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Magical Realism, 2004.
A comparative analysis of the magical realism of Isabelle Allende?s "The House of the Spirits" and Garcia Marquez?s "One Hundred Years of Solitude".
2,927 words (approx. 11.7 pages), 6 sources, MLA, £ 54.95
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Abstract
This paper examines different definitions of magical realism in literature and, in particular, compares and contrasts the magic realism aspects of Isabelle Allende?s "The House of the Spirits" and Garcia Marquez's "One Hundred Years of Solitude". The books are analyzed within the context of plot, setting, characters, style, and narrative structure. It shows how Garcia Marquez takes his themes and his use of devices to explore these themes to such exquisite heights that the comparison between the two books is really an unfair one and how there really is no comparison between the masterpiece of Garcia Marquez, and Allende?s rather one-dimensional, poor attempt at magic realism.
From the Paper
"Bell-Villada (2002) acknowledges that magic realism is not an original construct of Garcia Marquez, that, rather, it came from Kafka (Garcia Marquez continually acknowledges the great impact The Metamorphosis had on his writing), and from Faulkner, and that Garcia Marquez took the ideas from these authors, and built on them to give the world his complex, enchanting magic realist masterpiece. This view, of Bell-Villada (2002), differs from the euro-centric view of Zamora and Faris? (1995) book Magic Realism: Theory, History and Community, by putting Garcia-Marquez?s achievement in its rightful place as the masterpiece of magic realist fiction, rather than downplaying this achievement, through analysis, interpretation and presentation of worldwide, magic realist texts (such as those by Toni Morrison, and Rushdie, most of which were written post-One Hundred Years of Solitude)."
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Latin American Magical Realism, 2007.
This paper provides a contrasting study of the role of women in Latin American magical realism in 'The House of the Spirits' by Isabel Allende and 'One Hundred Years of Solitude' by Gabriel Garcia Marquez.
1,255 words (approx. 5.0 pages), 2 sources, MLA, £ 26.95
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Abstract
In this essay, the writer discusses that in both 'The House of the Spirits' by Isabel Allende and 'One Hundred Years of Solitude' by Gabriel Garcia Marquez, females figure prominently in the authors' narratives of magical realism. The writer notes that in both novels, the struggles of the main female protagonist exist on a literal level of story and have a symbolic level of significance beyond the story, about the nature of politics or the nature of women, respectively. The writer concludes that Allende ultimately seeks to question the reasons for man's inhumanity to men, and women, in a political reality, and uses magical realism to heighten the consequences of her character's actions and cruelties, while Marquez relates his tale of a fictional village and family exclusively in the register of the fantastic and the surreal.
From the Paper
"True, some of the actions of Allende's characters may be heightened by supernatural narrative motifs such as the matriarch Clara's ability to see into the future, but these plot points have ramifications beyond those of the psychological, symbolic, or merely mystical. For example, in a parallel of the terror that will come to Chile, Esteban hits his wife, and Clara takes a vow of silence, and never speaks to him until he dies. This act of defiance, although taken to an extreme in the novel, can also be read as a heightened example of a difficult relationship between husband and wife, and how the oppression within a patriarchal family structure mirrors the politics of the land."
"In contrast, Marquez's female archetypes lack the complex psychology of Allende's females, existing in the material dimension alone rather than on simultaneous spiritual and material planes."
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Magic Realism In Photography, 2008.
An analysis of how magic realism can be applied to the medium of photography.
2,127 words (approx. 8.5 pages), 7 sources, MLA, £ 41.95
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Abstract
This paper discusses the history of the definitions of magic realism. It specifically focuses on magic realism within photography and if the term can be applied to specific forms of photography. The paper discusses the medium of photography and how the writer uses this medium. It also looks briefly at digital photography, as well as black and white photography.
