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

This work is concentrated on the understanding of the mythical dimension of Gabriel Garcia Marquez works. This dimension is conditioned by authors eagerness to base his writings on folklore consciousness and folklore mythology, namely on a myth, which is created and lives in oral tradition and family beliefs. Marquez looks at myth through carnival culture, which by itself is passing link between primitive mythology and fiction (75, 60). To his novel “One Hundred Years of Loneliness” he adjusted the primitive mythology, he knew from his childhood: folklore, people beliefs, superstitions, witchcraft – all this set, which was still alive in Caribbean coast peoples’ consciousness. The “magical realism” literature was based on that. In this work the attention is directed to Creole, Indian, Afro-American mythology, which is reflected in Garcia Marquez writings. Reflections of Afro-Catholic religions (voodoo, Santeria) are also reflected (especially in his book “About Love and Other Demons”). The motives of time (dominating illud tempus) and pre-Christian space is also important. The world is only being created. So it is tried to look for the repeating of eschatological and cosmological myths. The repeating of birth myth in Garcia Marquez works is mostly expressed through specific relationship with death. It is specific feature in his works, determined by Latin America traditions and individual relation with surrounding world. Important role in Garcia Marquez writings plays such... [to full text]

This work is concentrated on the understanding of the mythical dimension of Gabriel Garcia Marquez works. This dimension is conditioned by authors eagerness to base his writings on folklore consciousness and folklore mythology, namely on a myth, which is created and lives in oral tradition and family beliefs. Marquez looks at myth through carnival culture, which by itself is passing link between primitive mythology and fiction (75, 60). To his novel “One Hundred Years of Loneliness” he adjusted the primitive mythology, he knew from his childhood: folklore, people beliefs, superstitions, witchcraft – all this set, which was still alive in Caribbean coast peoples’ consciousness. The “magical realism” literature was based on that. In this work the attention is directed to Creole, Indian, Afro-American mythology, which is reflected in Garcia Marquez writings. Reflections of Afro-Catholic religions (voodoo, Santeria) are also reflected (especially in his book “About Love and Other Demons”). The motives of time (dominating illud tempus) and pre-Christian space is also important. The world is only being created. So it is tried to look for the repeating of eschatological and cosmological myths. The repeating of birth myth in Garcia Marquez works is mostly expressed through specific relationship with death. It is specific feature in his works, determined by Latin America traditions and individual relation with surrounding world. Important role in Garcia Marquez writings plays such... [to full text]

Jurgis Kunčinas (1947—2003) romane „Tūla“ pateikia dviejų bohemos atstovų meilės istoriją, kurioje literatūros tyrinėtoja Elena Nijolė Bukelienė įžvelgia postmodernizmo bruožų. Vokietijoje susiformavęs postmodernizmas pasižymi veikėjų apatija supančiam pasauliui, aplinkiniams, ironija. Ji tampa gynybine priemone veikėjui, kurio netenkina esamas gyvenimas ir jis žino, kad nieko negali pakeisti. Abejojama Dievu, amžinybe, veikėjų pasaulis susiskaidęs, gyvenimas priimamas kaip žaidimas. J. Kunčino romane elgiamasi priešingai – pagrindinis veikėjas myli Tūlą ir po mirties, mėgaujasi bohema. Ji, ironija, šikšnosparnio motyvas pagrindiniam „Tūlos“ veikėjui padeda pabėgti nuo jo netenkinančios tikrovės. Ironija kyla daugiau iš linksmo gyvenimo būdo, dirbtinio atsipalaidavimo, nei iš intelektualių paskatų. „Tūla“ nėra ir grynai magiškojo realizmo kūrinys, nes veikėjas nepriima tikrovės, bet nuo jos bėga vartodamas alkoholį, įsivaizduodamas esąs šikšnosparnis. Tai, kad įvedamas šikšnosparnio motyvas, gali priminti fantazijos ir tikrovės maišymą, kuriuo paremtas magiškasis realizmas. Tik „Tūloje“ šikšnosparnis neatlieka žaidybinės funkcijos, kaip, pavyzdžiui, sapnas David’o Madsen’o romane „Sapnų dėžutė“, šikšnosparnis yra veikėjui reikalinga, svarbi detalė. J. Kunčino romaną „Tūla“ galima įvardinti kaip lietuvių tautos sąmonės kūrinį. Jame iš pirmo žvilgsnio galima rasti magiškojo realizmo ir postmodernizmo bruožų, bet tai būtų tik paviršutinis pastebėjimas. „Tūloje“... [toliau žr. visą tekstą] / The novel “Tūla” by Jurgis Kunčinas (1947 – 2003) presents the love story of two bohemia representatives in which Elena Nijolė Bukelienė, the literature researcher, notices the features of postmodernism. Postmodernism originated in Germany is distinguished by the characters‘ apathy for the world surrounding them, people round about, irony. It becomes the defensive means for the character who is dissatisfied with the present life and he knows that he can not change anything. The characters doubt the God, eternity, their world is decomposed, the life is understood as a game. The behaviour in Jurgis Kunčinas‘ novel is contrary – the main character loves Tūla even after his death, enjoys bohemia. She, irony, the motive of the bat help the main character of “Tūla” to escape the unsatisfying reality. Irony rises from the cheerful lifestyle, artificial relaxation but not from intellectual inducements. “Tūla” is not a work of pure magic realism since the character does not accept the reality but he escapes it drinking alcohol, seeing himself as a bat. The fact that the motive of the bat is introduced can remind of the confusion of fantasy and reality on which magic realism is based. However, the bat does not perform the function of games in “Tūla” as, for example, the dream in David Madsen’s novel “The Box of Dreams” („Sapnų dėžutė”), the bat is a necessary, important detail for the character. J. Kunčinas’ novel “Tūla” can be called the work of Lithuanian consciousness. At first... [to full text]

