Magical Realism

"Children's Literature is the body of written works and accompanying illustrations produced in order to entertain or instruct young people. The genre encompasses a wide range of works, including acknowledged classics of world literature, picture books and easy-to-read stories written exclusively for children, and fairy tales, lullabies, fables, folk songs and other primarily orally transmitted materials."(Britannica Encyclopaedia 486).Even today, Children's Literature has its own importance not only on young people but also in the lives of adults.' Alice in Wonderland' is one such novel. For children it opens a world of fantasy where there is no logic or legality or proportion, while adults consider it as a parody of education, politics, poetry, literature and Victorian life in general. In this research article, the researcher deals with Magical Realism in Alice in Wonderland and how the author presents magical events in such a way that it is real.

Magical realism is a genre constructed and developed during the late 19th and early 20th century which has continued to evolve today. The definitions of this genre have been closely associated with many similar literary movements such as the magic real or marvellous realism. Magical realism is defined as literature that is rooted in everyday occurrences and observed by the author and audience as “integrated into reality.” I will further define magical realism in the context of its development alongside these very similar iterations of magical realism. Latin America* has been one of the foremost contributors to the genre of magical realism as they have greatly contributed to the critical discourse of both defining and constructing this literature. The genre is closely associated with postcolonial and revolutionary movements. It has also served as a political tool for many revolutionaries to communicate anticolonial ideals and establish a Latin American identity outside of the restrictive and subjugating hand of western imperialism. As observed by Walter Mignolo in A Darker Side of Western Imperialism, Europeans dismiss and undermine cultures, traditions, and languages outside of their own. The history of imperialism is discussed by Roberto González Echevarría, a Cuban born literary critic of Latin American literature, as inspiring the modernismo literary movement that magical realism comes from. The feelings of “cultural difference” between colonial countries and Latin America produced the need to find a new way to communicate. In my paper I will analyze the ontonlogical and formal development of magical realism, that centered around a postcolonial identity, within the context of two Chilen writers: Maria Luisa Bombal and Isabel Allende. Each of these writers will demonstrate two major ideas. The first idea is that the Chilean iteration of magical realism needs to be read in its specific historical context, as "Latin American" is a broad, colonial term. The second idea being that by looking at the developments of Chilean magical realism that occur between these two authors, we can see both literary and historical insights.

The origins of modern photojournalism in Germany, during the yeas 1925-1933, is the central object of this dissertation. Checking popular illustrated magazines, such as Berlliner Illustrirte Zeitung, and their contemporary critics, one seeks to know if could understand them with a notion of “aesthetic of transparency”. In order to arrive at the empirical research, some notions about the modern and modernity were delineated, hoping to understand the cultural processes and regimes of visuality of the beginning of 1920s as its unfolding, as well as starting from some reflections of Charles Baudelaire to think the aesthetic experience of modernity and its relation with photography. In addition, it was tried to understand if a dialogue between realism and modernisms could be possible, within the German context. The Weimar Republic was thought of as a democratic space for political, economic and social rearticulation, in which photography would have been articulated by the artistic field such as Neues Sehen (New Vision), by Lászlo Moholy-Nagy, and Neue Sachlichkeit Objectivity), by Albert Renger-Patzsch, exerting on the photographic production in journalism some of its conditions for its modernization. Finally, it was reflected on the modernization of the photojournalism in the Weimar Republic from the illustrated magazines study, based on the use of the photographic series potentially narrating journalistic facts, mainly from some photographs of Erich Salomon and Felix H. Man. This study allowed us to verify that the ripening of photojournalism met a demand of the German reading public for facts, reinforcing a certain professional ideology of objectivity. Having been possible by the coincidence of relations, as photographers willing to produce many images of various aesthetic forms under a diversity of conditions, allied to the freedom of editorial power and its experimentation, besides the rising of photographic agencies that began to order photographic work with the written report.

