References Asato, Eiko. “Okinawan Identity and Resistance to Militarization and Maldevelopment.” In Islands of Discontent: Okinawan Responses to Japanese and American Power, edited by Laura Hein and Mark Selden. Lanham MD: Rowman & Littlefield, 2003, pp. 228-242 Bhowmik, Davinder. “Plain Water with a Twist of Lime(stone): MagicalRealism in Medoruma Shun.” In Proceedings of the Association of Japanese Literary Studies (PAJLS), 4, 2003, pp. 211-318 Bhowmik, Davinder. Writing Okinawa: Narrative Acts of Identity and Resistance. London: Routledge, 2008 Boehmer
References Ahmad, M. & Afsar, A. (2014). MagicalRealism, Social Protest and Anti-Colonial Sentiments in One Hundred Years of Solitude : An Instance of Historiographic Metafiction. Asian Journal of Latin American Studies, 27 (2), 1-26. Bell-Villada, G. H. (1990). García Márquez: The Man and His Work. University of North Carolina Press. Bowers, M. A. (2004). Magic(al) Realism. London and New York: Routledge. Conniff, B. (2002). The Dark Side of MagicalRealism: Science, Oppression, and Apocalypse in One Hundred Years of Solitude . In G. H. Bell-Villada (Ed
References Coats, Karen. “Between Horror, Humour, and Hope: Neil Gaiman and the Psychic Work of the Gothic.” The Gothic in Children’s Literature: Haunting the Borders. Ed. Anna Jackson, Karen Coats, and Roderick McGillis. New York: Routledge, 2008. 77-92. Print. Cooper, Brenda. MagicalRealism in West African Fiction. London: Routledge, 2004. Print. Faris, Wendy B. Ordinary Enchantments: MagicalRealism and the Remystification of Narrative. Nashville: Vanderbilt University Press, 2004. Print. ---. “Scheherazade’s Children: MagicalRealism and Postmodern Fiction
After an absence of more than two decades, the octogenarian cult-movie auteur Alejandro Jodorowsky (El Topo and La montaña sagrada) is back with a surreal cinematic memoir, The Dance of Reality (La danza de la realidad, 2013), a funny and bizarre feature that challenges categorization. Set in the 1930s, in the small coastal Chilean village of Tocopilla, The Dance of Reality is an eccentric autobiographical meditation on his painful childhood, in which the filmmaker himself takes on the role of both the narrator and the onscreen guide to his younger self: “For you, I do not yet exist. For me, you don’t exist anymore,” Jodorowsky whispers to the boy at some point. In this family memoir, the filmmaker’s shamanic presence follows his non-cinematic pursuits, namely psychomagic, a therapeutic method in which the principal weapon is his imagination. Using this idea as a point of departure, I will analyse the mode in which Jodorowsky uses the grammar of narrative cinema and a hyperbolic visual style to create a poetry of voices and characters who act as metaphors, suggesting or emphasizing some ambiguously conveyed mystical idea.
The key element of my study focuses on Jodorowsky’s cinematic poetry and on the filmmaker’s mode of filtering history, memory, subjectivity and magical realism, adding a critical dimension to our understanding of the politics and poetics of self-representation. The Dance of Reality is Jodorowsky’s most personal work to date, intentionally blurring the lines between past and present into oblivion, and consequently finding salvation through art.
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’s Geography: Community, Class and Patriarchy in The women of Brewster Place and Linden Hills. In Henry Louis Gates, Jr. & K. A. Appiah (eds.), Gloria Naylor: Critical perspectives past and present, 106-125. New York: Amistad Press. Dandridge, Rita B. 2004. Black women's activism: Reading African American women's historical romances. New York: Peter Lang. Elliot, T.S. 1921. The Metaphysical Poets. http://personal.centenary.edu/~dhavird/TSEMetaPoets. html. (accessed 10 April 2011.) Foster, John Burt Jr. 1995. Magicalrealism, compensatory vision, and felt history: Classical
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attest to. There is no critical consensus on which works to include under the genre label, and the term has been applied to almost every form of literature deviating from a realistic mode of representation, such as myths, legends, fairy tales, utopian allegories and magicalrealism. Such an essentialist approach to fantasy, through a taxonomic definition, is problematic. Instead of asking for a content-/form-based classification of the fantasy genre, it is more fruitful to focus on the genre's function and purpose ( Miller 1984 ). One of the most comprehensive