Сиқырлы реализм: әдебиет пен өнер стилі

Style of literary fiction and art
Magic realism or magical realism is a style or genre of fiction and art that presents a realistic view of the world while incorporating magical elements, often blurring the lines between fantasy and reality. Magic realism often refers to literature in particular, with magical or supernatural phenomena presented in an otherwise real world or mundane setting, commonly found in novels and dramatic performances. Despite including certain magic elements, it is generally considered to be a different genre from fantasy because magical realism uses a substantial amount of realistic detail and employs magical elements to make a point about reality, while fantasy stories are often separated from reality. Magical realism is often seen as an amalgamation of real and magical elements that produces a more inclusive writing form than either literary realism or fantasy. The term and its wide definition can often become confused, as many writers are categorized as magical realists. The term was influenced by a German and Italian painting style of the 1920s which were given the same name. Michiko Kakutani writes that "The transactions between the extraordinary and the mundane that occur in so much Latin American fiction are not merely a literary technique, but also a mirror of a reality in which the fantastic is frequently part of everyday life." Magical realism often mixes history and fantasy, as in Salman Rushdie's Midnight's Children, in which the children born at midnight on August 15, 1947, the moment of India's independence, are telepathically linked. Irene Guenther (1995) tackles the German roots of the term, and how an earlier magic realist art is related to a later magic realist literature; meanwhile, magical realism is often associated with Latin American literature, including founders of the genre, particularly the authors Gabriel García Márquez, Isabel Allende, Jorge Luis Borges, Juan Rulfo, Miguel Ángel Asturias, Elena Garro, Mireya Robles, Rómulo Gallegos and Arturo Uslar Pietri. In English literature, its chief exponents include Neil Gaiman, Salman Rushdie, Alice Hoffman, Louis De Bernieres, Nick Joaquin, and Nicola Barker. In Bengali literature, prominent writers of magic realism include Nabarun Bhattacharya, Akhteruzzaman Elias, Shahidul Zahir, Jibanananda Das and Syed Waliullah. In Kannada literature, the writers Shivaram Karanth and Devanur Mahadeva have infused magical realism in their most prominent works. In Japanese literature, one of the most important authors of this genre is Haruki Murakami. In Chinese literature the best known writer of the style is Mo Yan, the 2012 Nobel Prize laureate in Literature for his "hallucinatory realism". In Polish literature, magic realism is represented by Olga Tokarczuk, the 2018 Nobel Prize laureate in Literature.

The term first appeared as the German magischer Realismus ('magical realism'). In 1925, German art critic Franz Roh used magischer Realismus to refer to a painterly style known as Neue Sachlichkeit ('New Objectivity'), an alternative to expressionism that was championed by German museum director Gustav Hartlaub. In the words of Anatoly Lunacharsky:

Unlike other romantics, Hoffmann was a satirist. He saw the reality surrounding him with unusual keenness, and in this sense he was one of the first and sharpest realists. The smallest details of everyday life, funny features in the people around him with extraordinary honesty were noticed by him. In this sense, his works are a whole mountain of delightfully sketched caricatures of reality. But he was not limited to them. Often he created nightmares similar to Gogol's Portrait. Gogol is a student of Hoffmann and is extremely dependent on Hoffmann in many works, for example in Portrait and The Nose. In them, just like Hoffmann, he frightens with a nightmare and contrasts it to a positive beginning Hoffmann's dream was free, graceful, attractive, cheerful to infinity. Reading his fairy tales, you understand that Hoffmann is, in essence, a kind, clear person, because he could tell a child such things as The Nutcracker or The Royal Bride – these pearls of human fantasy. German magic realist paintings influenced the Italian writer Massimo Bontempelli, who has been called the first to apply magic realism to writing, aiming to capture the fantastic, mysterious nature of reality. In 1926, he founded the magic realist magazine 900. Novecento, and his writings influenced Belgian magic realist writers Johan Daisne and Hubert Lampo. There is evidence that Mexican writer Elena Garro used the same term to describe the works of E. T. A. Hoffmann, but dismissed her own work as a part of the genre. French Russian Cuban writer Alejo Carpentier, who rejected Roh's magic realism as tiresome pretension, developed his related concept lo real maravilloso ('marvelous realism') in 1949. García Marquez cited Kafka's "The Metamorphosis" as a formative influence: "The first line almost knocked me out of bed. It begins: 'As Gregor Samsa awoke from uneasy dreams, he found himself transformed in his bed into a gigantic insect.' When I read that line I thought to myself I didn't know anyone was allowed to write things like that. If I had known, I would have started writing a long time ago." He also cited the stories told to him by his grandmother: "She told me things that sounded supernatural and fantastic, but she told them with complete naturalness. She did not change her expression at all when telling her stories, and everyone was surprised. In previous attempts to write One Hundred Years of Solitude, I tried to tell the story without believing in it. I discovered that what I had to was believe in them myself and them write them with the same expression with which my grandmother told them: with a brick face." The theoretical implications of visual art's magic realism greatly influenced European and Latin American literature. Italian Massimo Bontempelli, for instance, claimed that literature could be a means to create a collective consciousness by "opening new mythical and magical perspectives on reality", and used his writings to inspire an Italian nation governed by Fascism.

