Sehrli realizm - Magic realism

Buni chalkashtirib yubormaslik kerak ilmiy fantaziya.

Sehrli realizm (shuningdek, nomi bilan tanilgan sehrli realizm yoki ajoyib realizm) a uslubi ning fantastika va adabiy janr bu sehrli elementlarni qo'shish bilan birga zamonaviy dunyoning realistik ko'rinishini aks ettiradi.[1] Sehrli realizm, ehtimol, eng keng tarqalgan atama, ko'pincha, xususan, bilan adabiyotga ishora qiladi sehrli yoki g'ayritabiiy aks holda real yoki oddiy dunyoda taqdim etilgan hodisalar sozlash, odatda romanlarda va dramatik tomoshalar.[2]:1–5 Ba'zi sehrli elementlarni o'z ichiga olganiga qaramay, odatda u boshqa janr deb hisoblanadi xayol chunki sehrli realizm katta miqdordagi realistik tafsilotlardan foydalanadi va haqiqat to'g'risida fikr bildirish uchun sehrli elementlardan foydalanadi, xayoliy hikoyalar esa haqiqatdan ko'pincha ajralib turadi.[3][4][5][6][7][8][9] Sehrli realizm ko'pincha haqiqiy va sehrli elementlarning birlashishi sifatida qaraladi, bu ikkalasidan ham ko'proq inklyuziv yozuv shaklini yaratadi adabiy realizm yoki xayol.[4]

Atama sehrli realizm keng ma'noda tavsiflovchi Metyu Strecher (1999) juda jiddiy emas, balki "juda batafsil, realistik muhitni ishonib bo'lmaydigan g'alati narsaga bostirib kirganda nima bo'ladi" deb ta'riflaydi.[10] Termin va uning keng ta'rifi ko'pincha chalkashib ketishi mumkin, chunki ko'plab yozuvchilar sehrli realistlar deb tasniflanadi.

Irene Guenther (1995) bu atamaning nemis ildizlari va san'atning adabiyot bilan qanday aloqasi borligi bilan shug'ullanadi;[11] Ayni paytda, sehrli realizm ko'pincha bog'liqdir Lotin Amerikasi adabiyoti jumladan, janr asoschilari, xususan mualliflar Mariya Luiza Bombal, Gabriel Gartsiya Markes, Izabel Allende, Xorxe Luis Borxes, Xuan Rulfo, Migel Anxel Asturiya, Elena Garro, Mireya Robles, Romulo Gallegos va Arturo Uslar Pietri. Yilda Ingliz adabiyoti, uning asosiy eksponentlari kiradi Salmon Rushdi, Elis Xofman, Nik Xoakin va Nikola Barker. Yilda Bengal adabiyoti, sehrli realizmning taniqli yozuvchilari kiradi Nabarun-Battacharya, Axteruzzaman Elias, Shohidul Zohir, Jibanananda Das, Sayid Valiulloh, Nasrin Jahan, Humoyun Ahmed va Vasiliy Aksyonov. Yilda Yaponiya adabiyoti, ushbu janrning eng muhim mualliflaridan biri Haruki Murakami. Yilda Polsha adabiyoti, sehrli realizm bilan ifodalanadi Olga Tokarchuk, Adabiyot bo'yicha Nobel mukofoti laureati.

Etimologiya

Bu atama birinchi marta nemischa sifatida paydo bo'ldi magischer Realismus ("sehrli realizm"). 1925 yilda nemis san'atshunosi Frants Roh ishlatilgan magischer Realismus ga murojaat qilish rassomlik bilan sifatida tanilgan uslub Neue Sachlichkeit ('Yangi ob'ektivlik'),[12][13] ga muqobil ekspressionizm bu nemis muzey direktori tomonidan qo'llab-quvvatlangan Gustav Xartlaub.[2]:9–11[11]:33 Roh sehrli realizmning aniq detallarini, ravon fotosurat ravshanligini va aql-idrok dunyosining "sehrli" tabiatini tasvirlashni aniqladi; u aks ettirilgan beparvolik odamlar va bizning zamonaviy texnologik muhitimiz.[2]:9–10 Sehrli realizm deb tasniflangan birinchi romanlar Mariya Luisa Bombal ammo, o'sha paytda, janr va o'rtasida hali farq qilish kerak emas edi syurrealizm. Roh sehrli realizm sehrli realizmning moddiy narsalarga va narsalarga e'tiborini qaratganligi sababli, syurrealizm bilan bog'liq, ammo ulardan ajralib turadi, deb hisoblagan. haqiqiy mavjudlik syurrealizmning mavhumroq, psixologik va ong osti haqiqatidan farqli o'laroq, dunyodagi narsalar.[2]:12

Nemis sehrli-realistik rasmlari italiyalik yozuvchiga ta'sir ko'rsatdi Massimo Bontempelli sehrli realizmni yozuvga birinchi bo'lib tatbiq etgan, haqiqatning hayoliy, sirli tabiatini aks ettirishni maqsad qilgan. 1926 yilda u sehrli realist jurnalni asos solgan 900. Noventso, va uning asarlari Belgiya sehrli realist yozuvchilariga ta'sir ko'rsatdi Yoxan Daisne va Xubert Lampo.[2]:13–14

Rohning sehrli realizmi yozuvchilarga ham ta'sir ko'rsatdi Ispan Amerikasi, u 1927 yilda shunday tarjima qilingan realizm mágico. Venesuela yozuvchisi Arturo Uslar-Pietri Bontempellini tanigan, 1930 va 40-yillarda biz qanday yashayotganimiz siriga va haqiqatiga bag'ishlangan ta'sirchan sehrli-realistik hikoyalar yozgan.[2]:14–15 Luis Leal Pietri bu atamani birinchi bo'lib qabul qilgan ko'rinadi realizm mágico 1948 yilda Ispan Amerikasida.[14] Meksikalik yozuvchi haqida dalillar mavjud Elena Garro asarlarini tavsiflash uchun xuddi shu atamadan foydalangan E. T. A. Hoffmann, lekin o'z ishini janrning bir qismi sifatida rad etdi.[15] Frantsuz-rus kubalik yozuvchi Alejo Karpentier, Rohning sehrli realizmini charchatuvchi da'vo sifatida rad etgan, uning kontseptsiyasini ishlab chiqdi mana haqiqiy maravilloso ('ajoyib realizm') 1949 yilda.[2]:14 Maggi Enn Bouersning yozishicha, ajabtovur realist adabiyot va san'at turli xil madaniyatlar muhitida "haqiqatga pragmatik, amaliy va moddiy yondoshish va sehr va xurofotni qabul qilishning qarama-qarshi ko'rinishini" ifodalaydi.[2]:2–3

Keyinchalik sehrli realizm g'ayritabiiylikni tasvirlash uchun ishlatilgan realizm kabi amerikalik rassomlar tomonidan Ivan Olbrayt, Piter Blyum, Pol Kadmus, Kulrang Foy, Jorj Tuker, va Vena shahrida tug'ilgan Genri Koerner 1940-1950 yillarda boshqa rassomlar qatorida. Biroq, uning adabiyotda ishlatilishidan farqli o'laroq, sehrli realistik san'at ko'pincha ochiq-oydin emas hayoliy yoki sehrli tarkib, aksincha, u dunyoviy narsaga a orqali qaraydi giper-realistik va ko'pincha sirli ob'ektiv.[11]

Atama sehrli realizm, farqli o'laroq sehrli realizm, birinchi bo'lib 1955 yilda tanqidchi Anxel Floresning "Ispan amerikalik fantastikasida sehrli realizm" inshoida sehrli realizm va hayratlanarli realizm jihatlarini birlashtirgan yozuvga nisbatan paydo bo'ldi.[2]:16 Flores ism bergan bo'lsa-da Xorxe Luis Borxes u birinchi sehrli realist sifatida Lotning Amerikasiga Rohning sehrli realizmini olib kelgani uchun Karpentierni ham, Pietrini ham tan olmadi. Borxes ko'pincha sehrli realistlarning salafi sifatida qaraladi, faqat Flores uni haqiqiy sehrli realist deb biladi.[2]:16–18 Floresning inshoidan so'ng, hayratlanarli realizmga bo'lgan qiziqish qayta tiklandi, keyin esa 1959 yildagi Kuba inqilobi, muddatga olib keldi sehrli realizm sehrli voqealarni aks ettirish bilan mashhur bo'lgan yangi adabiyot turiga tatbiq etiladi.[2]:18

Adabiyot

Xususiyatlari

Quyidagi xususiyatlarning berilgan sehrli realist matnga taalluqliligi darajasi har xil. Har qanday matn har xil va bu erda keltirilgan fazilatlarni birlashtirgan. Biroq, ular sehrli realist matndan nimani kutish mumkinligini aniq tasvirlashadi.

