INDEX
Abe Kobo, 454-55, 465, 468, 471; The
Face of Anothf!r,
466-67; "Friends,"
466,472; Secret Rendezvous, 467,
470; "The Stick," 465-66;
Woman
in the Dunes, 466
Adorno, Theodor, 135
Mrican American: culture, 286, 290,
298-300; literary history, 302 n.19,
303 n.28
Akutagawa Ryunosuke, 461-63, 471;
"The Dragon," 462; "In a Grove,"
461; "Hell Screen," 462;
Kappa,
462; "The Nose," 451, 452, 455,
462,472
allegory, 243, 250, 459, 510, 515; as
distinct from magical realism, 169,
172, 184, 350-51; in Hawthorne's
"Wakefield," 515-16; as strategy
of magical realism, 241, 332, 338,
340, 504, 508-509; as postcolonial
device, 509-510; Puritan, 509, 513;
and romance, 508, 518
Allen, Woody, 8; "The Kugelmass
Episode," 235, 236, 237, 239,
242,243
Allende, Isabel, 4, 167, 189 n.34, 286,
505; Eva Luna,
300; and Garcia
Marquez, 286, 294-95;
The House
of the Spirits,
180, 182, 183, 285-86,
291-96,300,501,543; The House
of the Spirits,
feminized political
vision in, 286, 292-96, 302 n.18;
The House of the Spirits,
naming
in, 286, 291-94;
The House of the
Spirits
versus
One Hundred Years of
Solitude,
294; on magical realism as
international phenomenon, 187-88
n.lO
analogy, 340; between history and
nature, 383; as transfiguring, in
Walcott, 380, 382, 394
androgyne, 279, 432-34
Anglo-Indian magical realism, 164,
165,223,329,331,341-42
apocalyptic vision, 151, 259, 260; of
Carpentier, 384; Expressionist, 37;
of Garcia Marquez, 329; in Kyoka
Izumi, 459, 460; in
The Satanic
Verses,
358-59
archetypes, 30, 285, 458, 526, 537,
543; archetypalizing strategy in
magical realism, 499, 502-504, 506,
507,
512, 515-17, 521,
523,
526,
537, 544; female, 455,
456,
459-
60, 463-64; Jungian, 347, 48, 355,
364-65; and romance, 508-509, 51I
Archipenko,Alexande~4°
Arlt, Roberto, 1I2
Arreola, Juan Jose, 1I9; "EI guardagu-
jas" ["The Switchman"], 1I5;
Confabulario,
1I4;
Varia invenci6n
[Various Inventions],
1I4
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