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Latin American Magical Realism, 2007.
This paper provides a contrasting study of the role of women in Latin American magical realism in 'The House of the Spirits' by Isabel Allende and 'One Hundred Years of Solitude' by Gabriel Garcia Marquez.
1,255 words (approx. 5.0 pages), 2 sources, MLA, AU$ 61.95
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Abstract
In this essay, the writer discusses that in both 'The House of the Spirits' by Isabel Allende and 'One Hundred Years of Solitude' by Gabriel Garcia Marquez, females figure prominently in the authors' narratives of magical realism. The writer notes that in both novels, the struggles of the main female protagonist exist on a literal level of story and have a symbolic level of significance beyond the story, about the nature of politics or the nature of women, respectively. The writer concludes that Allende ultimately seeks to question the reasons for man's inhumanity to men, and women, in a political reality, and uses magical realism to heighten the consequences of her character's actions and cruelties, while Marquez relates his tale of a fictional village and family exclusively in the register of the fantastic and the surreal.
From the Paper
"True, some of the actions of Allende's characters may be heightened by supernatural narrative motifs such as the matriarch Clara's ability to see into the future, but these plot points have ramifications beyond those of the psychological, symbolic, or merely mystical. For example, in a parallel of the terror that will come to Chile, Esteban hits his wife, and Clara takes a vow of silence, and never speaks to him until he dies. This act of defiance, although taken to an extreme in the novel, can also be read as a heightened example of a difficult relationship between husband and wife, and how the oppression within a patriarchal family structure mirrors the politics of the land."
"In contrast, Marquez's female archetypes lack the complex psychology of Allende's females, existing in the material dimension alone rather than on simultaneous spiritual and material planes."
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Magical Realism, 2004.
A comparative analysis of the magical realism of Isabelle Allende?s "The House of the Spirits" and Garcia Marquez?s "One Hundred Years of Solitude".
2,927 words (approx. 11.7 pages), 6 sources, MLA, AU$ 125.95
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Abstract
This paper examines different definitions of magical realism in literature and, in particular, compares and contrasts the magic realism aspects of Isabelle Allende?s "The House of the Spirits" and Garcia Marquez's "One Hundred Years of Solitude". The books are analyzed within the context of plot, setting, characters, style, and narrative structure. It shows how Garcia Marquez takes his themes and his use of devices to explore these themes to such exquisite heights that the comparison between the two books is really an unfair one and how there really is no comparison between the masterpiece of Garcia Marquez, and Allende?s rather one-dimensional, poor attempt at magic realism.
From the Paper
"Bell-Villada (2002) acknowledges that magic realism is not an original construct of Garcia Marquez, that, rather, it came from Kafka (Garcia Marquez continually acknowledges the great impact The Metamorphosis had on his writing), and from Faulkner, and that Garcia Marquez took the ideas from these authors, and built on them to give the world his complex, enchanting magic realist masterpiece. This view, of Bell-Villada (2002), differs from the euro-centric view of Zamora and Faris? (1995) book Magic Realism: Theory, History and Community, by putting Garcia-Marquez?s achievement in its rightful place as the masterpiece of magic realist fiction, rather than downplaying this achievement, through analysis, interpretation and presentation of worldwide, magic realist texts (such as those by Toni Morrison, and Rushdie, most of which were written post-One Hundred Years of Solitude)."
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Gabriel Garcia Marquez and Magical Realism, 2007.
Examines Gabriel Garcia Marquez uses magical realism in his works.
853 words (approx. 3.4 pages), 6 sources, MLA, AU$ 44.95
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Abstract
Gabriel Garcia Marquez and his works are inextricably linked to a style of literature known as magical realism, which is a type of literature that is usually characterized by elements of the fantastic woven into the story with a serious presentation. This paper examines how Garcia Marquez uses this element in his works, such as in "One Hundred Years of Solitude" and "Leaf Storm".
From the Paper
"In his 1955 book, "Leaf Storm," Marquez set a new direction to Colombian literature by experimenting with linear time (Cohn). He suspended the forward movement of time through the experiences of the individual characters and of the town itself (Cohn). His use of time reduplicates at the level of form the historical and social situations in a town where the flow of time is no longer significant."