Hayoliy elementlar

Sehrli realizm tasvirlangan hayoliy voqealar aks holda realistik ohangda. Bu afsonalar, xalq ertaklari va afsonalarini zamonaviy ijtimoiy dolzarblikka olib keladi. Kabi belgilarga berilgan hayoliy xususiyatlar levitatsiya, telepatiya va telekinez bo'lishi mumkin bo'lgan zamonaviy siyosiy haqiqatlarni qamrab olishga yordam beradi hayoliy.[16]

Haqiqiy dunyo sharoitlari

Ning mavjudligi hayoliy real dunyodagi elementlar sehrli realizm uchun asos yaratadi. Yozuvchilar yangi olamlarni ixtiro qilmaydilar, aksincha, mavjud dunyodagi sehrli narsalarni ochib berishadi Gabriel Gartsiya Markes, seminal asarni kim yozgan Yuz yillik yolg'izlik.[17] Sehrli realizm dunyosida g'ayritabiiy maydon tabiiy, tanish dunyo bilan uyg'unlashadi.[18]:15

Mualliflik sustligi

Mualliflik sustligi bu "bezovta qiluvchi xayoliy dunyo haqida ma'lumot va tushuntirishlarni qasddan yashirish".[19]:16 Hikoyachi befarq, fantastik voqealarni tushuntirishning yo'qligi tufayli rivojlangan xususiyat; voqea "mantiqiy aniqlik" bilan davom etadi, go'yo g'ayrioddiy narsa bo'lmagan.[20][19]:30 Sehrli hodisalar oddiy hodisalar sifatida taqdim etiladi; shuning uchun o'quvchi bu ajoyibni odatiy va odatiy deb qabul qiladi.[21] G'ayritabiiy dunyoni tushuntirish yoki uni g'ayrioddiy deb taqdim etish uning tabiiy olamga nisbatan qonuniyligini darhol pasaytiradi. Binobarin, o'quvchi g'ayritabiiy narsalarni yolg'on guvohlik deb hisoblamaydi.[iqtibos kerak ]

Kenglik

Uning "Barokko va ajabtovur real" inshoida, Kuba yozuvchi Alejo Karpentier belgilaydi barok bo'shliqning etishmasligi, tuzilish yoki qoidalardan uzoqlashish va "g'ayrioddiy" mo'llik bilan (kenglik) yo'naltiruvchi tafsilotlar. (U keltiradi Mondrian Buning qarama-qarshi tomoni sifatida.) Shu bilan birga, Carpentier barokni elementlarning qatlami sifatida ko'rib chiqadi, bu postkolonial yoki madaniy U ta'kidlagan Lotin Amerikasi atmosferasi Dunyo Shohligi.[22] "Amerika, simbioz qit'asi, mutatsiyalar ...mestizaje, barokni keltirib chiqaradi "[23] aniqlangan Aztek ibodatxonalari va assotsiatsiyasi tomonidan aniq ko'rsatilgan Nahuatl she'riyat. Ushbu aralashgan etniklar Amerika baroki bilan birga o'sadi; orasidagi bo'shliq - bu "ajoyib" haqiqiy ko'rinadigan joy. Ajoyib: chiroyli va yoqimli emas, balki g'ayrioddiy, g'alati va ajoyib ma'nolarni anglatadi. Qatlamlarning bunday murakkab tizimi - Lotin Amerikasidagi "bum" romanida, masalan Yuz yillik yolg'izlik - "Amerika doirasini tarjima qilish" ga qaratilgan.[23]:107

Gibridlik

Sehrli realizm syujetlari "shahar va qishloq, g'arbiy va mahalliy kabi qarama-qarshiliklarning uyg'un bo'lmagan maydonlarida" sodir bo'ladigan gibrid haqiqat samolyotlarini ishlatadi.[24][25]

Metafika

Asosiy maqola: Metafika

Ushbu xususiyat o'quvchining adabiyotdagi roliga qaratilgan. O'zining ko'pgina haqiqatlari va o'quvchi dunyosiga xos murojaatlari bilan u fantastika voqelikga, voqelik badiiy adabiyotga ta'siri va o'quvchining orasidagi rolini o'rganadi; shuning uchun u e'tiborni ijtimoiy yoki siyosiy tanqidga jalb qilish uchun juda mos keladi. Bundan tashqari, bu bog'liq va asosiy sehr-realistik hodisani amalga oshirishda eng muhim vosita: matnlashtirish. Ushbu atama ikkita shartni belgilaydi - birinchidan, uydirma o'quvchi kirib boradigan joy hikoya ichida hikoya uni o'qiyotganda, ularni o'zlarining o'quvchi maqomini anglashlariga, ikkinchidan, matn olami o'quvchi (haqiqiy) dunyosiga kiradigan joy. Yaxshi tuyg'u bu jarayonni inkor etadi, ammo "sehr" bu moslashuvchan konvensiyadir.[26] Metafiksiyaning eng yaxshi namunasi Jannina Braschi "s Orzular imperiyasi (1988), unda Jannina Braski ismli personaj "aziz o'quvchiga" to'g'ridan-to'g'ri o'z qahramonlarining haqiqati va xayoloti o'rtasidagi g'ovakli chegaralar to'g'risida murojaat qiladi.[27][28]

Sirni yuqori darajada anglash

Ko'pgina tanqidchilarning fikriga ko'ra, bu asosiy mavzu. Sehrli realistik adabiyot kuchaytirilgan darajada o'qishga intiladi. Qabul qilish Yuz yillik yolg'izlik, o'quvchi an'anaviy aloqalar bilan oldindan aloqalarni qo'yib yuborishi kerak ekspozitsiya, hayotning bog'liqligi yoki yashirin ma'nolari to'g'risida xabardorlikni oshirishga intilish uchun fitna rivoji, vaqtning chiziqli tuzilishi, ilmiy sabab va boshqalar. Luis Leal bu tuyg'uni "narsalar orqasida nafas oladigan sirni egallash" kabi ifodalaydi[29] va yozuvchi o'z hissiyotlarini shu darajaga ko'tarishi kerak "deb da'volarni qo'llab-quvvatlaydi."estado limiti"(" chegara holati "yoki" ekstremal ") haqiqatning barcha darajalarini, eng muhimi, sirni amalga oshirish uchun.[30]

Siyosiy tanqid

Sehrli realizm "jamiyatni, xususan, elitani yashirin tanqid qilishni" o'z ichiga oladi.[31] Ayniqsa, Lotin Amerikasiga nisbatan uslub "imtiyozli adabiyot markazlari" ning munozarasiz nutqidan ajralib chiqadi.[32] Bu, avvalambor, "sobiq markazchilar" uchun: va geografik, ijtimoiy va iqtisodiy jihatdan cheklangan rejim. Shuning uchun sehrli realizmning "muqobil dunyosi" aniqlangan qarashlar haqiqatini to'g'rilash uchun ishlaydi (masalan realizm, tabiiylik, modernizm ). Sehrli-realistik matnlar ushbu mantiq ostidadir buzg'unchi ijtimoiy-hukmron kuchlarga qarshi inqilobiy matnlar. Shu bilan bir qatorda, ijtimoiy-dominant sehrli realizmni o'zlarini ulardan ajratish uchun amalga oshirishi mumkin "kuch nutqi."[32]:195 Theo D'haen bu o'zgarishni "istiqbolsizlashtirish" deb ataydi.

