The term Magic Realism is a derivation of 'lo real maravilloso' - a To begin with, the phenomenon of the marvelous presupposes faith. The marvelous begins to be unmistakably marvelous when it arises from an unexpected alteration of reality (the miracle), from a privileged revelation of reality an unaccustomed insight that is singularly favored by the unexpected richness of reality or an amplification of the scale and categories of reality perceived with particular intensity by virtue of an exaltation of the spirit that leads it to a kind of extreme state. The 'marvelous real' subsisted in its raw state, covert and omnipresent, inĪll that is Latin American. Prologue to his novel The Kingdom of this World in 1949. A Cuban novelistĪlejo Carpentier (1904-1980) used the term 'lo real maravilloso' in the Prominent influence on the literatures of the world. Is in fact a universal phenomenon with a wide ranging history that has had But a close look at the literatures of the worldĮstablishes the fact that this strategy was advocated by writers in differentĪges though the expression/term is a recent development. The Latin American writers who are credited to have popularized it as a SomeĪrtists associated with magic realist paintings are Ivan Albright, PaulĬadmus, Philip Evergood, George Tooker, Marcela Donoso and Marcelaįew critics regard Magic Realism as a regional trend restricted to Overtly/explicitly fantastic in Magic Realism is a later development. The intensity ofĮffort and approach in creating these paintings endowed them with a Reach the spirit, the magic and the mystery beneath it. They also dealt with the exterior of an object and by doing so aimed to The exponents of the movement wereĭistinguished for their realistic, often cynical style of painting with minuteĭetails and concurrence of forward movement with a sense of distance. Objectivity) movement who were opposed to the prevailing style ofĮxpressionism and Abstraction. German painters in 1920s known as the Neue Sachlichkeit (New 'a way of representing life and responding to reality and pictoriallyĭepicting the enigmas of reality.' The term was applied to the works of To Roh, Magic Realism was not only an art category but also

It was first introduced by Franz Roh a German artĬritic in 1924. The term marked aĭeparture from the extravagances of Expressionism^ and the return to Magic Reahsm has its origin in the art world. The magical realist does not try to copy the surrounding reality (as the realistsĭid) or to wound it (as the surrealists did) but to seize the mystery that breathes behind things. In magical realism key events have no logical or psychological explanation. The principle thing is not the creation of imaginary beings or worlds but the discovery of the mysterious relationship between man and his circumstances. In magical realism the writer confronts reality and tries to untangle it, to discover what is mysterious in things, in life, in human acts. Magical realism is, more than anything else, an attitude toward reality that can be expressed in popular or cultured forms, in elaborate or rustic styles, in closed or open structures. Techniques under study will further assist in a better understanding of the The brief biographical history of the life and works of AngelaĬarter summarized in the Introduction along with the appraisal of these Terms and understanding of their historical background becomes These techniques and strategies are the cornerstones on In a study on Magic Realism and Gothic Tradition in the Novels ofĪngela Carter, it seems reasonable as well as indispensable to begin withĪ detailed study of the terms - Magic Realism, Gothic Tradition and

Understanding Magic Realism, Gothic Tradition

Gothic literature vs magical realism