Childrens Literature And The Theory Of Magical Realism In Fiction Analysis
The term magical
realism was first used by Novalis in the 18th century, and it took its place in
the world of art and literature when Franz Roh defined a painting technique as
magical realism in 1925. In literary criticism, magical realism is considered a
genre in which the real and the irrelevant are presented together, and the
irrelevant is seen as ordinary. In general, magical events that point to a
problem are narrated by a secretive narrator with a childlike naivety. The
boundaries between the real and the irrelevant become blurred. The reader is
uncertain about whether what is happening is real or not. Taking a stance
against the rational worldview of the West, magical realism suggests that there
will be alternative ways to make sense of the world, such as magic. The heroes
of the genre are people outside the authoritarian discourse, who are called the
other, and are off-center. Magical realism, which brings together different
narrative techniques, genres and cultural elements, exhibits hybrid
characteristics. The lack of an examination theory on magical realist fiction
was determined in the light of studies conducted in our country and around the
world, and in order to contribute to the field, the theory was structured with
the content analysis method, and the codes “1-Real world, 2-Existence of the
irrelevant in the real world, 3-Violation of real and irrelevant boundaries,
4-Ordinariness of the unreal, 5-Indecision, 6-Narrator attitude, 7-Persons,
9-Space, 10-Postmodern elements and 11-Deep structure” were determined. It was
envisaged that the determined codes could be applied to different works in both
adult and children's and young adult literature, and that they would especially
pioneer research on magical realism in children's literature.
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