Orientador: Claudia Fernanda de Campos Mauro / Banca: Silvia Teresa Zandrandi / Banca: Ivair Carlos Castelan / Resumo: O objetivo desta pesquisa é analisar os contos "I fatali", "Un osso di morto" "Le leggende del castello nero", "La lettera U" e "Uno spirito in un lampone", presentes na obra Racconti fantastici, de 1869, de Igino Ugo Tarchetti. Por meio das análises realizadas, serão demonstrados os temas centrais de cada conto, bem como de que modo o fantástico se manifesta nessas narrativas. Além dos temas centrais, serão expostos os procedimentos narrativos utilizados e a postura do narrador diante do objeto narrado, dentre outros elementos, como a atmosfera e a presença ou não de elementos sobrenaturais. Busca-se demonstrar a presença do modo literário fantástico e a forma como este se desenvolveu na Itália frente a sua difusão em países como Alemanha, França e Inglaterra, considerando que em solo italiano o movimento literário vigente era o Romanticismo, cujas características não eram compatíveis com aquelas presentes nos contos fantásticos de modo geral. Por fim, pretende-se demonstrar a forma como Igino Ugo Tarchetti contribuiu para o desenvolvimento da literatura fantástica na Itália. Com o intuito de alcançar o objetivo almejado, o trabalho está estruturado da seguinte forma: primeiramente, é apresentada a Introdução com a estruturação de cada um dos capítulos que serão desenvolvidos neste trabalho. Logo em seguida, será abordado o Contexto histórico-literário, subdividido em três outras partes: Romantismo Italiano versus Romantismo Europeu, demonstrando as diferenças existentes entre eles; Scapigliatura - exposição das características principais do movimento ao qual Tarchetti está vinculado - e, por fim, um breve resumo a respeito do escritor, cujo enfoque estará nas características de sua produção literária. Em sequência, serão expostas as Teorias do fantástico com a explanação a respeito dos pontos apresentados por... / Abstract: The objective of this research is to analyze the short stories "I fatali", "Un osso di morto" "Le leggende del castello nero", "La lettera U" and "Uno Spirito in un lampone" present in Racconti fantastici work, 1869 of Igino Ugo Tarchetti. Through analyzes, the central themes of each story will be demonstrated, as well as how the fantastic is manifested in these narratives. In addition to the core subjects, will be the narrative procedures used exposed and the narrator's attitude towards the object narrated, among other elements such as the atmosphere and the presence or absence of supernatural elements. The aim is to demonstrate the presence of the fantastic literary mode and how it developed in Italy against their spread in countries like Germany, France and England, whereas in Italian soil the current literary movement was Romanticism, whose features were not compatible with those present in fantastic tales in general. Finally, we intend to demonstrate how Igino Ugo Tarchetti contributed to the development of fantastic literature in Italy. In order to achieve the desired goal, the work is structured as follows: first, presents the introduction to the structure of each chapter that will be developed in this work. Soon after, the historical and literary context, in three other parts will be addressed: Italian Romanticism versus European Romanticism, showing the differences between them; Scapigliatura - exposure of the main characteristics of the movement to which Tarchetti is linked - and finally, a brief summary about the writer, whose focus is on the characteristics of his literary production. In sequence, the fanciful theories with the explanation about the points presented by Remo Ceserani and Tzvetan Todorov that served as support for the analysis will be displayed, which will be held in the fourth chapter. At the end there will be the final considerations about the research... / 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.

