Studie zeigt, dass die Geister andere Semantiken aufweisen als bei der konventionellen Schauerliteratur: Wo in klassischer Schauerliteratur die Geister eine Bedrohung darstellen, werden sie in den zeitgenössischen kanadischen Geistergeschichten als der Erde zugehörig aufgefasst. Es handelt sich also um eine lebensbejahende Form der Einschreibung von Magie in die (Lebens-)Welt, die zugleich dem menschlichen Bedürfnis nachkommt die Welt über Mythen – und keine rationale Sicht – zu erklären. Unter Betrachtung dieser Prämissen werden folgende Geistergeschichten untersucht: Tomson Highways „Kiss of the Fur Queen“ (1998), Eden Robinsons „Monkey Beach“ (2000), Kenneth J. Harveys „The Town that Forgot How to Breathe“ (2004), Joseph Boydens „Three Day Road“ (2005) und David Chariandys „Soucouyant“ (2007).
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Durst, Uwe. "Das begrenzte Wunderbare : zur Theorie wunderbarer Episoden in realistischen Erzähltexten und in Texten des "Magischen Realismus" /." Berlin ; Münster : LIT-Verl, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3132528&prov=M&dok%5Fvar=1&dok%5Fext=htm.
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Schwalm, Tanja. "Animal writing : magical realism and the posthuman other." Thesis, University of Canterbury. English, 2009. http://hdl.handle.net/10092/4470.
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Magical realist fiction is marked by a striking abundance of animals. Analysing magical realist novels from Australia and Canada, as well as exploring the influence of two seminal Latin American magical realist narratives, this thesis focuses on representations of animals and animality. Examining human-animal relationships in the postcolonial context reveals that magical realism embodies and represents an idea of feral animality that critically engages with an inherently imperialist and Cartesian humanism, and that, moreover, accounts for magical realism's elusiveness within systems of genre categorisation and labelling. It is this embodiment and presence of animal agency that animates magical realism and injects it with life and vibrancy. The magical realist writers discussed in this dissertation make use of animal practices inextricably intertwined with imperialism, such as pastoral farming, natural historical collections, the circus, the rodeo, the Wild West show, and the zoo, as well as alternative animal practices inherently incompatible with European ideologies, such as the Aboriginal Dreaming, Native North American animist beliefs, and subsistence hunting, as different ways of positioning themselves in relation to the Cartesian human subject. The circus is a particular influence on the form and style of many magical realist texts, whereby oxymoronically structured circensian spaces form the basis of the narratives‟ realities, and hierarchical imperial structures and hegemonic discourses that are portrayed as natural through Cartesian science and Linnaean taxonomies are revealed as deceptive illusions that perpetuate the self-interests of the powerful.
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Luciano, Kelli Mesquita. "Referências históricas e o realismo mágico : as confluências em "Il barone rampante", de Italo Calvino e "El Siglo de las Luces", de Alejo Carpentier /." Araraquara, 2017. http://hdl.handle.net/11449/151095.
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Orientador: Claudia Fernanda de Campos MauroBanca: Fernanda Aquino Sylvestre
Banca: Ivair Carlos Castelan
Banca: Maria Dolores Aybar Ramírez
Banca: Érika Bergamasco Guesse Borges
Resumo: Esta tese objetiva a comparação dos romances Il barone rampante (1957), de Italo Calvino e El Siglo de las Luces (1962), de Alejo Carpentier, pois ambos apresentam confluências no que diz respeito a existência de referencias históricas, uma vez que os enredos transcorrem no século XVIII, em meio a Revolução Francesa e aos ideais iluministas. Além disso, as duas narrativas apresentam indicações de figuras da história oficial assim como a indicação de Instituições históricas. É fundamental destacar que nos dois romances, há acontecimentos insólitos que se referem ao realismo mágico, em Il barone rampante, o protagonista Cosimo vive um estilo de vida incomum sobre as árvores, onde estuda, tem atitudes altruístas e acredita nos ideias revolucionários, enquanto em El Siglo de las Luces, o protagonista é Víctor Hugues que foi inspirado em uma figura da história oficial, um francês que foi comerciante e responsável por disseminar a ideologia revolucionária na região das Antilhas. Sua chegada a Havana, movimenta ativamente a vida dos primos Esteban, Carlos e Sofía, que passam a nutrir interesses pela Revolução, fazem diversos estudos e leituras de autores filosóficos e são moldados pelo pensamento racionalista. No romance carpentiano, Esteban é curado da asma graças a rituais curandeiros fator que pode ser associado ao realismo maravilhoso. Em outros momentos, buscamos evidenciar alguns aspectos fabulistas em Il barone rampante e do barroquismo latino americano em El Siglo de las Luc... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This thesis aims at the comparison of the novels Il barone rampante (1957), by Italo Calvino and El Siglo de las Luces (1962), by Alejo Carpentier, since both have confluences regarding the existence of historical references, since the entanglements both of which take place in the eighteenth century, amidst the French Revolution and the Enlightenment ideals. In addition, the two narratives present indications of figures of the official history as well as the indication of Historical Institutions. It is important to note that in the two novels, there are unusual events that refer to magical realism, in Il barone rampante, the protagonist Cosimo lives an unusual lifestyle on the trees, where he studies, has altruistic attitudes and believes in revolutionary ideas, while in El Siglo de las Luces, the protagonist is Víctor Hugues who was inspired by an official history figure, a french who was a merchant and responsible for spreading the revolutionary ideology in the Antilles region. His arrival in Havana actively moves the lives of the cousins Esteban, Carlos and Sofía, who begin to nurture interests for the Revolution, do various studies and readings of philosophical authors and are shaped by rationalist thinking. In the Carpentian novel, Esteban is cured of asthma thanks to ritual healers, factor that can be associated with magical realism. At other times, we tried to evidence some fabulous aspects in Il barone rampante and the Latin American baroque in El Siglo de las Luces. ... (Complete abstract click electronic access below)
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Bennett, Caroline Jane. "The politics and poetics of Latin American magical realism." Thesis, Goldsmiths College (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400587.