Монография посвящена исследованию творческого метода известного русского писателя Дмитрия Липскерова. Романная проза современника рассматривается в русле метода магический реализм, являющегося в его творчестве основным. Художественное слияние реальной плоскости с магической посредством традиционного приёма сна и использования древнейших архетипов матери и смерти обусловливает психологическую глубину и насыщенность произведений Д. Липскерова широким спектром реминисценций. Автор книги знакомит читателя со структурной типологией магического реализма как художественного метода, историей возникновения и трансформаций термина и понятия магический реализм.


The monograph is devoted to the study of the creative method applied by the famous Russian writer Dmitri Lipskerov. His contemporary novel prose is analyzed considering the method of magic realism as the writer’s main literary method. The first part of the book is devoted to magical realism as a terminology unit and an artistic method including its appearance and development. Thanks to the book written by Franz Roh, which became the program reading for the world of arts in general, the term Magischer Realismus crossed a lot of borders (‘magisch-realisme’ — Dutch, ‘magic realism’ and ‘magical realism’ — English, ‘realismo mágico’ — Spanish, ‘магический’, ‘фантастический’, ‘метафизический’ реализм — Russian). Modern Ukrainian literary criticism uses the terms магічний реалізм and химерна проза. There is virtually no culture where this term has been kept alone. German terms — „twins“ (Magischer Realismus, Neue Sachlichkeit) with their 90 year experience and their foreign counterparts had proven that the term suggested by Franz Roh could be taken as universal. Having crossed the national borders, it had become very popular being often used as an attractive metaphor in the media. Journalists connect the idea of magical realism with completely different phenomena and authors that is why literary critics are very careful with its use as a highly specialized literary term.
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Magic realism is an individual method that is not tied to the time; the combination of the place + the marginality + mythology is laid in its basis. Depending on which of these components and which of the areas the writer prefers in his/her works, there is some idiostyle “tuning” on the scale of various stages of magic development or the transition to mysticism. The difference of magical realism as a realistic method from realistic directions is, firstly, in the transfer of the second element (the reality) into the “through the looking-glass” plane, and secondly, its condition if being untied to time.
For example, within the social realism tradition the role of one of the components had been played by the ideology as the idea of another God and communism as another belief, but such belief had never crossed the borders of visible reality. Within the method of magical realism the psychological plane of unknown being seen through the “looking-glass” is represented as the second element and it can be identified as the life of soul. The life of the soul can be never understood until the end when compared with the life of the body (visible, predictable). Two forms of life being naturally presented and somehow bonded, which cannot exist one without the other: the life of the body and the life of the soul allow us to speak about the essential and consistent nature of the magical realism concept.
Realism is a literary tradition; magical realism is an individual method. Magical realism has been developing within the flow of the most widespread literary movement such as realism. Magic realism is not a mass phenomenon, but a specific tool of a particular master.
At the heart of the works created by magical realism authors there are two basic elements: the real and the “through the looking-glass” plane being united by invisible “gates” such as a multi-channel, cross-cultural, through the time transition. The canvas of magical realism is the real (visible) life which is interconnected with “through the looking-glass” plane (different forms of the subconscious). The transition between the real and “through the looking-glass” world is the dream / the death (tunnel for the soul travelling).
II
The literary works of Dmitry Lipskerov can serve a vivid example of some creative kind of marginality. The author manages to remain self-sufficient, and despite the fact of 25 year being on the literary scene he is constantly compared with the classics and contemporaries, with well-known western and Russian writers. Today there are more than 70 writers with a “similar” style. During his beginning drama period there was the parallel with Chekhov followed by much more popular comparison with Marquez. Later Huxley, Boccaccio, Hugo, Gogol, Saltykov-Shchedrin, Bulgakov, Pasternak, Kuprin, Bunin, Charms, Aitmatov, Pelevin, Belov, Sorokin, Akunin, Kafka, Miller, Hesse, Murakami, Pavich, Eco, Krusanov, Korolev and many others appeared in the list.
There is a set of associative links with the various epochs, countries, authors, events and styles in Lipskerov’s works. However, even with all possible comparisons the writer has created his own recognizable style.
The works of Dmitry Lipskerov can be described as a culturological laboratory where a Russian surgeon dissects the global symbolism. Imaginary writer’s luggage can be compared with Noah’s ark during the Flood. Its formation is interrelated with a breaking historical stage: the study of space and time was begun in the 90’s of the twentieth century, when Soviet history was collapsing and falling into the abyss, it had been the continent where the author was born. The symbolism of departure, floating on the ark and its drifting state in search of a new Promised Land were clearly imprinted in the very beginning of his career: in the names of the first plays “The River on the Asphalt” (1989) and “The School for Immigrants” (1990).
<…> Dmitry Lipskerov reflects the mystery and non-obvious as an ongoing, continuous process in his works. Being based on the global symbolism, mythology, literature and folklore and at the same time looking into the future, the author connects the astral and the physical body of his characters with all parts of the being, using the components of all four elements and the soul as a link. The event background in his works records the processes of global historical and ethical changes emerging at the turn of the centuries which haven’t been formed yet while still actively occurring.