The existence of fantastic elements in the real world provides the basis for magical realism. Writers do not invent new worlds, but rather, they reveal the magical in the existing world, as was done by Gabriel García Márquez, who wrote the seminal work One Hundred Years of Solitude. In the world of magical realism, the supernatural realm blends with the natural, familiar world.

Authorial reticence is the "deliberate withholding of information and explanations about the disconcerting fictitious world". The narrator is indifferent, a characteristic enhanced by this absence of explanation of fantastic events; the story proceeds with "logical precision" as if nothing extraordinary had taken place.

In his essay "The Baroque and the Marvelous Real", Cuban writer Alejo Carpentier defines the baroque by a lack of emptiness, a departure from structure or rules, and an "extraordinary" abundance (plenitude) of disorienting detail. (He cites Mondrian as its opposite.) From this angle, Carpentier views the baroque as a layering of elements, which translates easily into the postcolonial or transcultural Latin American atmosphere that he emphasizes in The Kingdom of this World. "America, a continent of symbiosis, mutations  mestizaje, engenders the baroque",

Magical realism plot lines characteristically employ hybrid multiple planes of reality that take place in "inharmonious arenas of such opposites as urban and rural, and Western and indigenous".

This trait centers on the reader's role in literature. With its multiple realities and specific reference to the reader's world, it explores the impact fiction has on reality, reality on fiction, and the reader's role in between; as such, it is well suited for drawing attention to social or political criticism. Furthermore, it is the tool paramount in the execution of a related and major magic realist phenomenon: textualization. This term defines two conditions—first, where a fictitious reader enters the story within a story while reading it, making them self conscious of their status as readers—and secondly, where the textual world enters into the reader's (real) world. Good sense would negate this process, but "magic" is the flexible convention that allows it.

Magic realist literature tends to leave out explanation of its magical element or obfuscate elements of the story, creating a sense of confusion and mystery. For example, when reading One Hundred Years of Solitude, the reader must let go of pre existing ties to conventional exposition, plot advancement, linear time structure, scientific reason, etc., to strive for a state of heightened awareness of life's connectedness or hidden meanings in order for the book to begin to make sense. Luis Leal articulates this feeling as "to seize the mystery that breathes behind things", and supports the claim by saying a writer must heighten his senses to the point of estado limite ('limit state' or 'extreme') in order to realize all levels of reality, most importantly that of mystery.

Magic realism contains an "implicit criticism of society, particularly the elite". Especially with regard to Latin America, the style breaks from the inarguable discourse of "privileged centers of literature". This is a mode primarily about and for "ex centrics": the geographically, socially, and economically marginalized. Therefore, magic realism's "alternative world" works to correct the reality of established viewpoints (like realism, naturalism, modernism). Magic realist texts, under this logic, are subversive texts, revolutionary against socially dominant forces. Alternatively, the socially dominant may implement magical realism to disassociate themselves from their "power discourse".

