Presentation Type
Oral Presentation
Start Date
5-8-2013 9:00 AM
End Date
5-8-2013 10:30 AM
Subjects
Alejo Carpentier (1904-1980) -- Criticism and interpretation, Magic realism (Literature), Caribbean literature (Spanish) -- History and criticism
Abstract
Cuban writer Alejo Carpentier's 1949 novel El reino de este mundo is considered to be a key work in the development of the magical realist narrative idiom. The narrative includes instances of the fantastic -- including ghosts and animal metamorphoses -- that the novel's Afro-Caribbean characters accept as factual. In keeping with his suggestions that "the entire history of America [is] a chronicle of the marvelous real," Carpentier supposes that these elements elucidate an "authentic" New World mode of perception. However, the novel's narrative structure belies the author's objective. The concurrent presentation of both non-Western/magical and Western/disenchanted cultural paradigms prevents El reino from expressing a singular New World reality. Rather, the work highlights the chasm dividing the schizophrenic American consciousness. Magical realist narrative's capacity to express this cultural disjunction is revealed by the fact that elements of the fantastic appear in the novel at points at which there are conflicting interpretations of narrative events. This study demonstrates El reino de este mundo's "disjunctive" magical realism by closely examining the novel's conflict of cultural perception. By highlighting these details the study will contribute to defining "magical realism" in structural and functional terms. The study focuses on the first section of the novel because of its wealth of instances of cross-cultural conflict. The study also incorporates a range of secondary critical material; these include critical essays on the novel, as well as theoretical studies of magical realism by Fredric Jameson and Christopher Warnes.
Rights
© Copyright the author(s)
IN COPYRIGHT:
http://rightsstatements.org/vocab/InC/1.0/
This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).
DISCLAIMER:
The purpose of this statement is to help the public understand how this Item may be used. When there is a (non-standard) License or contract that governs re-use of the associated Item, this statement only summarizes the effects of some of its terms. It is not a License, and should not be used to license your Work. To license your own Work, use a License offered at https://creativecommons.org/
Persistent Identifier
http://archives.pdx.edu/ds/psu/9467
Included in
Magical Realism as a Means of Expressing Cultural Disjunction in Alejo Carpentier's 'El reino de este mundo'
Cuban writer Alejo Carpentier's 1949 novel El reino de este mundo is considered to be a key work in the development of the magical realist narrative idiom. The narrative includes instances of the fantastic -- including ghosts and animal metamorphoses -- that the novel's Afro-Caribbean characters accept as factual. In keeping with his suggestions that "the entire history of America [is] a chronicle of the marvelous real," Carpentier supposes that these elements elucidate an "authentic" New World mode of perception. However, the novel's narrative structure belies the author's objective. The concurrent presentation of both non-Western/magical and Western/disenchanted cultural paradigms prevents El reino from expressing a singular New World reality. Rather, the work highlights the chasm dividing the schizophrenic American consciousness. Magical realist narrative's capacity to express this cultural disjunction is revealed by the fact that elements of the fantastic appear in the novel at points at which there are conflicting interpretations of narrative events. This study demonstrates El reino de este mundo's "disjunctive" magical realism by closely examining the novel's conflict of cultural perception. By highlighting these details the study will contribute to defining "magical realism" in structural and functional terms. The study focuses on the first section of the novel because of its wealth of instances of cross-cultural conflict. The study also incorporates a range of secondary critical material; these include critical essays on the novel, as well as theoretical studies of magical realism by Fredric Jameson and Christopher Warnes.