Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-01-10Bitstream added on 2014-06-13T19:14:12Z : No. of bitstreams: 1 silva_fs_me_assis.pdf: 453848 bytes, checksum: d51a869a7389c997848a73686f3c97f7 (MD5) / Este trabalho tem por objetivo estudar uma faceta ainda hoje pouco conhecida do poeta fluminense Luís Nicolau Fagundes Varela (1841-1875). Apesar de seu nome ser associado principalmente à poesia, Fagundes Varela explorou também a prosa de ficção, em especial um tipo de literatura que dialoga diretamente com os primeiros impulsos do Romantismo europeu. Trata-se da literatura fantástica, termo muitas vezes genericamente usado para se designar um tipo de literatura que tem como principal característica a representação de um mundo declaradamente imaginário, na qual se incluem numa mesma categoria ficção científica e o conto de fadas, por exemplo. O fantástico com o qual Varela flerta em suas publicações de 1861 é de natureza muito mais restritiva, além de ser também bastante representativa de um momento particular na literatura brasileira. Ao publicar As Ruínas da Glória, A Guarida de Pedra e As Bruxas, Varela não foi o primeiro de nossos escritores a se dedicar ao fantástico, nem o que melhor o fez. É patente a influência da Noite na Taverna, de Álvares de Azevedo, em especial, em um dos contos que nos propomos a analisar aqui, bem como se sente o peso de um E. T. A. Hoffmann, mestre do gênero, evocado nas falas das personagens. Assim, com o intento de trazer à luz um Fagundes Varela ficcionista, cultor da literatura fantástica, esperamos contribuir igualmente para os estudos que vão em direção de se buscar uma tradição fantástica no Brasil que não se limite apenas à Noite e ao Macário, do célebre discípulo de Byron, mesmo que sua obra tenha influenciado os escritores brasileiros que trilharam os caminhos da literatura fantástica e, entre eles, Fagundes Varela / This work aims to study a still little-known facet of the poet Luís Nicolau Fagundes Varela (1841-1875). Although mostly known for his poems, Fagundes Varela also explored fiction, particularly a type of literature that converses directly with the first impulses of Romanticism. It is fantastic literature, generic term often used to designate a type of literature that has as main characteristic the depiction of a world avowedly imaginary, which includes in the same category science fiction and fairytale, for example. However, the fantastic with which Varela flirts in his publications of 1861 is much more restrictive in nature, and is also fairly representative of a particular moment in Brazilian literature. With As Ruínas da Glória, A Guarida de Pedra and As Bruxas, Varela was not the first of our writers who devoted to fantastic, nor the one who did it best. The influence of Noite na Taverna, by Álvares de Azevedo, is clear specially in one of the stories that we intend to analyze here, and it feels the weight of an E. T. A. Hoffmann, master of the genre, mentioned in the speeches of the characters. So, with the intent to bring to light a novelist Fagundes Varela, cultivator of fantastic literature, we also hope to contribute to the studies that go towards to seek a fantastic tradition in Brazil, not limited only to Noite na Taverna and Macário, wrote by Byron's famous disciple, even though his work has influenced Brazilian writers who take the paths of fantastic literature and, among them, Fagundes Varela

Orientador: Ana Luiza Silva Camarani / Banca: Luiz Gonzaga Marchezan / Banca: Luciana Moura Colucci de Camargo / Resumo: Edgar Allan Poe afirma a respeito de seu poema The raven, em seu ensaio The philosophy of composition, que "[...] nenhum ponto de sua composição se refere ao acaso, ou à intuição, que o trabalho caminhou, passo a passo, até completar-se, com a precisão e a sequência rígida de um problema matemático", demonstrando, por isso, que ele entendia ser o processo criativo um ato puramente lógico, consciente e analítico. E, de fato, a análise de seus textos comprova a proposição citada. Além disso, o autor americano é considerado por grande parte da crítica literária como o mestre do horror, figurando alguns de seus textos no cânone das obras primas do fantástico, sendo quase que indispensável a presença de algum de seus contos em uma coletânea dessa categoria literária. Partindo-se, então, desses elementos foi possível levantar a hipótese de que, como a obra poeana está tão intimamente relacionada ao fantástico, a análise de seu racional e sistemático método composicional poderá conduzir à inclusão de novos elementos à estrutura já existente da literatura fantástica. Assim, a presente pesquisa procurou sistematizar o peculiar modus operandi de Poe através da análise de seus contos The black cat, The fall of the house of Usher, The oval portrait, The man of the crowd, William Wilson, Ligeia, e ensaios The philosophy of composition Philosophy of furniture e The poetic principle, para em seguida contrastar os resultados obtidos com as teorias do fantástico, em especial a de Todorov, permitindo estabelecer, dessa forma, pouco a pouco, outra leitura da literatura fantástica, sob a ótica da própria teoria pessoal de Edgar Allan Poe / Abstract: Edgar Allan Poe said about his poem The Raven, in his essay The philosophy of composition, that "[...] no one point in its composition is referrible either to accident or intuition - that the work proceeded, step by step, to its completion with the precision and rigid consequence of a mathematical problem." thereby demonstrating that he understood the creative process is a purely logical, conscious and analytical. And indeed, analysis of his texts proves the proposition cited. In addition, the american author is seen by much of literary criticism as the master of horror, featuring some of his texts in the canon of masterpieces of fantastic, with almost indispensable the presence of some of his tales in a collection of this literary category. Starting from those factors, it was possible to hypothesize that as the Poe‟s work is so closely related to the fantastic, the analysis of their rational and systematic compositional method may lead to inclusion of new elements the existing structure of fantastic literature. Thus, this research sought to systematize the peculiar modus operandi of Poe through the analysis of his short stories The black cat, The fall of the house of Usher, The oval portrait, The man of the crowd, William Wilson, Ligeia, and the essays The philosophy of composition, Philosophy of furniture and The poetic principle, then to contrast the results with the theories of fantastic, particularly Todorov‟s, establishing, thus, little by little, another reading of fantastic literature, from the perspective of their own Edgar Allan Poe‟s personal theory / Mestre