Mexican critic Luis Leal summed up the difficulty of defining magical realism by writing, "If you can explain it, then it's not magical realism." He offers his own definition by writing, "Without thinking of the concept of magical realism, each writer gives expression to a reality he observes in the people. To me, magical realism is an attitude on the part of the characters in the novel toward the world", or toward nature. Leal and Guenther both quote Arturo Uslar Pietri, who described "man as a mystery surrounded by realistic facts. A poetic prediction or a poetic denial of reality. What for lack of another name could be called a magical realism."

Alejo Carpentier originated the term lo real maravilloso (roughly 'the marvelous real') in the prologue to his novel The Kingdom of this World (1949); however, some debate whether he is truly a magical realist writer, or simply a precursor and source of inspiration. Maggie Bowers claims he is widely acknowledged as the originator of Latin American magical realism (as both a novelist and critic); It can consequently be drawn that Carpentier's lo real maravilloso is especially distinct from 'magical realism' by the fact that the former applies specifically to América (the American content). There is disagreement between those who see magical realism as a Latin American invention and those who see it as the global product of a postmodern world. A list has been compiled of characteristics one might typically attribute to postmodernism, but that also could describe literary magic realism: "self reflexiveness, metafiction, eclecticism, redundancy, multiplicity, discontinuity, intertextuality, parody, the dissolution of character and narrative instance, the erasure of boundaries, and the destabilization of the reader". To further connect the two, magical realism and postmodernism share the themes of post colonial discourse, in which jumps in time and focus cannot really be explained with scientific but rather with magical reasoning; textualization (of the reader); and metafiction. Concerning attitude toward audience, the two have, some argue, a lot in common. Magical realist works do not seek to primarily satisfy a popular audience, but instead, a sophisticated audience that must be attuned to noticing textual "subtleties".

When attempting to define what something is, it is often helpful to define what something is not. Many literary critics attempt to classify novels and literary works in only one genre, such as "romantic" or "naturalist", not always taking into account that many works fall into multiple categories. As a simple point of comparison, Roh's differentiation between expressionism and post expressionism as described in German Art in the 20th Century, may be applied to magic realism and realism. Realism pertains to the terms "history", "mimetic", "familiarization", "empiricism/logic", "narration", "closure ridden/reductive naturalism", and "rationalization/cause and effect". On the other hand, magic realism encompasses the terms "myth/legend", "fantastic/supplementation", "defamiliarization", "mysticism/magic", "meta narration", "open ended/expansive romanticism", and "imagination/negative capability". 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 Washington Square Review regarding fabulism. "Shouldn't our fiction reflect that?" 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. This can be seen in the works of C. S. Lewis, whose biographer, A. N. Wilson, referred to him as the greatest fabulist of the 20th century. His 1956 novel Till We Have Faces has been referenced as a fabulist retelling. This re imagining of the story of Cupid and Psyche uses an age old myth to impart moralistic knowledge on the reader. A Washington 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." Italo Calvino is an example of a writer in the genre who uses the term fabulist. Calvino is best known for his book trilogy, Our Ancestors, 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. While reviewing the work of Romanian born American theater director Andrei Şerban, New York Times critic Mel Gussow coined the term "The New Fabulism". Şerban 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", In Ed Menta's book, The Magic Behind the Curtain, he explores Şerban's work and influence within the context of American theatre. He wrote that the Fabulist style allowed Şerban to neatly combine technical form and his own imagination. Through directing fabulist works, Şerban can inspire an audience with innate goodness and romanticism through the magic of theatre. "The New Fabulism has allowed Şerban 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 Şerban finds any hope for contemporary theatre at all." and Terry Pratchett said magic realism "is like a polite way of saying you write fantasy". However, Amaryll Beatrice Chanady distinguishes magical realist literature from fantasy literature ("the fantastic") based on differences between three shared dimensions: the use of antinomy (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. The ghost of Melquíades in Márquez's One Hundred Years of Solitude or the baby ghost in Toni Morrison's Beloved 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.