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Esquivel's and Borges' Modes of Magical Realism, 2002.
Compares the modes of magical realism used by Laura Esquivel to those used by Borges.
2,900 words (approx. 11.6 pages), 4 sources, AU$ 154.95
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Abstract
This twelve page undergraduate paper compares the modes of magical realism used by Laura Esquivel to those used by Borges. While there are similarities, the attitudes of the authors result in profound contrasts, primarily in terms of gender and philosophical outlook.
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Magical Realism, 2002.
A study of Magical Realism in Juan Rulfo's "Pedro Paramo" and Gabriel Garcia-Marquez's "Death Constant Beyond Love".
585 words (approx. 2.3 pages), 0 sources, AU$ 29.95
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Abstract
The paper discusses how the use of Magical Realism, as a technique, in "Pedro Paramo" by Juan Rulfo and "Death Constant Beyond Love" by Gabriel-Garcia Marquez, is essentially one whereby elements of the unreal are inextricably woven into real life to question the difference, if any, between illusion and reality. The paper shows how the use of the technique is apparent in the overall story as well as in the way the principal protagonists are shown dealing with life.
From the Paper
"Similarly, in Death Constant Beyond Love, Gabriel Garc?a-M?rquez?s story of Senator Onesimo Sanchez?s continual quest for life in the face of imminent death, the question of illusion and reality is highlighted through the Senator?s continued campaigning and his indulgence in an affair that ultimately causes his downfall. Was the Senator deluding himself with the only reality being death or was the Senator only continuing to live what had always been his reality as in the false make-believe world of politics and in fact, being realistic, by making most of the time he had left with Laura (?he found the woman of his life?: 2430)? Thus, the lines between illusion and reality begin to blur depending on the perspective from which it is considered ? the Senator?s or the reader?s."
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Magic Realism, 2002.
A discussion the magic realism literary style of Cristina Garcia's novel "Dreaming in Cuba".
1,575 words (approx. 6.3 pages), 2 sources, AU$ 80.95
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Abstract
Discusses the magic realism literary style of Cristina Garcia's novel DREAMING IN CUBA. Traces concept of magic realist to Cuba and Cuban novelist Alejo Carpentier. Critical review of characters, and their interaction in Cuba and New York. Themes of family, politics, love, dreams, visions, memory. Author's attitude toward magic realism.
From the Paper
"It is altogether fitting that Cristina Garcia should plunge us into a world defined by the always shifting definitions of the world of magical realism, for Garcia?s books are essentially Cuban, and the concept of magical realism itself was born in Cuba. Although this style of writing is perhaps best known through the work of Argentine writers like Jorge Luis Borges, the term itself and the literary style that this sometimes elusive phrase refers to were the children of Cuban novelist Alejo Carpentier. Carpentier was seeking for a literary style (and concept) broad enough to accommodate both the events of everyday life as he saw it unfolding before him in the years after World War II in Cuba and the fabulous nature of Latin American geography and history (Zamora and Faris, 1995, p. 36).
Carpentier?s ideas about the kind of writing that could span such..."
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Magic Realism In Photography, 2008.
An analysis of how magic realism can be applied to the medium of photography.
2,127 words (approx. 8.5 pages), 7 sources, MLA, AU$ 96.95
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Abstract
This paper discusses the history of the definitions of magic realism. It specifically focuses on magic realism within photography and if the term can be applied to specific forms of photography. The paper discusses the medium of photography and how the writer uses this medium. It also looks briefly at digital photography, as well as black and white photography.
From the Paper
" It is very difficult to apply the term magic realism to photography of any kind; perhaps because it seems that every kind of photography may be capable of being magic realism. Since the meaning of the term has come to encompass so many definitions, there is an argument for many kinds of photographs to be considered as magic realist photographs. In my photography, I truly want to infuse the logical even "normal" world with something as illogical as a state of mind, an imagination. By still using a representational language to do so, I believe my photographs can fit into the Roh and Hartlaub description of magic realism as well as the Carpentier and Uslar-Pietri description. It is possible to use objectifiable or representational art rather than abstract art to express a part of human reality. It may seem that the objective world is "crystallized" by a photograph, but the crystalline structure of a real external situation is easily fractured by the tiniest suggestion of an internal or psychological reality; the latter is in fact strengthened by the cold and certain detail of the former."
