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While the theatrical works of Jules Verne have gathered some critical attention over recent years, the text of the Voyage à travers l’Impossible has remained an obscure space in the author’s oeuvre or deemed unworthy by Vernian scholars. Jules Verne has predominantly been seen as a writer of adventure novels whereas the fantastic elements in his work have commonly been overlooked by critics. This thesis examines the ways in which the Voyage à travers l’Impossible amalgamates ideas that are representative not only of the Vernian work in general but also of the pre-freudian spirit of the nineteenth century. By viewing the play within the context of theatrical fantasy, this thesis opens up new paths of analysis in the genre. Part of this endeavour consists of a comparison with a seemingly disparate text: Philip Pullman’s His Dark Materials, which, similarly to Verne’s play, facilitates an exploration of the function of fantasy both in literary and theatrical terms as it was first adapted for the stage in 2003. During the course of this thesis I offer an analysis of the trilogy and proceed to cover new ground by comparing this to an analysis of the adapted text. For the purpose of my examination I establish a connection between the two texts by regarding the Voyage à travers l’Impossible and His Dark Materials as dominated by the literary motif of initiation according to the model introduced by Vernian specialist Simone Vierne. I subsequently interweave an array of theories on fantasy, psychoanalysis, topography and the body as part of my analysis of the literary fantastic. Texts by Sigmund Freud, Jacques Lacan, Tzvetan Todorov, Irène Bessière, Mircea Eliade, Judith Butler and Vernian critics such as William Butcher are amply used in my readings of Verne and Pullman before I proceed to examine their relevance to the theatrical experience of the fantastic. An analysis of the adaptation of His Dark Materials offers the opportunity for fresh critical insights by creating new perspectives on the function of fantasy in its fluctuation from page to stage and vice-versa. It is through these different perspectives that I revisit old questions and introduce new ones such as the difference between fantasy and the fantastic, their regressive or progressive character, the modification of ii fantastic elements on the passage from the literary to the theatrical and from pre-modernism to post-modernism. Basing my analysis on stories of initiation, I suggest that fantasy evades exclusive association with either progress or regress and only remains faithful to the notions of passage and blurring of frontiers.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Programa de Pós-Graduação em Literatura, 2016. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2016-05-23T15:52:58Z No. of bitstreams: 1 2016_LuanaSignorelliFariaCosta.pdf: 4027007 bytes, checksum: 85af455549e8b9170549c65986fb4c60 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-05-23T18:55:48Z (GMT) No. of bitstreams: 1 2016_LuanaSignorelliFariaCosta.pdf: 4027007 bytes, checksum: 85af455549e8b9170549c65986fb4c60 (MD5) / Made available in DSpace on 2016-05-23T18:55:48Z (GMT). No. of bitstreams: 1 2016_LuanaSignorelliFariaCosta.pdf: 4027007 bytes, checksum: 85af455549e8b9170549c65986fb4c60 (MD5) / Este trabalho realizará uma análise literária do romance Anna Kariênina (na edição de 2011, lançada pela editora Cosac Naify), escrito pelo russo Liév Tolstói em 1873-77, estabelecendo relações teóricas com o húngaro György Lukács, sobretudo com a sua Estética (1965-1967). O trabalho consiste em esmiuçar o problema do realismo, considerando-o como modo de representação literária (e não como o período literário propriamente dito). A dissertação também tange o conceito de arte, abordando a literatura como arte. Para tal, a metodologia abarca a teoria do reflexo, e julga a arte literária como mimesis da realidade social. A pesquisa destaca a ideia de processo de produção artística enquanto categoria filosófica e criativa, e ainda estuda trechos do romance relacionados à arte. Esta análise literária examina as personagens, principalmente o artista Mikháilov, que pensa a relação do artista frente aos críticos da arte – ou melhor, à crítica da sua própria arte. Entre outros personagens, a crítica investiga Goleníchev (escritor), Liévin (proprietário rural) e Anna (protagonista). Tolstói, portanto, encontra a totalidade da arte, conseguindo aliar tanto a ordenação da narração quanto o nivelamento da descrição, e os gêneros literários da tragédia, do drama (conflito interno) e da grande épica (realismo). A realidade é uma totalidade estruturada, de forma que o realismo é o método literário apropriado para se reproduzir o automovimento da totalidade. Desse modo, a obra de arte autêntica só é possível se for realista. Por fim, a definição de realismo concebe em si mesmo o caráter mimético da arte. _______________________________________________________________________________________________ ABSTRACT / This work will accomplish a literary analysis of the novel Anna Karenina (in the edition of 2011, released by Cosac Naify publisher), written by the Russian Leo Tolstoy, in 1873-77, establishing theoretical relations with the Hungarian György Lukács, especially with its Aesthetics (1965-1967). The work consists in scrutinize the realism problem, considering it as a literary mode of representation (rather than the literary period itself). The dissertation also regards the concept of art, treating the literature as art. To this end, the methodology covers the reflex theory, and it judges the literary art as mimesis of the social reality. The research highlightes the idea of the artistic production process as a philosophical and creative category, and it also studies parts of the romance related to art. This literary analysis examines characters, mainly the artist Mikhailov, who thinks a relationship between the artist forward the art critics – or, rather, the criticism of his own art. Among other characters, the criticism investigates Goleníchev (writer), Liévin (land owner) and Anna (protagonist). Tolstoy, therefore, finds the art totality, and manages to combine both the ordering of the narration and the leveling of the description, and the literary genres of the tragedy, drama (internal conflict) and great epic (realism). Reality is a totality structured, so that realism is the appropriate literature method to reproduce the self-movement of the totality. Thus, the real art work can only be realistic. Lastly, the realism definition conceives itself the mimetic nature of art.

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Theoretical part of this work is concerned about historical roots of the theatre play Enemy of the People by Henrik Ibsen. It is also concerned about history of Estate Theater in Pra-gue, where the play should take place. I am also concerned about the background of the author Henrik Ibsen's life. And also part of the work is about other previews authors, that have been working on the play before. In Practical part I offer new solution for visual part of the drama in context of present time and space.