The Magical Ironist. On "Shamanic Disease" by Jacek Hugo-Bader
The purpose of this paper is to analyze Jacek Hugo-Bader's novel reportage "Shamanic Disease" ("Szamańska choroba") understood as a blend of reportage and the conventions of magical realism. By utilizing ironic self-creation of the narrator in the reportage, Hugo-Bader's discussion of belief in terms of problematization and thematization rather than as a fact-finding process through research does not violate the referential pact. The case study is a part of the discussion on both the literary reportage, which boldly combines the elements of journalism with licentia poetica, and on Melchior Wańkowicz's "extension of the convention" of the reportage genre in Poland. In addition to the categories of realistic fiction and fantastic fiction-understood in the context of non-fiction-this paper will discuss a third element: magical fiction, which will be related to contemporary theories of performative ethnography.

{Ethan Hill, Bowdoin College} The man was dreaming, and he couldn’t remember his own name. He remembered that he liked the sound of it, that it had a way of rolling off the tongue. The man remembered that voices other than his own often uttered his name, so he presumed that he was rather famous.

This pre-reading activity is sure to grab students’ attention and get them excited to read. Wilhelm (2004) describes floorstorming as “various visual displays of images related to the text or unit that is going to be studied” (p. 84). Students work in small groups to explore the display using prompts to make predictions about the text. Students record responses and add pictures to the displays or you can assign a scribe to record responses in writing. After reading and discussing the text, students can create their own floorstorming displays for the text.

Diasporic literature has carved a niche in present times in Indian writings in English due to the rising migratory population to the West. Gaining popularity under the umbrella of post-colonial literature many writers have ventured to ventilate the varied vicissitudes of the immigrants from different perspectives. Women writers have delved deeply into the lives of those women who have difficulty in adapting to the western way of life. The present paper will take up an analysis of two reputed diasporic writers works Chitra Banerjee Divakaruni and her successor, Jhumpa Lahiri from a diasporic perspective.

Sayfa-Pages 17-30 Yazar(lar), herhangi bir çıkar çatışması beyan etmemiştir. Öz: Bu makale, Ngũgĩ wa Thiong'o'nun Eve Dönüş adlı eserinde ziyadesiyle ifade edilen kişisel acıları ve tecrübeleri yoluyla sömürgecilere karşı cengini ve Afrika edebiyatı üzerindeki etkisi ile Pan-Afrikanist teori aracılığıyla yine Thiong'o tarafından yazılan Karganın Sihirbazı üzerindeki izdüşümünü tasvir etmeyi amaçlamaktadır. Ngũgĩ büyülü gerçekçiliği hem Afrika sözlü geleneğine yönelik hem de Afrika ülkelerini sözde geliştirme adı altında bu ülkelerden geriye kalan kültürü yok eden sömürgecilere karşı kullanmıştır. Ona göre, yerel dilin ve inançların yanı sıra kalıtsal kültürün korunması, Afrikalıların farklılıklarından bağımsız olarak direniş yaratmak için bir zorunluluk haline gelmiştir. Bir gurbetçi olarak yaşamak olsun ya da olmasın, bütün Afrikalılar bu mücadeleye katılmalıdır. Bu yüzden, bu makale Thiong'o ve onun düşüncelerini Pan-Afrikanizm ve büyülü gerçekliğin bir araya gelerek ansiklopedik romanı Karganın Sihirbazı ve seçme makalelerinin bulunduğu Eve Dönüş eserleri analiz etmeyi hedeflemektedir. Abstract: This article seeks to analyse The Wizard of the Crow, by Ngũgĩ wa Thiong'o, through the Pan-Africanist theory and the author's impact on African literature. Moreover, the article highlights the writings of Ngũgĩ highlighting the struggle against the colonizers stated in his Homecoming. He utilizes magical realism as a nostalgia to African oral tradition. He also condemns the practices of colonizers that are designed to destroy what is left of the African tradition. According to Ngũgĩ, preserving the local language and beliefs, as well as the inherited culture, is a must in order to create resistance, regardless of the differences among Africans. All Africans, whether or not they are living as expatriates, should take part in this struggle. Therefore, this article seeks to display Ngũgĩ and his ideas in an amalgamation of Pan-Africanism and magical realism via an intense analysis of his encyclopaedic novel, Wizard of the Crow, as well as Homecoming, which includes his collected writings.