Uning sharhida Gabriel Garsiya Markes "roman O'lim xronikasi bashorat qilingan, Salmon Rushdi sehrli realizmning rasmiy eksperimenti siyosiy g'oyalarni yanada mustahkamlangan adabiy shakllar orqali mumkin bo'lmagan usullar bilan ifoda etishga imkon beradi, deb ta'kidlaydi:[33]

"El realismo mágico", sehrli realizm, hech bo'lmaganda Markes tomonidan qo'llanilgandek, bu "uchinchi dunyo" ongini ifodalaydigan syurrealizmdan tashqaridagi rivojlanishdir. Unda Naipaul "chala" jamiyatlar deb atagan, ularda imkonsiz eski kurashlar dahshatli yangi narsalarga qarshi olib borilgan, jamoat korrupsiyasi va shaxsiy g'azablari "Shimoliy" deb atalmish davrga qaraganda ko'proq g'alati va o'ta xavfli bo'lgan jamiyatlar haqida. , bu erda asrlar davomida boylik va qudrat haqiqatan ham sodir bo'layotgan narsalar yuzasida qalin qatlamlar hosil bo'lgan. Markesning asarlarida, xuddi u ta'riflagan olamda bo'lgani kabi, imkonsiz narsalar doimiy ravishda va juda ishonarli tarzda peshin quyoshi ostida ochiq joylarda sodir bo'ladi.[34]

Kelib chiqishi

Adabiy sehrli realizm Lotin Amerikasida paydo bo'lgan. Yozuvchilar ko'pincha o'z mamlakatlari va Parij yoki Berlin singari Evropaning madaniy markazlari o'rtasida sayohat qilishgan va o'sha davrdagi san'at harakati ta'sirida bo'lishgan.[35][23] Kubalik yozuvchi Alejo Karpentier va Venesuela Arturo Uslar-Pietri, masalan, Evropa badiiy harakatlari kuchli ta'sir ko'rsatgan, masalan Syurrealizm, 1920 va 30-yillarda Parijda bo'lganlarida.[2] Rassomchilik va adabiy sehrli realizmlarni bog'laydigan muhim voqealardan biri Frants Rohning Ispaniyaning Frants Rohning kitobini ispan tiliga tarjima qilishi va nashr etishi bo'ldi. Revista de Occidente 1927 yilda yirik adabiyot arbobi boshchiligida Xose Ortega va Gasset. "Bir yil ichida sehrli realizm Buenos-Ayres adabiy doiralarida evropalik mualliflarning nasrida qo'llanila boshlandi."[11]:61 Xorxe Luis Borxes Lotin Amerikasidagi boshqa yozuvchilarni sehrli realizmni rivojlantirishda ilhomlantirdi va rag'batlantirdi, ayniqsa birinchi sehrli realistik nashrida, Historia universal de la infamia 1935 yilda.[20] 1940-1950 yillarda Lotin Amerikasida sehrli realizm avjiga chiqdi, asosan Argentinada taniqli yozuvchilar paydo bo'ldi.[20] Alejo Karpentierning romani Bu Dunyo Shohligi 1949 yilda nashr etilgan, ko'pincha sehrli realizmning muhim xabarchisi sifatida tavsiflanadi, bu esa o'zining eng kanonik mujassamlanishiga erishdi. Gabriel Gartsiya Markes roman Yuz yillik yolg'izlik (1967).[36]

Vizual san'atning sehrli realizmining nazariy ta'siri Evropa va Lotin Amerikasi adabiyotiga katta ta'sir ko'rsatdi. Italyancha Massimo Bontempelli Masalan, buni da'vo qilgan adabiyot "haqiqatga yangi afsonaviy va sehrli nuqtai nazarlarni ochish" orqali kollektiv ongni yaratish vositasi bo'lishi mumkin va o'z asarlarini boshqargan italyan millatiga ilhom berish uchun ishlatgan Fashizm.[2] Pietri Rohning sehrli realizm shakli bilan chambarchas bog'liq bo'lgan va Parijda Bontempellini bilgan. Carlarier tomonidan ishlab chiqilgan "(amerikalik (lotin) hayratomuz haqiqiy") versiyalariga amal qilish o'rniga, Uslar-Pietri yozuvlari "hayot haqiqati orasida inson yashashi sirini" ta'kidlaydi. U sehrli realizm "ning davomi" deb ishongan avangardiya [yoki avangard ] Lotin Amerikasining modernistik eksperimental yozuvlari ".[2]

Tanqiddagi asosiy mavzular

Ta'rifdagi noaniqliklar

Meksikalik tanqidchi Luis Leal sehrli realizmni ta'riflash qiyinligini "Agar uni tushuntirib bera olsangiz, demak bu sehrli realizm emas" deb yozish orqali xulosa qildi.[37] U yozish orqali o'z ta'rifini taqdim etadi: "Sehrli realizm kontseptsiyasi haqida o'ylamasdan har bir yozuvchi odamlarda kuzatgan voqeligini ifodalaydi. Men uchun sehrli realizm bu roman personajlari tomonidan dunyo "yoki tabiat tomon.

Leal va Gyenter ikkala taklifni keltiradilar Arturo Uslar-Pietri, "insonni realistik faktlar bilan o'ralgan sir sifatida tasvirlaydi. She'riy bashorat yoki haqiqatni she'riy inkor etish. Boshqa nom yo'qligi uchun sehrli realizm deb atash mumkin."[38] Shunisi e'tiborga loyiqki, Pietri ushbu adabiy tendentsiya uchun o'z atamasini taqdim etishda, 1948 yilgi ushbu bayonotda bo'lgani kabi, har doim qattiq tanqidiy emas, balki lirik va jo'shqinroq til yordamida uning ta'rifini ochiq saqlagan. Akademik tanqidchilar sehrli realizmni ilmiy aniqlik bilan aniqlashga urinishganda, ular aniqlikdan ko'ra kuchliroq ekanligini aniqladilar. Terimning ma'nosini aniqlay olmaganidan norozi bo'lgan tanqidchilar, undan butunlay voz kechishga undashdi. Pietrining noaniq va keng ishlatilishida sehrli realizm ko'plab o'quvchilar uchun Lotin Amerikasi fantastika haqidagi tasavvurlarini sarhisob qilishda juda muvaffaqiyatli edi; bu haqiqat bu atamaning texnik, ilmiy terminologiyada kutilgan aniqlik bilan ishlashi kutilmagan ekan, uning qo'llanishiga ega ekanligini ko'rsatadi.[iqtibos kerak ]

G'arb va mahalliy dunyoqarash

Sehrli realizmga haqiqat va g'ayritabiiylik o'rtasidagi ziddiyat sifatida tanqidiy nuqtai nazar G'arb o'quvchisining ajralib chiqishi bilan bog'liq mifologiya, g'arbiy madaniyatlar tomonidan sehrli realizmning ildizi osonroq tushuniladi.[35]:3–4 Sehrli realizmga nisbatan G'arbning chalkashishi sehrli realistik matnda yaratilgan "haqiqat tushunchasi" bilan bog'liq: odatdagi G'arb matnlarida bo'lgani kabi, tabiiy yoki jismoniy qonunlar yordamida voqelikni tushuntirish o'rniga, sehrli realist matnlar haqiqatni yaratadi ". voqealar, belgilar va holat ularning jismoniy olamdagi mavqei yoki burjua mentaliteti tomonidan odatiy qabul qilinishi asosida yoki asoslanishi mumkin emas edi. "[39]

Gvatemala muallifi Uilyam Spindler "Sehrli realizm: tipologiya" maqolasi,[40] sehrli realizmning uch turi mavjudligini ta'kidlaydi, ammo ular hech qanday mos kelmaydi:[41]

  • Evropa "metafizik "sehrli realizm, begonalashish hissi va g'ayritabiiylik bilan, misol qilib keltirilgan Kafka fantastika;
  • "ontologik "tushunarsiz" hodisalarni bog'lashda "haqiqat masalasi" bilan tavsiflangan sehrli realizm; va
  • "antropologik "sehrli realizm, bu erda mahalliy dunyoqarash g'arbning ratsional dunyoqarashi bilan yonma-yon o'rnatiladi.

Spindlerning sehrli realizm tipologiyasi quyidagicha tanqid qilindi:[42]

Sehrli realizmni madaniy jihatdan o'ziga xos loyiha sifatida belgilashga qaratilgan toifalashtirish harakati, o'z o'quvchilari uchun afsona va sehr saqlanib qoladigan va sehrli realizm yuzaga kelishi mumkin bo'lgan jamiyatlarni (zamonaviy bo'lmagan) aniqlash orqali. Ushbu tahlilga e'tirozlar mavjud. G'arbiy ratsionalizm modellari aslida G'arbning fikrlash uslublarini tavsiflamasligi mumkin va bilimlarning har ikkala buyrug'i bir vaqtning o'zida mumkin bo'lgan holatlarni tasavvur qilish mumkin.

