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1

Rewriting rural community and dictatorial history through magical realism in Márquez’sOne Hundred Years of Solitude

100%
Abdullah A. S.
Journal of Language and Cultural Education
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2015
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vol. 3
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issue 2
55-65
EN
Márquez was greatly influenced by his grandmother’s story-telling ability, and was highly indebted to the socio-political history of Latin America, particularly Colombia. In One Hundred Years of Solitude, he wants to reconstruct the lost world of childhood by using magical realism which gives expression to the world-view of a rural people who live in isolation from modern world. By retelling the official history from the perspective of the oppressed, he reveals the fact that history is never factual and impartial but serves the interest of those who write it. Through the banana company massacre and the subsequent hide and seek over the number of dead workers, Márquez exposes the way official history becomes fabricated and distorted by authorities, and fails to provide the original occurrences. He was disgusted with the political violence and civil wars which had distraught people; he was also against capitalism, scientific and technological inventions, and so-called modernization, which are the means through which foreign culture brings corruption and brutality, dominates, exploits and oppresses the natives, and threatens the native culture and identity. By employing magical realism, he was able to recreate Colombian history to protest against the way capitalism dominated the socio-political and economic structure of the region.
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From the Natural Self-Orgnizaton of Religion to the Modern Magical Realism of the Religious Experience

88%
Abreu Pederzini G.
Academicus. International Scientific Journal
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2019
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issue 20
66-80
EN
Religion is a powerful phenomenon arising in and from society. Various efforts have been done to understand religion as a natural phenomenon, which could be framed in the language of science. In this paper, I forward a sui generis approach to the naturality of religion, where religion is explained as one of the next stages in broader natural processes of self-organization. Furthermore, having framed like this the naturality of the religious experience, the paper explores the contemporary debate of current religious expressions. It is suggested that the arrival of science and the modern society have changed some expressions of religious experiences; while, nonetheless, keeping their capacity to self-organize societies. The magical realist society, as the society capable of disguising the magic of religion within the realism of the scientific ethos, is presented and discussed as a modern secular expression of religion, capable to cope with the challenges of science through the dynamics of modernity and capitalism.
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Una nueva mirada desde los límites de lo irreal: la fusión de categorías genéricas en la escritura de la imaginación de Juan Jacinto Muñoz Rengel

76%
Álvarez Méndez N.
Studia Romanica Posnaniensia
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2018
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vol. 45
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issue 2
107-120
EN
Juan Jacinto Muñoz Rengel (1974) is one of the greatest exponents of the hybridization of the fantastic with other non-mimetic modalities and with popular genre narratives. The mestizaje characterizes, through juxtaposition or fusion, much of his work, generating the ultimate significance of a broader scope. The fantastic is intertwined with adjacent categories, including science fiction, terror and magical realism. It is also commonly combined with the historical, detective, adventure or humorous narrative styles. He merges these diverse modes of invention by transgressing the rigid and normative molds with the aspiration of constructing new literary options. The dissolution of frontiers between the fantastic and other neighboring genres is also potentiated with frequent intertextual nods and suggestive tributes to the traditions of the unusual.
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An Eternal Repetition? The Category of Time in the Works of Elena Dolgopyat

75%
Slavia Orientalis
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2020
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vol. LXIX
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issue 4
5
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DZIEWCZYNA Z SZAFY, CHŁOPAK NA DACHU – NIEPEŁNOSPRAWNOŚĆ PSYCHOSPOŁECZNA W POETYCE REALIZMU MAGICZNEGO

