This study examines six texts o f the 12[sup th] and 13[sup th] centuries for the fantastic mode. It first refutes the critical assertion that the fantastic could not exist in medieval literature, but also establishes that most of the casually denominated "fantastic" is not. For the genuine fantastic, both in general and in its medieval appearances, questions of reality are at most peripheral. Rather the fantastic mode encodes itself in the narrative structure, creating ambiguity and openness. The structural approach frees the discussion o f the fantastic from theories predicated upon issues of thematics, reality-based analysis, and didactic categorizations o f supernatural objects. The first two chapters synthesize those elements from modern works of fantastic theory, (re)deflning the fantastic based upon a semiotic approach. The introduction concentrates on the need to reexamine the corpus of critical works addressing the fantastic. Chapter 1 summarizes the theoretical discussion in order to adjust the definition of "fantastic" as a critical term according to a more pre-Renaissance view of reality. Chapter 2 proposes the parallel worlds model as a structural model for the identification of the fantastic mode in texts where the supernatural is evident, with an emphasis on fantastic space as an intermediary locale between worlds. The last four chapters apply the parallel worlds model to a selected corpus of six narratives. While the structures of these texts vary in length, the fantastic is consistently manifested in a pattern that alternates between the real world, fantastic space and the otherworld. The open-ended structure of five narratives indicates that journeys to the otherworld are rarely accomplished with a high degree of completion, and therefore the narrative program remains incomplete. The conclusion is a defense of the fantastic within medieval French literature, concentrating on how the supernatural creates /otherness/, fantastic space and openness in the narrative program. The fantastic as a powerful but elusive force within Old French romance narratives often shifts to the merveilleioc in the end. The parallel worlds model, when used in conjunction with other theories for identifying the fantastic, is a structural method that emphasizes openness as a characteristic of the fantastic within medieval romance narratives.

Thèse (M.A.)--Université d'Ottawa, 1997. / Comprend des réf. bibliogr.

No description available.

Orientador(a): Maria Célia de Moraes Leonel / Coorientador(a): Karin Volobuef / Resumo: O presente trabalho tem como objetivo verificar o modo como, em determinados contos de Lygia Fagundes Telles e Amilcar Bettega Barbosa, categorias narrativas - em especial, o narrador ou a narração - e seus procedimentos linguísticos constroem o fantástico. Selecionamos as composições "O encontro", "As formigas", "Tigrela" e "Lua crescente em Amsterdã", de Mistérios da primeira e "O rosto", "O encontro", "O crocodilo I" e "O crocodilo II" de Deixe o quarto como está do segundo, para comporem o corpus da dissertação. Tais narrativas foram escolhidas porque nelas sobressaem três temas fantásticos, a saber: o duplo, o terror e a metamorfose. Essa delimitação levou à concentração do estudo na constituição desses temas, pela instância narrativa, por outras categorias como a história, as personagens, o espaço e o tempo. Para alcançarmos os objetivos, tomamos como embasamento teórico, especialmente proposições de Tzvetan Todorov, Irène Bessière e Remo Ceserani que auxiliam no entendimento de procedimentos como tradicionais e posições de Jaime Alazraki e Davi Roas úteis para a compreensão de componentes do fantástico contemporâneo. Nos contos de Lygia Fagundes Telles, manifestam-se sobretudo, elementos do primeiro grupo e, nos de Amilcar Bettega Barbosa, os do segundo. Apesar disso, ambos os escritores centram a elaboração do fantástico na instância narrativa, modo pelo qual a verificação da maneira como se dá tal construção tem como eixo essa categoria narrativa. Para tanto, a princ... (Resumo completo, clicar acesso eletrônico abaixo) / Resumen: El presente trabajo tiene como objetivo verificar el modo como, en determinados cuentos de Lygia Fagundes Telles y Amilcar Bettega Barbosa, categorías narrativas - en especial, el narrador o la narración - y sus procedimientos lingüísticos construyen el fantástico. Seleccionamos las composiciones "O encontro", "As formigas", "Tigrela" y "Lua crescente em Amsterdã", de Mistérios de la primera y "O rosto", "O crocodilo I" y "O crocodilo II" de Deixe o quarto como está del segundo, para componer el corpus de la disertación. Tales narrativas fueron elegidas porque en ellas sobresalen tres temas fantásticos: el doble, el terror y la metamorfosis. Esa delimitación llevó a la concentración del estudio en la constitución de esos temas, por la instancia narrativa, por otras categorías como la historia, los personajes, el espacio y el tiempo. Para alcanzarnos los objetivos, tomamos como base teórica, especialmente proposiciones de Tzvetan Todorov, Irène Bessière y Remo Cesarani que auxilian el entendimiento de procedimientos como tradicionales y posiciones de Jaime Alazraki y Davi Roas útiles para la comprensión de componentes del fantástico contemporáneo. En los cuentos de Lygia Fagundes Telles, se manifiestan, sobre todo, elementos del primer grupo y, en los de Amilcar Bettega Barbosa, los del segundo. Sin embargo, ambos escritores centran la elaboración del fantástico en la instancia narrativa, modo por el cual la verificación del modo de cómo se da tal construcción tiene como eje e... (Resumen completo clicar acceso eletrônico abajo) / Mestre

