![]() Subsequent quotations are referenced within the main body of the text, accompanied by the abbreviation NC.Ī.A. Subsequent quotations are referenced within the main body of the text, accompanied by the abbreviation HS.Īngela Carter, Nights at the Circus (London: Picador, 1985), 53. Magda Bogin (London: Black Swan, 1986), 78. ![]() Isabel Allende, The House of the Spirits trans. ![]() Subsequent quotations are referenced within the main body of the text, accompanied by the abbreviation EL. Margaret Sayers Peden (Harmondsworth: Penguin, 1989), 266. See Bill Ashcroft, Gareth Griffiths, and Helen Tiffin (eds), “Introduction”, The Post-Colonial Studies Reader (London: Routledge, 1995), 117. William Rowe and Vivian Schelling, Memory and Modernity: Popular Culture in Latin America (London: Verso, 1991), 214. Lynne Pearce, Reading Dialogics (London: Edward Arnold, 1994), 195. Faris (eds), Magical Realism: Theory, History, Community (Durham: Duke University Press, 1995), 86.įor a fuller discussion of this issue see Simon During, “Postmodernism or Post-Colonialism Today”, in Bill Ashcroft, Gareth Griffiths and Helen Tiffin (eds), The Post-Colonial Studies Reader (London: Routledge, 1995), 125–9. This process is experimental and the keywords may be updated as the learning algorithm improves.Īlejo Carpentier, “On the Marvelous Real in America”, in Lois Parkinson Zamora and Wendy B. These keywords were added by machine and not by the authors. 2 In literature it can be seen to take the opposite trajectory, rooting itself in the real, but allying magical realism with the extraordinary within the real, evoking a type of double-edged frisson not dissimilar to the concerns of the post-colonial, in that both actively resist turning what one might define as “the Other” (the fantastic/foreign/ native) into “the Same” (realism/empiricism/empire). To reiterate this in brief, its origins lie in art history, first being coined in 1925 by Franz Roh, actually as a counter-response to what Roh saw as the “exaggerated preference for fantastic, extraterrestrial, remote objects” typical of the Expressionist movement. The etymology of the term is repeatedly emphasized by all critics of the field. Its very name associates the term with oxymoron (how can something simultaneously be “real” and “magical” at the end of the twentieth century?) and, in that regard, provides a perfect framework for many of the concerns of postmodern writers of the fantastic, while also being integrally concerned with the impact of post-colonialism upon narrative theory. In comparison with ancient folklore, magic realism is a more recent form of fantastic fiction still relatively unfamiliar to many contemporary readers in Britain and Europe.
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