Mana haqiqiy maravilloso

Alejo Karpentier atamani kelib chiqqan mana haqiqiy maravilloso (taxminan "hayratlanarli haqiqiy") romanining muqaddimasida Dunyo Shohligi (1949); ammo, ba'zilar u haqiqatan ham sehrli realist yozuvchi bo'ladimi yoki shunchaki ilhom manbai va kashshofi ekanligi haqida bahslashmoqdalar. Maggi Bouersning ta'kidlashicha, u Lotin Amerikasi sehrli realizmining asoschisi sifatida tan olingan (ham yozuvchi, ham tanqidchi sifatida);[2] u Karpentierning kontseptsiyasini mo''jizaviy elementlar tabiiy va kuchsiz ko'rinishda paydo bo'lishi mumkin bo'lgan yuksak haqiqat deb ta'riflaydi. Uning ta'kidlashicha, Karpentier o'zini va uning yozuvlarini Rohning sehrli realizmidan ajratib, Lotin Amerikasining turli xil tarixi, geografiyasi, demografiyasi, siyosati, afsonalari va e'tiqodlari asosida aqlga sig'maydigan va hayratlanarli narsalar qanday amalga oshirilishini ko'rsatishni maqsad qilgan.[2] Bundan tashqari, Carpentierning ma'nosi shundaki, Lotin Amerikasi - bu mo''jizalar bilan to'ldirilgan er va "bu er haqida yozish avtomatik ravishda ajoyib haqiqat adabiyotini yaratadi".[18]

Alejo Karpentier

"Ajablanarlisi" ni sehrli realizm bilan chalkashtirib yuborish mumkin, chunki har ikkala rejim ham g'ayritabiiy voqealarni nazarda tutilgan muallifni hayratga solmasdan kiritadi. Ikkalasida ham ushbu sehrli hodisalar kutilmoqda va kundalik hodisalar sifatida qabul qilinadi. Biroq, ajoyib dunyo - bu o'lchovsiz dunyo. Shaxsiy muallif bu erda hamma narsa bo'lishi mumkin, deb ishonadi, chunki butun dunyo g'ayritabiiy mavjudotlar va boshlanadigan vaziyatlar bilan to'lgan. Ertaklar ajoyib adabiyotning yaxshi namunasidir. Ajablanarliligini aniqlashda muhim g'oya shundaki, o'quvchilar bu xayoliy dunyo ular yashaydigan dunyodan farq qilishini tushunishadi. "Ajoyib" bir o'lchovli dunyo dunyodan farq qiladi ikki tomonlama sehrli realizm dunyosi, ikkinchisida bo'lgani kabi, g'ayritabiiy olam tabiiy, tanish dunyo bilan aralashib ketadi ( ikkitasi haqiqat qatlamlari: ikki o'lchovli).[18]:15 Ba'zilar sehrli realizm va haqiqiy maravilloso atamalarini bir-birining o'rnida ishlatishsa-da, asosiy farq diqqat markazida.[18]:11

Tanqidchi Luis Leal Carpentier sehrli realistik uslubning asoschisi bo'lganligini tasdiqlaydi, ikkinchisining tanqidiy asarlariga to'g'ridan-to'g'ri murojaat qilib, "Ajablanarlisi haqiqiy mavjudot sehrli realistik adabiyotni boshlagan, ba'zi tanqidchilar buni The haqiqatan ham Amerika adabiyoti. "[43] Shunday qilib, Carpentierning "mana haqiqiy maravilloso" dan ayniqsa ajralib turishi mumkin sehrli realizm birinchisi maxsus qo'llanilishi bilan Amerika.[25] Ushbu yozuvda Li A. Deniel Karpentierni tanqid qiluvchilarni uch guruhga ajratadi: uni sehrli realist deb hisoblamaydiganlar (Anxel Flores), uni "magicorealista yozuvchisi", uning "man haqiqiy maravilloso" si haqida so'z yuritilmaydi ( Gomes Gil, Jan Franko, Karlos Fuentes) "va ikki atamani bir-birining o'rnida ishlatadiganlar (Fernando Alegria, Luis Leal, Emir Rodriguez Monegal).[25]

Lotin Amerikasi eksklyuzivligi

Lotin Amerikasi sehrli realistik narsalarning vatani va asosi hisoblanadi, degan tanqidlar juda keng tarqalgan. Anxel Flores sehrli realizm xalqaro tovar ekanligini inkor etmaydi, lekin uning ispan tilida tug'ilgan joyi borligini aniqlab beradi va "Sehrli realizm ispan tili adabiyoti va uning evropalik hamkasblarining romantik realistik an'analarining davomi" deb yozadi.[44] Flores bu jabhada yolg'iz emas; sehrli realizmni Lotin Amerikasi ixtirosi deb biluvchilar bilan uni global mahsulot deb biluvchilar o'rtasida tortishuv mavjud postmodern dunyo.[35] Gyunter shunday xulosaga keladi: "Gumonni chetga surib qo'ying, aynan Lotin Amerikasida [sehrli realizm] asosan adabiy tanqid tomonidan qo'lga kiritilgan va tarjima va adabiy o'zlashtirish orqali o'zgartirilgan".[11]:61 Sehrli realizm baynalmilallashuvga erishdi: o'nlab ispan bo'lmagan yozuvchilar shunday toifalarga kiradi va ko'pchilik bu haqiqatan ham ishonadi bu xalqaro tovar.[35]:4, 8

Ispanlarning kelib chiqishi nazariyasi: Agar ushbu maqolada keltirilgan barcha iqtiboslarni ko'rib chiqsak, Gyenter va boshqa tanqidchining "Ispancha kelib chiqish nazariyasi" va xulosasi bilan bog'liq muammolar mavjud. Ushbu maqolani qabul qilib, "sehrli realizm" atamasi birinchi marta 1927 yilda nemis tanqidchisi Frants Roh tomonidan 1915 yilda nashr etilganidan keyin badiiy qo'llanila boshlandi. Franz Kafka roman "Metamorfoz ", qo'shiq qo'shishidan qat'i nazar, sehrli realizmning ingl. va adabiy tasvirlari va ulardan foydalanish.[35] Rus muallifi Nikolay Gogol va uning hikoyasi "Burun "(1835), shuningdek, Ispanlarning kelib chiqishi nazariyasining o'tmishdoshidir. Bularning barchasi Borxesning haqiqiy sehrli realist sifatida tanqidiy mavqei va sehrli realizm oldingisiga va Ispan va Evropa asarlari o'rtasidagi nashrlarning sanalarini qanday taqqoslashiga shubha tug'dirdi. Sehr Ispan jamoalarida realizm, albatta, "oltin davr" ni boshdan kechirgan. Ispan jamoalari, xususan, Argentina sehrli realizmda buyuk harakatlar va iste'dodlarni qo'llab-quvvatlaganligini inkor etish mumkin emas. Sehrli realizmning balandligi Lotin Amerikasi mamlakatlari, feministik o'quvchilar bu fikrga qo'shilmasligi mumkin. Virjiniya Vulf, Angela Karter, Toni Morrison va Sharlotta Perkins Gilman to'liq va har xil xabardor estetik sifatida Ispan sehrli realizmi tushunchasi uchun juda yaxshi tanqidiy muammolar. Allende ushbu jinsga oid nutqqa keyinchalik hissa qo'shadi. Frida Kahlo Albatta, bu uchun ham muhim, ammo Vulf va Gilmandan ham keyinroq. Ushbu feministik xaritalash, ammo asosiy haqiqatni aniqlashda keraksizdir. Kafka va Gogol Borxesdan oldinroq bo'lgan. Ularning har birida sehrli realizmning o'ziga xos shakllari bo'lishi mumkin, ammo ularning har biri yanada kengroq ta'rifga ko'ra ushbu maqolada berilgan identifikatsiya doirasida joylashgan: "juda batafsil, realistik muhitga ishonish juda g'alati narsa ta'sir qiladi ..."[35]

Sehrli realizmdagi feministik tadqiqotning bu masalasi va uning kelib chiqishi ham muhim nutqdir. Buni e'tiborsiz qoldirmaslik kerak. Sehrli realizm, o'z mohiyatiga ko'ra, kam vakillik qilingan va ozchiliklarning ovozlarini yanada nozik va vakillik sharoitida eshitishga imkon berishini hisobga olsak, sehrli realizm ijtimoiy-siyosiy kontekstda nomaqbul stsenariylarni ifoda etayotgan mualliflar va rassomlar uchun eng yaxshi shakllardan biri bo'lishi mumkin. . Shunga qaramay, Vulf, Allende, Kahlo, Karter, Morrison va Gilman sehrli realizmda jins va millat xilma-xilligining ajoyib namunalari. Shu maqsadda Ispan kelib chiqishi nazariyasi amal qilmaydi.

