Explanation: The term 'magic realism' (or 'magischer Realismus') was first employed by German art critic Franz Roh in the 1920s to describe a style of painting that emerged from the 'Neue Sachlichkeit' movement.

Explanation: Franz Roh's concept of 'magischer Realismus' focused on applying extreme realism to mundane subjects to reveal an 'interior' mystery, rather than adding overt magical elements.

Explanation: 'Neue Sachlichkeit' (New Objectivity) was primarily an art movement in Germany, which Franz Roh used as a basis for his concept of 'magischer Realismus' in visual art, influencing later literary developments.

Explanation: Franz Roh defined 'magic realism' in visual art as a technique that employed precise, realistic depiction of everyday objects and scenes to uncover a hidden, 'interior' mystery or strangeness, rather than introducing overt fantasy.

Explanation: While Franz Roh's original concept focused on subtle, interior mystery within realistic depictions, the mid-20th century application of 'magic realism' in visual art evolved to include more overtly fantastic and surreal elements, aligning more closely with literary magical realism.

Explanation: Magical realism integrates supernatural phenomena into a realistic setting, rather than confining such events to entirely imaginary worlds. This distinction is fundamental to its definition.

Explanation: A key distinction is that magical realism employs realistic detail and settings to explore or comment upon reality, whereas fantasy often creates entirely separate worlds or relies less on grounding the narrative in the mundane.

Explanation: Conversely to the statement, magical realism presents supernatural elements as ordinary and integrated into the fabric of reality, typically without requiring detailed explanation.

Explanation: Luis Leal famously suggested that if magical elements can be readily explained, the work likely deviates from true magical realism, implying its essence lies in the unexplained integration of the marvelous.

Explanation: A defining characteristic of magical realism is its grounding in a recognizable, real-world setting, within which magical elements are seamlessly integrated, rather than creating entirely separate fantastical realms.

Explanation: By refraining from explaining supernatural occurrences, magical realism cultivates a sense of mystery and encourages readers to perceive deeper connections or meanings within the narrative.

Explanation: The core characteristic of magical realism lies in its integration of the magical or supernatural into a realistic context, presenting extraordinary events as ordinary occurrences within the mundane world.

Explanation: Magical realism is characterized by its grounding in a recognizable, real-world setting, where the magical is presented as an intrinsic part of that reality, rather than in a separate fantastical realm.

Explanation: Luis Leal suggested that the essence of magical realism lies in its inherent inexplicability; if the magical elements can be readily rationalized or explained, the work may not truly belong to the genre.

Explanation: While Gabriel García Márquez is a seminal figure in magical realism, the term 'lo real maravilloso' (marvelous realism) was actually coined by Alejo Carpentier.

Explanation: The term 'lo real maravilloso' was coined by Alejo Carpentier, a Cuban novelist, not Franz Roh. Roh coined 'magischer Realismus' in the context of German visual art.

Explanation: The term 'magical realism' is, in fact, the most commonly used descriptor, particularly within literary scholarship, compared to 'magic realism' and 'marvelous realism'.

Explanation: Salman Rushdie posited that magical realism often expresses a 'Third World' consciousness, reflecting societies where extreme realities and the blending of past and present are more pronounced.

Explanation: The 'Latin American Boom' of the mid-20th century represented a peak period for magical realism, bringing the genre and its authors significant international recognition and acclaim.

Explanation: William Spindler identified 'anthropological' magical realism as one of three types, specifically noting its engagement with the interplay between indigenous and Western perspectives.

Explanation: Alejo Carpentier coined 'lo real maravilloso' (marvelous realism). The term 'magic realism' (two words) is often attributed to critic Angel Flores, distinguishing it from Roh's 'magischer Realismus' and Carpentier's concept.

Explanation: E. T. A. Hoffmann and Nikolai Gogol are considered precursors to magical realism, belonging to the Romantic era of the 19th century, rather than modern 21st-century authors.

Explanation: Carpentier's concept of 'plenitude,' linked to the baroque and marvelous real, describes an extraordinary abundance of disorienting detail, not a minimalist approach.

Explanation: Mystical realism, as conceptualized by figures like Berdyaev, emphasizes the integration of realism with mystical revelation and spiritual understanding, not scientific discovery.

Explanation: The term 'Magical realism' is the most widely adopted and recognized descriptor within literary studies for the genre that synthesizes realistic narrative with supernatural or fantastical elements.

Explanation: The German art critic Franz Roh is credited with first using the term 'magischer Realismus' in the 1920s to describe a style of painting associated with the 'Neue Sachlichkeit' movement.

Explanation: Alejo Carpentier, a prominent figure in Latin American literature, is credited with coining the term 'lo real maravilloso' to describe a reality imbued with the marvelous, often stemming from the unique historical and cultural context of the Americas.

Explanation: Carpentier's concept of 'plenitude,' linked to the baroque and marvelous real, describes an overwhelming richness and complexity of detail, contributing to a sense of wonder and disorientation.

Explanation: While Franz Roh was pivotal in defining 'magic realism' in visual art, the key figures in the development of literary magical realism in Latin America typically cited include Alejo Carpentier, Arturo Uslar-Pietri, Jorge Luis Borges, and Gabriel García Márquez.