From the Paper
" It is very difficult to apply the term magic realism to photography of any kind; perhaps because it seems that every kind of photography may be capable of being magic realism. Since the meaning of the term has come to encompass so many definitions, there is an argument for many kinds of photographs to be considered as magic realist photographs. In my photography, I truly want to infuse the logical even "normal" world with something as illogical as a state of mind, an imagination. By still using a representational language to do so, I believe my photographs can fit into the Roh and Hartlaub description of magic realism as well as the Carpentier and Uslar-Pietri description. It is possible to use objectifiable or representational art rather than abstract art to express a part of human reality. It may seem that the objective world is "crystallized" by a photograph, but the crystalline structure of a real external situation is easily fractured by the tiniest suggestion of an internal or psychological reality; the latter is in fact strengthened by the cold and certain detail of the former."
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Magic Realism, 2002.
A discussion the magic realism literary style of Cristina Garcia's novel "Dreaming in Cuba".
1,575 words (approx. 6.3 pages), 2 sources, £ 34.95
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Abstract
Discusses the magic realism literary style of Cristina Garcia's novel DREAMING IN CUBA. Traces concept of magic realist to Cuba and Cuban novelist Alejo Carpentier. Critical review of characters, and their interaction in Cuba and New York. Themes of family, politics, love, dreams, visions, memory. Author's attitude toward magic realism.
From the Paper
"It is altogether fitting that Cristina Garcia should plunge us into a world defined by the always shifting definitions of the world of magical realism, for Garcia?s books are essentially Cuban, and the concept of magical realism itself was born in Cuba. Although this style of writing is perhaps best known through the work of Argentine writers like Jorge Luis Borges, the term itself and the literary style that this sometimes elusive phrase refers to were the children of Cuban novelist Alejo Carpentier. Carpentier was seeking for a literary style (and concept) broad enough to accommodate both the events of everyday life as he saw it unfolding before him in the years after World War II in Cuba and the fabulous nature of Latin American geography and history (Zamora and Faris, 1995, p. 36).
Carpentier?s ideas about the kind of writing that could span such..."
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Magical Realism, 2002.
A study of Magical Realism in Juan Rulfo's "Pedro Paramo" and Gabriel Garcia-Marquez's "Death Constant Beyond Love".
585 words (approx. 2.3 pages), 0 sources, £ 12.95
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Abstract
The paper discusses how the use of Magical Realism, as a technique, in "Pedro Paramo" by Juan Rulfo and "Death Constant Beyond Love" by Gabriel-Garcia Marquez, is essentially one whereby elements of the unreal are inextricably woven into real life to question the difference, if any, between illusion and reality. The paper shows how the use of the technique is apparent in the overall story as well as in the way the principal protagonists are shown dealing with life.
From the Paper
"Similarly, in Death Constant Beyond Love, Gabriel Garc?a-M?rquez?s story of Senator Onesimo Sanchez?s continual quest for life in the face of imminent death, the question of illusion and reality is highlighted through the Senator?s continued campaigning and his indulgence in an affair that ultimately causes his downfall. Was the Senator deluding himself with the only reality being death or was the Senator only continuing to live what had always been his reality as in the false make-believe world of politics and in fact, being realistic, by making most of the time he had left with Laura (?he found the woman of his life?: 2430)? Thus, the lines between illusion and reality begin to blur depending on the perspective from which it is considered ? the Senator?s or the reader?s."
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Gabriel Garcia Marquez and Magical Realism, 2007.
Examines Gabriel Garcia Marquez uses magical realism in his works.
853 words (approx. 3.4 pages), 6 sources, MLA, £ 19.95
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Abstract
Gabriel Garcia Marquez and his works are inextricably linked to a style of literature known as magical realism, which is a type of literature that is usually characterized by elements of the fantastic woven into the story with a serious presentation. This paper examines how Garcia Marquez uses this element in his works, such as in "One Hundred Years of Solitude" and "Leaf Storm".
