拉美魔幻现实主义文学的兴起会不会与商业化的环境相关

suleman

拉美魔幻现实主义文学的兴起会不会与商业化的环境相关?

这类文学作品情节曲折,引人入胜,适合各个层次读者的需求.这是不是与拉美商业化的环境相关?

一方面是市场化的社会,一方面相对贫困,欧美那种文化阶层还没有培养起来.

Vincentlover

每一个艺术流派的兴起，都一定与社会环境有关。美洲国家自由奔放的民族性格，再加上比较少的历史负担，使拉美魔幻现实主义文学能够蓬勃发展。
可能楼主对拉美魔幻现实主义文学的兴起不大清楚。我先从 Gabriel García Márquez 中引一段：

The term "magic realism" was not coined to describe Latin American fiction. The label had earlier been stuck on certain young painters in Germany and Italy during the 1920s. It resurfaced in 1943 when New York's Museum of Modern Art mounted an exhibit entitled "American Realists and Magic Realists" including works by Edward Hopper and Charles Sheeler.
Over the next decades, "magic realism" began to be applied to the tendency among fiction writers-including Franz Kafka, John Fowles, and Günter Grass-to lace elements of the fantastic and surreal into their otherwise realistic prose. By the mid-1960s, this heady stylistic brew was becoming a trademark of Latin America's "new novelists" and of the "boom," the term used to describe the sudden international success of Julio Cortázar, José Donoso, Carlos Fuentes, Mario Vargas Llosa, and Gabriel García Márquez. Many critics pointed to Jorge Luis Borges' Historia universal de la infamia (1935) as the first truly magic realist novel, but no writer was more touted as an exponent of "magic realism" than Gabriel García Márquez. Latin Americans often explain the logic of this literary phenomenon by citing the illogic of their daily reality. According to Jorge Alí Triana, who directed two García Márquez productions for Repertorio Español, "Latin American reality is tremendously crazy. It has no Cartesian logic. . . . Our history is one of violence and even of dementia, of crazies who came in to split up a continent. Ours is a mestizo culture combining people from Africa, from the Arab countries -- the closest thing I've seen to it is New York, which is crazy, too."

而且我觉得最主要的是，美国（特别是纽约这个国际交融的都市）给了拉美地区的作家一种得天独厚的条件：他们有了其他国家的作家所没有的多元文化交融，比欧洲那种古老而缓慢的文化交融要激烈的多。
Referring to García Márquez's favorite fictional setting, Triana adds, "New York is the biggest Macondo in the Américas. I've never seen so much 'magic realism' in my life!" By the end of the 1980s, the tag "magic realism," though not its literature, was showing signs of wear. Latin writers chafed at being pegged as fantasists. European and American critics were limited, as García Márquez has pointed out, "because their rationalism prevents them seeing that reality isn't limited to the price of tomatoes and eggs. ……