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Mellas, Michael John. "Constructing multiple realities on stage conceiving a magical realist production of José Rivera's Cloud tectonics /." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1218129542.
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Viñao, Alejandro. "Magic realism in music : four electroacoustic compositions." Thesis, City University London, 1987. http://openaccess.city.ac.uk/8344/.
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The subject of this thesis is not the text contained in this book, but the four electroacoustic compositions presented: Go, Hendrix Haze, Triple Concerto and Toccata del Mago. The purpose of this writing is to put forward a context in which these four compositions may be assessed. In chapter 1, I choose to present my work taking a lateral approach. Rather than discuss my background as a composer and the reasons or 'necessity' for using the electroacoustic medium to express my musical thinking, I have instead introduced a new idea to provide a wider context: Magic Realism in music. I have developed the notion that there is a musical equivalent to Magic Realism in literature, and that my work, as well as the work of other Latin American composers, may be seen in this light. Also in this chapter, I put forward the idea that the electroacoustic medium may be the natural environment or 'habitat', as it were, for the Magic Realist composer to develop. Chapters 2 to 5 present a specific framework, that is, the aesthetic point of VIew and the technical means involved in the creation of each piece. In these chapters, the compositional process is presented, from the first, often abstract ideas that trigger the imagination of a composer, to the decision taken during the final production stage in the studio. It is hoped that this specific framework will convey the necessary Information required for a preliminary assessment of the music presented, in terms of the composer's aims and the results obtained. Yet, a piece of music can be a far more complex and richer phenomenon than the composer's aims and intentions, and it must be ultimately assessed in its own terms.
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Sanchez, Maria Ruth Noriega. "Magic realism in contemporary American women's fiction." Thesis, University of Sheffield, 2001. http://etheses.whiterose.ac.uk/3502/.
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The aim of the study is to illustrate the importance of magic realism in American women's fiction in the late twentieth century. The term magic realism, which has traditionally been associated with Latin American men's writing, has been known by different, and often contradictory, definitions. It may be argued that, properly defined, it can be a valid term to describe a number of characteristics common to a corpus of work, and can be considered as an aesthetic category different from others such as Surrealism or Fantastic literature, with which it has often been compared. Furthermore, magic realism has viability as a contemporary international mode and is particularly suitable to women writers from minority ethnic groups. The present study intends to draw relevant comparative analyses of uses of magic realism that show various formal and thematic interactions between separate literary traditions. The introduction offers an overview of the different conceptions and applications of the term since its origins within the area of painting, and suggests a working definition that can be effective for intensive textual analysis of several novels. In order to offer a new approach which can enable us to move away the paradigm of magic realism from Latin America towards a more multicultural framework, the focus will be on three geographical-cultural areas: African American, Native American and Chicano/Mexican writing. The implementation of magic realist strategies in African American writing will be examined in Toni Morrison's Song of Solomon (1977) and Gloria Naylor's Mama Day (1988), with a particular emphasis on the significance of African mythical background and the experience of dispossession and transference of culture. Magic realist elements in the novels Tracks (1988) by Louise Erdrich and Ceremony (1977) by Leslie Marmon Silko will be studied in the context of Native American oral tradition and cosmologies. The practice of magic realism on both sides of the U. S. - Mexico border will be explored in the novels So Far from God (1993), by the Chicana Ana Castillo, and Like Water for Chocolate (1989), by the Mexican Laura Esquivel. A description of the borderland culture in the American Southwest, as well as comparisons between North and Latin American uses of magic realism will be provided. Finally, some connections amongst the discussed literary traditions and further lines of research will be suggested.
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Winblad, Julia. ""I feel like a person who is already dead" : Förlust, läkning och magisk realism i tre japanska romaner." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-86284.
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In this thesis the subject of grief and healing are examined in three novels by the Japanese writers Hiromi Kawakami, Ruth Ozeki and Banana Yoshimoto. The method for the analysis is based on psychiatrist Elisabeth Kübler-Ross’ Five Stages of Grief theory, but in the analysis of these novels, it became clear that the grief/healing-stages for the protagonists are not expressed in the exact same manner as the non-fictional patients of Kübler-Ross’ study. The analysis shows that this is partly due to the fact that the narratives take place in Japan and that there is a clear intervention where the writers have used magical interruptions in their realistic portrayal of bereavement, to help the protagonists begin to recover. These magical interruptions, this thesis states, are the use of magical realism, especially connected to the long history of Japanese folklore and myth. As a result, this thesis presents a modified model of analysis, which also reflects how the protagonists filled with bereavement and sorrow can be helped to heal and recover by the interruption of fantastic and magical events. Through this study it has become clear that not only is the need for healing significant but the need for family, relationships and a sense of belonging are just as important. To re-connect with their lost loved ones, whomever they may be, these characters must cross through the magical interventions within the narratives and dare to reach out to the people around them, strengthened by their loss and trauma, rather than fearing relationships with others due to previous trauma and grief.
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Lopes, Tania Mara Antonietti [UNESP]. "O realismo mágico e seus desdobramentos em romances de José Saramago." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/102368.