From the Paper
"In his 1955 book, "Leaf Storm," Marquez set a new direction to Colombian literature by experimenting with linear time (Cohn). He suspended the forward movement of time through the experiences of the individual characters and of the town itself (Cohn). His use of time reduplicates at the level of form the historical and social situations in a town where the flow of time is no longer significant."
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Esquivel's and Borges' Modes of Magical Realism, 2002.
Compares the modes of magical realism used by Laura Esquivel to those used by Borges.
2,900 words (approx. 11.6 pages), 4 sources, £ 67.95
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Abstract
This twelve page undergraduate paper compares the modes of magical realism used by Laura Esquivel to those used by Borges. While there are similarities, the attitudes of the authors result in profound contrasts, primarily in terms of gender and philosophical outlook.
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Magic Realism in "Chronicle of a Death Foretold", 2008.
An analysis of the theme of magic realism in "Chronicle of a Death Foretold" by Gabriel Garcia Marquez.
1,930 words (approx. 7.7 pages), 0 sources, MLA, £ 38.95
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Abstract
Within the context of magical realism, this paper attempts to delineate the character of Angela Vicario ,from "Chronicle of a Death Foretold" by Gabriel Garcia Marquez, primarily, as a product of her marginalized gender and class in a contemporary Latin American town. Further, it analyzes her as an individual who in spite of the rigid socio-cultural constructs of acceptable femininity, code of honor and marriage, 'magically' rises from subjection to subjectivity. The paper also examines the larger fabric of this novel which is fraught with rich suggestiveness, ambiguity and contradiction as it questions the legitimacy of an act of murder (Santiago's) which has been committed without its reason being either proved or justified.
From the Paper
"The interplay of several statements given by various witnesses and members of the society locates Angela as a "perfect" girl who was "reared to get married." The narrative fits her well within the model of traditional-cultural notions of attractive femininity. The omniscient narrator underlines her suitability as a prospective wife as she was the "prettiest" amongst the Vicario girls. Further, she could also "sew by machine, wash and iron ... and write engagement announcements." Moreover, to quote the narrator's mother, "any man will be happy with them (Vicario girls) because they have been raised to suffer". These quotes make important statements on the gender based marginalization of as Angela. It exposes the constructed nature of gender, wherein girls are trained to perform certain duties in order to fulfill a particular role in a patriarchal set-up. "
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The Concept of Magic, 2006.
This paper discusses Robertson Davies' novel that portrays a world of magical realism.
1,350 words (approx. 5.4 pages), 5 sources, £ 33.95
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Abstract
The paper illustrates how Robertson Davies created a novel that was engulfed in memories of his childhood and that focused on the magic that exists in life in many ways. The paper looks at how Davies allowed the characters of Fifth Business to examine the magic of religion, the belief in saints, the concept of magic itself and the spiritual belief that each individual has a clear role to play throughout life.
From the Paper
"His main character, Dunstan, serves as a guide for the novel, because it is through this character that the reader is capable of comparing fantasy to reality, and entering the world that Davis has created. Wendy Faris and Lois Zamora contend that this element is important to magical realism because the author constructs his world in such a way that regardless of how unbelievable the world may be outside of the book, within the book it possesses perfect logic to the reader."
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A Comparison of Genre in Literature, 2002.
Examines two stories to compare the genres of Latin magical realism and American Moralism.
1,150 words (approx. 4.6 pages), 5 sources, £ 27.95
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Abstract
This paper examines the structure of the genres of American Moralism and Latin magical realism to depict themes that are common between these two genres. Two short stories are used in order to demonstrate this concept: These stories are Jolio Cortazar's work of magical realism entitled "Continuity of Parks" and Ernest Gaines' work of American Moralism entitled "Dead Man Walking".
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"A Very Old Man with Enormous Wings", 2005.
A look Gabriel Garcia Marquez's use of magical realism to examine faith in "A Very Old Man with Enormous Wings".