En 1943, la artísta británica Leonora Carrington (1917-2011) se asienta en Cuidad de México tras su paso por París. No obstante, su obra trasciende la ortodoxia de los manifiestos surrealistas configurando un estilo personal donde convergen lo onírico, místico y maravilloso. Pese a la popularidad de su pintura, su narrativa ficcional y diálogo con lo visual apenas han sido explorados. Este estudio indaga en la mediación entre su discurso literario en los cuentos The Seventh Horse and Other Tales (1988) y el pictórico de su etapa mexicana. Partiendo de W. J. T. Mitchell y Magdalena Perkowska, analizo la influencia que la imagen ejerce sobre la palabra y viceversa. Carrington elabora una pintura de naturaleza narrativa, mientras que sus cuentos deconstruyen sus escenarios pictóricos. Lo maravilloso sirve como herramienta de conciliación entre lo textual y visual, contribuyendo a la mirada intermedial de su obra como un único cuento. Frente a la pureza del medio, sus cuentos y pintura constituyen una obra híbrida total con un mismo lenguaje maravilloso que trasciende lo onírico. Propongo nuevas aproximaciones a la lectura intermedial palabra/imagen en la cuentística hispanoamericana contemporánea, pero también reivindico a Carrington como escritora latinoamericana por su particular uso de lo maravilloso.

Palabras clave: Leonora Carrington, The Seventh Horse and Other Tales, palabra, imagen, lo maravilloso.

On the often overlooked irony in Jorge Luis Borges’ “The Library of Babel” (which is not the exhaustion of possible expression) and “Pierre Menard, Author of the Quixote” (which is not a death-of-the-author-birth-of-the-reader allegory). The narrator of "The Library of Babel" claims that it contains everything it is possible to express in all languages, yet the play with the library's character set (twenty-two lowercase letters, space, comma, and period - so we are told) shows that it is incapable even of expressing this brief story. The narrator of "Pierre Menard" is tied, through several allusions, to a prominent Nazi that Borges had elsewhere criticized - which demonstrates that his insistence that meaning be tied to the context of reading is meant as an implicit critique or deconstruction of reader-response criticism in the style of Barthes or Jauss.

Creative expression through visual images and symbols has communicated the essence of the human spirit and affirmed art-making as an inherent human capacity since the beginning of humanity. Across cultures and throughout history, tools of divination, exploration and deeper connection offer seekers diverse vocabularies and symbols that promise alternative ways of understanding the mysteries of the universe and humanity’s place within it.
The arts have always being integral to religion and spirituality. Sacred pictures, sacred symbols, sacred dances, chants, hymns and tunes have been used in rituals, in places of worship, and as aids to prayer and meditation in every religion. Its seem to be natural vehicles for expressing or connecting with the transcendent, with something beyond religion.
In this paper I attempt to present the artist as a shaman of our contemporary world and art- making as the path of transformation in search for the meaning of life and its mystery.
Are the arts searching for the spiritual in all of us?