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O presente estudo tem como objetivo principal apresentar os desdobramentos do realismo mágico numa análise de A jangada de pedra (SARAMAGO, 2006) e em leituras de As intermitências da morte (SARAMAGO, 2005) e Ensaio sobre a cegueira (SARAMAGO, 2007), em que o procedimento literário em questão – tendo em conta a figura do narrador – adquire uma função dialógica, que se dá por meio de referências intertextuais com mitos, lendas e outras formas de narrativa da tradição literária ocidental. A análise literária baseia-se nas concepções de Gerárd Genette e outros autores sobre o narrador; para a concepção de realismo mágico, utilizamos essencialmente as reflexões de Irlemar Chiampi e Willian Spindler; no que diz respeito aos diálogos promovidos pela intertextualidade, recorremos aos conceitos propostos por Mikhail Bakhtin, Lauren Jenny e Lucien Dällembach. De posse destes e de outros estudos da teoria da narrativa, analisamos os textos literários, com a preocupação de identificar elementos que inserem os romances mencionados na perspectiva do realismo mágico, procedendo também à reflexão sobre o diálogo que o autor português realiza com a literatura hispano-americana por meio desse procedimento, procurando compreender o processo de construção dos romances pelo viés da narrativa mágica e suas contribuições para a literatura contemporânea
This study aims to present the features of magical realism in an analysis of A jangada de pedra (SARAMAGO, 2006) and in readings of As intermitências da morte (SARAMAGO, 2005) and Ensaio sobre a cegueira (SARAMAGO, 2007), in which that narrative procedure – taking into account the narrator – acquires a dialogical function, that comes to the fore through intertextual references about myths, legends and other forms of the Western literary tradition. The literary analysis is based on the ideas of Gerárd Genette and other authors about the narrator; for the concept of magical realism, we use essentially the reflexions of Irlemar Chiampi and William Spindler; as for the dialogues induced by the intertextuality, we make reference to the concepts proposed by Mikhail Bakhtin, Lauren Jenny and Lucien Dällembach. Using those and other studies of narrative theory, we analyze Saramago‟s texts, bearing ever in mind the need to identify elements that insert those novels in the perspective of magical realism, proceeding also to reflect about the dialogue the Portuguese author creates with the Spanish-American literature through this procedure, aiming to understand the process of novel building through the lens of magical narrative and its contributions to contemporaneous literature
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Takolander, Maria, and mikewood@deakin edu au. "Apprehending butterflies and flying beauties: Bringing magical realism to ground." Deakin University. School of Communication and Creative Arts, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050825.154534.
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Stanford, Amanda Theresa. "Outsized reality : how 'magical realism' hijacked modern Latin American fiction." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7847.
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Creative Portion abstract (75%): Literary Fiction Manuscript Souvenirs of the Revolution Against the backdrop of the Mexican Revolution of 1910, betrayal, sexual deviance, rigid morality and a fatal subservience to moral correctness drives the Montelejos clan: complex and self-serving, innocent and deluded, larger than life, an illustrious family line in its final decline. Mariabella Montelejos, who tries to sell her only daughter for the price of a new carriage during the bloodiest part of the Revolution. Her daughter, Portensia Montelejos, who leaves her mother’s body to moulder in the front room after soldiers come at the point of a gun. Gloria Vasquez, celebrated beauty, practising witch, and tormentor of her step-sister, Teresa: ill, gullible, naive, awoken to her destiny by the surreal birth of her daughter. Paulina, a child who once communed with the holy, made an empty vessel by the abuse of her father – and revered as a living saint as she lies dying in a Pueblano convent. The men of the family, weak and susceptible to the mandates of their dying class, are no match for the machinations of such women. Evil abuser Ebner Collins, paralyzed by a jealous man’s bullet in the middle of the Sinai desert. Hernando Vasquez, cowed into marriage by the longing for his dead wife, Evelyn Cuthbert. Guiermo Fuentes de Solis, cuckolded husband. Jaime Vasquez, who hears voices and lives at the bottom of a bottle, unable to save his cousin Paulina. The Revolution is the beginning of the end for Montelejos, and the miraculous will be its undoing. Analytical Portion abstract (25%): An Outsized Reality: How “Magical Realism” Hijacked Modern Latin American Literature With the publication of Gabriel García Márquez’s Cien Anos de Soledad in 1967, Latin American writing captured the world’s attention. Critics, readers, and imitators rushed to discuss and emulate this astounding novel. A whole genre of literature, “magical realism”, was popularized, and with it, critical discussion of its influences, history, genre limitations, and the sheer “imagination” it brought to the forefront of literary debate. In this thesis I will discuss the problems associated with “Western” critical analysis of Latin American writing, specifically as it seeks to define, without a proper context, the literature which draws life from the history and culture of Latin America and categorizes its literature without the cultural understanding required.
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Warnes, Christopher Graham. "Magical realism and the cultural politics of the postcolonial novel." Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411212.
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Spear, Keith. "A genetic model of duality in Latin American magical realism /." View online, 1995. http://repository.eiu.edu/theses/docs/32211998781347.pdf.
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Rocha, Ana Cristina Gomes da. "Narratives of women: gender and magical realism in postcolonial texts." Master's thesis, Universidade de Aveiro, 2012. http://hdl.handle.net/10773/10506.
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Mestrado em Estudos InglesesEste estudo centra-se na análise de diversos textos pós-coloniais que destacam a relevância de re-imaginar a História através de diferentes perspectivas, nomeadamente a re-invenção do passado com base numa abordagem feminista. A dissolução dos limites entre história e ficção é actualmente aceite como um indicador relevante da "metaficção historiográfica", conforme teorizada por Linda Hutcheon. As obras analisadas neste estudo são, portanto, variantes deste género contemporâneo e das suas interseções com Realismo Mágico. Estas narrativas também têm ainda em comum a preocupação com o papel das mulheres em contextos socio-culturais pós-coloniais, bem como as suas representações nesses mesmos contextos. O presente estudo investiga ainda a forma como determinadas representações são preponderantes na construção de identidades num mundo pós-colonial. As narrativas de mulheres engendram novas histórias que desconstroem, realçam e antecipam várias conclusões oficiais das narrações dominantes da história. Assim sendo, a ficção contemporânea incorpora o Realismo Mágico pelas suas possibilidades subversivas que resistem a um mundo singular com um único conjunto de regras ou leis. Deste modo, rejeita sistemas totalizantes e cria uma "espacialidade dual", onde diferentes realidades convergem. Em certa medida, o mágico funciona como um agente cultural, um constructo complexo através do qual vozes silenciadas podem contar suas histórias. Assim sendo, Realismo Mágico aparece ligado a estudos pós-coloniais, ao pós-modernismo, e a estudos de género. Os autores escolhidos justapõem estas características, de modo a criar espaços imaginários nos quais o real seja retratado mas que também seja sujeito a crítica. Além disso, as suas representações dialógicas permitem a possibilidade de um encontro entre o Eu colonizador e o Outro colonizado como momento potencialmente criativo e uma forma de (re)criar um "terceiro espaço" no qual seja possível inscrever a ambivalência gerada por esse encontro. Os textos seleccionados representam ainda a autoridade de vozes femininas e marginalizadas, tendo em consideração as vozes/estórias silenciadas e "outro subalterno". Consequentemente, a polivocalidade destas narrativas pode designar um potencial de resistência às convenções opressivas impostas por um poder hegemónico e eurocêntrico. Por conseguinte, estas narrativas têm em consideração o modo como diferentes culturas interagem e/ou se processam mutuamente sem se anularem. O estudo demonstra ainda que os textos partilham uma necessidade mútua em recontar os passados perdidos das suas personagens femininas, bem como as novas perspectivas que são geradas a partir daí. Estas narrativas e representações de mulheres assumem um papel importante na reavaliação da História como meio de recuperar e restaurar histórias silenciadas que fazem claramente parte de um processo de reconstrução de identidades pós-coloniais.