71%
Kołodziejczyk D.
Porównania
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2017
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vol. 21
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issue 2
EN
The article discusses the problem of representation of disability as ameliorative space. Autism, because it most often plays the role of radical otherness in narrative forms such as film, novel, (auto)biography or border genres such as essay, as a disability determined by insufficient social and communication skills of the subject, represents, on the level of the plot, the riddle of the human mind. On the level of rhetoric, the riddle is realised as a problem of untranslatability – the mind of an autistic person cannot be reached, because there are no shared codes which would enable communication. The character with autism is either described from the outside or “translated” through the images of sensory distortions whose role is to approximate the condition. The article shows how the current changes in the Polish law relating to the integration of the disabled (education, elections regulations) are the direct corollary of a certain social attitude towards disability which can be defined as tolerance without recognition. This key ethical combination: tolerance only if grounded in recognition is recommended by Charles Taylor in his 1994 essay “The Politics of Recognition”. In an analysis of Bodo Kox film „Dziewczyna z szafy” [A Girl from the closet] (2012), the author shows how the rhetoric of magical realism opens up in the film an alternative space for autism and other psychosocial disabilities. This space reveals the deep incommensurability between the world of the norm and the world of disability and their hierarchical structuring, in which exclusion is the basic form of interaction. As alternative space, however, it shows also the deficits of the norm and reverses the hierarchy in which disability features as lack to show the opposite. It is, consequently, the space of ethical challenge for the norm.
PL
Artykuł podejmuje dyskusję na temat reprezentacji niepełnosprawności psychospołecznej jako przestrzeni naprawczej. Autyzm, bo najczęściej ta niepełnosprawność pełni rolę radykalnej odmienności w narracyjnych formach takich jak film, powieść, (auto)biografia lub gatunki graniczne takie jak esej, jako niepełnosprawność wynikająca z niedostatków umiejętności społecznych i komunikacyjnych podmiotu, na poziomie fabularnym jest zagadką ludzkiego umysłu. Na poziomie retorycznym owa zagadka realizowana jest jako problem nieprzetłumaczalności – do umysłu osoby z autyzmem nie można dotrzeć, bo nie ma wspólnych kodów, które pozwoliłyby na komunikację. Postać z autyzmem jest albo opisywana z zewnątrz, albo „tłumaczona” przez obrazy sensorycznych zniekształceń, które mają przybliżyć stan powodowany tą niepełnosprawnością. Artykuł pokazuje, jak aktualne zmiany w ustawodawstwie dotyczącym integracji osób niepełnosprawnych (szkolnictwo, prawo wyborcze) bezpośrednio wynikają z określonej postawy społecznej względem niepełnosprawności – jest nią tolerancja, która jednak nie opiera się na uznaniu. Tę kluczową kombinację etyczną: tolerancja wyłącznie, jeśli towarzyszy jej uznanie różnicy – zaleca Charles Taylor w eseju The Politics of Recognition (1994). W analizie filmu Bodo Koksa Dziewczyna z szafy (2012) autorka pokazuje, jak retoryka magicznorealistyczna otwiera w filmie alternatywną przestrzeń dla autyzmu i innych niepełnosprawności psychospołecznych. Przestrzeń ta ujawnia głęboką niewspółmierność świata normy i niepełnosprawności oraz wykluczenie jako podstawową formę interakcji w obrębie tej hierarchii. Jako przestrzeń alternatywna pokazuje ona deficyty normy, a więc odwraca hierarchię, w której niepełnosprawność jest zazwyczaj wpisana w dyskurs braku, i pokazuje niepełnosprawność jako przeciwieństwo braku. Jest to jednocześnie przestrzeń etycznego wyzwania dla normy.
6
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Magical Realism as the Poetological Framework for the Concept of the Other and the Different in the Croatin 21st Century Novel

