Sample of Thesis Paper

SAMPLE OF THESIS PAPER MAGICAL REALISM The fundamental task of the thesis is the study of magic realism as a specific literary process in Latin America in the sixties of the twentieth century. In the first part of the work I will show his history from the first mention of the concept in Europe of the twenties of the twentieth century until his Latin American achievement. I will explain the difference between the notion of magic in real and magical realism, and these terms will distinguish Alejo Carpentier, Miguel Ángel Asturias and Juan Rulfo as the beginners of the magical realism of Gabriel García Marquez, in whose work he will experience the climax. On the example of a novel One hundred years of solitude will show his features and will determine the elements that the work must have to be magically-realistic prose. I will explain his inseparability from mythic content, as well as the historical and political events of some space. I will argue that this is not only a literary process of a specific style, but also that it is a discourse of those from the margins of society, and that it is a kind of condemnation of any social segregation and privileges of the privileged. I will explain how he exists as a postcolonial discourse and show his condemnation of the colonial world. The above will continue to work on the prose in which this process exists and will show its existence on five world continents. The first area will be Latin America, a cradle of magical realism, and I will work on the novel The Kingdom of This World by Alejo Carpentier. Gabriel García Márquez's hundred years of loneliness is an example of his full literary achievement, but this work was not selected as a pattern in the Latin American space due to the research nature of this work. There are a lot of literature about him, and my intention is to make as many independent conclusions about magical realism in less explored novels. 1

SAMPLE OF THESIS PAPER This does not mean that this work is neglected, it is necessary in exploring such a topic, therefore it serves as a comparative basis for other novels, so the elements of magical realism will be compared to those in the 100 years of solitude. In the study of the Kingdom of this world, the importance of mythical narratives for magical realism will be contested by the myth of Mackandal, I will explain its deconstruction of real historical facts, it will be seen as a discourse suppressed, and I will show how it can function as an allegory. The following are the chapters in which I will explore the achievements of magical realism on the other four continents. The Asian version will be studied on the novel of Salman Rushdie Children at midnight. Because of the great presence of supernormal elements and the complex nature of the works, I will make extensive interpretations. I will observe the inseparability of the historical, political and cultural narrative of magic realism, it will be a matter of the body in its function, I will describe the supernormal abilities of children as the bearer of magic in a novel and state their functions, explain how and why the environment is described, about his relationship to the traumatic experience. On the North American continent, a novel by Solomon's poem by Tony Morrison will be worked out, in which I will explore the relationship of bribery and magical realism, I will examine his relationship with slavery-based experience and show how he influences the shaping of a non-Western view on the world. In the context of this novel, it will explain what is the function of decomposition of the western model of the developmental novel, and will bring in magical realism and spatiality in connection. Magic realism on the African continent will be shown on the novel Ben Okri - The Famished Road. I will show how he provides a postcolonial vision. There will be words about the abilities of children and their supernaturalism, and I will explain the difference between animistic realism and magical realism. In this thesis, the comparison will be an important process, so novels will be compared to one another by looking for similarities and differences in the realizations of magical realism and its functions. Due to its connection with historical, political and cultural contents, it will be touched, apart from the literary theoretical, and for the literature that corresponds to such contents. Theses will be argued and / or supported by literature and specific examples from the novel. Appearance and significance of magical realism in the world literature Although the notion of magic realism binds to the second half of the twentieth century, that is, with the Latin American boom, the term was first used in 1925 in Germany. Hart states that by this term, German critic Franz Roh pointed out the end of expressionism in European literature, stating that his use of the term did not have the same meaning as that which would appear thirty years later on another continent (see Hart, 2005: 1). 2

