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.

La production littéraire de Claude Mathieu, s’étalant de 1957 à 1965, tranche avec les oeuvres de ses contemporains. Le plus souvent, ces derniers défendent un nationalisme moderne et mettent à l’avant-plan le territoire et la société québécoise. De son côté, Mathieu aborde des thèmes plus généraux, par exemple le temps, l’art ou l’érotisme, qui trahissent ses sources d’inspiration issues de la littérature française et des littératures étrangères. Cet aspect est plutôt inusité chez les écrivains québécois de la décennie 1960. Dans cette analyse intertextuelle, nous cherchons à montrer la singularité de l’écriture de Claude Mathieu. Nous exposons ses principales sources et influences littéraires afin de comprendre comment il s’en inspire et comment elles orientent sa poétique où domine le fantastique teintée d’images surréalistes. L’analyse est constituée de deux chapitres. Le premier est consacré au recueil Vingt petits écrits ou le mirliton rococo. Les textes étudiés sont regroupés en trois sections, selon l’époque des références qui les appuient, soit les littératures hellénique, classique et moderne. Le second chapitre traite de La mort exquise, l’oeuvre la plus importante de Claude Mathieu. En analysant les principaux textes de ce recueil, nous montrons comment l’influence d’André Pieyre de Mandiargues et de Jorge Luis Borges s’impose face à la multitude de références diverses convoquées dans le premier recueil de nouvelles de Mathieu. Nous montrons également comment ces influences sont absorbées et transformées pour créer une écriture originale. / Claude Mathieu’s literary production, spanning from 1957 to 1965, differs quite a lot from the work of his contemporaries. Most often, they defend a modern nationalism and bring to the forefront Quebec’s society and territory. For his part, Mathieu discusses more general topics, such as time, art or erotism, inspired by French and foreign literature. This is rather original among Quebec writers of the 1960s. With this intertextual analysis, we seek to show the singularity of Claude Mathieu’s writing. We outline its main literary sources and influences in order to understand how he is inspired and how they guide his poetics. The analysis consists of two chapters. The first is devoted to the collection Vingt petits écrits ou le mirliton rococo. The texts studied are grouped into three sections, depending on the time of the references that support them, either Hellenic, classical or modern literature. The second chapter deals with La mort exquise, the most important work of Claude Mathieu. By analyzing the main pieces of this collection, we show how the influence of André Pieyre de Mandiargues and Jorge Luis Borges became larger than all the various references convened in the first collection of Mathieu’s short stories. We also show how these influences are absorbed and transformed to create an original writing.

This master's thesis deals with the influence of The Kalevala and the Finnish language on the English writer John Ronald Reuel Tolkien and his work. The main purpose is to provide a possibly most complex description of The Kalevala's influence on Tolkien. Firstly, the background of The Kalevala, the role of Elias Lönnrot during its birth and its importance, and secondly, Tolkien, his work and his discovery of The Kalevala are introduced. The main part of the thesis focuses on Tolkien's inspiration by The Kalevala out of three different perspectives. The first one is the influence of the Finnish language on Quenya, one of Tolkien's fictional languages. The second one is The Kalevala's importance for Tolkien from a general point of view - especially the influence of Lönnrot's role, The Kalevala's mythology, several abstract aspects of The Kalevala led by the importance of singing and The Kalevala's structure is crucial. The third one is Tolkien's inspiration by The Kalevala from a concrete point of view. Particularly the importance of The Kalevala's character Väinämöinen and the story of the Sampo is significant here.

Christian providence in the primary (real) world operates as the model for the spiritual movement of Eru/Illuvatar in Tolkien's secondary (imaginative) world. Paralleling the Christian God, Illuvatar maintains a relationship with his creation through a three-fold activity: preservation, concurrence, and government. Preservation affirms Eru's sovereignty as Creator, and concurrence guarantees creaturely freedom, while paradoxically, government controls, guides, and determines those wills in Time. The union of these three activities comprises the providential relationship of Illuvatar in Tolkien's imaginary world. The following thesis endeavors to carry the argument for providence into The Silmarillion with a declarative and analytical detail that distinguishes Illuvatar's providence from other temporal manifestations. Finally, the analysis reveals not only the author's authentic orthodox perspective, but Illuvatar's role in the imaginative world emerges as a reflection of Tolkien's authorial role in the real world. / by David C. Powell. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