Explanation: The Latin American Boom, occurring in the mid-20th century, was a period of unprecedented international success for magical realism, bringing authors like Gabriel García Márquez global prominence.

Explanation: Salman Rushdie argued that magical realism often articulates a 'Third World' consciousness, reflecting societies where the boundaries between the past and present, or public and private realities, are more fluid and extreme.

Explanation: Romantic writers such as E. T. A. Hoffmann and Nikolai Gogol, known for their fairy tales and stories where fantasy elements intrude upon the real, are identified as significant precursors to the development of magical realism.

Explanation: Mystical realism, as discussed by thinkers like Berdyaev, centers on the fusion of realistic depiction with mystical insight and spiritual experience, distinguishing it from purely rational or scientific approaches.

Explanation: William Spindler proposed categories including 'metaphysical' magical realism (exemplified by Kafka), 'ontological' magical realism, and 'anthropological' magical realism, which focuses on the juxtaposition of worldviews.

Explanation: The term 'marvelous realism,' coined by Alejo Carpentier, specifically highlights the extraordinary and wondrous aspects inherent in the history and culture of Latin America, suggesting that writing about this region naturally produces marvelous reality.

Explanation: While both genres explore altered realities, science fiction typically relies on rational, scientific explanations for its phenomena and often inhabits future or alternate worlds, whereas magical realism grounds its fantastical elements in a recognizable reality without such explanations.

Explanation: While both explore non-rational elements, surrealism primarily delves into the imagination and subconscious, often through dream logic, whereas magical realism grounds its extraordinary elements within tangible, everyday reality.

Explanation: Magical realism distinguishes itself from fantasy by grounding its narrative in realistic detail and using magical elements to offer commentary on reality, whereas fantasy often operates in separate worlds and may not share this critical function.

Explanation: Science fiction typically grounds its speculative elements in rational, scientific principles and explanations, whereas magical realism presents its fantastical elements without such rationalization, integrating them seamlessly into the narrative.

Explanation: Surrealism emphasizes the exploration of the subconscious, dreams, and the irrational, often through unconventional imagery. Magical realism, conversely, integrates the marvelous into the fabric of tangible, everyday reality.

Explanation: Authorial reticence in magical realism refers to the narrator's deliberate withholding of explanations for supernatural or strange occurrences, presenting them matter-of-factly to foster acceptance of the marvelous.

Explanation: Hybridity is a significant characteristic, manifesting as the fusion of diverse realities, cultural perspectives, or contrasting elements such as urban and rural environments within the narrative.

Explanation: Metafiction in magical realism frequently engages the reader, making them aware of their position within the narrative structure or blurring the lines between the text and their own reality.

Explanation: Supernatural abilities such as levitation and telepathy are indeed employed in magical realism as devices to allegorically address or critique contemporary political and social realities.

Explanation: Textualization, within the context of metafiction in magical realism, pertains to the blurring of boundaries between the text and the reader's reality, often involving the reader's awareness of their role, rather than the use of footnotes for explanation.

Explanation: The genre frequently serves as a vehicle for political commentary, challenging dominant narratives and amplifying the voices of marginalized communities by presenting their realities through a magical lens.

Explanation: Authorial reticence signifies the narrator's neutral stance towards supernatural or inexplicable events, refraining from offering explanations and thereby encouraging the reader to accept them as part of the narrative's reality.

Explanation: Rational scientific explanations are antithetical to the nature of magical realism, which embraces the unexplained. Elements like levitation, telekinesis, and telepathy are often used metaphorically to critique political realities.

Explanation: Hybridity in magical realism refers to the fusion of diverse realities, cultural perspectives, or contrasting elements, such as the juxtaposition of urban and rural settings or Western and indigenous worldviews.

Explanation: Metafiction in magical realism often serves to draw attention to the constructed nature of the narrative, prompting readers to reflect on their relationship with the text and the interplay between fiction and reality.

Explanation: Magical realism functions as a tool for political critique by challenging established power structures and dominant narratives, often by foregrounding the experiences and perspectives of marginalized groups.

Explanation: Textualization, as a metafictional device in magical realism, involves making the reader conscious of their position within the narrative, often by blurring the distinctions between the fictional world and the reader's own reality.

Explanation: Hybridity is a crucial element in magical realism, characterized by the fusion of diverse realities and the juxtaposition of contrasting elements, such as different cultural perspectives or settings.

Explanation: Magical realism shares significant commonalities with postmodernism, including tendencies toward self-reflexiveness, metafiction, and the blurring of boundaries between reality and fiction.

Explanation: Authorial reticence is crucial for establishing the genre's unique tone, as the narrator's neutral presentation of magical events encourages readers to accept them as ordinary, thereby heightening the sense of mystery and wonder.

Explanation: Jesper Juul posits that the structure of video games, which blend established rules with created fictional universes, aligns with the principles of magical realism by presenting fantastical elements within a structured framework.

Explanation: The 'Metal Gear' series exemplifies magical realism by integrating supernatural or extraordinary elements into a realistic military setting, treating these phenomena with narrative normalcy.

Explanation: Jesper Juul suggests that video games inherently possess magical realist qualities due to their structure, which combines established rules with fictional worlds, thereby presenting fantastical elements within a coherent, often realistic, framework.