Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2016-06-28T21:29:13Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) A representação do leitor e da leitura em A história sem fim de Michael Ende e Coração de tinta de Cornélia Funke.pdf: 1029709 bytes, checksum: 91a5fcf4060a59c92a506f8f62b416f3 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-06-30T20:24:18Z (GMT) No. of bitstreams: 2 A representação do leitor e da leitura em A história sem fim de Michael Ende e Coração de tinta de Cornélia Funke.pdf: 1029709 bytes, checksum: 91a5fcf4060a59c92a506f8f62b416f3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-06-30T20:24:34Z (GMT). No. of bitstreams: 2 A representação do leitor e da leitura em A história sem fim de Michael Ende e Coração de tinta de Cornélia Funke.pdf: 1029709 bytes, checksum: 91a5fcf4060a59c92a506f8f62b416f3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-05-07 / Fundação de Amparo à Pesquisa do Estado do Rio Grande do Sul - FAPERGS / A presente dissertação é um diálogo com os estudos e pesquisas que se preocupam com as construções da relação autor-obra-leitor, essencialmente norteado pelas pesquisas de Wolfang Iser e Umberto Eco acerca da leitura e do leitor. Sendo assim, nosso objetivo geral é analisar a interação da leitura e do leitor para com isso podermos analisarmos todo o processo de construção do texto, do leitor e de como a leitura se desenvolve, tanto no texto em si como no próprio leitor. Assim, com os personagens leitores Bastian, Motimer, Meggie, Darius de A História sem fim e de Coração de Tinta, respectivamente, podemos analisar e indagar as diferentes interações do leitor com o texto literário. / The following dissertation is a dialog with the studies and researches which care about the constructions of the relation author-work-reader, essentially guided through the researches from Wolfgang Iser and Umberto Eco about the reading and the reader. It is thus our main objectiv is to analyse the whole process of construction of the text, the reader and how the reading develops itself, such in the text itself as well in the reader itself. Therefore with the readercharacters Bastian, Motimer Meggie, Darius from The Neverending Story and Inkheart respectively, we can analyse and enquire the distinct interactions of the reader with the literary text.

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The thesis of this essay is concerned with how two adaptations of The Neverending Story have used the novel's vivid intertextuality and dialogism. The essay also discusses the possibilities of adaptation studies and whether an adaptation can explain a novel by emphasizing its themes. / I denna uppsats diskuteras hur två adaptioner av Den oändliga historien har hanterat novellens rika intertextualitet och dialoger. Vidare diskuteras adaptionens möjligheter och huruvida en adaption kan förtydliga vad ett verk handlar om.

There has always been some sort of power struggle between children and adults in children’s literature. My essay is an analysis of the German children’s fantasy novel The Neverending Story (swe. Den oändliga historien, ger. Die unendliche Geschichte) with focus on the child’s power and power related relationships between the child and adults. The power dynamics play a large part in the novel that is rarely, or never, talked about. I will use a close reading analysis regarding the main character Bastian’s relationship to different adult characters, his journey to power, how the novel fits Bachtin’s carnival theory and the true ruler of Bastian’s world as well as the world of Fantastica (swe. Fantásien, ger. Phantásien). The study shows among other things that while Bastian gains power throughout the novel, he is somewhat punished for using that power and ultimately loses it. He is subordinate to the adults around him; however, holds some sort of power over them at different points in the novel. His journey to power can be described with Clémentine Beauvais’ concepts of authority and might, where the mighty child gains authority in Fantastica. The journey can also be described as a carnival, though that can also be questioned regarding the fact that Bastian is punished for using his power. In my analysis, I also question who, or what, holds the mightiest position in Bastian’s world and Fantastica respectively. At the end of the day, Bastian is just a child with the potential of being mighty, but his age makes him subordinate to the adult world.

In this thesis, I examine three works of modern German fantasy fiction for young adults, their common grounding in the Romantic aesthetic framework and in particular the Romantic notion of creativity, and the implication of their unique fantasy fiction paradigm in our modern day. The novels are Michael Ende’s The Neverending Story (1979), Inkheart (2003) by Cornelia Funke and The City of Dreaming Books (2006) by Walter Moers. They represent a Germany-specific narrative paradigm which can be seen in the protagonist readers’ transformation from mere readers into storymakers/storytellers, and in the conflict between a book-loving hero and antagonists who are against literature. The protagonists embody the Romantic notion of creativity that involves the sublimation of a poet’s crisis into an exploration of the self. The mundane is infused with fantasy, thereby elevating reality to an idealised state. These Romantic storytelling readers act as tricksters, a fairy tale archetype that shares similarities with the figure of the Romantic poet. I employ the theoretical frameworks of German Romanticism, Frankfurt School critical theory, and postmodern models, including those by Deleuze and Guattari. I argue for a modern version of the trickster archetype which explains how a complacent, passive reader becomes an active storyteller. / Graduate