This collection of short stories studies the elements of genre fiction and applies them to literary fiction. Science fiction, fantasy, and horror have specific manners in which they speak to an audience. By using these elements, for example the desensitization of the current generation of readers to most horrors, an author can demonstrate the core of the human relationship to pain, faith, or hope. Though some genre fiction seems to fit certain formulas, there are also horror or science fiction stories which do not fit a conventional mold. This collection sets forth to break away from genre fiction conventions. Also, this project utilizes the genre of magical realism, which is the medium between genre fiction and literary fiction, by using fantastic events within a mundane setting to emphasize the author's ideas. By bridging the gap between genres, magical realism reveals how interrelated the elements of all genres are. In this study stories use magical and horrifying events while maintaining an intention beyond the formulaic thrill. Therefore, genre fiction can have a place amongst literature. / Department of English

Made available in DSpace on 2015-03-03T11:52:33Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-04-24Bitstream added on 2015-03-03T12:06:29Z : No. of bitstreams: 1 000805830.pdf: 489721 bytes, checksum: 67cb9938f91ea5f8da614f845f0093bf (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A literatura de Murilo Rubião, introdutora do insólito no Brasil, abriga temas essenciais para a compreensão da modernidade brasileira do século XX. Analisar o sobrenatural em sua obra implica ainda examinar temas referentes à condição humana, que envolvem necessariamente a relação texto/contexto e também observar como isso é veiculado na narrativa em termos de representação. Tendo como pressuposto o relevante papel do escritor no seu contexto social e a importância da criação literária quando considerada a partir de certas necessidades de representação do mundo, nosso intuito com a pesquisa é problematizar a construção formal do insólito na ficção do autor, utilizando as acepções do neofantástico, realismo mágico e do absurdo, na direção de um diálogo entre os gêneros. Desta forma, a pesquisa tem por finalidade a análise da estruturação dos elementos insólitos como mecanismo de representação simbólica do homem moderno, em seis contos do autor, observando as especificidades do contexto histórico em que se situam as narrativas. A saber, os contos selecionados para a análise são: “O ex-mágico da Taberna Minhota”, “O pirotécnico Zacarias”, “Teleco, o coelhinho”, “Os dragões”, “O edifício” e “A cidade”. O embasamento teórico para o trabalho é composto de ensaios críticos sobre o autor como os de Arrigucci Jr, Jorge Schwartz, Nelly Novaes Coelho, José Paulo Paes, entre outros. Também fazem parte do embasamento, estudos sobre o fantástico, o neofantástico, o realismo mágico e o absurdo, como os de Tzvetan Todorov, Jean Paul Sartre, Jaime Alazraki, David Roas, William Spindler e Martin Esslin. Além disso, são utilizadas proposições teóricas sobre as categorias da narrativa como as de Gérard Genette / Murilo Rubião’s literature, pioneer of the uncommon in Brazil, contain essential themes for understanding the Brazilian modernity of the twentieth century. Analyzing the supernatural in his work also involves examining issues related to the human condition, which necessarily involve the relationship text / context and also observe how it is conveyed in the narrative in terms of representation. Assuming the relevant role of the writer in his social context and the importance of literary creation when seen from certain requirements of representing the world, our aim with the study is to discuss the construction of the formal neofantastic, magical realism and absurd in the author fiction, toward a dialogue between genres. Thus, the research main objective is to analyze the structure of the uncommon elements as mechanisms for symbolic representation of the modern man, in six tales of the author, observing the specificities of the modern context in which the narratives are situated. Namely, the stories selected for analysis are: “O ex-mágico da Taberna Minhota”, “O pirotécnico Zacarias”, “Teleco, o coelhinho”, “Os dragões”, “O edifício” e “A cidade”. The theoretical basis for the work is composed of critical essays about the author such as Arrigucci Jr, Jorge Schwartz, Nelly Novaes Coelho, José Paulo Paes, among others. Also, part of the fantastic, magical realism and absurd’s studies, such as Tzvetan Todorov, Jean Paul Sartre, Jaime Alazraki, David Roas, William Spindler and Martin Esslin. Moreover, theoretical propositions are used on categories of narrative such as Gérard Genette