Jinsiy xilma-xillik tashqari, sehrli realizmning asoslari ibtidoiy kelib chiqish nazariyasi ushbu maqolada belgilanganidan ko'ra ancha xilma-xil va murakkabroq. Maqolaning boshida biz yanada kengroq ta'rifni o'qidik: "[sehrli realizm - bu] juda batafsil, realistik muhitga ishonish uchun juda g'alati bir narsa bosilganda nima bo'ladi ..." Bu "ishonish juda g'alati" standart Evropaga nisbatan estetika - ya'ni Vulf, Kafka va Gogol asarlari. Keyinchalik biz Ispan kelib chiqishi nazariyasining yana bir ta'rifi va pretsedenti bo'lib o'qiymiz: "Sehrli realizm ispan tili adabiyotining romantik realistik an'analarining davomidir". Ushbu "davom" sehrli realizm ta'rifi va standartining quyi qismidir. Ispan tilidagi "davomi" va "ispan tilining romantik realistik an'analari" ning quyi to'plami sehrli realizm nima uchun Ispan jamoalarida ildiz otganini va yanada rivojlanganligini aniqlaydi, ammo u er yuzida nol kelib chiqishi yoki egalik qilish uchun faqat Ispan madaniyatida namuna bo'lmadi. Sehrli realizm Lotin Amerikasi mamlakatlarida bo'lgani kabi Germaniyada ham paydo bo'lgan. Ikkalasi ham o'ziga xos estetikani da'vo qilishi mumkin, ammo sehrli realizmning kengroq atamasini ispan tili deb aniqlash shunchaki ushbu maqoladagi iqtiboslar tomonidan qo'llab-quvvatlanmagan nazariya. Ehtimol, har birini o'ziga xosroq va kengroq bo'lmagan soyabonning bir qismi sifatida aniqlash vaqti keldi.[35]

Sehrli realizm - bu o'zining dastlabki bosqichlarida o'z hissasini qo'shgan ko'plab mamlakatlarda davom etadigan hunarmandchilik. Birinchi bo'lib Germaniya, ikkinchi o'rinda Lotin Amerikasi davlatlari. Evropalik va ispan sehrgarlari orasida estetikada albatta farqlar mavjud, ammo ularning ikkalasi ham bir xil sehrli realistlardir. Shu sababli, Ispaniyalik sehrgar realistlar haqiqatan ham tegishli nomga ega bo'lishlari kerak, ammo ushbu maqolada aytilganidek kengroq atamaning soyaboni emas.[11]

Postmodernizm

Nazariy jihatdan sehrli realizm 20-asrda tug'ilganligini hisobga olib, ba'zilar uni postmodernizm bilan bog'lash mantiqiy navbatdagi qadam deb ta'kidladilar. Ikki tushunchani yanada bog'lash uchun belgiyalik tanqidchi Teo Dxaen "Sehrli realizm va postmodernizm" esse-sida murojaat qilgan ikkitasining tavsiflovchi umumiy tomonlari mavjud. Kabi mualliflar Gyunter Grass, Tomas Bernxard, Piter Xandke, Italo Kalvino, Jon Fouulz, Angela Karter, Jon Banvill, Mishel Tournier, Jannina Braschi, Uillem Brakman va Lui Ferron keng postmodernist deb qaralishi mumkin, ular "xuddi shunday osonlikcha tasniflanishi mumkin ... sehrli realist".[45] Odatda postmodernizmga tegishli bo'lishi mumkin bo'lgan xususiyatlarning ro'yxati tuzilgan, ammo bu adabiy sehrli realizmni tasvirlashi mumkin: "o'z-o'zini refleksivligi, metafika, eklektizm, ortiqcha, ko'plik, uzilish, interstekstuallik, parodiya, xarakter va hikoya instansiyasining yo'q qilinishi, chegaralarning yo'q qilinishi va o'quvchining beqarorligi. "[46] Ikkalasini yanada ko'proq bog'lash uchun sehrli realizm va postmodernizm post-mustamlakachilik nutqining mavzularida o'rtoqlashadi, unda vaqt va diqqat markazida sakrash haqiqatan ham ilmiy emas, aksincha sehrli mulohazalar bilan izohlanadi; matnlashtirish (o'quvchining); va metafika.

Tomoshabinlarga bo'lgan munosabat haqida, ikkalasi, ba'zilarning fikriga ko'ra, juda ko'p umumiy narsalarga ega. Sehrli realistik asarlar, birinchi navbatda, ommabop auditoriyani qondirishga intilmaydi, aksincha, matnli "nozikliklar" ni payqashga moslashishi kerak bo'lgan zamonaviy auditoriyani.[20] Postmodern yozuvchi eskapist adabiyotni (fantaziya, jinoyatchilik, arvoh fantastika kabi) qoralasa-da, u u bilan kitobxonlar bilan chambarchas bog'liqdir. Ikkita rejim mavjud postmodern adabiyot: biri, tijorat jihatdan muvaffaqiyatli bo'lgan pop-fantastika, ikkinchisi esa, ziyolilarga yaxshiroq mos keladigan falsafa. Birinchi rejimni birma-bir o'qish matnni buzilgan yoki qisqartiruvchi tushunchasini beradi. Aureliano kabi xayoliy o'quvchi 100 yillik yolg'izlik- bu garovga olingan odam bu asarni kim o'qiyapti va nima bilan tugaydi va qanday qilib yozuvchi abadiy o'quvchilarning ehtiyojlari va istaklariga (bozorga) tayanadi, degan xavotirda edi.[26] Sehrli realist yozuvchi qiyinchilik bilan sotish va intellektual yaxlitlik o'rtasida muvozanatga erishishi kerak. Vendi Faris sehrli realizmni modernizmni postmodernizmga qoldiradigan zamonaviy hodisa sifatida aytganda: "Sehrli realistik fantastika zamonaviyist o'tmishdoshlaridan ko'ra yoshroq va ommaboproq tuyuladi, chunki ular ko'pincha (har doim ham bo'lmasada) bizning yo'nalishimizdagi bir tomonlama hikoyalar satrlariga murojaat qilishadi. keyinchalik nima bo'lishini eshitish uchun asosiy istak. Shunday qilib ular o'quvchilarning ko'ngil ochishi uchun yanada aniqroq ishlab chiqilgan bo'lishi mumkin. "[47]

Turli janrlar bilan taqqoslash

Biror narsani aniqlashga urinayotganda bu, ko'pincha nima ekanligini aniqlash foydali bo'ladi emas. Ko'pgina adabiyotshunoslar romanlar va adabiy asarlarni "romantik" yoki "tabiatshunos" singari faqat bitta janrda tasniflashga harakat qilmoqdalar, har doim ham ko'plab asarlar bir nechta toifaga kirishini hisobga olmaydilar.[20] Maggie Ann Bowersning kitobidan ko'p munozaralar keltirilgan Sehr (al) RealizmBu erda u realizm, syurrealizm, fantastik adabiyot, ilmiy fantastika va uning afrikadagi versiyasi, animist realizm kabi boshqa janrlar bilan aloqalarni o'rganib, sehrli realizm va sehrli realizm atamalarini chegaralashga urinadi.

Realizm

Realizm bu haqiqiy hayot tasvirini yaratishga urinish; roman shunchaki taqdim etgan narsasiga ishonmaydi, balki Qanaqasiga uni taqdim etadi. Shunday qilib, realistik rivoyat o'quvchi hayotning xomashyosidan foydalangan holda dunyoni barpo etadigan asos bo'lib xizmat qiladi. Ikkala terminni tushunish uchun ham hikoya rejimi doirasida ikkala realizmni va sehrli realizmni tushunish muhimdir. Sehrli realizm "haqiqiy, xayoliy yoki sehrli elementlarning mavjudligiga o'xshab taqdim etilishiga asoslanadi. U realizmga tayanadi, lekin shunchaki u maqbul bo'lgan narsani o'z chegaralariga qadar cho'zishi mumkin."[2]:22 Adabiyotshunos Kornelije Kvas "sehrli (al) realizm asarlarida yaratilgan narsa, haqiqatan ham g'ayritabiiy va hayoliy narsalarning kuchli ishtiroki bilan ajralib turadigan, boshqa narsalar qatori qarama-qarshiliklar va Jamiyatning kamchiliklari.Fantastik elementning mavjudligi an'anaviy realistik adabiyotga xos bo'lgan asarning aniq izchilligini buzmaydi.Fantastik (sehrli) elementlar kundalik voqelikning bir qismi sifatida namoyon bo'ladi, hujumga qarshi insonni qutqaruvchi vazifasini bajaradi. Konformizm, yovuzlik va totalitarizm haqida. Bundan tashqari, sehrli realizm asarlarida biz an'anaviy, 19-asr realizmiga xos ob'ektiv bayonni topamiz. "[48]