This study focuses on the analysis of several postcolonial texts that highlight the relevance of re-imagining History through different lenses, particularly the re-invention of the past based on a feminist approach. The dissolution of the limits between history and fiction is currently accepted as a relevant indicator of “historiographic metafiction,” as coined by Linda Hutcheon. The novels analyzed in this study are all variations of this contemporary genre and its intersections with Magical Realism. They also share a common preoccupation with the role of women in postcolonial socio-cultural contexts and the representations of women in these contexts. This study thus investigates some of these representations which are connected with the construction of identities in the postcolonial world. The narratives of women selected engender new histories which undermine, enhance, and pre-empt many official conclusions of the dominant narrations of history. In doing this, contemporary fiction incorporates magic realism for its subversive possibilities in resisting a single world with a single set of rules or laws. In this way it rejects totalizing systems, and creates a “dual spatiality” where dissimilar realities converge. To some extent, the magical works as a cultural agent, a complex construct through which silenced voices may tell their stories. Hence magical realism has been connected with postcolonialism, postmodernism and gender studies. The authors chosen juxtapose these characteristics in order to create imaginary spaces that both depict the real and subject it to critique. Furthermore, their dialogic representations allow the possibility of an encounter between the colonizing Self and the colonized Other as potentially creative and a way to (re)generate a “third space” where it is possible to inscribe the ambivalence generated by that encounter. Their texts also enact the empowering of female and marginalized voices, giving agency to the silenced and “subaltern other”. Consequently, the novels’ polivocality may designate a potential resistance to oppressive conventions imposed by a hegemonic and Eurocentric power. Accordingly, the narratives dealt with take into consideration the way different cultures interact and/or process each other. The study shows that the texts share a mutual need to retell the lost pasts of their female characters and the new perspectives they generate. These narratives of women assume a significant role in the re-examination of history as they reclaim and restore unuttered stories that are clearly part of a postcolonial identity process.
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Foster, Natalie. "Eaten: A Novel." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849746/.
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This novel operates on two levels. First, it is a story concerning the fate of a young woman named Raven Adams, who is prompted into journeying westward after witnessing what she believes to be an omen. On another level, however, the novel is intended to be a philosophical questioning of western modes of “science-based” singular conceptualizations of reality, which argue that there is only one “real world” and anyone who deviates from this is “crazy,” “stupid,” or “wrong.” Raven as a character sees the world in terms of what might be called “magical thinking” in modern psychology; her closest relationship is with a living embodiment of a story, the ancient philosopher Diogenes, which she believes is capable of possessing others and directing her journey. As the story continues the reader comes to understand Raven’s perceptions of her reality, leading to a conceptualization of reality as being “multi-layered.” Eventually these layers are collapsed and unified in the final chapters. The novel makes use of many reference points including philosophy, classical mythology, folklore, religion, and internet social media in order to guide the reader along Raven’s story.
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Audet, Josée Lyne. "Canadian magic : a study of myths in English-Canadian and Québec magic realism." Mémoire, Université de Sherbrooke, 1993. http://hdl.handle.net/11143/10059.
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Résumé: Le "magic realism" existe depuis plusieurs années, mais les critiques littéraires semblent l'avoir ignoré. Seulement quelques personnes, surtout dans l'ouest canadien, semblent croire qu'il a une valeur. Même si ce genre littéraire est présent dans la littérature québécoise le seul terme français connu pour le qualifier est la traduction "réalisme magique" qui ne rend pas le sens exact du genre. Le style est plus reconnu au Canada anglais, mais a rarement été étudié. Geoff Hancock est probablement celui qui a fait le plus dans ce domaine; il a publié plusieurs articles, une collection de nouvelles et a participé à la conférence sur le réalisme magique à l'Université de Waterloo en 1985. C'est probablement à cause de sa "magie" que le réalisme magique a de la difficulté à se faire prendre au sérieux dans le monde littéraire. S'il est vrai que le message que transmet un mélange de réalisme et de magie peut sembler superficiel, il n'en reste pas moins qu'à plusieurs égards il reflète une plus grande réalité que le simple réalisme. Parce que le réalisme magique utilise les mythes et légendes d'une société, il en exprime la réalité dans toutes ses dimensions. La première question à se poser est: Qu'est-ce que le réalisme magique? Dans son livre Magic Realism, Geoff Hancock définit le réalisme magique comme étant le mélange d'éléments fantastiques à la vie de tous les jours. Ceci en est la définition la plus simple, mais le réalisme magique est beaucoup plus complexe que ça. Certains disent que le réalisme magique est plus réel que le réalisme parce qu'il examine un imaginaire qui fait intégralement partie de la réalité d'un peuple. […]||Abstract: Magic realism has existed for years, but for some reason scholars have, to a certain extent, ignored it. Only a few people seem to think it is worthy of study. One proof of this is that, although the style exists in Québec literature, there is no equivalent to the expression "magic realism" in French. Novels written in the style in Québec have been studied from every angle except this one, as if scholars in Québec do not know the style even exists, or they do not want to recognise it. They most often refer to the magical elements of these novels as the characters' imagination at play and give them a meaning according to that role. In English-Canadian literature the style is recognised but has rarely been studied. Only a few people, mostly in Western Canada, seem to be interested in the matter. Geoff Hancock is probably the one who did the most in this field; he has published several articles, a collection of short stories, and participated in the conference on magic realism at the University of Waterloo in 1985.[...]