Les romans fantastiques de Marcel Brion sont aujourd'hui peu lus. Cet auteur a été globalement peu étudié par les universitaires français, peu pris en compte par les théoriciens du fantastique, ce qui place l'oeuvre en situation de marginalité. Cela tient peut-être à ce que Liliane Brion-Guerry appelle les « qualités particulières » du fantastique brionien. Quelles sont les caractéristiques de ce fantastique ? Ce travail a pour but d'étudier comment Marcel Brion, dans ses romans, écrits entre 1929 et 1984, interroge le réel, installe un« autre côté», propose au lecteur d'abandonner les conceptions habituelles et de se mettre à la recherches des dimensions cachées de 1 'homme et du monde. Proche des écrivains pour lesquels « la dimension métaphysique est englobée dans l'expérience fantastique », Marcel Brion place ses personnages dans le jeu des métamorphoses et du voyage initiatique, les fait évoluer dans un univers où s'impose la mythologie des labyrinthes intérieurs et extérieurs. Dans les romans où l'esthétique prend une place considérable, se manifeste un esprit particulier que le lecteur peut situer sur les frontières du baroque et du romantisme, ces deux catégories n'étant pas prises dans leur dimension historique mais révélatrices d'un état de la conscience humaine. / Nowadays, one does not very often read the fantastic novels by Marcel Brion. His works have not generally been studied by French university professors, nor even taken into account by the theorists of the fantastic genre, which ranks his works in a situation of marginality. This is emphasized by Liliane Brion-Guerry's words qualifying the "specific qualities" of Brion's fantastic genre. What are the characteristics of this particular genre? This memoir aims at studying the way Brion - in his novels written between 1929 and 1984 - questions reality, sets the scene in installing "another side", proposes the reader to indulge in unusual conceptions and to undertake a quest for both the world and mankind's hidden dimensions. As the writers considering that "the metaphysical dimension is included in the experience of the fantastic genre", Marcel Brion makes his characters actthrough different metamorphoses as weil as an initiatory journey, and makes them evolve in a universe in which the mythology of inner and outer labyrinths prevails. In Brion's novels the aesthetics is fabulously highlighted and therefore a particular vision is present through the whole work. Thus the reader is immersed in a world which borders are that of the baroque genre and that of romanticism, these two genres not being taken in their historical dimension but revealing the state of human consciousness.

Made available in DSpace on 2016-12-23T14:34:16Z (GMT). No. of bitstreams: 1 Alana Stein.pdf: 650779 bytes, checksum: e59f0e004f47777c1f95fdeb807e5430 (MD5) Previous issue date: 2012-03-26 / Este estudo busca a abordagem de três narrativas cortazarianas ( Recortes de Prensa , Apocalipsis de Solentiname e Continuidad de los parques ) sob a ótica de outras produções literárias e extra literárias (cartas, críticas e ensejos teóricos) de Julio Cortázar. Trata-se da experimentação de um estudo lúdico, condizente com a proposta literária do autor argentino, arraigada à ideia do jogo enquanto forma diversa de se enxergar a realidade e de, através dessa forma, operar mudanças efetivas no mundo moderno, sejam estas de cunho político, ou relativas a um comportamento individual. Pretende-se, com isso, verificar o teor crítico e autocrítico da literatura cortazariana, de modo a sublinhar seus aspectos políticos e pragmáticos no que tange à revolução da perspectiva e do comportamento humano por meio da arte escrita. Para tanto, confrontaram-se os textos eleitos como corpus com outros escritos, também da autoria de Cortázar, no intuito de que estes últimos atuassem como elemento iluminador de sua literatura. Em outras palavras, este trabalho avalia os textos do autor em sua qualidade ambígua, que abarca tanto literatura, quanto crítica (e, em muitos castos, teoria) literária. Os contos trabalhados neste estudo são analisados sob três vieses interpretativos distintos, a ver, a questão da responsabilidade política do escritor latino-americano, a escrita de si e a ficção em suas relações com o factual e o fictício, e, por fim, a posição do leitor e do autor ante o texto literário. Ambas as discussões suscitadas ao longo das análises apresentam um ponto temático comum, que converge para a problematização da construção comum de uma realidade imediata enraizada nos moldes filosóficos e científicos do mundo ocidental moderno. Por fim, o estudo empreende um olhar revolucionário sobre o texto literário, no que tange sua construção, sua interpretação e seus efeitos sobre a realidade / This study aims to approach three Cortázars narratives ( Recortes de Prensa , Apocalipsis de Solentiname e Continuidad de los parques ) from the perspective of other literary and extra literary productions (letters, critics and theory texts) by Julio Cortázar. This is an experimentation of a ludic study, according to the proposal of the Argentine authors literature, embedded in the idea of the game as a different way of seeing reality and, through this way, make effective changes in the modern world, being they political, or personal. By using this method, we plan to verify the critical and self-critical content of Cortázars literature, to emphasize its political and pragmatic aspects when it comes to the revolution of human perspective and behavior through written art. To do so, we confronted texts chosen as corpus with other writings, also written by Cortázar, trying to make the latter to act as an enlightening component to his literature. In other words, this study evaluates the texts by the author in his ambiguous quality, which embraces both literature and critical (and, in many cases, theoretical)literature. The tales approached by this study are analyzed under three different perspectives, which are: the question of political responsibility of the Latin American writer, the self-writing and the fiction in their relations with the factual and its writing and literature itself in its relations with the factual and imaginary, and, finally, the position of the reader and author before the literary text. Both discussions raised during the analysis have a common thematic point, which converges to problematization of the common construction of an immediate reality rooted in philosophical and scientific manner of the modern Western world. Finally, the study experiments a different look at the literary text, regarding its construction, its interpretation and its effects on reality