This study examines six texts o f the 12[sup th] and 13[sup th] centuries for the fantastic mode. It first refutes the critical assertion that the fantastic could not exist in medieval literature, but also establishes that most of the casually denominated "fantastic" is not. For the genuine fantastic, both in general and in its medieval appearances, questions of reality are at most peripheral. Rather the fantastic mode encodes itself in the narrative structure, creating ambiguity and openness. The structural approach frees the discussion o f the fantastic from theories predicated upon issues of thematics, reality-based analysis, and didactic categorizations o f supernatural objects. The first two chapters synthesize those elements from modern works of fantastic theory, (re)deflning the fantastic based upon a semiotic approach. The introduction concentrates on the need to reexamine the corpus of critical works addressing the fantastic. Chapter 1 summarizes the theoretical discussion in order to adjust the definition of "fantastic" as a critical term according to a more pre-Renaissance view of reality. Chapter 2 proposes the parallel worlds model as a structural model for the identification of the fantastic mode in texts where the supernatural is evident, with an emphasis on fantastic space as an intermediary locale between worlds. The last four chapters apply the parallel worlds model to a selected corpus of six narratives. While the structures of these texts vary in length, the fantastic is consistently manifested in a pattern that alternates between the real world, fantastic space and the otherworld. The open-ended structure of five narratives indicates that journeys to the otherworld are rarely accomplished with a high degree of completion, and therefore the narrative program remains incomplete. The conclusion is a defense of the fantastic within medieval French literature, concentrating on how the supernatural creates /otherness/, fantastic space and openness in the narrative program. The fantastic as a powerful but elusive force within Old French romance narratives often shifts to the merveilleioc in the end. The parallel worlds model, when used in conjunction with other theories for identifying the fantastic, is a structural method that emphasizes openness as a characteristic of the fantastic within medieval romance narratives. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Thèse (M.A.)--Memorial University of Newfoundland, 2000. / Comprend des réf. bibliogr.

This thesis investigates the literary fantastic in Italy from the late nineteenth century to the second half of the twentieth century. The purpose is to analyse the way in which the fantastic functions in a story—its ʻmechanicsʼ—and to see how the fantastic evolved structurally over the first century of its existence in Italy. This investigation is carried out by the development of a new theoretical methodology together with the close reading of a selection of texts from four key Italian authors of fantastic literature. The thesis is divided into six chapters. The first chapter is a historical overview of the emergence of the fantastic in Italy in the late nineteenth century up to the second half of the twentieth century; it examines the obstacles the fantastic has faced and some of the thematic and structural characteristics of texts which emerge. The second chapter is a literature review of the theoretical models used to analyse and understand the fantastic, followed by an outline of a new model, entitled Different Mimetics, which looks at the internal logic of the fantastic. In the following four chapters Different Mimetics is applied to the study of a selection of fantastic texts by four authors. Chapter three focuses on Ugo Tarchetti, and shows that his stories are defined by coexistence and coincidence in both historical and thematic terms. Chapter four demonstrates how Giovanni Papini reverses the mechanics one might expect, and how his stories are structured as internal narratives. Chapter five looks at how Dino Buzzatiʼs stories are characterised by instability and stretched narrative paradigms; and finally, chapter six looks at how Italo Calvinoʼs narratives focus on world creation and paradox and how they question the stability of narrative paradigms.