SAMPLE OF THESIS PAPER Precisely because of the use of terms in different linguistic areas, there are pluralisms of the name from which Bowers singles out the following: magischer realismus, magischrealisme, magic realism, realismo mágico. The last term refers to the Spanish speaking region which is taken from the German language, but at the very beginning as the term \"lo real maravilloso\", which is translated into English as marvelous realism and marvelous reality. Only realismo mágico, which will be consistently translated into world languages (Bowers, 2005, p. 3), only subsequently comes into play. Bowers further highlights three key years to define the concept of magical realism. The first refers to the already mentioned use of the term in Europe in the early twenties, he adds that the notion, besides the notion of the end of expressionism, was used in the domain of painting to describe the mystique of life beyond the realm of reality. The second key year, or decade, relates to the forties of the twentieth century in Latin America. Then the term \"real real maravilloso\" signified a mixture of realistic and magical views of the world and life associated with different cultures on the continent that reflected in literature and art in general. The third period refers to the period of the sixties of the twentieth century in the so-called \"Latin American boom\" that takes place these years in Latin America. Then the concept realismo mágico, what we translate today as a magical realism, signifies the process of writing prose related to the insertion of magic elements into the factually presented history (Bowers, 2005, p. 32). The name changes its meanings so the original form was not identical to what today marks the term, which in the fifties became the term. Warnes states that the term is composed of two lexemes that stand in the oxymora position, indicating the existence of two antipodal datasets. Realism is realized as a transcription of reality that is, observing literature as a mimesis, while it will magically, as can be seen from the very name, distort and deconstruct a realistic narration (Warnes, 2009, p. 3). The existence of two opposing cognitive perspectives, that is, the insertion of elements of magic into a realistic type of narration is one of the fundamental differences between fantasy and magical realism. Critics in the first years of defining the term in Latin America demanded a clear distinction between magic realism and fantasy. Ouyang states that magical realism signifies a particular narrative style that includes the representation of political, historical or cultural reality, and implies the insertion of magic elements into the narrative structure of realistic manners (Ouyang, 2005, p. 14). On the other hand, fantasy does not have the intent of political, historical or cultural courage, nor is a consistent realistic approach to narrative that violates the elements of the supernatural. Magical realism often includes postcolonial perspectives and mythical narratives of certain cultures, which is not a feature of fantasy. Bowers, as well as Ouyang, points out that the interpretation of magical realism, which is not the case with fantastic literature,  3

SAMPLE OF THESIS PAPER starts from the fact that the narrator introduces magical situations, characters, and so on.. in a realistic narration. Therefore, it must be magically and realistically united in action, which is not so in fantastic literature (Bowers, 2005, p. 24). Although in most studies of magical realism, Gabriel García Márquez and his novel have been mentioned for many years, it is worth mentioning that the beginnings of magic realism in Latin American literature are Alejo Carpentier, Juan Rulfo and Miguel Ángel Asturias. In their novels The Kingdom of This World, Pedro Páramo and Man of Maize, magical realism is in its early stages, so there is a noticeable difference in the style of writing. Hart emphasizes that their influences can be clearly seen in their later magic- realistic prose (Hart, 2005, p. 3). In the foreword to the novel, Carpentier will describe the kingdom of this world, which will later be analyzed in detail, to speak of the miraculous in the real, that is, the above- mentioned concept of lo real maravilloso, which leads to the notion of magical realism at the time of the writing of the novel as it is today. Shaw states that the novel Pedro Páramo Juana Rulph shows the history of Mexico through the protagonist's quest for identity. Magically intertwined with the myth of omnipotence, and biblical elements are inserted to show the culture of culture (Shaw, 2005, p. 51). The magical realism of Miguel Ángel Asturias is reminiscent of the European post-expressional form of Franco Koch, in which Guatemalan legends and mythology of the Mayan people can be inserted. Bowers points out that his novel Man of Maize has no linear narration, but is composed of a series of fragments and inserted stories with magic elements taken from the sacred book Quiché Indians Popol-vuh. There are intertwining of two narrative lines, one of which relates to the search of a man whom the colonizers have taken away from the earth, and the other to the magic belief of the rainy woman madre del maiz living in the space between heaven and earth. Bowers concludes that, like Mackandal in Carpentier's novel Kingdom of this world, Gaspar Illo represents indigenous resistance to colonial forces. Carpentier's, Rolf's and Asturias's influence will peak in the novel by Gabriel García Márquez A hundred years of solitude. Warnes states that this is certainly the most successful novel of magical realism (Warnes, 2009, p. 76). It is a novel of a cyclic structure that begins with creation, and ends with the decay of the imaginary town of Macondo. Cycling suggests a continual repetition of history and examines the possibility of progress. Warnes points out that the novel can be seen as a family saga and historical chronicle because of the seven generations of the Buendía family. The incest motive is considered, which is viewed as a hereditary sin, which is a feature of family saga. The first generation of families relates to José Arcadio Buendía and Ursula who leave Riohacha and start a new life. Roman follows the lives of people in Macon, while life outside of him is not shown. Ursula dies at a young age and thus becomes a witness to all members of the family, as well as the Macon residents since its foundation, and almost to its ruin. 4