Keywords: art, spirituality, magic realism, creative expression

Guillermo del Toro, a Mexican director, author, and a former special effects makeup artist, is best known for his Academy Award winning films Pan's Labyrinth (2006) and The Shape of Water (2017). With his grotesque and fantastical style, combined with the fascinating visuals and designs of extraordinary monsters, Toro became a unique auteur director. In his films, Toro usually reconciles fantastical fairy tales with real world political problems, which is a significant characteristic of 'magical realist' films. 'Magical realism', which was initially used to describe the work of Latin American writers, is a unique type of genre in which realist and fantastical elements are combined in one story. Hence, Pan's Labyrinth is a film which perfectly portrays the parallelism between what is real and what is fantasy. In the film, 11 years old heroine Ofelia creates a fantasy world of her own to escape the cruel and evil reality of war, set in the tyrannical world of Francisco Franco in 1944, and these two worlds go hand in hand. Just like his other film The Devil's Backbone (2001), Pan's Labyrinth portrays a historical and political context of the aftermath of the Spanish Civil War. With his unique style of cinematography, and editing, Toro successfully displays the brutal lives of Franco's fascists while depicting Ofelia's unreal fantasies.

In the present article, I analyze Domenico Dara’s three novels, their complex architectures and the poetic mode deployed in the narratives examined. The southern region of Calabria – where Dara was born and raised and where his narrations take place – is at the core of the novels and is depicted in ways that are distant from stereotypical and
conventional representations of Southern Italy. The analysis that I articulate in this text scrutinizes the elements of continuity and intertextuality in Dara’s novels, in particular the creation of an experimental language and the diffused presence of mental illness in
Dara’s imaginary and narratives.

Fashion hacking is a practice where fashion is reverse engineered and tuned to make users "fashion-­able", using social media to expand transversal tactics in order to reprogram and shapeshift fashion codes. Other traits address the shamanistic rituality of fashion and how participatory practices can expand the realm of fashion beyond the catwalk and ready-­to-­ wear paradigm. Can technologies express the mythical beauty of fashion?

Presses Universitaires du Septentrion. Collection "Perspectives"

Résumé:
Le roman contemporain trahit une fascination troublante pour l’irrationnel. Délaissant volontiers les rivages trop éclatants de la raison, il convoque des figures magiques souvent anachroniques (spectres, chamanes, sorcières) pour sonder les méandres d’une psyché collective dont les peurs et les impensés résistent aux voies de l’entendement. 
Il ne s’agit pas pour autant de renouer avec d’anciens régimes explicatifs, magiques ou religieux : face à un monde « désenchanté » (Weber), le surnaturel infiltre des dispositifs esthétiques qui oscillent entre la tentation ambiguë d’une reconstruction du sens et le deuil, nostalgique ou désabusé, d’une transcendance dont les romans attestent la perte.
Première étude panoramique consacrée à ce phénomène, cet ouvrage propose une analyse morphologique et fonctionnelle du surnaturel dans la littérature contemporaine en parcourant notamment les univers fictionnels d’Antoine Volodine, Sylvie Germain, Alain Fleischer, Marie NDiaye et Christian Garcin.

Alexis Wright’s novel Plains of Promise leaves non-Aboriginal readers with a vast array of unanswered questions which, in fact, forces them in a position similar to one of the story’s central characters, Mary, who unsuccessfully tries to unravel the mysteries of her past in order to establish a sense of identity and place. The protective silence that envelops the core of her novel reflects Wright’s claim that “there are a lot of things that need to be said to the country and I found fiction was one way of saying them without exposing people from my traditional area to the kind of scrutiny that a conventional history would have risked” (Ravencroft 1998, my italics). However, if her text forecloses a complete understanding of Aboriginal culture to the uninitiated, where does this impossibility to gain full access lead the mainstream reader? It is this paper’s contention that Wright’s novel, in not facilitating a definitive reading of its crucial events to mainstream readership, propels the latter to exercises of self-scrutiny and self-criticism, propounding an evaluation of how Westerners see themselves and the surrounding world. To support the idea that Plains of Promise points this way for non-Aboriginal readership, it will also deal with the novel Remembering Babylon by one of Australia’s foremost non-indigenous writers, David Malouf, and try to establish to what extent both works may have intersecting political agendas against the background of Australia’s multiculturalist policies throughout the decade of the 1990s.