The thesis deals with shapes of the Slovene fantastic tale in the 1945-1975's and looks into the roles which have been assigned to it by it's authors. The thesis assumes that during this period, there were three basic types of authorial approach: fantastic tale in the service of the state ideology, fantastic tale as a free play of imagination and fantastic tale with overlap. These three roles are analyzed on the example of nine fantastic tales, most of them being from the literary canon of the Slovene children's literature: Udarna brigada (Anton Ingolič), Zgode in nezgode kraljevskega dvora (Milan Šega), Drejček in trije Marsovčki (Vid Pečjak), Moj dežnik je lahko balon (Ela Peroci), Strah ima velike oči (Marjan Marinc), Kosovirja na leteči žlici (Svetlana Makarovič), Potovanje v tisočera mesta (Vitomil Zupan), Deklica Delfina in lisica Zvitorepka (Kristina Brenkova) and Avtomoto mravlje (Jože Snoj).

No description available.

Submitted by Alison Vanceto (alison-vanceto@hotmail.com) on 2017-08-30T14:43:39Z No. of bitstreams: 1 DissMLGME.pdf: 1022075 bytes, checksum: 6de4c19ba823194da5c334c44c2bff3b (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-09-20T19:16:48Z (GMT) No. of bitstreams: 1 DissMLGME.pdf: 1022075 bytes, checksum: 6de4c19ba823194da5c334c44c2bff3b (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-09-20T19:16:54Z (GMT) No. of bitstreams: 1 DissMLGME.pdf: 1022075 bytes, checksum: 6de4c19ba823194da5c334c44c2bff3b (MD5) / Made available in DSpace on 2017-09-20T19:26:48Z (GMT). No. of bitstreams: 1 DissMLGME.pdf: 1022075 bytes, checksum: 6de4c19ba823194da5c334c44c2bff3b (MD5) Previous issue date: 2017-03-08 / Não recebi financiamento / The goal of the dissertation is the comparison of fantastic tales of the romantic writer Edgar Allan Poe (1809-1849) and the Brazilian writer, who also produced stories of the fantastic genre, Machado de Assis (1839-1908). The predominant issue is how the two authors who lived in different eras and in different countries so diverse socioeconomically may have their supernatural works compared. To answer this disturbing question, some clues of Poean influence on the fantastic tales from the Brazilian writer were obtained, such as the celebrated translation of Poe's poem "The Raven" (1845), made by Machado (or "O Corvo", as translated by himself in 1883); it is also important to our studies to analyse the quotes in newspapers in which Machado wrote, such as o Diário do Rio de Janeiro (1866) and Gazeta de Notícias (1895), as well as the comparison between the short stories “O Espelho” (1882) and “Sem olhos” (1876), by the Brazilian writer, and “William Wilson” (1839) and “Ligeia” (1838), by Poe. / O principal objetivo da dissertação é a comparação dos contos fantásticos do escritor romântico norte-americano Edgar Allan Poe (1809-1849) e do escritor brasileiro Machado de Assis (1839-1908), que também produziu narrativas do gênero fantástico. A principal questão é como dois autores, que viveram em épocas diferentes e em países tão distintos, podem ter suas obras comparadas pelo viés do fantástico. Para responder a essa inquietante pergunta, existem pistas da influência poeana nos contos fantásticos do brasileiro: uma, pela célebre tradução machadiana do poema “The Raven” (1845), ou “O Corvo”, como foi traduzido por Machado, em 1883, bem como citações do norte-americano, nos jornais em que Machado publicava, como o Diário do Rio de Janeiro (1866) e a Gazeta de Notícias (1895), além da comparação dos contos “O Espelho” (1882) e “Sem olhos” (1876), para tentar provar a influência, e dois do norte-americano, “William Wilson” (1839) e “Ligeia” (1838).