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Norell, de Pelcastre Christina Margareta. "Los sabores de la verdad : La presencia del realismo mágico en la novela Como agua para chocolate de Laura Esquivel." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-25206.
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Gaudinskaitė, Sigita. "Magiško(jo)realizmo poetika Gabrielio Garcíos Márquezo, Sauliaus Tomo Kondroto, Artūro Imbraso romanuose: lyginamasis aspektas." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120831_110042-07315.
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Magistro darbe tyrimas atskleidė, kad magiško(jo) realizmo poetikai romanuose svarbus interdiscipliniškumo aspektas. Biblijos, istorijos, mitologijos faktų pateikimas sumaišo dabartį ir praeitį, tikroviškus ir antgamtinius reiškinius, universalumą ir realybę. Magiško(jo) realizmo poetika atskleidžia netikėtą kultūros ir civilizacijos opoziciją, kur gamta, papročiai, tradicijos priskiriamos būtent kultūros fenomenui, o civilizacija priartinama mokslo ir taisyklių sampratai. Unikali naratyvo forma, laikų, vietų kaita, vardų vartojimas – priartintų stebuklo, neįtikėtinų įvykių galimybę. Visa tai – magiško(jo) realizmo poetikoje skirta skaitytojo įtraukimui į tekstą, jo aktyvinimui ir stebinimui.The research revealed that the aspect of interdisciplinarity was important for the poetics of magic(al) realism in the novels. Presentation of biblical, historic, mythological facts blended the present and the past, realistic and supernatural phenomena, versatility and reality. The poetics of magic(al) realism revealed an unexpected opposition of culture and civilisation, where nature, manners, traditions were attributed namely to the cultural phenomenon, and the civilization was brought closer to the concept of science and rules. A unique form of narrative, vicissitude of times and locations, usage of names – should anticipate the possibility of a miracle, unbelievable events. In the poetics of magic(al) realism, all that is used for involvement of a reader into the text, his/her activation and causing surprise.
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Afzal, Amina. "The Beauty and the Beast : Magical Realism in Salman Rushdie’s Shame." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-27801.
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Mild psychological effects, such as sleep-deprivation, on an oppressed and tortured human being can be characterized as “normal”. However, Shame by Salman Rushdie uses magical realist style to describe the psychological effects of shame in a patriarchal society which is based on capitalistic class values. This essay will focus on the Marxist feminist reading of the novel with a psychoanalytical perspective which is going to help analyse the effects of the oppressed female characters, Bilquis Hyder, Sufiya Zinobia and Rani Harappa. The essay focuses on different incidents in the lives of these characters with the help of critics such as Aijaz Ahmad and Timothy Brennan. Both have written critically about Rushdie. This essay will discuss the different aspects of Marxism, feminism as well as psychoanalysis and connecting them to the novel, which would give the answers as to what shame can do to a person’s psyche. The Beauty and the Beast fairy-tale gets a different perception in this story, as Sufiya Zinobia is both the characters in one.
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Nelson, Katherine Snow. "Influenza, Heritage, and Magical Realism in Katherine Anne Porter's Miranda Stories." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/4416.
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Despite the devastating scope of the Spanish Influenza Pandemic of 1918, curiously few references to the flu exist in literature. Katherine Anne Porter offered one of modernism's only extensive fictional treatments of the pandemic in her short novel “Pale Horse, Pale Rider,” decades after her own near-death encounter with the flu. Porter was able to give voice to an experience that had traumatized others into silence by drawing on an early form of magical realism. Magical realism's ghosts—everyday presences rather than otherworldly beings to be feared—are of particular relevance to “Pale Horse, Pale Rider” since ghosts “haunt” Porter's semi-autobiographical Miranda throughout the story, acting as correctives to Miranda's (and Porter's) desire to isolate herself from the familial and regional heritage that burdens her with unwanted and often conflicting ideologies. Ultimately, in using magical realism to explore her sense of self and to articulate the alienating effects of her near-death experience, Porter is able to embrace her complicated heritage and her fractured past, reclaiming interconnectedness while maintaining her individuality.
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Adams, Jennifer. "Magic Realism in Holocaust Literature : Troping the Traumatic Real." Thesis, University of Sheffield, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521912.
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Moolla, F. Fiona. "Garciá Márquez, magic realism and language as material practice." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/18262.
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In this essay I examine the political implications of the shifts in definition of the term, "magic realism". Magic realism as it was originally employed in the Latin-American context signified a concept different to what it is currently held to suggest in metropolitan literary discourse. Magic realism in the first world has come to be regarded as a third world reflection of its own cultural dominant, postmodernism, without an acknowledgement of the alternative material realities which inform it. I investigate these ideas through an analysis of the work of two novelists, namely, the Colombian, Gabriel Garcia Marquez, and the American, John Barth. In a well-known essay titled "The Literature of Replenishment", Barth names Garcia Marquez as the foremost postmodern writer. This is deceptive, I argue, since although in the essay Barth presents postmodernist fiction as a political advance on the earlier styles of realism and modernism, his own fictional practice contradicts his claim. While in the essay Barth presents postmodernism as politically significant by virtue of its "democratic impulse", his novel, Chimera, seeks to avoid the political through a flawed understanding of textuality. Garcia Marquez's One Hundred Years of Solitude stands in stark contrast with Chimera since it underscores the political consideration central to discourse through stressing the text's material, historical context. This distinction between the two novels is brought to light particularly through the incremental differences in their use of the techniques of "narrative circularity" and repetition. I argue, furthermore, that Garcia Marquez's emphasis on language as a material practice is, at least in part, owing to the specifics of the style of magic realism. While postmodernist fiction, one of the cultural effects of an advanced capitalism, may slide ineluctably into notions of pure textuality, magic realism, constituted as it is at the interface of pre-capitalist and capitalist modes of production, compels an acknowledgement of the material world.
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Corum, John. "THE RELEVANCE OF GABRIEL GARCÍA MÁRQUEZ TO CONTEMPORARY ECOCRITICAL THEORY." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/2042.
