The Dimensions of Reality and Musical Narrative
Alejo Carpentier, the well-known author of some exquisite novels (El arpa y la sombra, Concierto barroco, La consagracion de la primavera, to name just a few of them) is also the one who explained the meanings of „real maravilloso” (a different definition of magic realism). This essay analyses the implications of various types and levels of reality within the field of Latin American literature (and novel) and also the importance of a new kind of musical poetics that the Cuban writer is already eager to stress upon. Whereas in La consagracion de la primavera the author makes use of the dialogic principle of narrative, El arpa y la sombra develops a different pattern, focused upon metatextual strategies and all kind of intellectual details, thus Carpentier succeeding in his attempt to impose a new type of discourse in the general context of contemporary Latin-American fiction.
Keywords: reality, history, realism, postmodernism, music, narrative discourse.
1.[1] Alejo Carpentier, De lo real maravilloso americano, în Tientos y diferencias, La Habana, Ed. Unión, 1966, p. 9.
2.[1] Ibid., p. 96.
3.[1] Ibid., p 98.
4.[1] Alejo Carpentier, Ritualul primăverii. Traducere de Dan Munteanu, Bucureşti, Editura Corint, 2006.
5.[1] Mihail Bahtin, Probleme de literatură şi estetică. Traducere de Nicolae Iliescu, prefaţă de Marian Vasile, Bucureşti, Editura Univers, 1982, p. 133.
6.[1] Ibid., p. 159.
7.[1] Ibid., p. 126.
8.[1] Ibid., p. 127.
9.[1] Ibid., p. 185.
10.[1] Igor Stravinski, Poetica muzicală. Traducere de Marta Pană, Bucureşti, Editura Muzicală, 1967, p. 30.
11.[1] Ibid., p. 32.
12.[1] Alejo Carpentier, Harpa şi umbra. Traducere de Andrei Ionescu, Editura Corint, 2006.
