Postethnic Narrative Criticism: Magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie
Magical realism has become almost synonymous with Latin American fiction, but this way of representing the layered and often contradictory reality of the topsy-turvy, late-capitalist, globalizing world finds equally vivid expression in U.S. multiethnic and British postcolonial literature and film. W...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
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University of Texas Press
[2021]
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| Schlagworte: | |
| Online-Zugang: | FAW01 FAB01 FCO01 FHA01 FKE01 FLA01 UPA01 UBG01 Volltext |
| Zusammenfassung: | Magical realism has become almost synonymous with Latin American fiction, but this way of representing the layered and often contradictory reality of the topsy-turvy, late-capitalist, globalizing world finds equally vivid expression in U.S. multiethnic and British postcolonial literature and film. Writers and filmmakers such as Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie have made brilliant use of magical realism to articulate the trauma of dislocation and the legacies of colonialism that people of color experience in the postcolonial, multiethnic world. This book seeks to redeem and refine the theory of magical realism in U.S. multiethnic and British postcolonial literature and film. Frederick Aldama engages in theoretically sophisticated readings of Ana Castillo's So Far from God, Oscar "Zeta" Acosta's Autobiography of a Brown Buffalo, Salman Rushdie's Midnight's Children, Shame, The Satanic Verses, and The Moor's Last Sigh, Julie Dash's Daughters of the Dust, and Stephen Frears and Hanif Kureishi's Sammy and Rosie Get Laid. Coining the term "magicorealism" to characterize these works, Aldama not only creates a postethnic critical methodology for enlarging the contact zone between the genres of novel, film, and autobiography, but also shatters the interpretive lens that traditionally confuses the transcription of the real world, where truth and falsity apply, with narrative modes governed by other criteria |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Nov 2021) |
| Beschreibung: | 1 Online-Ressource (157 pages) |
| ISBN: | 9780292797703 |
| DOI: | 10.7560/705166 |
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| index_date | 2024-07-03T18:47:53Z |
| indexdate | 2024-07-10T09:18:00Z |
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| spelling | Aldama, Frederick Luis Verfasser aut Postethnic Narrative Criticism Magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie Frederick Luis Aldama Austin University of Texas Press [2021] © 2003 1 Online-Ressource (157 pages) txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Nov 2021) Magical realism has become almost synonymous with Latin American fiction, but this way of representing the layered and often contradictory reality of the topsy-turvy, late-capitalist, globalizing world finds equally vivid expression in U.S. multiethnic and British postcolonial literature and film. Writers and filmmakers such as Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie have made brilliant use of magical realism to articulate the trauma of dislocation and the legacies of colonialism that people of color experience in the postcolonial, multiethnic world. This book seeks to redeem and refine the theory of magical realism in U.S. multiethnic and British postcolonial literature and film. Frederick Aldama engages in theoretically sophisticated readings of Ana Castillo's So Far from God, Oscar "Zeta" Acosta's Autobiography of a Brown Buffalo, Salman Rushdie's Midnight's Children, Shame, The Satanic Verses, and The Moor's Last Sigh, Julie Dash's Daughters of the Dust, and Stephen Frears and Hanif Kureishi's Sammy and Rosie Get Laid. Coining the term "magicorealism" to characterize these works, Aldama not only creates a postethnic critical methodology for enlarging the contact zone between the genres of novel, film, and autobiography, but also shatters the interpretive lens that traditionally confuses the transcription of the real world, where truth and falsity apply, with narrative modes governed by other criteria In English LITERARY CRITICISM / General bisacsh American fiction Minority authors History and criticism American fiction 20th century History and criticism English fiction Minority authors History and criticism English fiction 20th century History and criticism Ethnic groups in literature Literature and society English-speaking countries Magic realism (Literature) Minorities in literature Narration (Rhetoric) https://doi.org/10.7560/705166 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Aldama, Frederick Luis Postethnic Narrative Criticism Magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie LITERARY CRITICISM / General bisacsh American fiction Minority authors History and criticism American fiction 20th century History and criticism English fiction Minority authors History and criticism English fiction 20th century History and criticism Ethnic groups in literature Literature and society English-speaking countries Magic realism (Literature) Minorities in literature Narration (Rhetoric) |
| title | Postethnic Narrative Criticism Magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie |
| title_auth | Postethnic Narrative Criticism Magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie |
| title_exact_search | Postethnic Narrative Criticism Magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie |
| title_exact_search_txtP | Postethnic Narrative Criticism Magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie |
| title_full | Postethnic Narrative Criticism Magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie Frederick Luis Aldama |
| title_fullStr | Postethnic Narrative Criticism Magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie Frederick Luis Aldama |
| title_full_unstemmed | Postethnic Narrative Criticism Magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie Frederick Luis Aldama |
| title_short | Postethnic Narrative Criticism |
| title_sort | postethnic narrative criticism magicorealism in oscar zeta acosta ana castillo julie dash hanif kureishi and salman rushdie |
| title_sub | Magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie |
| topic | LITERARY CRITICISM / General bisacsh American fiction Minority authors History and criticism American fiction 20th century History and criticism English fiction Minority authors History and criticism English fiction 20th century History and criticism Ethnic groups in literature Literature and society English-speaking countries Magic realism (Literature) Minorities in literature Narration (Rhetoric) |
| topic_facet | LITERARY CRITICISM / General American fiction Minority authors History and criticism American fiction 20th century History and criticism English fiction Minority authors History and criticism English fiction 20th century History and criticism Ethnic groups in literature Literature and society English-speaking countries Magic realism (Literature) Minorities in literature Narration (Rhetoric) |
| url | https://doi.org/10.7560/705166 |
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