Amaryll Chanady's structural definition of magic realism, and the acknowledged historical moments of this literary mode's development---those periods in which artistic use of the mode flourished while the label attracted significant critical attention---support the critical consensus that magic realism subversively challenges prevailing narratives. A tendency towards critical myopia exists, however, as critics assume that all magic realist texts present revolutionary ideas. Deconstructive form does not necessarily result in subversion of hegemonic discourse. Feminist analysis of four magic realist novels in this study reveals that magic realism, with all its deconstructive potential, can reinscribe existing oppressive ideology.; In his novel Shame, Salman Rushdie highlights oppressive gender binaries inherent in phallocentric discourse, but then ultimately reinscribes this oppression and a corollary patriarchal fear of the female beast in his novel. Robert Kroetsch attempts to deconstruct the heterosexual matrix in What the Crow Said, but only manages to reverse the gender binary that relegates men to the position of presence and women to the position of absence. Such reversal reinforces binary divisions that imprison both men and women within the matrix. Cristina Garcia clearly demonstrates that such binary opposition needs to be destroyed through her novel, Dreaming in Cuban, and manages the destruction of such binaries in terms of ethnicity and political division; the gender division, however, remains intact. In this study, only Jeanette Winterson's novel, The Passion , fully realizes the subversive feminist potential of the magic realist mode.; Readers of magic realist texts must resist the slippage between form and philosophy. Without analyzing each text independently, too many critics blindly herald magic realist novels as a literary space from which marginalized voices subvert existing oppressive discourses. While magic realist novels certainly create unique potential for subversive ideology, the deconstructive form provides no guarantees.
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机译：阿玛丽尔·钱纳迪（Amaryll Chanady）对魔术现实主义的结构性定义，以及这种文学模式发展的公认历史时刻-在该时期，该模式的艺术运用蓬勃发展，而唱片公司引起了广泛的批判关注-支持关于魔术现实主义颠覆性挑战的批判共识主流叙事。但是，由于批评者认为所有魔术现实主义者的著作都提出了革命性的思想，因此存在一种严重近视的趋势。解构形式不一定导致霸权话语的颠覆。女权主义者对该研究中的四本魔术现实主义小说的分析表明，魔术现实主义具有所有解构性，可以重新刻画现有的压迫意识形态。萨尔曼·拉什迪（Salman Rushdie）在他的小说《羞耻》中强调了以阳具为中心的话语固有的压迫性性别二元论，但最终在小说中重新表达了这种压迫以及对女性野兽的必然的父权制恐惧。罗伯特·克罗埃奇（Robert Kroetsch）试图解构《乌鸦说的话》中的异性恋矩阵，但只能设法扭转性别二元性，使男性沦落为存在的地位，而女性沦落为存在的地位。这种逆转加强了将男性和女性囚禁在矩阵中的二进制分裂。克里斯蒂娜·加西亚（Cristina Garcia）清楚地表明，需要通过她的小说《古巴梦》（Dreaming in Cuban）来消除这种二元对立，并且要从种族和政治分裂的角度来处理这种二元对立。但是，性别划分仍然完好无损。在本研究中，只有珍妮特·温特森（Jeanette Winterson）的小说《激情》（The Passion）充分实现了魔术现实主义模式的颠覆性女权主义潜力。魔幻现实主义文本的读者必须抵制形式和哲学之间的错位。在没有独立地分析每个文本的情况下，太多的评论家盲目地将魔术现实主义小说作为文学空间，以此来边缘化声音颠覆现有的压迫性话语。虽然魔幻现实主义小说无疑为颠覆意识形态创造了独特潜力，但解构形式却无法提供任何保证。
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