Thus, we can find the following points of coincidence in the writing: Time It is time to go to other fundamental aspects of magical realism in the development of the texts. In this last category are works whose base maintains a native cosmovision that is integrated with the rational cosmovision of the West. In this second classification the works are characterized by maintaining a certain level of seriousness in relation to the way in which they interact with unusual events or occurrences. He will use this first category to introduce the metaphysical, inspired by the European continent, in which the meaning resembles the exemplification by fiction, taking Kafka as a reference point. Among them it is possible to identify the following: Metaphysical magical realism William Spindler maintains that there are three types of magical realism in literature, although they are not totally independent of each other. Development of magical realism in literature In this sense, Pietri considered that the currents did not capture the Latin American reality in its most complex sense, so the term will be used to enable the recognition of Latin America’s own literature. It is important to consider that magical realism, according to the author who coined the term, as a kind of response to the literary tradition that focused on faithfully portraying the Latin American territory, as will be the use of the inherited currents, among which was the romanticism then adopted, as well as the costumbrismo and modernism. Thus, the term magical realism can later be used to refer to the two movements independently. In this way, the term will also be implemented in the literary field in order to relate those artistic proposals in which an attempt is made to place magical or unreal facts or places under the light of everyday reality. After a long debate about the characteristics of the term itself, Uslar Pietri explains that he used the term by associating the characteristics of the type of literature with the idea used by the German-born critic Franz Roh of magical realism to refer to a pictorial style in another artistic field. It is known that the term was used by the author Arturo Uslar Pietri, who used the term in the literary field to refer to a movement, and who uses the term in his book Letras y hombres de venezuela (Letters and men of Venezuela). They are works that often break the temporal linearity of history and express value through the perception of the sensory from the reality they experience. That is to say, we are talking about a type of narrative based on the observation of reality that opens space to the unreal. Thus, the main objective of magical realism is not the gestation of emotions, but the expression of these from a particular stance to reality. One of the axes that characterize magical realism has to do with the fact that its authors try to show the strange or unreal, as something everyday, typical of common reality. This movement coincides with the emergence of another important process in literature, called the Latin American Boom, which we will discuss in depth in another section. It is one of the most important literary movements of this artistic field that began in the 1930s in the American continent, but found its greatest boom between the 1960s and 1970s. 5 Representative authors of magical realism.4.5 Characters in the face of the unreal.4 Main characteristics of magical realism.3 Development of magical realism in literature.

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