Imagery in Magical Realism: Objects and Expression in the Works of Borges مقاله

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Imagery in Magical Realism: Objects and Expression in the Works of Borges Luis Parkinson Zamora Amir Ahmadi Aryan "In those days, unlike today, the world of mirrors and the world of humans were not separate. Franz Roh, a German art critic, in his article (1925) addressed a group of painters—whom we today know under the title of "Post-Expressionists"—and used the term magical realism to emphasize [and praise] their return to figurative representation after more than two decades of abstract art. In an introduction to the Spanish translation of this article, which was a more complete version of the original text, and also two years later in 1927 in the magazine revista de occidente published by Jose Ortega y Gasset, Roh once again emphasizes the painters' engagement with the "everyday" and the "mundane": "By establishing a contrast between the two words 'magical' and 'mysterious,' I seek to show that mystery is not a part of the represented world, but rather is hidden behind it, and it is there that it beats and breathes. " Another label applied to this style of German painting at that time was "New Objectivity"— a term that lasted even longer than magical realism, partly because Roh eventually rejected his own naming. In his 1925 article, Roh declared that "magical realism" painters had created a new form of imagination whose "particular method of discovery and intuition in the world... Ultimately, Borges has created very different visual strategies from what Roh describes, but Roh's discussion about objects and magic in Post-Expressionist painting draws our attention to this relationship in Borges's works.