In this final work we compare fantastic forms of realistic literature in the little formations from the break of the 19th and 20th century. We look for specifics of fantastic in selected texts. By the analysis of mysterious and realistic motives we aim to show the common roots of fantastic literature and its diversity. In the first part we analyse the tales of Karel Švanda ze Semčic and compare the poetics of Švanda and E. T. A. Hoffmann, an important German romantic writer of fantastic proses. In the second part we analyse the texts of Jakub Arbes, Julius Zeyer, Růžena Svobodová and Jiří Karásek. Particularly, we focus on how the mysterious and realistic motives are realized in these texts. Finally, we compare all the texts and observe how do they follow the tradition of romantic fantastic and which other kindes of literature we can distinguish there. We use the method of narratological analysis, the basic literature is Narrative Fiction: Contemporary Poetics of Shlomith Rimmon-Kenan.

French literature has undoubtedly exerted a marked influence over Haitian letters. Since the Middle Ages, notable elements of the fantastic, such as loups-garous and talking animals in lais and fables, all the way to the unheimlich narratives of the nineteenth century, are also present in Haitian works with strong overtones of the oral traditions of slave narratives. However, Haitian literature, given its syncretic nature, offers not just an array of talking animals and “magic realist” episodes, but a unique “fantastic being,” the zombie. In turn, these figures have made their way not just into the Haitian folkloric tradition, but infused with political undertones, have become pivotal metaphors for contemporary Haitian writers on the island, as well as for those who write in the diaspora, to explore the nation’s oppressive governments. This dissertation traces the origins of such figures and their creative reincarnations today. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2020. / FAU Electronic Theses and Dissertations Collection

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The concept of ‘middlebrow’ literature in the twentieth century, which received minimal critical attention from the Leavises onwards, has recently become a site of literary and sociological interest, especially regarding the interwar period. This thesis considers the ways in which a corporate middlebrow identity, amongst an intangible community of like-minded readers, was affected by a popularity of the fantastic in the 1920s and 1930s. This subgenre, which I term the ‘domestic fantastic’ (in which one or more elements of the fantastic intrude into an otherwise normalised domestic world) allowed middlebrow authors and readers to focalise and interrogate anxieties affecting the status of the home and its inhabitants which were otherwise either too taboo or, conversely, too well-worn for a traditional, non-fantastic examination. This fantastic vogue was largely initiated by the success of David Garnett’s metamorphosis novel Lady Into Fox (1922), which prepared the way for the other novels discussed in this thesis, predominantly Sylvia Townsend Warner’s Lolly Willowes (1926), Elinor Wylie’s The Venetian Glass Nephew (1926), Ronald Fraser’s Flower Phantoms (1926), Edith Olivier’s The Love-Child (1927), John Collier’s His Monkey Wife (1930) and Green Thoughts (1932), and Frank Baker’s Miss Hargreaves (1940). Through the lenses of metamorphosis, creation, and witchcraft, these novels respond to and reformulate contemporary debates concerning sexuality in marriage, childlessness, and autonomous space for unmarried women. The ‘middlebrow fantasy’ of the stable, idealised home was being revealed as untenable, and the fantastic responded. During the interwar years, when assessments of British society were being widely recalibrated, the domestic fantastic was a subgenre which produced a select but significant range of novels which (whether playful or poignant, hopeful or tragic, nostalgic or progressive) provided the means for both author and reader to interrogate and comment upon the most pervading middle-class social anxieties, in unusual and revitalising ways.