Oddiy taqqoslash nuqtasi sifatida, Rohning ekspressionizm va post-ekspressionizm o'rtasidagi farqi 20-asrda nemis san'ati, sehrli realizm va realizmga nisbatan qo'llanilishi mumkin. Realizm "tarix", "" atamalariga tegishlimimetik, "" tanishish "," empirikizm / mantiq "," rivoyat "," yopiq / reduktiv tabiatshunoslik "va"ratsionalizatsiya /sabab va oqibat."[49] Boshqa tomondan, sehrli realizm "afsona / afsona", "hayoliy / qo'shimcha", "" atamalarini o'z ichiga oladitanitish," "tasavvuf / sehr, ""meta-rivoyat, "" ochiq / keng romantizm, "va" tasavvur / salbiy qobiliyat. "[49]

Syurrealizm

Syurrealizm ko'pincha sehrli realizm bilan aralashib ketadi, chunki ular ikkalasi ham insoniyat va mavjudotning mantiqsiz yoki realistik bo'lmagan tomonlarini o'rganadilar. Frants Roning sehrli realizm kontseptsiyasi va syurrealizm o'rtasida kuchli tarixiy bog'liqlik hamda Carpentierning hayratlanarli haqiqatiga ta'sir etishi; ammo, muhim farqlar saqlanib qolmoqda. Syurrealizm "sehrli realizmdan [shu bilan] ko'proq o'rganadiki, u o'rganadigan jihatlar moddiy haqiqat bilan emas, balki tasavvur va aql bilan bog'liq, xususan, insonlarning" ichki hayoti "va psixologiyasini san'at orqali ifoda etishga urinadi" . U sub-ongli, behush, qatag'on qilingan va so'z bilan ifodalanmaydigan narsalarni ifoda etishga intiladi. Sehrli realizm esa g'ayrioddiylikni kamdan-kam hollarda tush yoki a shaklida taqdim etadi psixologik tajriba. "Buning uchun, - deb yozadi Bouers, - taniqli moddiy haqiqat sehrini oladi va uni xayolning unchalik tushunilmagan dunyosiga joylashtiradi. Sehrli realizm sehrining odatiyligi uning qabul qilingan va shubhasiz mavqeiga va moddiy holatiga tayanadi. moddiy haqiqat."[2]:22–4

Xayoliy realizm

"Xayoliy realizm" bu atamani birinchi bo'lib gollandiyalik rassom tomonidan ishlab chiqilgan Carel Willink sehrli realizm marjonlari sifatida. Sehrli realizm fantastik va real bo'lmagan unsurlardan foydalanadigan joyda, xayoliy realizm xayoliy sahnada realistik elementlardan qat'iy foydalanadi. Shunday qilib, mumtoz rassomlar o'zlarining Injil va mifologik manzaralari bilan "xayoliy realistlar" sifatiga ega bo'lishlari mumkin. Fotosuratlarni tahrirlash dasturi tobora ko'payib borayotganligi sababli, badiiy fotograflar ham yoqadi Karl Xammer va boshqalar ushbu janrda badiiy asarlar yaratadilar.

Fabulizm

Fabulizm an'anaviy ravishda afsonalar, masallar va afsonalarga ishora qiladi va ba'zida asarlari sehrli realizmga tegishli bo'lgan yoki ular bilan bog'liq bo'lgan mualliflar uchun zamonaviy sharoitlarda qo'llaniladi.

Sehrli realizm asarlariga murojaat qilish uchun tez-tez ishlatilgan bo'lsa-da, fabulizm tashqi dunyoni tanqid qilish va to'g'ridan-to'g'ri allegorik talqinlarni taklif qilish uchun afsona va afsonalardan foydalanib, fantaziya elementlarini o'z ichiga oladi. Avstriyalik-amerikalik bolalar psixologi Bruno Bettelxaym ertaklarning psixologik foydasi borligini taklif qildi. They are used to translate trauma into a context that people can more easily understand and help to process difficult truths. Bettelheim posited that the darkness and morality of traditional fairy tales allowed children to grapple with questions of fear through symbolism. Fabulism helped to work through these complexities and, in the words of Bettelheim, "make physical what is otherwise ephemeral or ineffable in an attempt...of understanding those things that we struggle the most to talk about: loss, love, transition."[50]

Author Amber Sparks described fabulism as blending fantastical elements into a realistic setting. Crucial to the genre, said Sparks, is that the elements are often borrowed from specific myths, fairy tales, and folktales. Unlike magical realism, it does not just use general magical elements, but directly incorporates details from well known stories. "Our lives are bizarre, meandering, and fantastic," said Hannah Gilham of the Vashington maydoniga sharh regarding fabulism. "Shouldn't our fiction reflect that?"[51]

While magical realism is traditionally used to refer to works that are Latin American in origin, fabulism is not tied to any specific culture. Rather than focusing on political realities, fabulism tends to focus on the entirety of the human experience through the mechanization of fairy tales and myths.[52] This can be seen in the works of C.S. Lyuis, who was once referred to as the greatest fabulist of the 20th century. His 1956 novel Yuzlarimiz bo'lguncha has been referenced as a fabulist retelling. This re-imagining of the story of Cupid va Psyche uses an age-old myth to impart moralistic knowledge on the reader. A Vashington Post review of a Lewis biography discusses how his work creates "a fiction" in order to deliver a lesson. Says the Post of Lewis, "The fabulist...illuminates the nature of things through a tale both he and his auditors, or readers, know to be an ingenious analogical invention."[53]

Italo Kalvino is an example of a writer in the genre who uses the term fabulist. Calvino is best known for his book trilogy, Bizning ota-bobolarimiz, a collection of moral tales told through surrealist fantasy. Like many fabulist collections, his work is often classified as allegories for children. Calvino wanted fiction, like folk tales, to act as a teaching device. "Time and again, Calvino insisted on the 'educational potential' of the fable and its function as a moral exemplum," wrote journalist Ian Thomson about the Italian Fabulist.[54]

While reviewing the work of Romanian-born American theater director Andrey Serban, Nyu-York Tayms tanqidchi Mel Gussov coined the term "The New Fabulism." Serban is famous for his reinventions in the art of staging and directing, known for directing works like "The Stag King" and "The Serpent Woman," both fables adapted into plays by Carl Gozzi. Gussow defined "The New Fabulism" as "taking ancient myths and turn(ing) them into morality tales."[55] In Ed Menta's book, The Magic Behind the Curtain, he explores Serban's work and influence within the context of American theatre. He wrote that the Fabulist style allowed Serban to neatly combine technical form and his own imagination. Through directing fabulist works, Serban can inspire an audience with innate goodness and romanticism through the magic of theatre. "The New Fabulism has allowed Serban to pursue his own ideals of achieving on sage the naivete of a children's theater," wrote Menta. "It is in this simplicity, this innocence, this magic that Serban finds any hope for contemporary theatre at all."[55]

Fantaziya

Prominent English-language fantasy writers have said that "magic realism" is only another name for fantastik fantastika. Gen Vulfe said, "magic realism is fantasy written by people who speak Spanish,"[56] va Terri Prathet said magic realism "is like a polite way of saying you write fantasy."[57]

However, Amaryll Beatrice Chanady distinguishes magical realist literature from fantasy literature ("the fantastic") based on differences between three shared dimensions: the use of antinomiya (the simultaneous presence of two conflicting codes), the inclusion of events that cannot be integrated into a logical framework, and the use of authorial reticence. In fantasy, the presence of the supernatural code is perceived as problematic, something that draws special attention—where in magical realism, the presence of the supernatural is accepted. In fantasy, while authorial reticence creates a disturbing effect on the reader, it works to integrate the supernatural into the natural framework in magical realism. This integration is made possible in magical realism as the author presents the supernatural as being equally valid to the natural. There is no hierarchy between the two codes.[58] The ghost of Melquíades in Márquez's Yuz yillik yolg'izlik or the baby ghost in Toni Morrison "s Azizim who visit or haunt the inhabitants of their previous residence are both presented by the narrator as ordinary occurrences; the reader, therefore, accepts the marvelous as normal and common.[2]:25–7

To Clark Zlotchew, the differentiating factor between the fantastic and magical realism is that in fantastic literature, such as Kafka's Metamorfoz, there is a hesitation experienced by the protagonist, implied author or reader in deciding whether to attribute natural or supernatural causes to an unsettling event, or between rational or irrational explanations.[18]:14 Fantastic literature has also been defined as a piece of narrative in which there is a constant faltering between belief and non-belief in the supernatural or extraordinary event.

