Portal de Periódicos da CAPES

Light is like water

2005; Routledge; Volume: 19; Issue: 3 Linguagem: Inglês

10.1080/09528820500049510

1475-5297

Sheryl Tucker de Vázquez,

Literature, Magical Realism, García Márquez

Click to increase image sizeClick to decrease image size Notes Gabriel García‐Márquez, ‘Light is like Water’, Strange Pilgrims, Pilgrim Books, New York, 1992, p 158. Ibid. The Pritzker Prize is considered by many architects and critics to be equivalent to the Nobel Prize awarded in literature and other disciplines. Luís Barragán, Pritzker Prize Address, 1980. Refers to the Indian/Spanish racial mix in Mexican culture. Lois Parkinson Zamora, ‘Quetzalcoatl’s Mirror’, in Wendy Watriss and Lois Parkinson Zamora, eds, Image and Memory: Photography from Latin America, University of Texas Press, Austin, Texas, 1998, p 303. Anne Hegerfeldt, ‘Contentious Contributions: Magic Realism goes British’, Janus Head, Journal of Interdisciplinary Studies in Literature, Continental Philosophy, Phenomenal Psychology, Fall 2002, p 3. Virgilio Elizondo, Our Lady of Guadalupe and Juan Diego: Heeding the Call, St Anthony Messenger Press, Cincinnati, Ohio, p 7. Isabel Allende, Eva Luna, trans Margaret Sayers Peden, Bantam, New York, 1994, p 1. Robert T Trotter II and Jusn Snyonion Chavira, Curanderismo: Mexican American Folk Healing, University of Georgia Press, Athens and London, 1984, pp 25–40. Miguel Covarrubias, The Eagle, the Jaguar and the Serpent, Indian Art of the Americas, Alfred A Knopf, New York, 1954, p 382. Nestor Garcia Canclini, ‘Modernity after Postmodernity’, in Gerardo Mosquera, ed, Beyond the Fantastic: Contemporary Art Criticism from Latin America, MIT Press, Cambridge, MA, 1996, p 28. Irene Guenther, ‘Magic Realism in the Weimar Republic’, in Lois Parkinson Zamora and Wendy B Faris, eds, Magical Realism: Theory, History, Community, Duke University Press, Durham and London, 1995, p 61. The term originated with Franz Roh’s book, Nachexpressionismus, magischer Realismus: Probleme der neuesten europasischer Malerei, Klinkhardt & Bieermann, Leipzig, 1925. Ibid, pp 67–8. Lois Parkinson Zamora and Wendy B Faris, ‘Introduction: Daiquiri Birds and Flaubertian Parrot(ie)s’, in Parkinson Zamora and Faris, eds, Magical Realism: Theory , History, Community, op cit, pp 1–11. Seymour Menton, Magic Realism Rediscovered 1918–1981, Associated University Press, East Brunswick, NJ, 1983, p 65. The relationship of de Chirico to the Magic Realists is well documented including art critic Werner Haftmann’s citation of it in the Enciclopedia della pittura moderna, Il Saggiatore, Milan, 1960: ‘All the phenomena of objective painting in Germany, in and around 1920 which are indicated by the terms New Objectivity and Magic Realism were inspired substantially by the artistic development in Italy’ [Referring specifically to the work of de Chirico, Carra, Morandi and Arturo Martini]. James Thrall Soby, Giorgio de Chirico, Museum of Modern Art, New York, 1966, reprint edition, p 117. Seymour Menton’s conclusion is further reinforced by Soby, who compared de Chirico’s paintings to those of German painter Arnold Böcklin: ‘For De Chirico, Böcklin had been a painter whose technique was so exceptional that it made the real appear unreal, the unreal real.’ He had been, that is to say, the kind of artist whom the German critic, Franz Roh, described in the mid‐1920s as a ‘magic realist’, p 1. Ibid, p 19. Hayden Herrera, Frida: A Biography of Frida Kahlo, Harper & Row, New York, 1983, p 124. Antonio Riggen Martinez, Luis Barragán: Mexico’s Modern Master, 1902–1988, trans Christina Bennett, Monacelli Press, New York, 1996, p 103. Keith L Eggener has asserted that Barragan may have attended this exhibition. See Eggener, Luis Barragán: Gardens of El Pedregal, Princeton Architectural Press, New York, 1969. Gina McDaniel Tarver, ‘Issues of Otherness and Identity in the Works of Izquierdo, Kahlo, Artaud and Breton’, Department of Art and Art History, University of New Mexico, Research Paper Series, no 27, April 1996, p 23. Herrera, Frida: A Biography of Frida Kahlo, op cit, p 124. Ibid, p 263. Mari Carmen Ramirez, ‘Framing Identity in US Exhibitions of Latin American Art’, in Gerardo Mosquera, ed, Beyond the Fantastic Contemporary Art Criticism from Latin America, Institute of International Visual Arts, London and MIT Press, Cambridge, MA, 1996, p 36. Conversation with Raphael Longoria, 15 December, 2003. Eggener, Luis Barragán: Gardens of El Pedregal, op cit, p 77. James Thrall Soby, The Early Chirico, Arno Press, New York, 1969, p 38. Lois Parkinson Zamora, ‘The Visualizing Capacity of Magical Realism: Objects and Expression in the Work of Jorge Luis Borges’, Janus Head, Journal of Interdisciplinary Studies in Literature, Continental Philosophy, Phenomenal Psychology, Fall 2002, p 9. Christian Norberg‐Schulz, ‘Toward an Authentic Architecture’, in Architecture, Meaning and Place, Electa‐Rizzoli, New York, 1986, p 41. Gabriel García‐Márquez, ‘Light is like Water’, op cit, p 160. Martin Heidegger, ‘The Poet as Thinker, trans Albert Hofstadter, Harper & Row, New York, 1971, p 12. Gabriel Garcia‐Márquez, One Hundred Years of Solitude, English trans, Harper & Row, New York, 1970, p 1. Zamora calls this the visualising capacity of magic realism. Only when we eliminate all the various forces with which we tend to explain away the object can we instead focus on it as an ‘enchanting quality or phenomenon’, on its ‘magic of being…. [When this is achieved] the autonomy of the objective world around us [is] once more to be enjoyed.’ Zamora, ‘The Visualizing Capacity of Magical Realism: Objects and Expression in the Work of Jorge Luis Borges’, op cit. Ibid. Barragán, Pritzker Prize Address, 1980.