La production littéraire de Claude Mathieu, s’étalant de 1957 à 1965, tranche avec les oeuvres de ses contemporains. Le plus souvent, ces derniers défendent un nationalisme moderne et mettent à l’avant-plan le territoire et la société québécoise. De son côté, Mathieu aborde des thèmes plus généraux, par exemple le temps, l’art ou l’érotisme, qui trahissent ses sources d’inspiration issues de la littérature française et des littératures étrangères. Cet aspect est plutôt inusité chez les écrivains québécois de la décennie 1960. Dans cette analyse intertextuelle, nous cherchons à montrer la singularité de l’écriture de Claude Mathieu. Nous exposons ses principales sources et influences littéraires afin de comprendre comment il s’en inspire et comment elles orientent sa poétique où domine le fantastique teintée d’images surréalistes. L’analyse est constituée de deux chapitres. Le premier est consacré au recueil Vingt petits écrits ou le mirliton rococo. Les textes étudiés sont regroupés en trois sections, selon l’époque des références qui les appuient, soit les littératures hellénique, classique et moderne. Le second chapitre traite de La mort exquise, l’oeuvre la plus importante de Claude Mathieu. En analysant les principaux textes de ce recueil, nous montrons comment l’influence d’André Pieyre de Mandiargues et de Jorge Luis Borges s’impose face à la multitude de références diverses convoquées dans le premier recueil de nouvelles de Mathieu. Nous montrons également comment ces influences sont absorbées et transformées pour créer une écriture originale. / Claude Mathieu’s literary production, spanning from 1957 to 1965, differs quite a lot from the work of his contemporaries. Most often, they defend a modern nationalism and bring to the forefront Quebec’s society and territory. For his part, Mathieu discusses more general topics, such as time, art or erotism, inspired by French and foreign literature. This is rather original among Quebec writers of the 1960s. With this intertextual analysis, we seek to show the singularity of Claude Mathieu’s writing. We outline its main literary sources and influences in order to understand how he is inspired and how they guide his poetics. The analysis consists of two chapters. The first is devoted to the collection Vingt petits écrits ou le mirliton rococo. The texts studied are grouped into three sections, depending on the time of the references that support them, either Hellenic, classical or modern literature. The second chapter deals with La mort exquise, the most important work of Claude Mathieu. By analyzing the main pieces of this collection, we show how the influence of André Pieyre de Mandiargues and Jorge Luis Borges became larger than all the various references convened in the first collection of Mathieu’s short stories. We also show how these influences are absorbed and transformed to create an original writing.

Thesis (M.A.)--Missouri State University, 2008. / "May 2008." Includes bibliographical references (leaves 67-68). Also available online.

