Saeede Hosseinpour, Nahid Shahbazi Moghadam
Magical Realism in Neil Gaiman’s Coraline
Číslo: 1/2016
Periodikum: Prague Journal of English Studies
Klíčová slova: Coraline; magical realism; Wendy B. Faris; Tzvetan Todorov; marvellous; matter-of-fact narration; the other mother
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Anotace:
Magical realism, as a narrative mode or genre in adults’ literature, has been in vogue
since its revivifying with the publication of Gabriel García Márquez’s One Hundred
Years of Solitude (1967). However, the depiction of the genre in children’s and
juvenile literature is a new trend; the presence of its elements have been traced and
proved feasibly applicable in the interpretation of recent children’s fi ction such as David
Almond’s Skelling (1998). In this regard, the main concern of the present article is
to si the characteristic features of magical realism within Neil Gaiman’s Coraline
(2002) through the application of Wendy B. Faris’s theoretical framework of the genre
therewith Tzvetan Todorov’s defi nition of the fantastic in order to introduce the novel
as an exemplar of magical realism in the domain of children’s literature.
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since its revivifying with the publication of Gabriel García Márquez’s One Hundred
Years of Solitude (1967). However, the depiction of the genre in children’s and
juvenile literature is a new trend; the presence of its elements have been traced and
proved feasibly applicable in the interpretation of recent children’s fi ction such as David
Almond’s Skelling (1998). In this regard, the main concern of the present article is
to si the characteristic features of magical realism within Neil Gaiman’s Coraline
(2002) through the application of Wendy B. Faris’s theoretical framework of the genre
therewith Tzvetan Todorov’s defi nition of the fantastic in order to introduce the novel
as an exemplar of magical realism in the domain of children’s literature.