In Leal's view, writers of fantasy literature, such as Borxes, can create "new worlds, perhaps new planets. By contrast, writers like García Márquez, who use magical realism, don't create new worlds, but suggest the magical in our world."[17] In magical realism, the supernatural realm blends with the natural, familiar world. This twofold world of magical realism differs from the onefold world that can be found in fairy-tale and fantasy literature.[18]:15 By contrast, in the series "Sehrgar Stabber Orphen " the laws of natural world become a basis for a naturalistic concept of magic.[59]

Animist realism

Animist realism is a term for conceptualizing the Afrika adabiyoti that has been written based on the strong presence of the imaginary ancestor, the traditional religion and especially the animizm of African cultures.[60] Ushbu atama tomonidan ishlatilgan Pepetela (1989)[61] and Harry Garuba (2003)[62] to be a new conception of magic realism in African literature.

ilmiy fantastika

Esa ilmiy fantastika and magical realism both bend the notion of what is real, toy with human imagination, and are forms of (often fantastical) fiction, they differ greatly. Bower's cites Aldous Xaksli "s Jasur yangi dunyo as a novel that exemplifies the science fiction novel's requirement of a "rational, physical explanation for any unusual occurrences." Huxley portrays a world where the population is highly controlled with mood enhancing drugs, which are controlled by the government. In this world, there is no link between copulation and reproduction. Humans are produced in giant test tubes, where chemical alterations during gestation determine their fates. Bowers argues that, "The science fiction narrative's distinct difference from magical realism is that it is set in a world different from any known reality and its realism resides in the fact that we can recognize it as a possibility for our future. Unlike magical realism, it does not have a realistic setting that is recognizable in relation to any past or present reality."[2]:29–30

Major authors and works

Shuningdek qarang: Category:Magic realism novels.

Although critics and writers debate which authors or works fall within the magical realism genre, the following authors represent the narrative mode. Within the Latin American world, the most iconic of magical realist writers are Xorxe Luis Borxes,[63] Izabel Allende,[64] va Nobel mukofoti sovrindori Gabriel Gartsiya Markes, kimning romani Yuz yillik yolg'izlik was an instant worldwide success.

Plaque of Gabriel García Márquez, Paris

García Márquez confessed: "My most important problem was destroying the line of demarcation that separates what seems real from what seems fantastic."[65] Allende was the first Latin American woman writer recognized outside the continent. Her most well-known novel, Ruhlar uyi, is arguably similar to García Márquez's style of magical realist writing.[2]:43 Another notable novelist is Laura Esquivel, kimning Shokolad uchun suv kabi tells the story of the domestic life of women living on the margins of their families and society. The novel's protagonist, Tita, is kept from happiness and marriage by her mother. "Her unrequited love and ostracism from the family lead her to harness her extraordinary powers of imbuing her emotions to the food she makes. In turn, people who eat her food enact her emotions for her. For example, after eating a wedding cake Tita made while suffering from a forbidden love, the guests all suffer from a wave of longing. The Mexican Xuan Rulfo pioneered the exposition through a non-linear structure with his short novel Pedro Paramo that tells the story of Comala both as a lively town in times of the eponymous Pedro Páramo and as a ghost town through the eyes of his son Juan Preciado who returns to Comala to fulfil a promise to his dead mother.

In the English-speaking world, major authors include British Indian writer Salmon Rushdi, African American novelists Toni Morrison va Gloriya Naylor, Latinos, as Ana Kastillo, Rudolfo Anaya, Daniel Olivas va Helena Mariya Viramontes, Native American authors Luiza Erdrich va Sherman Aleksi; Ingliz muallifi Lui de Bernier and English feminist writer Angela Karter. Perhaps the best known is Rushdie, whose "language form of magical realism straddles both the surrealist tradition of magic realism as it developed in Europe and the mythic tradition of magical realism as it developed in Latin America".[2] Morrison's most notable work, Azizim, tells the story of a mother who, haunted by the ghost of her child, learns to cope with memories of her traumatic childhood as an abused slave and the burden of nurturing children into a harsh and brutal society.[2] Jonathan Safran Foer uses magical realism in exploring the history of the stetl va Holokost yilda Hamma narsa yoritilgan.

In the Portuguese-speaking world, Xorxe Amado and Nobel prize-winning novelist Xose Saramago are some of the most famous authors of magic realism.

In Norway, the writers Erik Fosnes Xansen, Yan Kyorstad and the young novelist Rune Salvesen have marked themselves as premier writers of magical realism, something that has been seen as very un-Norwegian.

Dimitris Lyakos 's Poena Damni trilogy, originally written in Greek, is also seen as displaying characteristics of magic realism in its simultaneous fusion of real and unreal situations in the same narrative context.

Tasviriy san'at

Tarixiy rivojlanish

Giorgio de Chirico
Sevgi haqida qo'shiq, 1914
Zamonaviy san'at muzeyi

The painterly style began evolving as early as the first decade of the 20th century,[66] but 1925 was when Magischer Realismus va Neue Sachlichkeit were officially recognized as major trends. This was the year that Franz Roh published his book on the subject, Nach Expressionismus: Magischer Realismus: Probleme der neuesten europäischen Malerei ('After Expressionism: Magical Realism: Problems of the Newest European Painting') va Gustav Xartlaub curated the seminal exhibition on the theme, entitled simply Neue Sachlichkeit (tarjima qilingan Yangi ob'ektivlik ), da Kunsthalle Mannheim in Mannheim, Germany.[11]:41 Guenther refers most frequently to the Yangi ob'ektivlik, rather than magical realism, which is attributed to that New objectivity is practical based, referential (to real practicing artists), while the magical realism is theoretical or critic's rhetoric. Eventually under Massimo Bontempelli guidance, the term sehrli realizm was fully embraced by the German as well as in Italian practicing communities.[11]:60

Yangi ob'ektivlik saw an utter rejection of the preceding impressionist va ekspressionist movements, and Hartlaub curated his exhibition under the guideline: only those, "who have remained true or have returned to a positive, palpable reality,"[67] in order to reveal the truth of the times,"[68]:41 kiritilgan bo'lar edi. The style was roughly divided into two subcategories: conservative, (neo- )klassik painting, and generally chap qanot, politically motivated Verists.[68]:41 The following quote by Hartlaub distinguishes the two, though mostly with reference to Germany; however, one might apply the logic to all relevant European countries.[68]:41

In the new art, he saw a right, a left wing. One, conservative towards Classicism, taking roots in timelessness, wanting to sanctify again the healthy, physically plastic in pure drawing after nature...after so much eccentricity and chaos [a reference to the repercussions of World War I].... The other, the left, glaringly contemporary, far less artistically faithful, rather born of the negation of art, seeking to expose the chaos, the true face of our time, with an addiction to primitive fact-finding and nervous baring of the self... There is nothing left but to affirm it [the new art], especially since it seems strong enough to raise new artistic willpower.[69]

Both sides were seen all over Europe during the 1920s and 1930s, ranging from the Netherlands to Austria, France to Russia, with Germany and Italy as centers of growth.[68]:41–5 Haqiqatdan ham, Italyancha Giorgio de Chirico, producing works in the late 1910s under the style arte metafisica (tarjima qilingan Metafizika san'ati ), is seen as a precursor and as having an "influence...greater than any other painter on the artists of Yangi ob'ektivlik."[68]:38[70]

Further afield, American painters were later (in the 1940s and 1950s, mostly) coined magical realists; a link between these artists and the Neue Sachlichkeit of the 1920s was explicitly made in the New York Museum of Modern Art exhibition, tellingly titled "American Realists and Magic Realists."[71] French magical realist Per Roy, who worked and showed successfully in the US, is cited as having "helped spread Franz Roh's formulations" to the United States.[68]:45

Excluding the overtly fantastic

When art critic Franz Roh atamani qo'llagan sehrli realizm to visual art in 1925, he was designating a style of visual art that brings extreme realizm to the depiction of mundane subject matter, revealing an "interior" mystery, rather than imposing external, overtly magical features onto this everyday reality. Roh explains:[72]

We are offered a new style that is thoroughly of this world that celebrates the mundane. This new world of objects is still alien to the current idea of Realism. It employs various techniques that endow all things with a deeper meaning and reveal mysteries that always threaten the secure tranquility of simple and ingenuous things.... it is a question of representing before our eyes, in an intuitive way, the fact, the interior figure, of the exterior world.