Constatant l'essor, au Pérou et depuis quelques années, d'une littérature appelée « fantastique » qui est difficilement compatible avec les approches et définitions traditionnelles de cette écriture, nous proposons par ce travail une lecture d'un corpus de nouvelles publiées dans divers recueils et anthologies péruviennes, dans une dynamique qui tient compte de trois aspects. Il s'agit d'abord, dans une perspective scalaire, de construire un arbre phylogénétique permettant de distinguer les univers qui entourent l'expression fantastique, et de déterminer quelques traits d'un fantastique apomorphe. Ensuite, une analyse détaillée de la manière dont fonctionne, au sein du texte, le passage qui crée l'effet fantastique, permet d'explorer les ressorts d'une rhétorique originale. Le dernier temps du travail se concentre sur la dimension de la réception du texte fantastique selon trois modalités : l'influence de l'arrière-texte, de la poésie et du rêve sur la création, puis les effets du texte sur le lecteur. L'élaboration d'une constellation qui rappelle les différents archétypes et réfléchit à l'aspect tantôt universel tantôt particulier de cette écriture constitue le dernier temps de ce parcours interprétatif. / As we have noticed for some years the rise of a literature called “fantastic” in Peru, which is hardly compatible with traditional approaches and definitions of this writing, we propose, throughout this work, an interpretation that considers three aspects. First, through a scalar perspective, we create a phylogenetic tree which enables us to distinguish the different universes that surround the fantastic expression, and to determine some features of an apomorphic fantastic way of writing. Then, a detailed analysis of how the passage which creates the fantastic effect operates in the text helps us to explore the devices of an original rhetoric. The last part of this work focuses on the dimension of reception of the text throughout three elements : the influence of the “arrière-texte”, of poetry and dreaming on creation, and then, the effects of the text on the reader. The elaboration of a constellation which outlines the different archetypes and makes us reflect on the universal or particular aspects of this way of writing is dealt with in the last part of this interpretive process.

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

Joaquim Maria Machado de Assis, arguably the most famous Brazilian author, has been studied perhaps more than any other figure in Brazilian literature. Because Machado's novels are so exceptional, many of his good short stories have been neglected by scholars, particularly those categorized by some as “fantastic.” This study attempts to fill that gap by analyzing the most prominent female characters in Machado's fantastic fiction. After providing a brief overview of the term fantastic and explaining how the stories used qualify as fantastic, this study identifies several tropes into which their female characters fit. Chapter 1: The Femme Fragile analyzes the tropes of woman as foil for rational man and woman as manipulable possession, while Chapter 2: The Femme Fatale examines the tropes of woman as siren and woman as fantastic other. Although these tropes seem to expose Machado's misogyny, in reality they function as his dramatization of the erroneous chauvinist thinking of nineteenth-century Brazil. Machado employs these tropes only to subvert them and the patriarchal thinking on which they are based, allowing his readers to come to more productive ways of seeing gender relations in Brazil.

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