[pt] Teologia e Literatura Fantástica: a redenção na Trilogia Cósmica de C. S. Lewis investiga a relação entre teologia e literatura, destacando a importância de se ultrapassar o racionalismo reducionista, seja na prática teológica, seja na vida cotidiana. Além disso, desenvolve o conceito de redenção cristã analisando a maneira como este tema é apresentado na literatura fantástica, especialmente a forma que ele é retratado na Trilogia Cósmica do escritor irlandês C. S. Lewis. A partir desses pontos, propõe-se a literatura fantástica como espaço potencial para a prática teológica. / [en] Theology and Fantastic Literature: the redemption in the Cosmic Trilogy C. S. Lewis investigates the relationship between Theology and Literature, highlighting the importance of overcoming reductionist rationalism, whether in practical theology, whether in daily life. It also discusses the concept of christian redemption, analyzing how this theme is presented in fantastic literature, especially the way it is portrayed in the Cosmic Trilogy by Irish writer C. S. Lewis. From these points, it is proposed the fantastic literature as a potential space for theological practice.

A presente pesquisa trata da relação entre Física e Literatura, representada pelo conto fantástico, e suas possibilidades didáticas, partindo do pressuposto defendido por Zanetic (1989), de que a Física também é cultura. Optamos pelo conto, uma vez que se trata de gênero de leitura rápida, \"de uma sentada só\", como propõe Edgar Allan Poe (2000). Junto a ele, selecionamos a literatura fantástica, caracterizada pela hesitação entre o real e o maravilhoso. Fantástico este que possui uma função educacional, como aponta Rabkin (1977), uma vez que cria na mente uma reversão diametral e abre mundos novos e fantásticos. Dado este contorno, nosso objetivo é pensar em como a literatura, em especial os contos fantásticos, pode ser utilizada nas aulas de física para abordar conceitos e temáticas da física. Para tanto, selecionamos três contos de escritores consagrados da literatura: \"O Pirotécnico Zacarias\" (1974) de Murilo Rubião, \"Os Jardins de Veredas que se Bifurcam\" (1944) de Jorge Luís Borges e \"A Milésima-segunda Noite de Xerazade\" (1845) de Edgar Allan Poe. O primeiro conto ao tratar da indeterminação entre a vida e a morte, permite uma analogia com o paradoxo do gato de Schrödinger da Mecânica Quântica. O segundo conto é, uma história policial que apresenta um labirinto infinito, representado por um livro, onde todas as possibilidades ocorrem ao mesmo tempo, como um jardim de caminhos que se bifurcam. Ideia esta que dialoga com a interpretação dos multi-universos da Mecânica Quântica, proposta pelo físico Hugh Everett III. Por fim, o terceiro conto, apresenta uma história na qual a ciência é descrita de maneira diferente. O conto mostra como é vista a ciência e a tecnologia pelo olhar de quem não conhece a ciência, mostrando nesse sentido, que a ciência é inverossímil a certos contextos. Como metodologia, realizamos um estudo inicial sobre a leitura na aula de física que foi acompanhado de um estudo relativo a estratégias de leitura, no qual propomos a leitura como investigação e como analogia. Além disto, realizamos um estudo literário das obras a partir da semiótica de Greimas. Estudo este que serviu para interpretar e identificar os principais elementos dos contos. Assim, ao relacionarmos o fantástico com a física, nos foi possível observar que na física, o que é fantástico pode ser real. Neste sentido, esta relação nos convida a refletir sobre a nossa realidade, fato imprescindível ao Ensino de Física. Além do mais, acreditamos que o fantástico pode ser trabalhado em sala de aula seja como uma analogia, ou como uma investigação, onde os conceitos científicos passam a ser questionados. / The current research deals with the relationship between Physics and Literature, represented by the fantastic tale, and its didactical possibilities, assuming, as defended by Zanetic (1989), that Physics it\'s also culture. We have chosen the short story, since it is one genre of fast reading, \"of only one sitting\", as proposed by Edgar Allan Poe (2000). Together with this, we have selected the fantastic literature, characterized by the hesitation between the real and the wonderful. This fantastic possess an educational function, as indicated by Rabkin (1977), since it creates in the mind a diametrical reversal and opens news and fantastic worlds. Given this outline, our goal is to think how the literature, especially the fantastic stories, can be used in physics classroom to address issues and concepts of physics. To this end, we have selected three tales from established writers: Murilo\'s Rubião \"O Pirotécnico Zacarias\" (1974), Jorge Luis Borges\' \"The Garden of Forking Paths\" (1944) and Edgar Allan Poe\'s \"The Thousand and Second Tale of Scheherazade\" (1845). The first history, by dealing with the indetermination between life and death, provides an analogy with the Schrödinger\'s cat paradox of Quantum Mechanics. The second story, it\'s a detective story that features and endless labyrinth, represented by a book, where all possibilities occur at the same time, like in a garden of forking paths. This idea dialogues with the multi-universes interpretation of Quantum Mechanics, proposed by the physicist Hugh Everett III. Finally, the third tale, presents a history in which the science is described differently. The story shows how science and technology is seen through the eyes of those who do not know the science, showing whit this, that science is unlikely to certain contexts. As a methodology, we have conducted an initial study on reading in physics classroom that was accompanied by a study on reading strategies, in which we proposed the reading as a research and as an analogy. In addition, we have conducted a literary study of the tales from Greimas\' semiotics. This study was used to interpret and identify the main elements of the tales. Thus, when we relate the fantastic with physics, we were able to observe that in physics, what is fantastic can became real. In this sense, this relationship invites us to reflect on our reality, a fact that is essential to Physics Teaching. Furthermore, we believe that the fantastic can be used in the classroom either as an analogy, or as an investigation, where the scientific concepts are to be questioned.

