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It is a mode perfect for the writers who are in between, especially the postcolonial ones. The genre is magical realism in within the context of feminist discourse. Seen from the post-colonial perspective, the magic and supernatural elements serve to disrupt reality giving voice to the Other, the oppressed groups.
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.
He is the author of Magical Realism and the Postcolonial Novel: Between Faith and Irreverence, (Palgrave Macmillan, 2009), [4] Writing, Politics and Change in South Africa after Apartheid (Cambridge University Press, 2023) [5] and co-author, with Kim Anderson Sasser, [6] of Magical Realism and Literature (Cambridge University Press, 2020). [7]
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1986: Magic Realism and Canadian Literature: Essays and Stories, Proceedings of the Conference on Magic Realist Writing in Canada. University of Waterloo/Wilfrid Laurier University, May 1985; Peter and Ed Jewinski, eds. (University of Waterloo Press) ISBN 978-0-88898-065-6; 1999: New Expansive Poetry.
Map of Decolonized Countries. Special Committee on Decolonization. United Nations. The Empire Writes Back: Theory and Practice in Post-Colonial Literatures aims to give a theoretical account of an extensive range of post-colonial texts and how these texts relate to a greater number of issues relating to post-colonial culture.
It is a postcolonial, postmodern and magical realist story told by its chief protagonist, Saleem Sinai, set in the context of historical events. The style of preserving history with fictional accounts is self-reflexive .
Literature through Film: Realism, Magic, and the Art of Adaptation (Blackwell, 2005) offered a historicized account of key trends in the history of the novel – the proto-magic realism of a Cervantes, the colonialist realism of a Defoe (and his critics), the parodic reflexivity of a Henry Fielding or Machado de Assis, or proto-cinematic ...