Made available in DSpace on 2016-05-17T16:51:15Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-07-06. Added 1 bitstream(s) on 2016-05-17T16:54:47Z : No. of bitstreams: 1 000863949.pdf: 1006317 bytes, checksum: 3feedc1f1778dd8680e355e21140af15 (MD5) / A figura da mulher misteriosa atrelada à magia está presente na cultura de diferentes povos, seja como bruxa, feiticeira ou fada. Neste trabalho, observamos a configuração das personagens centrais dos contos Circe e Bruja, do argentino Julio Cortázar, Los altillos de Brumal e Mi hermana Elba, da espanhola Cristina Fernández Cubas e La buena compañía e La gata de mi madre, do mexicano Carlos Fuentes. As narrativas que serão analisadas filiam-se ao gênero fantástico e, para o estudo desse gênero, usaremos como embasamento teórico os estudos sobre o fantástico de David Roas expostos em Tras los límites de lo real. Una definición de lo fantástico (2011) e textos de diversos pesquisadores reunidos e organizados por David Roas na obra Teorías de lo fantástico (2001). Acreditamos que essa figura situa-se no arquétipo que Carl Gustav Jung denominou Grande Mãe, assim, para o estudo do arquétipo, inicialmente, utilizaremos sua obra Os arquétipos e o inconsciente coletivo (2000) e A Grande Mãe (1996), de Erich Neumann. Além de estabelecer esta relação, pretendemos demonstrar como os elementos formais da narrativa que interferem na construção da figura feminina colaboram para a manifestação do sobrenatural nos contos em questão, manifestação que se dá por meio da própria personagem feminina. Estética e pragmática del relato fantástico (2000), de Juan Herrero Cecilia será um estudo relevante para este projeto de pesquisa, tanto para o estudo dos elementos formais da narrativa, quanto para a discussão sobre a literatura fantástica. Nosso estudo propõe com a análise das obras observar como a figura feminina pode ser caracterizada com atributos típicos da bruxa mítica imaginária. Essa análise será baseada nos elementos usados na configuração da bruxa que os próprios contos utilizam e nos elementos que a cultura ocidental consagrou como marcas da nossa figura arquetípica / The figure of the mysterious woman linked to the magic is present in the culture of different peoples, whether as a witch, sorceress or fairy. In this study, we observe the central characters' configuration of the tales Circe and Bruja, of the Argentinian Júlio Cortázar, Los atillos de Brumal and Mi Hermana Elba of the Spanish Cristina Fernández Cubas and La buena compañía and La gata de mi madre, of the Mexican Carlos Fuentes. The narratives that will be analyzed are affiliated to the fantastic genre and, to the study of this genre, we will use as theoretical background the studies about the fantastic of David Roas exposed in Tras los límites de lo real. Una definición de lo fantástico (2011) and texts from many researchers gathered and organized by David Roas in the work Teorías de lo fantástico (2001). We believe that this figure is situated in the archetype that Carl Gustav Jung called the Great Mother, then, for the archetype's study, initially, we will use his work Os arquétipos e o inconsciente coletivo (2000) and A Grande Mãe (1996), of Erich Neumann. Besides establishing this relationship, we intend to demonstrate how the formal elements of narrative that interfere in the construction of the female figure collaborate for the manifestation of the supernatural in the tales in question, manifestation that occurs through the own female character. Estética e pragmática del relato fantástico (2000), of Juan Herrero Cecilia will be an important study for this research project, both for the study of formal elements of the narrative, as for the discussion of fantastic literature. With the analysis of the works, our study proposes to observe how the female figure can be characterized with typical attributes of the imaginary mythical witch. This analysis will be based on the elements used in the configuration of the witch that the own tales use and on the elements that the Western culture has set itself as trademarks of ...

Made available in DSpace on 2018-07-27T18:26:11Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-08-07. Added 1 bitstream(s) on 2018-07-27T18:30:31Z : No. of bitstreams: 1 000869205.pdf: 1067197 bytes, checksum: dfb8b7697516bf4587ba49259e23cb65 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / In order to describe and verify the most common resources used in the creation of Harry Potter fanfictions in Brazil, this study presents the movement of consumers towards a more participative culture in the last two decades, its implications to debates on intellectual property and the impact of technological evolution on the production and circulation of media content. The work also examines the history of fanfiction and the existent mechanisms of reinterpretation of original narratives, as well as the expressive numbers that represent the success of J.K. Rowling's books both as an editorial phenomenon and fandom on the internet. Given the significant production inspired in the Harry Potter series by Brazilian fans, three representative fanfictions are analyzed, in the light of the specific ways the original is rewritten. Alternative universe, focus on secondary characters, slash and timeline expansion, which were found to be the most recurrent procedures in the rewritings, evince partiality for personal creation on the part of authors and readers

In fantasy literature, representations of gender and sexuality outside of the heteronormative binary have historically been limited. Although queer fantasy is on the rise, depictions of non-conformational identities are still rare and far in-between. This thesis seeks to examine one of the earlier fantasy representations of a queer character, the non-binary Beloved in Robin Hobbs fantasy series The Realm of the Elderlings in terms of gender and sexuality. Throughout the series, Beloved assumes different identities of various genders and sexual orientations, and continuously claims that these are all equally true and valid representations of themselves, although these are distinctly separated by ways of, often gendered, physical attributes. Therefore, a central part of this thesis will be to examine how these shifts between genders and sexual identities are established performatively, something I will do with the support of Judith Butler’s theory of gender performativity as it is presented in Gender Trouble. While the text ultimately lends itself to a reading in Beloved’s favour, they are often othered and met with scorn from other characters of the series, something that is quite central to their characterization. Consequently, this thesis will also investigate these reactions and the often heteronormative and conservative stances they demonstrate, and, most notably, how these reactions mirror exterior societal attitudes and change in accordance with these.

