User talk:Dolevsky

Welcome
Greetings... Hello, Dolevsky, and  welcome to Wikipedia! 
 * To get started, click on the green welcome.
 * I hope you like it here and decide to stay! Happy editing! jbmurray (talk • contribs) 04:53, 11 January 2010 (UTC)

Bibliography assignment
--jbmurray (talk • contribs) 23:02, 11 January 2010 (UTC)

Magical Realism Reconsidered
I'm looking forward to working with your class during the semester - if you have any questions about the project or Wikipedia in general, please feel free to leave me a note at User talk:Awadewit. Wikipedians are here to help you! Awadewit (talk) 23:24, 15 January 2010 (UTC)

heads up
Heya, just to point out that if you look here you'll see that User:Awadewit has volunteered to give special help to your article, Magic realism. Of course, you guys are to take the lead, and above all do the research required to improve the article. But you should definitely feel free to contact Awadewit on her talk page. You'll find she's very friendly and knowledgeable about writing for Wikipedia, and will give you as much help as she can.

Incidentally, you should also (as I mentioned before) be putting our project page on your watchlist, so you can see changes like this one. --jbmurray (talk • contribs) 23:21, 17 January 2010 (UTC)

Annotated Bibliography
'''Pritchard, William. “Realism without Magic”. The Hudson Review. 42.3 (1989): 484-492. Web. '''

William Pritchard starts out by giving examples of books with stories such as “The Last to go” in order to show plain realism as opposed to magical realism. – He states that the “narrative tones is artful, the touch unsentimental- in fact, consistently humorous, even as things domestic go to pieces” (484). Pritchard gives us an understanding that magic realism is too ‘emotional’ and that it feels like “elephantiasis, a hyped-up frenzy of being ‘hilarious’ about everything”(491). The article also compares and criticizes the ways in how plain realism is better than magic realism, “Realism is better when it doesn’t work to hard to achieve ‘stunning’, larger-than-life effects; when it has time to care about place and dailiness; when it takes the trouble to address the reader from someplace else than from on high (and mighty)” (491). In general the article makes somewhat an interesting point that could be used to show some of the basic differences between realism and magic realism.

'''Conniff, Brian. “The Dark Side of Magical Realism: Science, Oppression, and Apocalypse in One Hundred Years of Solitude”. MFS Modern Fiction Studies. 36.2 (1990): 167-179. Web. http://muse.jhu.edu/journals/modern_fiction_studies/v036/36.2.conniff.html'''

This article shows the ‘dark side of magical realism’ by using examples from ‘One Hundred Years of Solitude” and “Macondo”. “’Magical realism’ has typically been seen as the redemption of fiction in the face of a reality that is still becoming progressively more disorderly” (168). There is another side to magical realism, which Garcia Márquez also sensed: apocalypse. “In the disorderly modern world, magical realism is not merely an expression of hope; it is also a ‘resource’ that can depict such a ‘scientific possibility’” (168). This is to make the apocalypse appear inevitable. In the end, Conniff concluded that the apocalypse is the darkest side of “magical realism since the ‘magic’ and the ‘realism’ are most completely fused” (178).

'''Crawford, Katherine. “Recognizing Van Eyck: Magical Realism in Landscape Painting”. Philadelphia Museum of Art Bulletin. 91. 386/387 (1998): 7-23. Web. http://www.jstor.org/stable/3795460'''

In this article, magical realism is shown through the way landscapes and spaces are represented. In this case, an example is displayed showing how Eycks compositions create an “illusion of an ‘unseen space receding into the background” (12). The images are left towards our imagination. They let the viewer decide what’s next, as for instance in a continuous landscape with rivers and hills. Total attention should be placed in order to be creative and show a mystical side thus appreciating little details that would entail towards a certain perspective. That is how the magical aspect is represented: letting the viewer be innovative and by “the attempt to capture the local details of the observed” (21).