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Magic Realism and Its Application to the Passion by Jeanette Winterson and Wise Children by Angela Carter

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Magic Realism and Its Application to the Passion by Jeanette Winterson and Wise Children by Angela Carter MAGIC REALISM AND ITS APPLICATION TO THE PASSION BY JEANETTE WINTERSON AND WISE CHILDREN BY ANGELA CARTER Kevser ATEŞ Master Thesis The Department of English Language and Literature Prof. Dr. Mukadder ERKAN 2013 All rights reserved T.C. ATATÜRK UNIVERSITY GRADUATE SCHOOL OF SOCIAL SCIENCES THE DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE Kevser ATEŞ MAGIC REALISM AND ITS APPLICATION TO THE PASSION BY JEANETTE WINTERSON AND WISE CHILDREN BY ANGELA CARTER MASTER THESIS ADVISOR Prof. Dr. Mukadder ERKAN ERZURUM-2013 I I I TABLE OF CONTENTS ÖZET ............................................................................................................................... II ABSTRACT .................................................................................................................. III ACKNOWLEDGEMENTS ..........................................................................................IV INTRODUCTION ........................................................................................................... 1 CHAPTER ONE MAGIC REALISM IN LITERATURE 1.1. THE BORDERS OF MAGIC REALISM ........................................................... 13 1.2. POSTMODERNISM AND MAGIC REALISM ................................................. 21 1.3. MAGIC REALISM OF LATIN AMERICA AND EUROPE ............................ 26 CHAPTER TWO ABOUT AUTHORS 2.1. JEANETTE WINTERSON ................................................................................... 40 2.2. ANGELA CARTER ............................................................................................... 46 CHAPTER THREE THE PASSION AND WISE CILDREN AS MAGIC REALIST NOVELS 3.1. MYTHOLOGICAL, MYTHICAL AND FAIRY TALE QUALITIES ............ 52 3.2. THE SUBVERSION OF TRADITIONAL GENDER ROLES ......................... 61 3.3. THE HISTORICAL REALITY ........................................................................... 73 3.4. THE TRANSGRESSION OF BOUNDARIES .................................................... 83 3.5. THE ROLE OF DREAMS, GHOSTS, METAPHORS AND TRAGEDY ....... 95 3.6. NORMALIZING THE ABNORMAL AND ALTERNATIVES ..................... 106 CONCLUSION ............................................................................................................ 115 REFERENCES ............................................................................................................ 119 BIOGRAPHY .............................................................................................................. 129 II ÖZET YÜKSEK LİSANS TEZİ BÜYÜLÜ GERÇEKÇİLİK VE ONUN JEANETTE WINTERSON’UN TUTKU (THE PASSION) VE ANGELA CARTER’IN BİLGE ÇOCUKLAR (WISE CHILDREN) ADLI ROMANLARINA UYGULANMASI Kevser ATEŞ Danışman: Prof. Dr. Mukadder ERKAN 2013, 129 Sayfa Juri: Prof. Dr. Mukadder ERKAN ( Danışman) Yrd. Doç. Dr. Fikret ARARGÜÇ Yrd. Doç. Dr. Arzu KORUCU Birbirine zıt görünümdeki gerçekçi, fantastik, sıradan, olağan dışı, doğal, doğaüstü, normal, anormal gibi özelliklere sahip olan büyülü gerçekçilik bunları kendi potasında ustalıkla eritip uyum içinde okuyucuya sunar. Çağımızın en parlak yazarlarından olan Jeanette Winterson ve Angela Carter romanlarında büyülü gerçekçi yöntemleri kullanarak gerçeklik algısını, bilginin doğruluğunu, geleneksel sosyal rolleri sorgular ve edebiyat dünyasının sınırlarını zorlar. Bu çalışmada resimde ortaya çıkışından sonra büyülü gerçekliğin edebiyat eleştirisinde nasıl kullanılmaya başlandığı açıklanmakta ve Tutku’yu ve Bilge Çocuklar’ı büyülü gerçekçi roman yapan özellikler ifade edilmektedir. Çalışmanın giriş bölümünde büyülü gerçekçiliğin resimde ortaya çıkışı ve daha sonra edebiyata geçiş süreci anlatılmaktadır. Birinci bölümde büyülü gerçekçiliğin diğer edebi akımlardan farkına değinilmekte, postmodernizmle benzer ve ondan farklı yönleri yer almakta ve Latin Amerika olağanüstü gerçekçiliğiyle Avrupa büyülü gerçekliği arasındaki farklılıklar bu türdeki ünlü romancıların romanlarına atıfta bulunarak ortaya konmaktadır. İkinci bölümde Winterson’un ve Carter’ın kişisel yaşamları ve edebi yaşamları arasındaki ilişkiye değinilmektedir. Üçüncü bölümde ise Tutku’nun ve Bilge Çocuklar’ın büyülü gerçekçi özellikleri anlatılmaktadır. III ABSTRACT MASTER THESIS MAGIC REALISM AND ITS APPLICATION TO THE PASSION BY JEANETTE WINTERSON AND WISE CHILDREN BY ANGELA CARTER Kevser ATEŞ Advisor: Prof. Dr. Mukadder ERKAN 2013, Pages: 129 Jury: Prof. Dr. Mukadder ERKAN (Advisor) Assist Prof. Dr. Fikret ARARGÜÇ Assist Prof. Dr. Arzu KORUCU Magic realism possesses opposing characteristics such as realist, fantastic, ordinary, extraordinary, natural, supernatural, normal, abnormal, yet presents them in harmony