1/1/2024 0 Comments Magical realism artistsThe threats mostly gathered their strength from the paradoxes underlying the names that magic realism has assumed at different times along its history of development as a critical concept. The major threats include (i) the strain magic realism had to bear to balance between the prevailing turmoil of the society and the serenity people were longing for, (ii) the philosophically perceivable discrepancy between the outside and the inside of objects, and, (iii) the canonical ruling of European reality over the marvelously mundane reality of 'the other'. Some of them have even proved terrible enough to jeopardise the existence of magic realism as a separate entity in the critical history. In this long span of time it has to have faced a considerable number of threats from other literary theories and philosophies of art and life. Magic realism as a mode of reality in arts and literature is almost a century-old concept and still in vogue with remarkable philosophical and practical base in the field of literature. Key words: Franz Roh, Expressionism, Post-expressionism, pittura metafisica, Surrealism, Magical Realism Therefore, the goal of this paper is to examine the magical realism phenomenon and its main characteristics with regard to painting in the first half of the 20th century, as well as to Latin American literature since the mid-20th century, and to show that art movements can be transferred from one art to another, that they can transform and change their basic concept. The so-called Latin American Boom started in the 1960s when the elements of the magical realism narrative could also be found in the prose of writers coming from countries outside the South American continent. Soon enough, this term started to be used to describe Latin American literature in general primarily thanks to an article written by Angelo Flores: Magical Realism in Spanish American Fiction. Venezuelan writer Arturo Uslar-Pietri used the term magical realism to describe a specific type of short story in which the view of man as a mystery surrounded by realistic data dominates. Magical realism painters realistically depicted objects and beings in detail, while magic and mystery were highlighted by creating illusions and through a change in perspective. It originated as a response to Impressionism, Expressionism, and Surrealism. The term magical realism was coined by the German art historian Franz Roh in his essay: After expressionism: Magical Realism: Problems of the newest European painting (1925), and it initially referred to a new view of the real-world painting in Germany in the 1920s.
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