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Magic Realism, 2002.
Comparison and contrast of the elements of magic realism in two famous works of literature.
2,867 words (approx. 11.5 pages), 6 sources, APA, AU$ 123.95
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Abstract
This paper compares and contrasts the magic realism aspects of Isabelle Allende?s "The House of the Spirits" and Garcia Marquez?s "One Hundred Years of Solitude". The following elements of each of these books are analyzed within the course of the analysis: plot, setting, characters, style, and narrative structure.
From the Paper
"Before beginning the analysis of magic realism as presented within these two books, the term magic realism will be defined. It can, and often is, argued that Gabriel Garcia Marquez, the Colombian Nobel Prize winner, is the father of magic realism. As Flores (1995) argues in Zamora and Farris? 1995 book, Magical Realism: Theory, History and Community, ?In magical realism we find the transformation of the common and the everyday into the awesome and the unreal. It is predominantly an art of surprises. Time exists in a kind of timeless fluidity and the unreal happens as part of reality. Once the reader accepts the fait accompli, the rest follows with logical precision? (Flores, 1995)."
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Reality and Moralism, 2002.
This paper discusses Latin American magic realism and American moralism in the context of Julio Cortazar's "Continuity of Parks", Ernest Gaines' "A Lesson Before Dying", and Helen Prejean's "Dead Man Walking".
1,150 words (approx. 4.6 pages), 5 sources, AU$ 64.95
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Abstract
The paper shows that magic realism is a writing tradition that blurs the distinction between fantasy and reality The author points out that American moralism makes ethical statements about reality that transcends the circumstances of the writing to address the basic predicament of the human condition.
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A Comparison of Genre in Literature, 2002.
Examines two stories to compare the genres of Latin magical realism and American Moralism.
1,150 words (approx. 4.6 pages), 5 sources, AU$ 64.95
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Abstract
This paper examines the structure of the genres of American Moralism and Latin magical realism to depict themes that are common between these two genres. Two short stories are used in order to demonstrate this concept: These stories are Jolio Cortazar's work of magical realism entitled "Continuity of Parks" and Ernest Gaines' work of American Moralism entitled "Dead Man Walking".
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The Concept of Magic, 2006.
This paper discusses Robertson Davies' novel that portrays a world of magical realism.
1,350 words (approx. 5.4 pages), 5 sources, AU$ 76.95
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Abstract
The paper illustrates how Robertson Davies created a novel that was engulfed in memories of his childhood and that focused on the magic that exists in life in many ways. The paper looks at how Davies allowed the characters of Fifth Business to examine the magic of religion, the belief in saints, the concept of magic itself and the spiritual belief that each individual has a clear role to play throughout life.
From the Paper
"His main character, Dunstan, serves as a guide for the novel, because it is through this character that the reader is capable of comparing fantasy to reality, and entering the world that Davis has created. Wendy Faris and Lois Zamora contend that this element is important to magical realism because the author constructs his world in such a way that regardless of how unbelievable the world may be outside of the book, within the book it possesses perfect logic to the reader."
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Children's Perceptions Of Magical Events, 2005.
A study across multiple age groups on the perceptions of magical events.
2,305 words (approx. 9.2 pages), 2 sources, APA, AU$ 103.95
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Abstract
The paper states that children use both natural and supernatural entities to account for events. Thus, children could view television programs and movies from a magical perspective and come out with a distorted perspective on how life actually functions. This paper presents research that attempts to validate past research that found that children use magic as a solution to improvable events. The authors of the study contend that 3- to 4-year-olds will use magic more frequently as a solution to a problem that looks unattainable in real-life. The authors also contend that 10- to 12-year-olds will attribute a seemingly impossible event to tricks instead of magic. As age increases, children will use magic less and less as a solution for deceptive events.
