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Individualism & Magic Realism in the 1980s: Thatcher's Influence on Literature & Society -, Apuntes de Escribir Ficción

The cultural shift towards extreme individualism during margaret thatcher's tenure in the 1980s, and its impact on literature, particularly magic realism. The emergence of new markets, globalization, and the prominence of gay culture. It also delves into the concept of dialectical closure and the adaptation of magic elements to realism.

Tipo: Apuntes

2014/2015

Subido el 04/02/2015

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The Passion
Background information: 1980’s- Margaret Thatcher
It appears a new culture of extreme individualism. The idea of individual is presented as if
the individual is the only one available. Margaret Thatcher said that there’s no such thing as
society.
UK and USA were fighting to incorporate their culture in the world. It appears the notion of
industrial individual. The first consequence is economical. As a result new markets appeared.
New cultures enter Great Britain from the ex-colonies. For example: “Midnight Children” by
Salman Ruskdie. Post-colonial literature opens an expansion of the market.
Globalization: the Italian restaurant becomes the first global institution. It appears in
Britain and is British. It was standardized some dishes and they said it was Italian
food.
There’s no longer a matter of race but there’s a matter of sexual orientation. Gay culture
started to be prominent in the 1980’s.
There are two kinds of writings: fantastic and realistic and they become contingent.
Magic realism is the adaptation of magic elements to realism. These new elements are
implausible in terms of realist narrative.
Sometimes realist elements are treated as they were marvelous, outstanding, and
fantastic. It resulted in a difamiliarization of reality. It is incorporated eccentric
focalizes and the style also incorporates scientific, historic texts and positivist studies.
It is in the macro where it is inscribed.
The literalization of metaphors: what we may think it is metaphor it may be literal
truth in the story.
The story of the little boots: The story about the goblins is told by an Irish. Patrick presents
the little boots as a proof. He tries to persuade. The Irish man presents in his narrative two
points of view: positivist, western point of view (religious) and pagan. We don’t question the
bible but we question the goblins. The bible is very incorporated in our culture. The culture
has made it real. You are in a magic place in the moment you question reality. Patrick
questions reality: “I knew I was in a magic place.”
Dialectical closure
The rooms: What it is in the rooms are things that contain other things. It is a
way of arranging reality. By arranging reality you also close it.
The stained-glass windows: give the sense of arranging the light. It puts it in
order.
Hapsichord: music is a vibration in the air. You move the air and you give it a
pattern. You change reality because you arrange the air.
3”The city of the interior”
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The Passion

Background information: 1980’s- Margaret Thatcher

It appears a new culture of extreme individualism. The idea of individual is presented as if the individual is the only one available. Margaret Thatcher said that there’s no such thing as society.

UK and USA were fighting to incorporate their culture in the world. It appears the notion of industrial individual. The first consequence is economical. As a result new markets appeared. New cultures enter Great Britain from the ex-colonies. For example: “Midnight Children” by Salman Ruskdie. Post-colonial literature opens an expansion of the market.

  • Globalization: the Italian restaurant becomes the first global institution. It appears in Britain and is British. It was standardized some dishes and they said it was Italian food.

There’s no longer a matter of race but there’s a matter of sexual orientation. Gay culture started to be prominent in the 1980’s.

There are two kinds of writings: fantastic and realistic and they become contingent.

  • Magic realism is the adaptation of magic elements to realism. These new elements are implausible in terms of realist narrative.
  • Sometimes realist elements are treated as they were marvelous, outstanding, and fantastic. It resulted in a difamiliarization of reality. It is incorporated eccentric focalizes and the style also incorporates scientific, historic texts and positivist studies. It is in the macro where it is inscribed.
  • The literalization of metaphors: what we may think it is metaphor it may be literal truth in the story.

The story of the little boots: The story about the goblins is told by an Irish. Patrick presents the little boots as a proof. He tries to persuade. The Irish man presents in his narrative two points of view: positivist, western point of view (religious) and pagan. We don’t question the bible but we question the goblins. The bible is very incorporated in our culture. The culture has made it real. You are in a magic place in the moment you question reality. Patrick questions reality: “I knew I was in a magic place.”

  • Dialectical closure
    • The rooms : What it is in the rooms are things that contain other things. It is a way of arranging reality. By arranging reality you also close it.
    • The stained-glass windows : give the sense of arranging the light. It puts it in order.
    • (^) Hapsichord: music is a vibration in the air. You move the air and you give it a pattern. You change reality because you arrange the air.
  • The coffins : you’re ordering death.
  • Journals: fictions written day by day. You try to arrange life.

When you use the objects you project order in the world. You tame chaos. It is a dialectical closure when you try to arrange things.

Henri has to choose between the phials that contains danger or pleasure. We don’t know which one he took and it doesn’t matter. Each of them is a way to escape the arrangement of life. He takes it because he’s taking chances in life. He’s taking all the possibilities that life can open.

If the woman finishes the tapestry, Villanelle will be a prisoner because she’ll be encoded. Finishing the tapestry means the end of life. There’s no more to experience. This kind of fear is what Henri is afraid to experience. Henri wants to make sense of everything but he doesn’t get any answers. The only thing he never gets is understanding. Henri embodies the western positivist way of seeing/writing life while Villanelle endorses broader sense of possibilities of life: continuous, progressive evolution of things. You can only experience them.

  • Hermeneutical concept: sentiments cannot be decoded.

Pag. 112. Henri is lost in Venice; he thinks that Venice is always changing. How does Venice change? Bonaparte’s conquest.

VENICE CITY OF SINS / GAMBLING

MAPS DIALECTICAL CLOSURE / HISTORICAL CHANGES. Venice belonged to many different countries.. A map is a synchronic picture of a diachronic evolution. When we see a map we don’t see how the territory is arranged.

  • Venice. Rationalizing Venice and the whole world. By rationalizing a country you impose you’re culture. In Venice you must make improvisations because you can’t control things. You will never get to know the city. Venice is a metaphor of human beings. You can’t get to know people. Getting lost is not a bad thing because you explore and you reinterpret things over and over again. This idea of the city is a metaphor but it also works literally because actually it’s a city that you cannot rationalize.
    1. Venice can’t be rationalized.
    2. Venice can’t be contained in a map.
    3. Venice as a city of gambling men.

Pag 68. Life becomes a foreign language once you become fluent. Villanelle as a foreigner.

Villanelle’s motif: passion is about FEAR AND SEX. Something you experience.

power; is the same with gambling. Life is a continuous process and trying to limit the victory is trying to limit/end life. Life’s metaphor.