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Download A Companion to Magical Realism by Stephen M. Hart, Wen-chin Ouyang PDF

By Stephen M. Hart, Wen-chin Ouyang

ISBN-10: 1846153883

ISBN-13: 9781846153884

ISBN-10: 1855661209

ISBN-13: 9781855661202

This new better half to Magical Realism offers an evaluate of the world-wide effect of a circulate which used to be incubated in Germany, flourished in Latin the US after which unfold to the remainder of the area. It offers a collection of up to date tests of the paintings of writers routinely linked to magical realism resembling Gabriel García Márquez (in specific his lately released memoirs), Alejo Carpentier, Miguel ngel Asturias, Juan Rulfo, Isabel Allende, Laura Esquivel and Salman Rushdie, in addition to bringing into the fold new authors reminiscent of W.B. Yeats, Seamus Heaney, José Saramago, Dorit Rabinyan, Ovid, María Luisa Bombal, Ibrahim al-Kawni, Mayra Montero, Nakagami Kenji, José Eustasio Rivera and Elias Khoury, mentioned for the 1st time within the context of magical realism. Written in a jargon-free sort, and with all quotations translated into English, this ebook bargains a clean new interdisciplinary slant on magical realism as a world literary phenomenon rising from the trauma of colonial dispossession. The better half additionally has a consultant to extra examining.

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Extra resources for A Companion to Magical Realism

Sample text

S. Eliot and William Carlos Williams. Pound’s Imagist emphasis on metaphor and Eliot’s reclamation of the ‘metaphysical’ conceits of the seventeenth-century English poets John Donne and George Herbert parallel Roh’s and Ortega’s aesthetics, and they predict the young poet Jorge Luis Borges, who also called for the renovation of figurative language in poetry in an early essay entitled ‘Metaphor’, where he urges the creation of images that are ‘. . 17 By the end of the 1920s, Borges had moved away from his avant garde involvement, and whether he had read Franz Roh is not documented.

In his 1949 preface to his novel The Kingdom of this World, Carpentier referred to lo real maravilloso americano, which he defined in negative terms: it is not European and it is most especially not surrealism. 30 But what is interesting for our purposes is that, almost immediately after 1949, he began to link his American marvelous real to the Baroque, eventually conflating the two in ways that render them virtually indistinguishable. Carpentier’s engagement of a European art historical category – the Baroque – when he was, in fact, aiming to differentiate American cultural identity from European cultural models, is noteworthy, and the question is why?

Hulme, who argued that poetry should be ‘all dry and hard’,15 and in fiction, James Joyce, whose conception of epiphany was, he said, ‘a revelation of the whatness of a thing’ – a sudden, unmediated apprehension of the world. S. Eliot and William Carlos Williams. Pound’s Imagist emphasis on metaphor and Eliot’s reclamation of the ‘metaphysical’ conceits of the seventeenth-century English poets John Donne and George Herbert parallel Roh’s and Ortega’s aesthetics, and they predict the young poet Jorge Luis Borges, who also called for the renovation of figurative language in poetry in an early essay entitled ‘Metaphor’, where he urges the creation of images that are ‘.

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A Companion to Magical Realism by Stephen M. Hart, Wen-chin Ouyang


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