807 words (approx. 3.2 pages), 0 sources, £ 17.95
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Abstract
This paper examines the nature and meaning of faith as a theme as well as the literary technique of magical realism Gabriel Garcia Marquez's short story, "A Very Old Man with Enormous Wings". It concludes that Marquez seems to value innocent faith more than the authority that organized religion emphasizes and that his angel and his flawed miracles reflect the primacy of faith over organized religion.
From the Paper
"The villagers' reaction to their celestial visitor incorporates a second layer of unreality on the angel's magical appearance. Confronted for the first time by a heavenly apparition, the villagers decide, "against the judgment of the wise neighbor woman, [that] they did not have the heart to club him to death." Instead, "Pelayo watched over him all afternoon from the kitchen, armed with his bailiff's club, and before going to bed he dragged him out of the mud and locked him up with the hens in the wire chicken coop." The villagers' initial reaction to the Old Man, like that of Pelayo, shows a definite lack of faith in his provenance and intentions."
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"Song Of Solomon" ( Toni Morrison ), 1999.
Analyzes the novel's magic realism, ambiguities of identity, black culture, myth, fables, archetypes and symbols.
1,800 words (approx. 7.2 pages), 5 sources, £ 40.95
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Abstract
This research will examine elements of magic realism and what Malcolm Bradbury calls "the paradoxes and ambiguities of human identity" that emerge in Toni Morrison's Song of Solomon. The research will set forth the pattern of ideas that make Song of Solomon relevant to identity issues in the context of black culture
From the Paper
"This research will examine elements of magic realism and what Malcolm Bradbury calls "the paradoxes and ambiguities of human identity" that emerge in Toni Morrison's Song of Solomon. The research will set forth the pattern of ideas that make Song of Solomon relevant to identity issues in the context of black culture and then discuss the means by which such narrative strategies and devices as magic realism, as well as other features of Morrison's work that Bradbury identifies, such as the power of myth and hidden fables, are employed to reach coherent meaning and sentient effect.
In discussing cultural myth and archetypes that explain collective memory and cultural identity, Eliade (27-8) refers to "acts which presuppose an absolute reality, a reality which is extrahuman . . . created in illo tempore, in the mythical period, by an ..."
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Reality and Moralism, 2002.
This paper discusses Latin American magic realism and American moralism in the context of Julio Cortazar's "Continuity of Parks", Ernest Gaines' "A Lesson Before Dying", and Helen Prejean's "Dead Man Walking".
1,150 words (approx. 4.6 pages), 5 sources, £ 27.95
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Abstract
The paper shows that magic realism is a writing tradition that blurs the distinction between fantasy and reality The author points out that American moralism makes ethical statements about reality that transcends the circumstances of the writing to address the basic predicament of the human condition.
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"Pedro Peramo", 2004.
An analysis of magical realism in Juan Rulfo?s novel, "Pedro Peramo".
745 words (approx. 3.0 pages), 4 sources, MLA, £ 16.95
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Abstract
This paper briefly discusses the concept of magical realism in Rulfo's novel. It defines this concept in the context of the story and then points out examples of how this style was used to its maximum by Rulfo. It concludes that the haunting effects of "Pedro Peramo" make it one of the most celebrated works of Latin American literature.
From the Paper
"When examining the Juan Rulfo?s novel, Pedro Peramo, one must pose the question: what is meant by ?magical realism?? Magical realism is a term of undetermined origin, but is accredited to Franz Roh, a German Post-Expressionist painter, who devised the term to describe a return to Realism following the abstract styles and fantastic, ethereal subjects of the Expressionists of the early twentieth century (Zamora 15). From a literary vantage point, it was first applied to Latin American literature by the Venezuelan critic, Uslar Pietri, and later adopted by Miguel Angel Asturias to describe his Nobel Prize-winning novels, and the name of the genre took off like wildfire to describe much of Latin American fiction of the mid-twentieth century (Leeper). Magical realist works are characterized by their strong narrative combined with the elements of fantasy, and contain references to the existence of the supernatural or anything that is considered contrary to our conventional view of reality (Chanady 17)."
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