本篇論文企圖運用三種理論，包括傑克森（Rosemary Jackson）的奇幻理論、巴赫金（M. Bakhtin）的嘉年華理論、和依蕊格萊（Luce Irigaray）的假面理論 （masquerade），來分析安琪拉•卡特的《馬戲團的奇幻世界》。本篇論文討論小說中用來解構二元對立以及社會成規的的顛覆的元素。本篇論文分成五個部分來討論。 論文的第一章提供了卡特生平和三個理論的簡略的介紹。論文的第二章以傑克森的奇幻理論為基礎，探討如何以奇幻的呈現手法，達到反動的功用，以為被壓抑的族群發聲。這章也討論到傅柯（Michel Foucault）的圓形監獄的理論。而藉由奇幻理論，小說中的角色和事件，呈現出那些被歸類為不好的、被壓抑的，其實都是權力運作下所產生的。第三章以巴赫金的嘉年華理論來分析小說。文本中的馬戲團，就像是嘉年華世界的化身，充滿了不尋常的事件，舊有的觀點也一一的被挑戰。而藉由這些事件，世俗成規被顯露出來只是建構出來的，而不是本來就存在的。第四章著重於性別方面的議題。以傅柯的權力理論、巴特勒（Judith Butler）的表演理論，和依蕊格萊的假面理論來探討性別成規，以及書中如何打破這些性別成規。最後，本篇論文，以這三種理論，來顯示出小說中對二元對立的解構和對社會成規的反動。 / This thesis aims to analyze Angela Carter’s Nights at the Circus with three theories, inclusive of Rosemary Jackson’s theory of fantasy, Mikhail Bakhtin’s carnival theory, and Luce Irigaray’s theory of masquerade. The thesis discusses the blurring elements which aim to deconstruct and to denaturalize received notions and binarism. The thesis is divided into five parts. The first chapter gives a brief introduction of Carter and three theories. The second chapter discusses the function of the fantastic as a method of revealing the repressed. In this chapter, Michel Foucault’s theory of panopticon is also discussed. Through fantastic events and characters, the novel shows that what is forbidden and repressed results from workings of power and discourse. The third chapter analyzes the novel in terms of carnival. The circus is the embodiment of a carnivalesque world in which things are turned upside down and conventional conceptions are challenged. Characters and events that happen in the circus work to reveal the constructedness of norms in society. The fourth chapter, with a focus on gender binarism, analyzes the novel in respect of the idea that gender is performative. This chapter starts with a brief introduction of Foucault’s discursive theory and Judith Butler’s theory of performativity. Then, Irigaray’s masquerade is applied so as to demonstrate the notion that gender is formed out of power relations. In conclusion, by interpreting the novel with these three theories, the thesis aims to show the constructed nature of binarism and to introduce different perspectives.

In the Western cultural tradition there is a particular aspect of consciousness discernable in certain fictive literature; mythopoeic literary consciousness (MLC), the evolution of which may be traced back to its earliest manifestation in the cave paintings of the Upper Palaeolithic period in Europe. Researchers agree that those cave paintings are indicative of shamanic activity, which suggests an interesting relationship between shamanic consciousness and MLC. This research investigates contemporary experiences of this relationship in the context of place and the Imaginal Realm using a combination of empirical and textual methods. The evolution of the narrative psyche is described; beginning with recent interpretations of the aetiology and meaning of the European Upper Palaeolithic cave paintings. Shamanism is then examined and linkages are made with subsequent esoteric traditions such as Gnosticism, Hermeticism, the Imaginal Realm of the Sufi mystics, and the Romantic Movement in European literature. The Imaginal Realm, as a metaphysical construct, is posited in relationship to de Chardin’s Noosphere, Sheldrake’s Morphic Resonance, the Celtic Web of Wyrd and Jung’s Collective Unconscious. Empirical research is presented on contemporary expressions of this tradition. Three internationally recognised Australian authors, David Malouf, Thomas Keneally and Colleen McCullough, were either interviewed or completed a questionnaire on their backgrounds, the role of place relationships, states of consciousness when writing and reading, the role of literature and related questions. Five dedicated readers and two professionally credentialed practicing shamans completed similar questionnaires on their experiences and views on literature, the act of reading, and shamanic and creative consciousness. The responses are accompanied by textual analysis of the work of the three authors, drawing out themes of importance. Further discussion of the empirical and textual material in the context of broader literature establishes the epistemological dimensions of both mythopoeic literary consciousness and shamanic consciousness. The nature and relationship of consciousness and soul are examined from a perspective that unites them with the anima mundi and posits them in relationship with place and elsewhere-place. The concluding section revisits core themes to posit the mythopoeic writer and MLC within the heritage of a metaphysical tradition that delineates the existential boundaries of the psyche. It is argued that MLC is a manifestation of the narrative imperative of the psyche or soul to orientate itself along a place-elsewhere-place continuum, a continuum that parallels states of consciousness from the participation mystique to the de-centred self. / Doctor of Philosophy (PhD)