SAMPLE OF THESIS PAPER The Buendía family is based on incest, so Ursulin is the biggest fears that a child with animal characteristics will be born, which eventually happens. The love relationship of Amaranta Ursula and Aurelian Babylonia results in a child with a pigtail. In the realistic narration, the elements of the supernatural are incorporated, and the characters react to magical events as if they were completely common. Magical realism in the context of this novel, concluded Warnes (2009, p. 76) corresponds with the oral tradition of Latin America, anthropological visions and folklore. The holder of the oral tradition in the novel is Melquíades, a writer of the encrypted record of Macondo's collapse. Bowers states that the novel offers a look at political, historical, and social situations in Colombia, thus problematizing the relationship between liberals and conservatives, shows a civil war and a strike of workers describing banana workers. Bowers further points out that magic in this novel acts as a powerful form of indirect political resistance and has a postcolonial purpose because it comes to a distorted perspective. Latin America has a postcolonial connection with Europe, which is why it is marginalized from the eccentric view. Magically, in this novel, but also in the Latin American magical realism, it gives criticism to a western, one-sided interpretation of reality by offering an alternative perspective. Magical realism in the context of the novel depicts the identity of a marginalized group and reflects its collective memory. This thesis Bowers corroborates Márquez's quotation as to how he realized that reality is contained in the beliefs of the people in the oral legend and supernatural stories (Bowers, 2005, p. 38). Magically in this novel presents resistance to writing history in Western power centers as well as providing a worldview from the perspective of marginalized. It is stated that literary historians, exploring magical realism, deal mainly with this novel. Some researchers argue that the Latin American literary criticism, by the appearance of Borges' work, begins to use the term magical realism with the intention of marking it with the use of certain realistic literary procedures in describing a reality that is not understood as a reality in a realistic novel but contains certain elements of magical experience. They add that Márquez describes the reality of a remote Columbian town of Macondos, which is at the same time fictitious, real and mythical, equating myths with magic. The narrative is apparently in a realistic manner, but soon the mix of the real and imaginary dimensions that has the characteristics of collective consciousness comes into play. The inept fate rules in the process of evolution, and that the backgrounds of mythologies that inexplicably affect people and nature are felt, but no one asks for an explanation, but is unexplainably accepted as something new, in itself understandable. Hart concludes that Márquez does not offer a reader a uniform world whose position and legitimacy the reader can follow, but the oximeter contained in the name of magical realism is experiencing the climax and there is no world that is just as real as the one who is just magical. 5

SAMPLE OF THESIS PAPER In addition, Macondo is an allegory for the historical, political and social reality of the Latin American continent. Magical realism, therefore, is understood as an allegory that expresses political and social reality. The characters experience magic as their everyday life in a real, technologically developed world, and high technology and unusual devices José Arcadio Buendía recall a fantastic prose. The aforementioned elements of magical realism consistently appear in the novels used in this literary process as a narrative model of such prose. Hart argues that magic-realistic prose in the Latin American space is not limited to the novels of Carpentier, Asturias, Rulpfo and Marquez, but its features have been used by Isabel Allende and Laura Esquivel in the novels House of Ghosts and Like Chocolate Water (Hart, 2005, p. 3). Magic realism, modeled on the Latin American, left its influence in the literature of other world continents and thus existed in the novels of Salman Rushdie, Tony Morrison, Jonathan Safran Foer, Ben Okri and Ko Laing. As far as the European continent is concerned, it appears in the works of Johan Daisne and Hubert Lampoos. 6

SAMPLE OF THESIS PAPER References Bowers, M. A. (2005). Magic(al) realism, Taylor & Francis e-Library: New York. Warnes, C. (2009). Magical Realism and the Postcolonial Novel, Palgrave Macmillan: New York. Ouyang, W. (2005). Magical realism and Beyond: Ideology of Fantasy, In A Companion to Magical Realism, Hart Stephen M., Ouyang, Wenchin (Eds.), p. 13 - 20, Woodbridge: Suffolk, England. Hart, S. M. (2005). Magical Realism: Style and Substance, In A Companion to Magical Realism, Hart Stephen M., Ouyang, Wen-chin (Eds.), p. 1 - 13, Woodbridge: Suffolk, England. 7