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Magical realism, magic realism, or marvelous realism is literature, painting, and film that, while encompassing a range of subtly different concepts, share in common an acceptance of magic in the rational world. It is also sometimes called fabulism, in reference to the conventions of fables, myths, and allegory. Of the four terms, ''Magical realism'' is the most commonly used and refers to literature in particular〔 that portrays magical or unreal elements as a natural part in an otherwise realistic or mundane environment. The terms are broadly descriptive rather than critically rigorous. Matthew Strecher defines magic realism as "what happens when a highly detailed, realistic setting is invaded by something too strange to believe."〔Matthew C. Strecher, Magical Realism and the Search for Identity in the Fiction of Murakami Haruki, Journal of Japanese Studies, Volume 25, Number 2 (Summer 1999), pp. 263-298, at 267.〕 Many writers are categorized as "magical realists," which confuses the term and its wide definition.〔Guenther, Irene, "Magic Realism in the Weimar Republic" tackles German roots of the term, and how art is related to literature〕 Magical realism is often associated with Latin American literature, particularly authors including Miguel Angel Asturias, Gabriel García Márquez, Jorge Luis Borges and Isabel Allende. In English literature, its chief exponents include Salman Rushdie, Alice Hoffman and In Bengali literature Humayun Ahmed. ==Etymology== While the term ''magical realism'' first appeared in 1955,〔 the term ''Magischer Realismus,'' translated as ''magic realism,'' was first used by German art critic Franz Roh in 1925〔Slemon, Stephen. (''Magic realism as post-colonial discourse'' ). In: Canadian Literature #116 (Spring 1988),pp. 9-24, p. 9〕 to refer to a painterly style also known as Neue Sachlichkeit (the New Objectivity),〔Franz Roh: Nach-Expressionismus. Magischer Realismus. Probleme der neuesten europäischen Malerei. Klinkhardt & Biermann, Leipzig 1925.〕 an alternative to expressionism championed by fellow German museum director Gustav Hartlaub.〔〔Guenther, Irene, "Magic Realism in the Weimar Republic" from ''MR: Theory, History, Community'', pp. 33〕 Roh identified magic realism's accurate detail, smooth photographic clarity, and portrayal of the 'magical' nature of the rational world. It reflects the uncanniness of people and our modern technological environment.〔 Roh believed that magic realism was related to, but distinct from, surrealism, due to magic realism's focus on the material object and the actual existence of things in the world, as opposed to surrealism's more cerebral, psychological and subconscious reality. Magic realism was later used to describe the uncanny realism by American painters such as Ivan Albright, Paul Cadmus, George Tooker and other artists during the 1940s and 1950s. However, in contrast with its use in literature, magic realist art does not often include overtly fantastic or magical content, but rather looks at the mundane through a hyper-realistic and often mysterious lens.〔Guenther, Irene, "Magic Realism in the Weimar Republic" from ''MR: Theory, History, Community''〕 German magic realist paintings influenced the Italian writer Massimo Bontempelli, who has been called the first to apply magic realism to writing, aiming to capture the fantastic, mysterious nature of reality. In 1926 he founded the magic realist magazine ''900.Novecento,'' and his writings influenced Belgian magic realist writers Johan Daisne and Hubert Lampo.〔 Roh's magic realism also influenced writers in Hispanic America, where it was translated as ''realismo mágico'' in 1927. Venezuelan writer Arturo Uslar-Pietri, who had known Bontempelli, wrote influential magic realist short stories in the 1930s and 40s that focused on the mystery and reality of how we live.〔 Luis Leal attests that Pietri seemed to have been the first to adopt the term ''realismo mágico'' in Hispanic America in 1948.〔Leal, Luis, "Magical Realism in Spanish America" from ''MR: Theory, History, Community'', pp. 120.〕 French-Russian Cuban writer Alejo Carpentier, who rejected Roh's magic realism as tiresome pretension, developed his related concept ''lo real maravilloso,'' or ''marvelous realism,'' in 1949.〔 Maggie Ann Bowers writes that marvelous realist literature and art expresses "the seemingly opposed perspectives of a pragmatic, practical and tangible approach to reality and an acceptance of magic and superstition" within an environment of differing cultures.〔 The term ''magical realism,'' as opposed to ''magic realism,'' first emerged in the 1955 essay "Magical Realism in Spanish American Fiction" by critic Angel Flores to refer to writing that combines aspects of magic realism and marvelous realism. While Flores named Jorge Luis Borges as the first magical realist, he failed to acknowledge either Carpentier or Pietri for bringing Roh's magic realism to Latin America. Borges is often seen as a predecessor of magical realists, with only Flores considering him a true magical realist.〔 After Flores's essay, there was a resurgence of interest in marvelous realism, which, after the Cuban revolution of 1959, led to the term ''magical realism'' being applied to a new type of literature known for matter-of-fact portrayal of magical events.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Magic realism」の詳細全文を読む スポンサード リンク
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