The original thesis contains the novel "Stranger, I" as an integral part of the thesis. However this novel has been omitted in this digital copy. / Thesis (MA (Hons))--Macquarie University, Division of Humanities, Department of English, 2006. / Bibliography: p. 93-97. / On divergence in fantasy -- Introduction -- Preliminary -- The thousand and one definitional nights -- Characteristic works: inclusions and exclusions -- Critical objections to fantasy -- Conclusion. / On Divergence in Fantasy explores the ways in which fantasy criticism continually redefines its boundaries, without arriving at agreement. The paper draws on Foucault to suggest that these disputes and dispersions are characteristic of the operation of fantasy critisim as a discursive formation. / Mode of access: World Wide Web. / 97 p

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

No description available.

Écrivain français d’origine grecque, Pierre Gripari (1925-1990) est l’auteur de nombreux recueils de contes destinés aux enfants ou aux adultes. Pour les composer, il a eu recours à de nombreuses sources populaires, mais il a également emprunté à des littératures plus classiques. Dans Un passeur d’écriture. Pierre Gripari et les traditions littéraires, nous examinons donc comment il a repris, avec une érudition très éclectique, des thèmes empruntés à de grands écrivains, français et étrangers, comme Perrault, Pouchkine, Mérimée, Gogol, Hugo, mais aussi aux mythes grecs (Médée) et aux contes folkloriques. Notre travail de recherche se propose de montrer que ce jeu constant avec les références permet de saisir l’originalité d’un écrivain très singulier et comment sa passion de la réécriture contribue à la transformation des genres littéraires (récits ou théâtre). Le corpus retenu fait apparaître que les contes de Gripari dialoguent en permanence avec des modèles traditionnels. Les œuvres étudiées donnent des exemples de transposition d’une langue à l’autre, ainsi que de l’acclimatation de récits, comme les contes d’Afanassiev et les bylines, transposés de leur milieu d’origine dans un autre domaine culturel. Avec une grande variété, ces textes présentent des formes de contamination ou de parodie (notamment de Perrault), des jeux d’inversions (« La Fée », « Monologue de toile », « La Vénus d’El »), des réécritures en hommage (« Vie amoureuse de Jean Valjean », « Médée »). Elles soulignent la place du comique dans ces recréations. Prenant place au carrefour de diverses traditions culturelles, nos recherches portent non seulement sur les textes français, mais également sur les textes d’origine. Elles s’appuient sur des travaux théoriques, littéraires et esthétiques provenant de philologues français aussi bien que de critiques russes ou ukrainiens. En prenant ces relations interculturelles pour objet privilégié, notre étude révèle l’importance du rôle de passeur qu’a tenu Pierre Gripari entre le public français et d’autres traditions littéraires. / French writer of Greek origin, Pierre Gripari (1925-1990) is the author of numerous collections of tales intended for children or adults. To compose them, he turned to numerous popular sources, but he also borrowed from a more classic literature. In A boatman of writing. Pierre Gripari and the literary traditions, we thus examine how this writer took back, with a very eclectic learning, themes borrowed from such big writers, French and foreign, as Perrault, Pushkin, Mérimée, Gogol, Hugo, but also from the Greek myths and folk tales. This research shows, on one hand, the originality of a very singular writer and, on the other one, an evolution of literary genres. The reserved corpus shows how the tales of Gripari have a dialogue with the traditional models. The studied works give examples of the transposition of the language and the acclimatization of a narrative from its original environment to another one (tales of Afanassiev and bylines); contaminations and parodies (subjects of Perrault), inversions (« La Fée » (" The Fairy "), « Monologue de toile » ("Linen monologue"), « La Vénus d’El » (" The Venus of El "), rewritings in tribute (« Vie amoureuse de Jean Valjean », (" Jean Valjean's love life "), « Médée » ("Medea"), and others. They underline the place of the comic in these re-creations. Taking place in the crossroads of diverse cultural traditions, our researches concern not only the French texts, but also the original texts. They lean on theoretical, literary and aesthetic works produced by French philologists as well as by Russian or Ukrainian critics. By taking these intercultural relations for privileged object, our study shows the importance of boatman's role which Pierre Gripari held between the French reader and other literary traditions.