Outline:
Methods
Participants
Procedures
Measures
Results
Discussion
From the Paper
"The participants involved in our study also were a limitation because they were all volunteers. Participants in this study all chose to participate; therefore they might have had some similar characteristics. The participants that came to the study might have wanted their kids to be involved in research and/or had a higher level of education then those who chose not to participate. The experiment may have left out a specific religious faith because some of the people who chose not to participate did do because they thought magic was evil. This detail also makes our results less generalizable to the public."
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Magical Clothing, 2002.
A paper which compares two pieces of "magical" clothing in two stories.
900 words (approx. 3.6 pages), 2 sources, AU$ 51.95
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Abstract
This paper compares and contrasts the scarf in Robert Fagle's translation of "The Odyssey" and the green girdle in Marie Borroff's version of "Sir Gawain and the Green Knight", in terms of how the episodes are described and dramatized, and how the authors present the two magical pieces of clothing.
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"The Year of Magical Thinking", 2007.
An analysis of the continuing development of humans through adulthood and particularly middle-age, as described in "The Year of Magical Thinking" by Joan Didion.
1,895 words (approx. 7.6 pages), 5 sources, MLA, AU$ 87.95
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Abstract
This paper discusses the concept of human development through different life stages. The paper focuses on the views of psychotherapists, Erik Erikson and Roger Gould, who discuss these changes. It describes Erickson's last three "ages of man" and Gould's recognition that individuals in their middle-age years must cope with major transitions. It then discusses Joan Didion's experience in this area, as described in her book "The Year of Magical Thinking."
From the Paper
"The changes that middle age can bring, can vary widely: From a loss of a job for a short period of time, to a major illness and recovery, to a divorce, to a death of a parent or worse to the death of a husband or child. For Joan Didion, the loss was monumental--her husband dies in a matter of seconds when her daughter was unconscious in the hospital. Through all their middle ages, Didion and her husband were a true couple. Both writers, they worked at home, spent all their time together, read each other's work, completed each other's thoughts, and carried on a continuous conversation as one person would. Then, Quintana, her daughter, dies, as well. Some people, like Didion (in her early 70s), somehow find the strength to cope--albeit with much agony and despair. Others do not. In an interview, Didion states, "I didn't die. My life has to continue. I don't have an option," (Grossman, 2005, 56). Yet, she did."
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The Magical Tempest, 2002.
A look at the topic of magic in Shakespeare's "The Tempest".
890 words (approx. 3.6 pages), 0 sources, AU$ 45.95
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Abstract
This essay is about the theme of magic in the Shakesparean play, "The Tempest". The writer provides a short summary of the play and quotes lines which show how the power of magic influenced developments in the plot.
From the Paper
"Prospero was the legal duke of Milan. His brother, Antonio, stole his title and banished him and his daughter, Miranda, from Milan. While in exile, on an isolated island, he harnessed powers of magic for he was a great lover of arts and in particular, magic. Prospero was a very powerful man and by using his spell books, he was able to summon mighty magic. The most powerful creature he controls is Ariel who aids him in executing some of his magic spells."
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Magical Fusion of Love and Authority, 1999.
Critical paper on the classic Shakespeare play "A Midsummer Night's Dream".
1,400 words (approx. 5.6 pages), 1 source, AU$ 67.95
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Abstract
This paper explains how throughout the classic play plots are intertwined between the two settings of the human world and the fairy world. There are distinct similarities in each world, which run parallel to the other. Both love and forms of authority exert power over the lives of humans and fairies. This paper provides an examination of both worlds and their connection to one another, and shows how the relationship between imagination and reason/ art and reality comes to the surface. The imagination of Shakespeare and the audience is magically transformed into a midsummer reality from dream.
From the Paper
"In Shakespeare?s ?A Midsummer Night?s Dream,? a connection is made between art and reality through the double settings in the play. The audience maintains consciousness of an invisible world, which parallels the world of reality. Shakespeare creates an opposition between waking and dreaming that is continually enforced and fused together. The world of Theseus?s Athens is a world of reason and reality. The enchanted world of the woods outside of Athens is a world of imagination and magic, yet is in many ways similar to its parallel world. By escaping into a different world a new perspective is gained on the world left behind. The double setting in the play highlights connections between art and reality."
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