Ambiguity is now widely seen by Western scholars as a defining
feature of literature. Keats’s notion of negative capability, the creative potential of “being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason” (Milnes 71), anticipates the cognitive concept of ambiguity tolerance that has been recently found to correlate with creativity. It can be argued that the fantastic is thus an extreme example of literariness. But what exactly does ambiguity mean in the context of the fantastic? The article explores it in the context of two contemporary novels based on fairy tales: The Snow Queen by Michael Cunningham and The Snow Child by Eowyn Ivey.

La novela La Hojarasca, del reconocido escritor colombiano Gabriel García Márquez, constituye su primera novela. En ella, el autor replantea un dilema moral bastante parecido al que presenta Sófocles en la tragedia de Antígona, razón por la cual es un pasaje de dicha obra el que se presenta en el epígrafe de La Hojarasca. Si bien los personajes y el contexto son muy distintos, Gabo reformula el dilema moral de Sófocles: ¿debe darse sepultura a un individuo indeseado? En este caso, el difunto en cuestión es el doctor del pueblo, quien no quiso atender a los pacientes que morían tocando su puerta. Sin embargo, en el caso de La Hojarasca, García Márquez deja un margen de acción bastante amplio al lector, quien, a partir del final de la novela, debe entrar en la escena como un personaje activo de esta y ofrecer un final adecuado a la historia. En efecto, es sobre este final que se centrará el presente análisis, pues es en este punto donde se resuelve el dilema moral presentado desde el principio. Para comenzar, la característica principal de la novela es que su final es inconcluso: no hay certeza de lo que ocurrió con el cadáver del doctor. Esto se debe a que a pesar de que el coronel obtiene el permiso del alcalde para por fin sepultarlo, nunca llegamos a conocer la reacción del pueblo cuando la puerta de la casa finalmente se abre y sale el ataúd del médico: " Cuando se abre la puerta empieza a cantar un alcaraván en alguna parte del pueblo. Ahora veo la calle. Veo el polvo brillante y ardiente. Veo varios hombres recostados contra la acera opuesta, con los brazos cruzados, mirando hacia el cuarto " (García Márquez, 1955). En efecto, la decisión de crear un final abierto no es para nada dada al azar: Gabo decidió sumergir a sus lectores en el final de la obra, de manera que estos tuvieran la oportunidad de ponerse en los zapatos del Coronel y del pueblo enfurecido y rencoroso de Macondo. Por esta misma razón es que se puede decir que el final de La Hojarasca tiene tantas interpretaciones posibles como lectores que se sumerjan en ella, pues al leer la novela, García Márquez nos dota a todos con la libertad necesaria para darle el final que queramos a la historia del Coronel y el cadáver del médico. Es decir que cada lector decide darle santa sepultura a aquel hombre indeseable o dejar que los macondianos lo humillen de la misma manera que él lo hizo con los heridos de la guerra. De esta manera, es posible afirmar que el autor concibió el final de su novela de esa manera tan particular para ahondar en el hecho que el dilema moral solo puede ser resuelto por los lectores, quienes deciden por sí mismos lo que debe hacerse con el cadáver. En segundo lugar, el hecho que el final sea inconcluso también puede aludir al carácter eterno y renovable del dilema ético presentado por Sófocles en primera instancia, a través del epígrafe de Antígona. En efecto, García Márquez decide retomar un dilema ético presentado siglos y siglos atrás, en la antigua Grecia, por una simple y llana razón: no tiene respuesta absoluta válida. Esto quiere decir que a través de los siglos el dilema moral presentado ha podido ser recalcado infinitas veces sin adquirir una respuesta formal que lo resuelva. Esta interpretación puede ser sustentada gracias al hecho que es el niño (es decir el personaje más joven) el que narra el final de la novela, lo cual puede significar que el