Animist realism is a term for conceptualizing the African literature that has been written based on the strong presence of the imaginary ancestor, the traditional religion and especially the animism of African cultures. The term was used by Pepetela (1989) and Harry Garuba (2003) to be a new conception of magic realism in African literature.

While science fiction 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 Huxley's Brave New World 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." Isabel Allende, and Nobel Laureate Gabriel García Márquez, whose novel One Hundred Years of Solitude was an instant worldwide success. García Márquez confessed: "My most important problem was destroying the line of demarcation that separates what seems real from what seems fantastic." Allende was the first Latin American woman writer recognized outside the continent. Her best known novel, The House of the Spirits, is arguably similar to García Márquez's style of magical realist writing. In the Portuguese speaking world, Jorge Amado and Nobel prize winning novelist José Saramago are some of the most famous authors of magic realism. Less well known figures may include Murilo Rubião, playwright Dias Gomes ([[Saramandaia (1976 TV series)), and José J. Veiga. Incidente em Antares, a novel by Erico Verrissimo, is also included, even though the author is not. Amado remains the best known of modern Brazilian writers, with his work having been translated into some 49 languages. He is the most adapted Brazilian author in cinema, theater, and television, notably Dona Flor and Her Two Husbands in 1976 and the American remake Kiss Me Goodbye in 1982. Angolan author Ondjaki's novel Transparent City is an example of magical realism in African literature. Transparent City won the José Saramago Prize in 2013. In the English speaking world, major authors include: British Indian writer Salman Rushdie, whose Midnight's Children mixes history and fantasy; African American novelists Toni Morrison (although she has contested this descriptor of her work) and Gloria Naylor; American Latino writers such as Ana Castillo, Rudolfo Anaya, Daniel Olivas, Rudy Ruiz, and Helena Maria Viramontes; Guatemalan author Miguel Ángel Asturias; Native American authors Louise Erdrich and Sherman Alexie; English author Louis de Bernières; and English feminist writer Angela Carter. 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". Jonathan Safran Foer uses magical realism in exploring the history of the stetl and Holocaust in Everything Is Illuminated. The South African Italian author Patricia Schonstein uses magic realism in examining the Holocaust, the Rhodesian War and apartheid in A Time of Angels and A Quilt of Dreams. Dino Buzzati's novels and short stories are often cited as examples of magic realism in Italian literature. In Norway, the writers Erik Fosnes Hansen, Jan Kjærstad 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 Lyacos'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. In Kannada literature, Shivaram Karanth's Jnanpith award winning novel [[Mookajjiya Kanasugalu (novel) and Devanur Mahadeva's Kendra Sahitya Akademi award winning novel Kusuma Baale are two prominent works that dabbled in magical realism. Both the works are widely read and have been adapted into a movie and a limited TV series, respectively. Mookajjiya Kanasugalu is a novel that traces the evolution of 'gods' in a grounded setting via Mookajji's (the main character) preternatural ability to touch and see everything an inanimate object has witnessed in its entire existence. The novel Kusuma Baale blends magical realism and surrealism while telling the story of lives of people from the oppressed castes in rural parts of Karnataka.

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, Paul Cadmus, Ivan Albright, Philip Evergood, George Tooker, Ricco, even Andrew Wyeth, such as in his well known work Christina's World, is designated as "magic realist". This work departs sharply from Roh's definition, in that it (according to Artcyclopedia) "is anchored in everyday reality, but has overtones of fantasy or wonder". 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 and Gregory Gillespie. Artists such as Peter Doig, Richard T. Scott and Will Teather have become associated with the term in the early 21st century.

In his essay "Half Real", MIT professor and ludologist Jesper Juul argues that the intrinsic nature of video games is magic realist. Early video games such as the 1986 text adventure Trinity combined elements of science fiction, fantasy and magic realism. Point and click adventure games such as Kentucky Route Zero (2013) and Memoranda (2017) have also embraced the genre. The Metal Gear franchise has also frequently been cited as a notable example of magic realism, because of its combination of realistic military fiction with supernatural elements. In electronic literature, early author Michael Joyce's afternoon, a story 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.