by skillfully melting them in its pot. Jeanette Winterson and Angela Carter, the brilliant writers of this century, question the sense of reality, the truth of knowledge, the traditional social roles and push the limits of the world of literature by means of magic realist techniques. This thesis tries to explain how magic realism began to be used in literary criticism after its emergence in painting and then the reasons why The Passion and Wise Children are magic realist novels are expressed by referring to some magic realist elements in the novels. In the introduction of this thesis, the emergence of magic realism in painting and its transmission to literature are stated. In the first chapter, differences of magic realism from other genres are pointed out, the distinct and common characteristics between magic realism and postmodernism are presented and the features of Latin American marvellous realism and European magic realism are compared by referring to some novels of famous novelists in this genre. The second chapter argues how the personal lives of Winterson and Angela Carter have affected their literary lives by means of some examples from their novels. In the third chapter, the magic realist characteristics of The Passion and Wise Children are analysed. IV ACKNOWLEDGEMENTS I am deeply grateful for my supervisor Prof. Dr. Mukadder ERKAN for her valuable guidance, support and comments that have made it possible for this study to come out. I also wish to express my gratitude for all my instructors who have been a great help with their contributions to my study. Finally, I am greatly thankful for my family for their support and encouragement throughout the study. Erzurum- 2013 Kevser ATEŞ 1 INTRODUCTION Magic realism, magical realism and marvellous realism are generally considered to have the same meaning, but there are some differences between these terms. The third one of them, marvellous realism, is differentiated from the others as it contains the beliefs, history and traditions of Latin America. Magic realism is the “mystery [that] does not descend to the represented world, but rather hides and palpitates behind it”1; and according to what Salman Rushdie implies, magical realism is the “commingling of the improbable and the mundane”2. Considering they have many things in common, this thesis uses the term magic realism to imply all the meanings of these three terms. Magic realism as found in painting, literature and cinema is a genre which finds and reveals the beauty embedded in life and presents the usual and the unusual without confusion. Though some critics do not prefer to use the category of genre for magic realism because of its common features with other literary movements, Gregory Rubinson asserts that “magic realism is a good example of Ralph Cohen’s principle that genres need to be examined in relation to their historical, social, and cultural scenes of appearance”3 and in this study it will be discussed as a genre. It is not possible to give an exact definition of this term which is used in a variety of ways in different works and has various meanings. Magic realism was born inside the post-expressionism movement during the Weimar Republic period in Germany, 1920s. Post-expressionism is a continuation of expressionism, which occurred in painting in the 1910s and shows reality not as it is but as the feeling it evokes in the artist, unlike impressionism. However, post-expressionism deals with the concrete, not the abstract, and avoids sentimentalism. It is similar to magic realism in that both emerged in painting and try to present the unpresentable while avoiding sentimentalism. Though there are various thoughts about the exact date when magic realism started, many critics agree that it was 1925. German painter Franz Roh was the first 1 Franz Roh, “Magic Realism: Post-Expressionism”, (Eds. Zamora and Faris), Magical Realism, (p.15), Duke University Press, Durham 1995; see also Maggie Ann Bowers, Magic(al) Realism, Routledge, London 2004, p. 3. 2 Michael Reder, Conversations with Salman Rushdie, University Press of Mississippi, Jackson 2000, p. 30; see also Bowers, p. 3. 3 Gregory J. Rubinson, The Fiction of Rushdie, Barnes, Winterson and Carter: Breaking Cultural and Literary Boundaries in the Work of Four Postmodernists, McFarland, Jefferson 2005, p. 32. 2 person who used the term magic realism. His magic realism was called Neue Sachlichkeit (new objectivity) by Gustav Hartlaub, the manager of a German museum. Roh’s magic realism was eclipsed by Hartlaub’s new objectivity in the art world partly because of his exhibition called Neue Sachlichkeit in 1925; but in the early 1960s Roh’s term aroused interest, and since then the term that is painterly in origin has become popular as a literary concept.4 Since expressionism rejected the observable world, a new view of reality became necessary.5 The term appeared at the beginning
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