63%
Kuvač-Levačić K.
International Journal of Slavic Studies Transgressive, Pragmatic and Speculative Horizons of Popular Literature and Culture
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2019
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vol. 1
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issue 1
56-84
EN
The poetical determinants of magical realism, although several elements had already been present in Croatian literature from at least the time of the generation of the „Borgesian“ writers, and also earlier, have not been the subject of more in-depth research until recently. And yet, novelistic prose in Croatia, under the influence of similar movements in the World-literature scene, is still a witness to its appearance. In our investigation we will research the elements of magical realism in relation to the concepts and constructs of the Other and the Different in the corpus of these recent Croatian novels: Baba Jaga je snijela jaje (Baba Jaga Laid an Egg) (2008) by Dubravke Ugrešić, Črna mati zemla (Black Mother the Earth) (2013) and Ciganin ali najlijepši (Gypsy but the Most Beautiful) (2016) by Kristijan Novak as well as Prevaranti: Iskupljenje (The Cheaters: Redemption) (2016) by Dorotea Vučić. Literary-theoretical approaches have linked magical realism (since its beginnings in Latin American Literatures) with statements on the Other and the Different (Postcolonial approaches), and in this research we will present how elements of the same function within the context of the 21st century Croatian novel. In her novel, D. Ugrešić uses the theme of aging in the post-transitional nations of Eastern Europe to present the context of the construction of the Other and the Different, realised with the aid of magical-realist elements and characteristics. K. Novak presents a psychosocially traumatised child in his novel Črna mati zemla as well as the Romani community in Ciganin, ali najljepši. D. Vučić also uses this same ethnic group as her theme in her novel, which among all these cited novels is closest to the genre of magical realism, yet her Other is the former collective state of South Slavs, which is literarily constructed as a magical space titled Tromeđe (Tripoint), with emphasis on historical precedents allowing its recognition. After the topic of magical realism is 57 discussed, through a reading of the most important theoretical texts, as a mode and genre as well as its relationship to realism and the fantastic, the presence of these elements in the aforementioned texts will be placed under scrutiny, so that after this, with the aforementioned poetological framework, the concepts and constructs of the Other and the Different will be investigated. Magical realism is recognised as a mode which deconstructs dominant metanarratives (familial, social, political, founded in tradition or actual, universal and local). Its incorporation into the mimetic narrative of novelistic prose texts informs the entirely actual social engagement of these authors, emphasised, in fact by these aforementioned concepts. The deconstruction of dominant metanarratives and the focus of the differences in human experience and the concept of reality, as well as the approaches of the magical realistic mode, are considered here in the poetics of the 21st Croatian novel.
7
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Słowacki realizm magiczny w polskim przekładzie

63%
Buczek M.
|
2009
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vol. 1
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issue 1
196-208
SK
V svojom članku autorka uvažuje na tému prekladových výborov Jacka Bukowského, poľského prekladateľa prózy Václava Pankovčína, predstaviteľa mládej generácie slovenských spisovateľov, debutujúcich na začiatku 90 tých rokov. Zbierka krátkych poviedok Marakéš (1994) a novela Tri ženy pod orechom (1996), ktoré boli publikované v Poľsku pod názvom Marakesz (2006) sú ojedinelé preklady slovenskej prózy vychádzajúce v tomto roku. Autorka članku rozvažuje výbor prekladovej stratégie a jeho konzekvencie.
EN
The author presents in this paper her consideration of the strategy of translation taken by Jacek Bukowski, polish translator of Václav Pankovčín prose. Short stories Marakéš (1994) and the novel Tri ženy pod orechom (1996) by Václav Pankovčín were publicated in Poland under the title Marakesz (2006) and are the only one example of slovak prose transalted into polish this year. The author of the paper discusses transtlatological problems of the prose wchich strongly corespondents with magical realism, she concentrates on the semantic signals of the text, significant elements of the structure which define the boundary‑line of the meaning space of Václav Pankovčín works. Finaly she reflects on the transfer of implicated senses and meanings from original into translation. She reflects how in proces of translation the translator transfered hormony of fundamental codes of the original (lexical, semantics, cultural and estetic).
8
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The “Train Situation” as a Metaphor of Elena Dolgopyat’s Work. Russian Variant of Magical Realism

63%
Trojanowska U.
Slavia Orientalis
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2019
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vol. LXVIII
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issue 1
9
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Magický realismus v románu »Žítkovské bohyně«