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Monoculture represents a hindrance to literary ecocriticism. While the ecocritical project aims to think globally, doing so within the linguistic confines of a single language restricts access to very helpful (but non-Anglo) textual material. I argue that of this material, Gabriel García Márquez’s novels are particularly useful because of his unique execution of magical realism towards environmental ends. This project uses ecocritical scholarship to revisit Márquez’s works and to examine the ways in which his deployments of environmental magical realism synthesize and build upon ecocritical elements from earlier trends in Latin American literature while suggesting new venues of evolution for the hermeneutics of ecocritical trends. Through a close theoretical reading of One Hundred Years of Solitude, Love in the Time of Cholera, and the Autumn of the Patriarch, novels which represent useful case studies for his polemical use of magical realism, I conclude that Márquez explores and suggests ways the field of ecocriticism can parse representations of an adversarial relationship between humans and nature.
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Vetrano, Katherine. "A Certain Kind Of Hunger." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/1274.
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The five short fiction stories in this collection vary in styles from Realism, Fairy Tale, to Magical Realism, and all relate in some degrees, to the world of food. "The Food Ghost," told between two parallel perspectives, is the story of a young girl whose apartment is haunted by the ghost of a woman cooking through her last days on earth. "Fig," is a fairytale about a little girl who won't eat, and how her slightly over-bearing parents deal with her refusal. "Drive," tells what happens when a woman tries to hitchhike away from a sour relationship. "How Not To Cook An Emu Egg," tells the story of a small town woman who brings an emu egg with her to a big city. "A Certain Kind Of Hunger," follows a young woman with a disease that causes her to transform into a pink monster when she becomes hungry. After each story is a recipe relevant to the narrative, told from one character's perspective in each piece.
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Carothers, Luke Antony. "From Middle-Earth to Macondo: Tolkienian Fantasy, Aesthetic Response, and Magical Realism." Ohio Dominican University Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1462278439.
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Maufort, Jessica. "Ecological Magic Realism and Magic Realist Ecopoetics: Storying Place in Postcolonial Canadian and Australasian Novels." Doctoral thesis, Universite Libre de Bruxelles, 2018. https://dipot.ulb.ac.be/dspace/bitstream/2013/276457/5/Contrat.pdf.
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This comparative reading of contemporary Australasian and Canadian fiction privileges a reciprocal interaction between ecocriticism and magic realism within the field of postcolonial studies. My research shows that few works examine magic realism as a distinct aesthetic mode, while many ecocritical and postcolonial studies favour colonialist and pessimistic perspectives. Seeking to balance thematic and aesthetic concerns, my concepts of ecological magic realism and magic realist ecopoetics re-evaluate this still often misunderstood mode: its techniques in postcolonial narratives not only transcribe the cultural plight of the postcolonial subject, but also translate the missing ecological link between the environment and human beings. Informed by ecopoetic reflections on figurative language, Delbaere-Garant’s notion of mythic realism, and material ecocriticism, my concepts take the narrative and physical agency – or poiesis – of the non-human world as their focal point. Recognizing the dialogical web of human and non-human energies raises the issues of eco-imperialism as well as those of environmental and social justice. My thesis discusses two main configurations of ecological magic realism common to Anglo-Celtic and Indigenous texts within my corpus: synergy and crisis. These shifting interspecies relations are explored through the contexts of eco-spiritualities, scientific approaches to Nature, Nature writing, gothic-like metamorphoses, eco-apocalypse, and the Anthropocene. Rejecting dualistic worldviews, magic realism in these collaborative or competitive humans/Nature interactions remains ambivalent: on the one hand, it re-enacts human beings’ failed embeddedness in their non-human surroundings; on the other, it also re-opens the possibility of a mutually-enriching symbiosis.Doctorat en Langues, lettres et traductologie
info:eu-repo/semantics/nonPublished
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Smale, David James. "Magic realism : transformations and migrations of a disputed critical category." Thesis, Liverpool John Moores University, 2004. http://researchonline.ljmu.ac.uk/5786/.
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Pimenta, Raul Dias. "Entre fronteiras: gótico, realismo mágico e slipstream. o zumbi que se alimenta dos gêneros." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7797.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
In 1989 the north-american Bruce Sterling revealed in an interview that he found a new category of a literary genre which combines others genres then forming what he called Slipstream. This mode doesn’t follow a unique standard including even Science-fiction, Gothic and Magic Realism in one work. Since then, twenty years later after his revelation about Slipstream the mode hasn’t become a literary genre yet and littles has been discussed about the present subject. However, there are several questions and suppositions about what it could really be Slipstream and its characteristics to achieve the literary genre title. Although there are few affirmations around the topic, this present work aims to outline the contact point between slipstream and Magic Realism. Genre which shares much in characteristics with the present mode and also to define if Slipstream isn’t another name to Magic Realism. For such proposition, we have taken the literary character undead or nowadays called zombie for analysis. Therefore, we believe that the presence of this literary figure corroborate to the manifestation of the components elements and events of the genres here presented. As subject of analysis, we have taken the works “A case of the stubborns” (1984) by Robert Bloch, “Sea Oak” (1997) by George Saunders and “Incidente em Antares” (1970) by Érico Veríssimo. As theoretical support, Fred Botting (1996), H. P. Lovecraft (2007), Nöel Carroll (1999), about the horror in literature and to connect with the Magic Realism and the Magical Reality, Alejo Carpentier (1987), Irlemar Chiampi and William Spindler (1993)
Em 1989 o norte-americano Bruce Sterling revelou, em entrevista, ter encontrado uma nova categoria de gênero literário que combinava outros gêneros formando, então, o que ele chama de slipstream. Esta modalidade não segue padrão único, podendo até mesmo incluir ficção científica, gótico e realismo mágico em uma só obra. Desde então, mais de vinte anos após sua revelação sobre o slipstream, a modalidade ainda não se transformou em gênero e pouco tem se discutido sobre o presente assunto. No entanto, existem várias perguntas e suposições sobre o que realmente seria slipstream e suas características para alcançar o título de gênero literário. Embora existam poucas afirmações acerca do tema, este presente trabalho visa delinear os pontos de contato entre o slipstream o Realismo Mágico. Gênero este que muito divide em características com a modalidade em questão e também definir se slipstream não seria outro nome para Realismo Mágico. Para tal proposta, tomamos a personagem literário morto-vivo ou atualmente chamado de zumbi para análise. Pois acreditamos que a presença desta figura literária corrobora para a manifestação de elementos e eventos componentes dos gêneros aqui tratados. Como objeto de estudo, tomamos as obras “A case of the stubborns” (1984) de Robert Bloch, “Sea Oak” (1997) de George Saunders e Incidente em Antares (1970) de Érico Veríssimo. Como suporte teórico, utilizaremos as colocações de Fred Botting (1996), H. P. Lovecraft (2007), Nöel Carroll (1999), com o tema do horror na literatura e para a conexão ao Realismo Mágico e o Real Maravilhoso, usaremos as afirmações de Alejo Carpentier (1987), Irlemar Chiampi e William Spindler (1993).