Magical realism, as a narrative mode or genre in adults’ literature, has been in vogue since its revivifying with the publication of Gabriel Garcia Marquez’s One Hundred Years of Solitude (1967). However, the depiction of the genre in children’s and juvenile literature is a new trend; the presence of its elements have been traced and proved feasibly applicable in the interpretation of recent children’s fiction such as David Almond’s Skelling (1998). In this regard, the main concern of the present article is to sift the characteristic features of magical realism within Neil Gaiman’s Coraline (2002) through the application of Wendy B. Faris’s theoretical framework of the genre therewith Tzvetan Todorov’s definition of the fantastic in order to introduce the novel as an exemplar of magical realism in the domain of children’s literature.
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Just like Winterson herself, The Passion is not an ordinary story yet an interesting combination of history and fiction with postmodernist touches.

Therefore, this paper will analyse time, setting and narration of this novel in terms of postmodernism.

After having published novels for an adult audience, in 1990 Sir Salman Rushdie published his first children’s book, Haroun and the Sea of Stories. This colourful, humoristic and alliterating written tale uses a metanarrative to describe the adventure of its twelve-year old protagonist, Haroun Khalifa in his quest in a transcendental realm. It bears many literary gifts that might, perhaps, remain unseen by a younger audience yet are noticeable and therefore increase its integrity, for adult readers when read on a deeper level. Critics and reviewers of Haroun and the Sea of Stories tend to agree that this novel has been Rushdie’s response to his personal situation as it was the first work he published after he had been forced into hiding due to a fatwa announced by the Ayatollah Khomeini of Iran whom hereby sentenced him to death. While to a certain extent this novel can irrefutably be read as such an allegory, there is a level of ambiguity in assessing the novel to merely be a reading of the tribulations Rushdie hereby encountered. The novel offers food for thought relating to deeper moral issues than the interpretation of solemnly relating to freedom of speech and literature, as deeper allegorical surfaces relating to borders and languages, as well as political and cultural conflicts afloat, when read on a deeper level. This essay will discuss how Rushdie juxtaposes literary sources and traditions from both Eastern and Western cultures as well as various era’s, and makes its moral internationally relatable in providing an answer to the question our protagonist ruminates on: ‘What’s the use of stories that aren’t even true?’. Followed by discussing the assumed allegory whilst simultaneously deconstructing, this to finalize by expatiating on colonial issues that can be interpreted from this tale’s abundant level of allusion.

The term " magical realism " has been a much debated subject in literary theory. Since Franz Roh first coined the term in 1925 in connection with Post-Expressionist Art, it has been most closely associated with two major periods in Latin American and Caribbean Culture, The first being that of the 1940s and 1950s, in which the concept was closely connected with that of the " marvellous " as something ontologically necessary to the regional population's " vision of everyday reality " ; and the second being that of the increasing period of the Latin American novel in the late 1950s and 1960s. As a prominent writer, Gabriel Garcia Marquez produced successful novels and short stories which are rich in magic realism. " The Incredible and Sad Tale of Innocent Erendira and Her Heartless Grandmother " , one of his well-known stories, contains both magical/supernatural elements and rational/realistic components in terms of characters and plot. Marquez's story The Innocent Erendira illustrates Todorov's idea of the fantastic narration which demonstrates a hesitation of the character or the reader between a natural or supernatural explanation of the events described. In this article, I will be examining the magical realist elements and Todorov's idea of fantastic and their application on the story. ÖZET " Büyülü gerçekçilik " edebiyat kuramı bağlamında çok tartışılan bir terim olagelmiştir. Franz Roh bu terimi Post-Ekspresyonist Sanat ile bağlantılı olarak ilk defa 1925 yılında türettiğinden beri Latin Amerika ve Karayipler Kültüründe ilki 1940lar, diğeri 1950ler olmak üzere iki ana dönemle yakından ilişkilendirilmiştir. Bunlardan ilkinde kavram bölge nüfusunun " gündelik gerçekliğin imgelemleri " ile ontolojik anlamda gerekli olan " olağanüstü " ile yakından ilintili; ikincisinde ise 1950lerin sonu ve 1960larda yükselen Latin Amerika romanı ile ilintilidir. Önde gelen bir yazar olarak Gabriel Garcia Marquez büyülü gerçekçilik açısından zengin olan başarılı roman ve hikâyeler yazmıştır. Bilinen hikâyelerinden biri olan " İyi Kalpli Erendira ile İnsafsız Büyükannesinin İnanılmaz ve Acıklı Öyküsü " karakter ve olay örgüsü bakımından hem büyülü/olağanüstü unsurlar hem de akılcı/gerçekçi bileşenler içermektedir. Marquez'in hikâyesi olan " İyi Kalpli Erendira " Todorov'un fantastik anlatım fikri olan karakter veya okuyucunun tarif edilen olayların doğal veya olağanüstü olup olmadığı arasında kararsızlık yaşamasını gösterir. Bu makalede, büyülü-gerçekçi unsurları ve Todorov'un fantastik fikrini ve bunun hikâye üzerinde uygulamasını inceleyeceğim.