63%
Lukáš J.
Bohemistyka
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2021
|
issue 2
EN
The study deals with comparison between the novel Žítkovské bohyně (“The Žítková Goddesses” ) written by Kateřina Tučková and one of the variations of the esthetical concept of magical realism. Kateřina Tučková in her novel tried to treat accurately the theme of the women, goddesses from the area of Kopanice and set it into a concrete story. However, there are many passages in the narration where the tension between reality and the supernatural occurs. The goal of the article is to show those passages and analyze them on the basis of main characteristic features of magical realism.
CS
Studie je zaměřena na srovnání knihy Žítkovské bohyně Kateřiny Tučkové s jednou z variant estetického konceptu magického realismu. Kateřina Tučková se ve svém románu pokusila historicky věrně zpracovat téma žen, takzvaných bohyní z oblasti Kopanic, a uvést jej do konkrétního příběhu. Na mnoha jeho místech je realita konfrontována s nadpřirozenem. Cílem studie je tato místa detekovat a analyzovat na základě vymezených rysů magického realismu.
10
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Reportaż magiczny? Uwagi o 'Wszystkich zajęciach Yoirysa Manuela" Adama Kwaśnego

63%
Pindel T.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
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2021
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vol. 21
311-319
EN
'Wszystkie zajęcia Yoirysa Manuela' [All occupations of Yoirys Manuel] by Adam Kwaśny (2017) is a collection of stories about the inhabitants of the city of Trinidad in Cuba, which can be read as an attempt to look for a new approach in the travel literature and reportage writing. By the use of the techniques typical for magical realism and non-fiction literature at the same time, the work shows the reality of the city from the perspective of its inhabitants, or more precisely: from the perspective of a narrator coming from the outside world, but sharing the beliefs and worldview of the described people.
11
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Magiczny realizm w powieściach Olgi Tokarczuk: Prawiek i inne czasy, Podróż ludzi Księgi, Dom dzienny, dom nocny

51%
Sharapova E.
Acta Humana
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2015
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vol. 6
EN
The article presents and analyzes the use of magical realism in novels by Olga Tokarczuk. Magical realism allows the author to go beyond the limits of the genre in its traditional sense. In selected novels (Primeval and Other Times, The Journey of the Book-People, House of Day, House of Night), the author shows the collision of real and mythical worlds. The border between them is often almost invisible, which gives Tokarczuk an opportunity to play with the reader, who may get lost in the intermingling worlds created by the author. However, what Olga Tokarczuk is most interested in is the almost invisible border. The author draws attention to space, states and times located in between. One of the most important frontiers for the writer is dream. It acts as a bridge which connects everyday reality with the shore of magic world. The writer employs magic realism, together with its characteristic vocabulary, to describe dreams and present amazing spaces, times, events and characters. By means of this method, the author presents her philosophical and mythological concept in which the world exist only because of merging of the two opposing forces.
PL
Artykuł omawia problematykę realizmu magicznego w twórczości Olgi Tokarczuk na podstawie wybranych powieści tej autorki (Prawiek i inne czasy, Podróż ludzi Księgi, Dom dzienny, dom nocny). Wykorzystanie konwencji realizmu magicznego pozwala Oldze Tokarczuk wyjść poza granicę gatunku powieści w jego tradycyjnym ujęciu. W analizowanych utworach zostają zderzone światy realne i mityczne. Granica między nimi często zaciera się, a światy przenikają się na wielu płaszczyznach. Olgę Tokarczuk najbardziej interesuje właśnie ta niemal niewidoczna granica między tym, co realne, a tym, co mityczne. Pisarka zwraca uwagę na przestrzenie, stany oraz czasy znajdujące się pomiędzy. Jednym z najważniejszych pogranicznych stanów jest sen. Pełni on funkcję mostu, za pośrednictwem którego staje się możliwe przejście z brzegu codzienności na brzeg świata magicznego. W konwencji realizmu magicznego autorka ukazuje marzenia senne, przedstawia niesamowite przestrzenie, czasy, zdarzenia i bohaterów. Stosuje przy tym słownictwo typowe dla obranej przez siebie poetyki. Dzięki realizmowi magicznemu Olga Tokarczuk prezentuje swoją filozoficzno-mitologiczną koncepcję, w której świat istnieje tylko dzięki połączeniu dwóch przeciwstawnych sił.
RU
В статье представлено описание метода магического реализма в творчестве Ольги Токарчук. Магический реализм позволяет выйти за границы жанра романа в его традиционном понимании. В выбранных романах (Правек и другие времена, Путь Людей Книги, Дом дневной, дом ночной) автор показывает столкновение двух миров – реального и мифического. Довольно часто граница между ними не выражена, еле видна, таким образом Ольга Токарчук играет с читателем. В мирах писательницы легко можно потеряться, потому что на многих уровнях миры накладываются и проникают друг в друга. Более всего Ольгу Токарчук интересует именно эта едва заметная граница между мирами. Автор обращает внимание на пограничные пространства, состояния и времена. Одним из наиболее интересных пограничных состояний для Ольги Токарчук является сон. Именно он выполняет функцию моста, с помощью которого можно перейти с берега реальности на берег мифического мира. Писательница описывает сны при помощи магического реализма, пользуясь характерными для данного метода выразительными средствами. С помощью метода магического реализма Токарчук описывает необычные времена, пространства, события и героев. При помощи магического реализма автор раскрывает философско-мифологическую концепцию, согласно которой мир существует только благодаря единению двух противоборствующих сил.
12
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Gonzo, Ironic Nostalgia, Magical Realism, or, How to Re-Narrate Traumatic Transnational Borderland Stories. Examples from the Twenty-First Century Polish(-German) Literature