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Luciano, Kelli Mesquita [UNESP]. "Referências históricas e o realismo mágico: as confluências em "Il barone rampante", de Italo Calvino e "El Siglo de las Luces", de Alejo Carpentier." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151095.
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Esta tese objetiva a comparação dos romances Il barone rampante (1957), de Italo Calvino e El Siglo de las Luces (1962), de Alejo Carpentier, pois ambos apresentam confluências no que diz respeito a existência de referencias históricas, uma vez que os enredos transcorrem no século XVIII, em meio a Revolução Francesa e aos ideais iluministas. Além disso, as duas narrativas apresentam indicações de figuras da história oficial assim como a indicação de Instituições históricas. É fundamental destacar que nos dois romances, há acontecimentos insólitos que se referem ao realismo mágico, em Il barone rampante, o protagonista Cosimo vive um estilo de vida incomum sobre as árvores, onde estuda, tem atitudes altruístas e acredita nos ideias revolucionários, enquanto em El Siglo de las Luces, o protagonista é Víctor Hugues que foi inspirado em uma figura da história oficial, um francês que foi comerciante e responsável por disseminar a ideologia revolucionária na região das Antilhas. Sua chegada a Havana, movimenta ativamente a vida dos primos Esteban, Carlos e Sofía, que passam a nutrir interesses pela Revolução, fazem diversos estudos e leituras de autores filosóficos e são moldados pelo pensamento racionalista. No romance carpentiano, Esteban é curado da asma graças a rituais curandeiros fator que pode ser associado ao realismo maravilhoso. Em outros momentos, buscamos evidenciar alguns aspectos fabulistas em Il barone rampante e do barroquismo latino americano em El Siglo de las Luces. No final da tese, apontamos certas características que aproximam ainda mais Il barone rampante de El Siglo de las Luces, visto que são abordadas temáticas em comum nos dois romances, como, por exemplo, a busca pelo conhecimento, a solidão, a frustração, os avanços tecnológicos e a esperança em um mundo melhor por meio do incentivo à educação, ao conhecimento e através de movimentos revolucionários. Em outras palavras, há o tratamento de temas importantíssimos como esses, por meio de uma revisitação ao passado, no caso, à Revolução Francesa serve para levar o leitor à reflexão sobre os contextos que os autores viveram no século XX, a exemplo do fascismo e dos movimentos de resistência na Itália; da ditadura em Cuba bem como o triunfo da Revolução Cubana, ou seja, movimentos de resistência que necessitaram da união coletiva para que houvesse de fato mudanças benéficas para população, condição fundamental que permeia o modo de agir dos personagens das obras analisadas. Esses movimentos até os dias atuais são imprescindíveis para que haja transformações concretas na sociedade em torno da igualdade, do respeito e da aplicação dos direitos humanos para todos.
This thesis aims at the comparison of the novels Il barone rampante (1957), by Italo Calvino and El Siglo de las Luces (1962), by Alejo Carpentier, since both have confluences regarding the existence of historical references, since the entanglements both of which take place in the eighteenth century, amidst the French Revolution and the Enlightenment ideals. In addition, the two narratives present indications of figures of the official history as well as the indication of Historical Institutions. It is important to note that in the two novels, there are unusual events that refer to magical realism, in Il barone rampante, the protagonist Cosimo lives an unusual lifestyle on the trees, where he studies, has altruistic attitudes and believes in revolutionary ideas, while in El Siglo de las Luces, the protagonist is Víctor Hugues who was inspired by an official history figure, a french who was a merchant and responsible for spreading the revolutionary ideology in the Antilles region. His arrival in Havana actively moves the lives of the cousins Esteban, Carlos and Sofía, who begin to nurture interests for the Revolution, do various studies and readings of philosophical authors and are shaped by rationalist thinking. In the Carpentian novel, Esteban is cured of asthma thanks to ritual healers, factor that can be associated with magical realism. At other times, we tried to evidence some fabulous aspects in Il barone rampante and the Latin American baroque in El Siglo de las Luces. At the end of the thesis, we point out certain characteristics that approach even more the Il barone rampante to El Siglo de las Luces, since themes are discussed in common in both novels, such as the search for knowledge, loneliness, frustration, technological advances and hope for a better world by encouraging education, knowledge and revolutionary movements. In other words, there is the treatment of such important subjects as a revision of the past, in this case the French Revolution, serves to lead the reader to reflect on the contexts that the authors lived in the twentieth century, such as fascism and Resistance movements in Italy; of the dictatorship in Cuba, as well as the triumph of the Cuban Revolution, that is, resistance movements that necessitated a collective union so that there was indeed beneficial changes for the population, a fundamental condition that permeates the behavior of the characters in the analyzed literary works. These movements until nowadays are essentials for concrete transformations in society around equality, respect and the application of human rights for all.
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Silva, Fabiola Maceres. "As (des)ilusões do (ir)real na ficção de Murilo Rubião /." Araraquara, 2013. http://hdl.handle.net/11449/115788.