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Thesis (M.A.)--University of the Witwatersrand, 1999. / In this study I will examine two texts by the Congolese author Sony Labou Tansi, namely The Seven Solitudes of Lorsa Lopez and Parenthesis of Blood. The aim of the research is to examine how and why the author uses techniques of allegory and magic realism instead of realism in his work. By closely examining the two texts and with the help of comparisons with his other works, I intend to show that the world he is representing is too fabulous to be rendered in a realistic manner. The use of allegory and irony in the text is a strategy that helps the author to challenge the oppression and despair in his society. The issue of gender is also important in both texts, therefore, I will examine how Labou Tansi portrays women in his works. I will do this by comparing his presentation of women to other female characters found in African canonical works by male writers.

La thèse propose une lecture postcoloniale des romans de Margaret Atwood s'articulant sur le thème du mensonge. A travers l'étude de six aspets communs aux romans (l'intertextualité, le mensonge, le réalisme magique, le "trickster", l'hybridité et la quête), la thèse démontre l'importance du motif du mensonge dans une lecture postcoloniale de l'auteur. The thesis produces a postcolonial reading of Margaret Atwood's novels, based on the concept of deception. Articulated on six major elements of analysis (intertextual parody, deception, magic realism, trickster figures, hybridity, and quest pattern, the thesis shows how Margaret Atwood's novels can be read from a postcolonial point of view, within which the motif of deception plays a central role.

La production lyrique de Peter Huchel condense les ambivalences et les tensions d’un moment de l’histoire littéraire allemande où s’opposent l’univers magique hérité du romantisme et le désir de focaliser l’attention à la fois sur les apories d’une forme de lyrisme devenue caduque et sur une poésie en devenir. Elle s’enracine dans le réalisme magique de l’entre-deux-guerres qui prône paradoxalement le retour au concret et la recherche de l’harmonie perdue, rendant ainsi le pouvoir à l’imaginaire et invitant l’artiste à faire oeuvre de magie. L’étude porte sur les tensions entre écriture poétique et réalité extra-littéraire qui font l’objet de la réflexion constante du poète, non dans des écrits théoriques, mais à travers ses poèmes. Après une « première manière de dire », reflétant les distorsions entre une démarche conventionnelle et la conscience des nouveaux enjeux du lyrisme, le poète inverse dans une « seconde manière » le sens des procédés magiques pour faire table rase des codes classiques de la représentation et fonder une nouvelle magie. Univers sensible, corps, logos et mythe sont mis en pièces. Parallèlement, s’esquisse un nouveau projet esthétique qui tend vers le laconisme et s’adresse davantage à l’imagination qu’à la perceprtion, sans pour autant s’enfermer dans l’autoréférentialité. Le nouveau domaine de la poésie est un lieu instable et ouvert où la parole demeure inachevée, mais peut sans cesse être renouvelée. / In the lyric work of Peter Huchel the ambivalences and tensions of a certain moment in German literary history intensify when the contrast between the magic world – a legacy of romanticism- and the desire to focus on the apories of an old-fashioned lyricism on the one hand and on a newly-developing poetry on the other hand becomes obvious. Huchel’s poetry has its roots in the magic realism of the time between the two wars which – paradoxically –advocates the return to the concrete and the quest for a lost harmony giving power to the imaginary and inviting the artist to create a work of magic. The study evolves around the discrepancies between the poetic style and the reality outside literature, a topic the poet keeps reflecting on but not in his essays but in his poems. After a « first way of expression », which mirrors distortions between a conventional approach and the consciousness of a completely new starting point in the poetry, the poet changes in a « second way of expression » the sense of the magic method and leaves behind the classical codes of presentation giving way to a new magic. Physical universe, body, logos and myth are tom apart. At the same time a new esthetic programme becames visible which is directed at laconism and which addresses imagination more than perception without being caught in self-referentiality. This new domain of poetry is an instable but open field where the lyric language remains incomplete though renewable.