51%
Baran-Szołtys M.
Prace Filologiczne. Literaturoznawstwo
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2019
|
issue 9(12) cz.1
63-80
EN
This paper focuses on the former Austrian crown land of Galicia and Lodomeria and its return in literary texts of a new generation that can recall it only from collective and family memory. Spaces like Galicia are situated in shifting political borders and often marked by (fragmented) memories connected to traumas caused by migration, forced resettlements, expulsions, or violence. The rediscovery of these spaces, often from nostalgia for a lost home and bygone times, is the starting point of many narratives of the postmemory generations in contemporary literature. Authors use new rhetorical strategies when dealing with adversarial nationalistic and traumatic topics: ironic nostalgia, gonzo, and magical realism. These narratives do not verify “truths,” instead they play with different myths, possibilities, and “alternative futures.” The analysis includes Tomasz Różycki’s Dwanaście stacji (2004), Sabrina Janesch’s Katzenberge (2010), and Ziemowit Szczerek’s Przyjdzie Mordor i nas zje (2013).
13
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Poza rzeczywistość – wpływy realizmu magicznego we współczesnym kinie

45%
Żakieta K.
Ogrody Nauk i Sztuk
|
2014
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issue 4
639-647
PL
Celem artykułu jest przeniesienie kategorii realizmu magicznego na grunt badań filmoznawczych. Zostały tu przytoczone najważniejsze literaturoznawcze koncepcje teoretyczne dotyczące tej tendencji oraz refl eksje na temat realizmu i fantastyki w filmie. Dalszą część rozważań stanowi zaprezentowanie na wybranych przykładach trzech nurtów związanych z omawianym zjawiskiem. Są to adaptacje literatury, fi lmy z obszaru kina autorskiego oraz odrębna kategoria obrazów balansujących na granicy rzeczywistości i fantastyki, niewłaściwie zaliczanych przez laików do realizmu magicznego.
EN
The article’s idea is to transfer the categories of magical realism to film studies . Major theoretical literary concepts concerning this tendency are quoted , as well as contextual reflections on film realism and fantasy. The next part of the paper constitutes the presentation of three distinguished trends related to the discussed phenomenon on chosen examples. These are literary adaptations, films from the amateur cinema field and a category of pictures balancing on the line between reality and fantastic, inappropriately included into magical realism by amateurs.
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