Magical realism in the context of Genre fiction


Magical realism in the context of Genre fiction

⭐ Core Definition: Magical realism

Magical realism, magic realism, or marvelous realism is a style or genre of fiction and art that presents a realistic view of the world while incorporating magical elements, often blurring the lines between speculation and reality. Magical realism is the most commonly used of the three terms, and refers to literature, in particular, with magical or supernatural phenomena presented in an otherwise real-world or mundane setting, and is commonly found in novels and dramatic performances. In his article "Magical Realism in Spanish American Literature", Luis Leal explains the difference between magic literature and magical realism, stating that, "Magical realism is not magic literature either. Its aim, unlike that of magic, is to express emotions, not to evoke them." Despite including certain magic elements, it is generally considered to be a different genre from fantasy because magical realism uses a substantial amount of realistic detail and employs magical elements to make a point about reality, while fantasy stories are often separated from reality. The two are also distinguished in that magical realism is closer to literary fiction than to fantasy, which is instead a type of genre fiction. Magical realism is often seen as an amalgamation of real and magical elements that produces a more inclusive writing form than either literary realism or fantasy.

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Magical realism in the context of Speculative fiction

Speculative fiction is an umbrella genre of fiction that encompasses all the subgenres that depart from realism, or strictly imitating everyday reality, instead presenting fantastical, supernatural, futuristic, or other highly imaginative realms or beings.

This catch-all genre includes, but is not limited to: fantasy, science fiction, science fantasy, superhero, paranormal and supernatural horror, alternate history, magical realism, slipstream, weird fiction, utopia and dystopia, apocalyptic and post-apocalyptic fiction. In other words, the genre presents individuals, events, or places beyond the ordinary real world.

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Magical realism in the context of Frida Kahlo

Magdalena Carmen Frida Kahlo y Calderón (Spanish pronunciation: [ˈfɾiða ˈkalo]; 6 July 1907 – 13 July 1954) was a Mexican painter known for her many portraits, self-portraits, and works inspired by the nature and artifacts of Mexico. Inspired by the country's popular culture, she employed a naïve folk art style to explore questions of identity, postcolonialism, gender, class, and race in Mexican society. Her paintings often had strong autobiographical elements and mixed realism with fantasy. In addition to belonging to the post-revolutionary Mexicayotl movement, which sought to define a Mexican identity, Kahlo has been described as a surrealist or magical realist. She is also known for painting about her experience of chronic pain. Her 1940 self-portrait titled The Dream (The Bed) holds the record for the most expensive work by a female artist ever auctioned at $54.7 million.

Born to a German father and a mestiza mother (of Purépecha descent), Kahlo spent most of her childhood and adult life at La Casa Azul, her family home in Coyoacán – now publicly accessible as the Frida Kahlo Museum. Although she was disabled by polio as a child, Kahlo had been a promising student headed for medical school until being injured in a bus accident at the age of 18, which caused her lifelong pain and medical problems. During her recovery, she returned to her childhood interest in art with the idea of becoming an artist.

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Magical realism in the context of Jorge Luis Borges

Jorge Francisco Isidoro Luis Borges (/ˈbɔːrhɛs/ BOR-hess; Spanish: [ˈxoɾxe ˈlwis ˈboɾxes] ; 24 August 1899 – 14 June 1986) was an Argentine short-story writer, essayist, poet and translator regarded as a key figure in Spanish-language and international literature. His best-known works, Ficciones (transl.Fictions) and El Aleph (transl.The Aleph), published in the 1940s, are collections of short stories exploring motifs such as dreams, labyrinths, chance, infinity, archives, mirrors, fictional writers, and mythology. Borges's works have contributed to philosophical literature and the fantasy genre, and have had a major influence on the magical realist movement in 20th century Latin American literature.

Born in Buenos Aires, Borges later moved with his family to Switzerland in 1914, where he studied at the Collège de Genève. The family travelled widely in Europe, including Spain. On his return to Argentina in 1921, Borges began publishing his poems and essays in surrealist literary journals. He also worked as a librarian and public lecturer. In 1955, he was appointed director of the National Public Library and professor of English Literature at the University of Buenos Aires. He became completely blind by the age of 55. Scholars have suggested that his progressive blindness helped him to create innovative literary symbols through imagination. By the 1960s, his work was translated and published widely in the United States and Europe. Borges himself was fluent in several languages.

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Magical realism in the context of Latin American literature

Latin American literature consists of the oral and written literature of Latin America in several languages, particularly in Spanish, Portuguese, and the indigenous languages of Latin America. Latin American literature rose to particular prominence globally during the second half of the 20th century, largely due to the international success of the style known as magical realism. As such, the region's literature is often associated solely with this style, with the 20th century literary movement known as Latin American Boom, and with its most famous exponent, Gabriel García Márquez. Latin American literature has a rich and complex tradition of literary production that dates back many centuries.

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