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Orientador: Maria Célia de Moraes LeonelBanca: Karin Volobuef
Banca: Roxana Guadalupe H. Alvarez
Resumo: A literatura de Murilo Rubião, introdutora do insólito no Brasil, abriga temas essenciais para a compreensão da modernidade brasileira do século XX. Analisar o sobrenatural em sua obra implica ainda examinar temas referentes à condição humana, que envolvem necessariamente a relação texto/contexto e também observar como isso é veiculado na narrativa em termos de representação. Tendo como pressuposto o relevante papel do escritor no seu contexto social e a importância da criação literária quando considerada a partir de certas necessidades de representação do mundo, nosso intuito com a pesquisa é problematizar a construção formal do insólito na ficção do autor, utilizando as acepções do neofantástico, realismo mágico e do absurdo, na direção de um diálogo entre os gêneros. Desta forma, a pesquisa tem por finalidade a análise da estruturação dos elementos insólitos como mecanismo de representação simbólica do homem moderno, em seis contos do autor, observando as especificidades do contexto histórico em que se situam as narrativas. A saber, os contos selecionados para a análise são: "O ex-mágico da Taberna Minhota", "O pirotécnico Zacarias", "Teleco, o coelhinho", "Os dragões", "O edifício" e "A cidade". O embasamento teórico para o trabalho é composto de ensaios críticos sobre o autor como os de Arrigucci Jr, Jorge Schwartz, Nelly Novaes Coelho, José Paulo Paes, entre outros. Também fazem parte do embasamento, estudos sobre o fantástico, o neofantástico, o realismo mágico e o absurdo, como os de Tzvetan Todorov, Jean Paul Sartre, Jaime Alazraki, David Roas, William Spindler e Martin Esslin. Além disso, são utilizadas proposições teóricas sobre as categorias da narrativa como as de Gérard Genette
Abstract: Murilo Rubião's literature, pioneer of the uncommon in Brazil, contain essential themes for understanding the Brazilian modernity of the twentieth century. Analyzing the supernatural in his work also involves examining issues related to the human condition, which necessarily involve the relationship text / context and also observe how it is conveyed in the narrative in terms of representation. Assuming the relevant role of the writer in his social context and the importance of literary creation when seen from certain requirements of representing the world, our aim with the study is to discuss the construction of the formal neofantastic, magical realism and absurd in the author fiction, toward a dialogue between genres. Thus, the research main objective is to analyze the structure of the uncommon elements as mechanisms for symbolic representation of the modern man, in six tales of the author, observing the specificities of the modern context in which the narratives are situated. Namely, the stories selected for analysis are: "O ex-mágico da Taberna Minhota", "O pirotécnico Zacarias", "Teleco, o coelhinho", "Os dragões", "O edifício" e "A cidade". The theoretical basis for the work is composed of critical essays about the author such as Arrigucci Jr, Jorge Schwartz, Nelly Novaes Coelho, José Paulo Paes, among others. Also, part of the fantastic, magical realism and absurd's studies, such as Tzvetan Todorov, Jean Paul Sartre, Jaime Alazraki, David Roas, William Spindler and Martin Esslin. Moreover, theoretical propositions are used on categories of narrative such as Gérard Genette
Mestre
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NILSSON, Anna-Carin. "En gränsöverskridande resa i text och identitet : Magisk realism i Haruki Murakamis roman Kafka på stranden." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-20359.
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Magisk realism utgör ett sofistikerat berättagrepp i den japanske författaren Haruki Murakamis roman Kafka på stranden. I det realistiska ramverket av japansk vardag inträffar magiska inslag i form av fiskregn eller ikiryou en sorts 'gengångare'. Den magiska realismen utgör en artikulation mellan en medveten och en omedveten värld eller tar läsaren med på en gränsöverskridande resa för att utforska stil eller genre i texten samt identitet hos Jaget och den Andre.
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Waliaula, Ken Walibora. "Uhalisia na uhalisiamazingaombwe: mshabaha kati ya Dunia yao na The tin drum." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-98352.
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Je, kuna uhusiano gani kati ya Euphrase Kezilahabi wa Tanzania na Gabriel García Marquez wa Kolombia, au kati ya Kyallo Wadi Wamitila wa Kenya na Juan Rulfo wa Meksiko ama kati ya Günter Grass wa Ujerumani na Said Ahmed Mohamed wa Zanzibar? Waandishi hawa waliotengwa kitaifa na kilugha wanaunganishwa na uamuzi wao wa kuandika riwaya kwenye mtindo usiokuwa wa kawaida, mtindo wa uhalisiamazingaombwe. Kwa kulinganisha na kulinganua riwaya ya Mohamed na ile ya Grass ninakazia nadhari dayolojia ya kina iliyochipuka kati ya fasihi ya Kiswahili na fasihi ya ulimwenguni pote. Ni maoni yangu kwamba riwaya mbili hizi, zinakikabili kizungumkuti cha kuwepo kwa mwanadamu kwa kuutupilia mbali mfumo wa uwakilishi wenye uhalisia kama tunavyoujua. Badala yake riwaya hizi zimezingatia mtindo wa ujumi wa kisasabaadaye (postmodern aesthetics). Kazi hizi za sanaa zinatumia sifa bainifu za uhalisia mazingaombwe kama nyenzo za kuakisi na kuakisi kwa kubirua hali halisi ya udhaifu, kuyumbayumba na ukosefu wa uthabiti na udumifu katika maisha Afrika na Ulaya.
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Wilson, Corey Carter. "Dis/entwining Bodies: Magical Realism, Corporeality, and Reconciliation in Achmat Dangor’s Short Fiction." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1307.
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Following the formal conclusion of reconciliatory processes in a newly post-apartheid South Africa, narrative remained a perdurable, centripetal force. Extending into the realm of literature, the inquiries of the Truth and Reconciliation Commission were altered and enlarged. The mode of magical realism, in particular, emerged as a viable method not only for representing the world, but for working through uncertain futures and traumatic histories. Shimmering with the extraordinary and ineffable strangeness of the magical realist text, Achmat Dangor’s short story “The Devil”, offers expansive, recognizable and revelatory ways of dealing with the trauma of apartheid. Crucially, the narrative represents the private efforts of individual, personal healing in contradistinction with official processes of reconciliation. This thesis examines the ways in which “The Devil” proposes the body as a site of exploring the structuring antipodes of individual-collective and public-private, ultimately untethering these binaries through a process of bodily dis/entwining.