SUMÁRIO Esta dissertação busca demonstrar a presença do fantástico e do maravilhoso na narrativa de Mia Couto. Para tal, apresenta-se uma discussão teórica acerca desses dois géneros, retomando-se o que de mais importante se tem escrito sobre o assunto. A seguir, procede-se à análise do fantástico e do maravilhoso na narrativa de Mia Couto, recorrendo a exemplos dos seus contos e romances. Esta análise inclui uma definição de cada um destes géneros, adequada à especificidade da obra do escritor; um estudo dos temas fantásticos e maravilhosos mais frequentes; e, por fim, uma caracterização dos discursos fantástico e maravilhoso. SUMMARY This dissertation aims to demonstrate the presence of the fantastic and the marvellous in Mia Couto's narrative. In order to achieve these objectives, the first step is to contextualize these two genres, making a brief reflexion about the most important theories on this subject. After this theoretical chapter, this thesis analyses the fantastic and the marvellous in Mia Couto's work by giving examples from his short stories and novels. This chapter also includes a definition of each genre, specifically adapted to the writer's narrative; a study of most frequent fantastic and marvellous themes; and, finally, a description of fantastic and marvellous discursive features. / CLASSICS and WORLD LANGUAGES / MA(ROM LANG)- SPEC PORTUGUES

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Diversos críticos enfatizaram a vertente de Noite na taverna, de Álvares de Azevedo, obra que se consagrou, portanto, como uma narrativa pertencente ao gênero fantástico, apesar de não corresponder plenamente à concepção do gênero desenvolvida por Tzvetan Todorov, em Introdução à literatura fantástica subsídio fundamental para os estudos da ficção insólita. "Fantástica"!, "sobrenatural", "de horror", "tétrica", "sombria", "macabra", "monstruosa", "dantesca", "simbolista avant la lettre", "gótica", "satanista", "byroniana" são alguns dos termos empregados pela crítica nos principais estudos publicados acerca da obra. Trata-se de uma multiplicidade de classificações que, no entanto, não a caracterizam adequadamente e só demonstram a dificuldade de definir-lhe o gênero. Refletindo sobre tais aspectos e partindo dos principais estudos críticos produzidos sobre a obra desde sua primeira edição, consideramos a pertinência de a classificarmos como integrante do gênero fantástico. Procura-se ainda, após minuciosa leitura destes estudos, identificar os momentos da história e da crítica literária brasileira em que Noite na taverna foi classificada com termos que a associaram a uma forma de literatura incomum no Brasil nacionalista do século XIX. / Many critics have emphasized that part fantastic of the Noite na taverna, by Álvares de Azevedo, work that is devoted, therefore, as a narrative of the fantastic although not fully correspond to the conception of the genre developed by Tzvetan Todorov, in Introduction to fantasy literature, basic allowance for studies of unusual fiction. "Fantastic," "supernatural," "horror," "gloomy," "dark," "macabre," "monstrous,""Dantesque", "Symbolist avant la lettre", "Gothic," "Satanist", "Byronic" are some of the terms used by critics in the main published studies about the work. It is a plurality of classifications not adequately characterize, and only demonstrate the difficulty of defining his gender. