In this thesis I apply trauma theory to the reading of Jan Carson's magical realist novel, The Fire Starters and Nnedi Okorafor's speculative fiction novel, Who Fears Death. My application of...Show moreIn this thesis I apply trauma theory to the reading of Jan Carson's magical realist novel, The Fire Starters and Nnedi Okorafor's speculative fiction novel, Who Fears Death. My application of trauma theory focuses in particular on the fantastical bodies of the characters that feature in these two novels. I posit that in spite of their many differences, there is common ground to be found between the two novels through their shared exploration of the neglected traumatic wound as embodied by the fantastical body. I argue that both Carson and Okorafor utilise the fantastical body to disrupt dominant narratives that sublimate the traumatic wound and, furthermore, that it is through these fantastical bodies that the traumatic wound may be properly assimilated and thus allow for hopeful change. The structure of the following thesis is thus centred around the idea that these fantastical bodies may be interpreted as embodying both traumatic wound and, a hopeful change, with each chapter containing a section on body as wound and body as change.Show less
This thesis explores how the recurring theme of identity in director Hosoda Mamoru’s animated films can be analyzed through the theory of magical realism. Magical realism, in short, can be defined...Show moreThis thesis explores how the recurring theme of identity in director Hosoda Mamoru’s animated films can be analyzed through the theory of magical realism. Magical realism, in short, can be defined as a style of fiction that primarily depicts a realistic world view, but organically introduces elements of magic and the supernatural into this world that blur the lines between the ordinary and the extraordinary. These extraordinary elements are accepted as being natural to the otherwise realistic setting and its characters. The innately human issues and themes addressed in Hosoda’s films makes for incredibly engaging stories. However, Hosoda seems to always utilize elements of magic or otherworldliness that are lingering in the background. It is argued that these elements are being employed to urge his young characters to see the world from a new perspective, helping them grow into themselves and further define their identity. In order to analyze magical realist elements in Hosoda’s work, it is first argued that magical realism is applicable to film and anime. After discussing the literary origins of the magical realism, a set of attributes by which magical realism can be defined is assembled on accord of various scholarly interpretations of the term. Apart from globally acknowledged definitions of the term, it is also explored how the notion of identity manifests itself in specifically Japanese magical realist literature, since Japanese animation is being discussed. Having done this, a model of magical realist attributes applicable to film and anime is formed, through which finally, two films of Hosoda Mamoru’s are analyzed.Show less