In painting, magical realism is a term often interchanged with post-expressionism, as Ríos also shows, for the very title of Roh's 1925 essay was "Magical Realism:Post-Expressionism".[72] Indeed, as Dr. Lois Parkinson Zamora of the Xyuston universiteti writes, "Roh, in his 1925 essay, described a group of painters whom we now categorize generally as Post-Expressionists."[73]

Aleksandr Kanoldt, Still Life II 1922

Roh used this term to describe painting that signaled a return to realizm keyin ekspressionizm 's extravagances, which sought to redesign objects to reveal the spirits of those objects. Magical realism, according to Roh, instead faithfully portrays the exterior of an object, and in doing so the spirit, or magic, of the object reveals itself. One could relate this exterior magic all the way back to the 15th century. Flamand rassomi Van Eyk (1395–1441) highlights the complexity of a natural landscape by creating illusions of continuous and unseen areas that recede into the background, leaving it to the viewer's imagination to fill in those gaps in the image: for instance, in a rolling landscape with river and hills. The magic is contained in the viewer's interpretation of those mysterious unseen or hidden parts of the image.[74]Other important aspects of magical realist painting, according to Roh, include:

  • A return to ordinary subjects as opposed to fantastical ones.
  • A juxtaposition of forward movement with a sense of distance, as opposed to Expressionism's tendency to foreshorten the subject.
  • A use of miniature details even in expansive paintings, such as large landscapes.

The pictorial ideals of Roh's original magic realism attracted new generations of artists through the latter years of the 20th century and beyond. 1991 yilda Nyu-York Tayms review, critic Vivien Raynor remarked that "Jon Styuart Ingl proves that Magic Realism lives" in his "virtuoso" natyurmort watercolors.[75] Ingle's approach, as described in his own words, reflects the early inspiration of the magic realism movement as described by Roh; that is, the aim is not to add magical elements to a realistic painting, but to pursue a radically faithful rendering of reality; the "magic" effect on the viewer comes from the intensity of that effort: "I don't want to make arbitrary changes in what I see to paint the picture, I want to paint what is given. The whole idea is to take something that's given and explore that reality as intensely as I can."[76][77]

Later development: incorporating the fantastic

Pol Kadmus, The Fleet's In! 1934

While Ingle represents a "magic realism" that harks back to Roh's ideas, the term "magic realism" in mid-20th century visual art tends to refer to work that incorporates overtly fantastic elements, somewhat in the manner of its literary counterpart.

Occupying an intermediate place in this line of development, the work of several European and American painters whose most important work dates from the 1930s through to the 1950s, including Bettina Shaw-Lawrence, Pol Kadmus, Ivan Albright, Filipp Evergood, Jorj Tuker, Rikko, hatto Endryu Vayt, such as in his well-known work Kristina olami,[78] is designated as "magic realist". This work departs sharply from Roh's definition, in that it (according to artcyclopedia.com) "is anchored in everyday reality, but has overtones of fantasy or wonder".[79] In the work of Cadmus, for example, the surreal atmosphere is sometimes achieved via stylized distortions or exaggerations that are not realistic.

Recent "magic realism" has gone beyond mere "overtones" of the fantastic or surreal to depict a frankly magical reality, with an increasingly tenuous anchoring in "everyday reality". Artists associated with this kind of magic realism include Marcela Donoso[80][81][tekshirish kerak ][82][83][84] va Gregori Gillespi.[85][86][87]

Kabi rassomlar Piter Doig, Richard T. Skott and Will Teather have become associated with the term in the early 21st century.

Rassomlar

Film va televidenie

Shuningdek qarang: Category:Magic realism films.

Magical realism is not an officially recognized film janri, but characteristics of magic realism present in literature can also be found in many moving pictures with fantasy elements. These characteristics may be presented matter-of-factly and occur without explanation.[88]

Many films have magical realist narrative and events that contrast between real and magical elements, or different modes of production. This device explores the reality of what exists.[2]:109–11 Fredrik Jeymson, yilda On Magic Realism in Film, advances a hypothesis that magical realism in film is a formal mode that is constitutionally dependent on a type of historical raw material in which disjunction is structurally present.[89][90] Shokolad uchun suv kabi (1992) begins and ends with the first person narrative to establish the magical realism storytelling frame. Telling a story from a child's point of view, the historical gaps and holes perspective, and with cinematic color heightening the presence, are magical realist tools in films.[91]

A number of films by Vudi Allen also convey elements of magic realism, including Qohiraning binafsha atirguli (1985), Elis (1990), Yarim tunda Parijda (2011), Kepçe (2006) va Sevgi bilan Rimga (2012). Additionally, most of the films directed by Terri Gilliam are strongly influenced by magic realism;[92] the animated films of Xayao Miyazaki often utilize magic realism;[93] and some of the films of Emir Kusturica contain elements of magical realism, the most famous of which is Lo'lilar vaqti (1988).[94]

Some other films that convey elements of magic realism include:

Video games and new media

Early video games such as the 1986 text adventure Uchbirlik combined elements of science fiction, fantasy and magic realism.[95] In his essay "Half-Real", MIT professor va ludologist Jesper Juul argues that the intrinsic nature of video games is magic realist.[96] Belgilang va bosing adventure games such as the 2017 release Memorandum have embraced the genre.[97] The 2013 release Kentukki yo'nalishi nol is also deeply entrenched in magical realist tradition.[98]

In electronic literature, early author Maykl Joys "s Peshindan keyin, bir hikoya deploys the ambiguity and dubious narrator characteristic of high modernism, along with some suspense and romance elements, in a story whose meaning could change dramatically depending on the path taken through its lexias on each reading.[99] More recently, Pamela Sacred perpetuated the genre through La Voie de l'ange, ning davomi Anne Frankning kundaligi written in French by a fictional character from her Yo'lovchilar hypertext saga.[100]

Shuningdek qarang

With reference to literature

  • Fantaziya – Genre of literature, film, drama, television and other artforms
  • Isekay – Portal fantasy in fiction and entertainment
  • Kam xayol – Subgenre of fantasy fiction defined by a "mundane" setting
  • Lotin Amerikasi boom – Late 20th-century global proliferation of Latin American literature
  • Hallucinatory realism – Term used by critics in describing works of art
  • Isterik realizm – Pejorative term to describe certain realist-genre books
  • McOndo – Latin American literary movement
  • Janubiy gotika

With reference to visual art

With reference to both

Adabiyotlar

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  65. ^ Intervyu Primera Plana 5(234):52–55. [quoted in "Diario Digital del Choapa". Arxivlandi from the original on 2009-03-06. Olingan 2009-01-25.]: "Mi problema más importante era destruir la línea de demarcación que separa lo que parece real de lo que parece fantástico. Porque en el mundo que trataba de evocar esa barrera no existía. Pero necesitaba un tono convincente, que por su propio prestigio volviera verosímiles las cosas que menos lo parecían, y que lo hicieran sin perturbar la unidad del relato." [This agrees well (minor textual variants) with other quotations found in "Gabriel García Márquez cumple hoy 80 años y lo festejará todo el mundo". Territorio. Arxivlandi asl nusxasidan 2009-02-05. Olingan 2009-01-25.: "El problema más importante era destruir la línea de demarcación que separa lo que parece real de lo que parece fantástico porque en el mundo que trataba de evocar, esa barrera no existía. Pero necesitaba un tono inocente, que por su prestigio volviera verosímiles las cosas que menos lo parecían, y que lo hiciera sin perturbar la unidad del relato. También el lenguaje era una dificultad de fondo, pues la verdad no parece verdad simplemente porque lo sea, sino por la forma en que se diga."[Other quotations on the Internet can be found in "Arxivlangan nusxa". Arxivlandi asl nusxasidan 2009-02-02. Olingan 2009-01-25.CS1 maint: nom sifatida arxivlangan nusxa (havola) va "Arxivlangan nusxa". Arxivlandi asl nusxasidan 2011-07-08. Olingan 2009-01-25.CS1 maint: nom sifatida arxivlangan nusxa (havola) All of these quotations reinforce the rough English translation of the first sentence given in the main text of this article. For those who wish to seek the original interview, the front cover and table of contents are reproduced at "Arxivlangan nusxa". Arxivlandi asl nusxasidan 2009-02-02. Olingan 2009-01-25.CS1 maint: nom sifatida arxivlangan nusxa (havola)]
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