John Crowley’s Little, Big is an innovative piece of fantasy writing. This thesis aims to prove that Crowley’s innovation lays the groundwork for new avenues in which fantastic space can be manipulated and constructed. Deep study in Euclidean geometry, modern physics, and occult astronomy reveal a new fantastic space, and a new concept for the threshold of Faerie. Crowley’s fantastic space is constructed as infundibular; with layers of concentricities that funnels his characters to their final destination of self-actualization and the heaven-like realm of Faerie. Crowley amalgamates the boundaries of Faerie and the primary world in an unusual fashion that is noted as Coalesced Fantasy: a fantasy wherein there is ultimately no dichotomy between Faerie and the primary world, as there is no division between the fantastic and science. This deliberate aim to blend boundaries is to establish an All in One theory. Faerie and the primary world oppose each other as antithetical conical space, and Crowley’s Edgewood house serves as the threshold to allow man to access the divinity and vastness of Faerie. Faerie (Divinity/macrocosm) and man (microcosm) exist in and amongst one another; everything is connected and every path intersects, spinning on a hyperbolic plane in this new, quantifiable space. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

Made available in DSpace on 2016-08-10T11:06:54Z (GMT). No. of bitstreams: 1 CARLOS ALBERTO NOGUEIRA FILHO.pdf: 1820352 bytes, checksum: 1cd8dddd4c5f4ea69fcd761947d7b5b6 (MD5) Previous issue date: 2013-11-07 / The British writer John Ronald Reuel Tolkien was, for 34 years, professor at Oxford University. Likewise as he conducted his classes with his favorite subjects, his writings are marked by features that satisfy his personal taste, providing excitement and pleasure. His most successful work The Lord of the Rings has sparked discussions for more than half a century, and in large part, about his linguistic grounds. The present work aims to study the dimensions of the fantastic and fantasy quoted in this book, as well as the activity of translation into Brazilian Portuguese by Artenova publishing in 1974 and by Martins Fontes publishing, in 1994. The work of Tzvetan Todorov, Brian Attebery and Richard Mathews are used as the theoretical framework for the study of fantasy. And for studies of translation are used the deconstruction, proposed by Jacques Derrida, the residual linked to the translation, by Lawrence Venuti and the notion of singularity proposed by Maria Paula Frota. This dissertation is divided into three chapters, with the first two discussed issues related to the narrative and the limits of the fantastic and fantasy, and the third will focus on the translation of the book The Lord of the Rings and some nuances of the translation process. / O escritor britânico John Ronald Reuel Tolkien foi, durante 34 anos, professor na Universidade de Oxford. Da mesma forma com que orientava suas aulas para assuntos de sua predileção, sua produção literária é marcada por aspectos que satisfaziam seu gosto pessoal, proporcionando emoção e prazer. Sua obra de maior sucesso The Lord of the Rings tem suscitado discussões há mais de meio século, em grande parte, acerca de sua fundamentação linguística. O presente trabalho pretende estudar as dimensões do fantástico e da fantasia presentes na obra citada, assim como a atividade tradutória para o português do Brasil nas publicações das décadas de 60 e 70 pela editora Artenova e na década de 90 pela editora Martins Fontes. Utilizamos como fundamentação teórica para o estudo da fantasia, o trabalho de Tzvetan Todorov, Brian Attebery e Richard Mathews e para os estudos da tradução a desconstrução proposta por Jacques Derrida, o resíduo relacionado à tradução por Lawrence Venuti e a singularidade proposta por Maria Paula Frota. Este trabalho está divido em três capítulos, sendo que nos dois primeiros serão discutidos assuntos relacionados à narrativa e os limites do fantástico e da fantasia, e o terceiro, versará sobre a tradução da obra The Lord of the Rings e algumas nuances do processo tradutório.