When Isabel Allende began writing her letter to her ninety-year grandfather who was approaching death, it came out in a flow as if she had been in trance. Allende, who was residing in Caracas, Venezuela as a self-exile had been communication via a long-distance relationship with her grandpa, who lived in Santiago, Chile, under the " Reign of Terror " which was the Augusta Pinochet Regime. Allende's latter was a passionate and enduring testimomio to him. Her purpose was to keep him alive him living, in accordance with his idea of immortality. The literary Critic,

This research paper is concerned with an examination of Latin American Literature in relation to the popular culture of the region. In this case, the research will focus on literature within the genre called Magical Realism. The scope of this investigation is based on case studies of Gabriel Garcia Marquez in Colombia, Mario Vargas Llosa in Peru, Jorge Luis Borges in Argentina and Carlos Fuentes in Mexico. The time frame under consideration in this research will be the 1920, the beginning of the genre, present times; with specific attention to the historical time periods surrounding the authors and their respective works. The purpose of this research is to examine Latin American History in the context of Magical Realism, the ways in which the movement portrays historical events as well as the reaction of contemporary and modern day people to the products of the literary movement.
In order to explore the role of Magical Realism in literature and history, this paper will analyze the following:  Of Love and Other Demons by Garcia Marquez, The Green House by Vargas Llosa, The Garden of Forking Paths by Borges and The Good Conscience by Fuentes. In addition, this paper will pay particular attention to the work of Garcia Marquez as well as his biography. In this context, the primary sources under consideration include: the painting titled “Cuadro de Castas,” the Nobel Prize acceptance speeches of Garcia Marquez and Vargas Llosa, The New York Times literary releases for all the works. The secondary sources are  JSTOR articles : “Decadence and Modernity in the Unfinished Society: The Latin American Novel” by Larry S. Caney and “Symbolism and the Clash of Cultural Traditions in Colonial Spanish America in Garcia Marquez’s Del Amor y Otros Demonios” by Arnold M. Penuel.
In relation to the sources that are to be used, the historical components of the analysis will consider the social and political environment that led to the development of the movement of Magical Realism. Likewise alongside this consideration, the impact of these literary works on the public will be taken into account. To this effect, the questions that are to be examined include: What are the origins of Magical Realism? What are the stylistic characteristics that define the movement? How does each author implement these stylistic elements in the selected works? What are the social and political references found in the works? What are the social and political messages and themes explored by the author individually and collectively? These substantial questions will be the bulk of the paper and in this way they aim to make the reader aware of the historical context from which these literary works and their authors came.
Overall, the scope and methodology to be used in this paper aims to provide an examination of the historical relevance that can be found in the selected works. Furthermore, the purpose is to demonstrate what makes these pieces of literature part of the movement of Magical Realism. In this way, as a form of popular culture, literature is one of component that leads to a rounded understanding of the historical events that shaped the Latin American countries under consideration.

"While scientists tend to deny the possibility or viability of magic…
dear kindred,
… even while their theories increasingly demonstrate how it works, religionists usually accept the reality of magic while, most often, denouncing its use by anyone but their god/s, saints or prophets. The mythology that attends these beliefs tells us that one may use magic, perhaps even gaining fame, fortune and sensual fulfillment but in time one will always have to pay the price when the devil calls in his marker or the magic rebounds on one."