Orientador: Roxana Guadalupe Herrera Álvarez / Banca: Antonio Roberto Esteves / Banca: Maria Celeste Tommasello Ramos / Resumo: A figura da mulher misteriosa atrelada à magia está presente na cultura de diferentes povos, seja como bruxa, feiticeira ou fada. Neste trabalho, observamos a configuração das personagens centrais dos contos "Circe" e "Bruja", do argentino Julio Cortázar, "Los altillos de Brumal" e "Mi hermana Elba", da espanhola Cristina Fernández Cubas e "La buena compañía" e "La gata de mi madre", do mexicano Carlos Fuentes. As narrativas que serão analisadas filiam-se ao gênero fantástico e, para o estudo desse gênero, usaremos como embasamento teórico os estudos sobre o fantástico de David Roas expostos em Tras los límites de lo real. Una definición de lo fantástico (2011) e textos de diversos pesquisadores reunidos e organizados por David Roas na obra Teorías de lo fantástico (2001). Acreditamos que essa figura situa-se no arquétipo que Carl Gustav Jung denominou Grande Mãe, assim, para o estudo do arquétipo, inicialmente, utilizaremos sua obra Os arquétipos e o inconsciente coletivo (2000) e A Grande Mãe (1996), de Erich Neumann. Além de estabelecer esta relação, pretendemos demonstrar como os elementos formais da narrativa que interferem na construção da figura feminina colaboram para a manifestação do sobrenatural nos contos em questão, manifestação que se dá por meio da própria personagem feminina. Estética e pragmática del relato fantástico (2000), de Juan Herrero Cecilia será um estudo relevante para este projeto de pesquisa, tanto para o estudo dos elementos formais da narrativa, quanto para a discussão sobre a literatura fantástica. Nosso estudo propõe com a análise das obras observar como a figura feminina pode ser caracterizada com atributos típicos da bruxa mítica imaginária. Essa análise será baseada nos elementos usados na configuração da bruxa que os próprios contos utilizam e nos elementos que a cultura ocidental consagrou como marcas da nossa figura arquetípica / Abstract: The figure of the mysterious woman linked to the magic is present in the culture of different peoples, whether as a witch, sorceress or fairy. In this study, we observe the central characters' configuration of the tales Circe and Bruja, of the Argentinian Júlio Cortázar, Los atillos de Brumal and Mi Hermana Elba of the Spanish Cristina Fernández Cubas and La buena compañía and La gata de mi madre, of the Mexican Carlos Fuentes. The narratives that will be analyzed are affiliated to the fantastic genre and, to the study of this genre, we will use as theoretical background the studies about the fantastic of David Roas exposed in Tras los límites de lo real. Una definición de lo fantástico (2011) and texts from many researchers gathered and organized by David Roas in the work Teorías de lo fantástico (2001). We believe that this figure is situated in the archetype that Carl Gustav Jung called the Great Mother, then, for the archetype's study, initially, we will use his work Os arquétipos e o inconsciente coletivo (2000) and A Grande Mãe (1996), of Erich Neumann. Besides establishing this relationship, we intend to demonstrate how the formal elements of narrative that interfere in the construction of the female figure collaborate for the manifestation of the supernatural in the tales in question, manifestation that occurs through the own female character. Estética e pragmática del relato fantástico (2000), of Juan Herrero Cecilia will be an important study for this research project, both for the study of formal elements of the narrative, as for the discussion of fantastic literature. With the analysis of the works, our study proposes to observe how the female figure can be characterized with typical attributes of the imaginary mythical witch. This analysis will be based on the elements used in the configuration of the witch that the own tales use and on the elements that the Western culture has set itself as trademarks of ... / Mestre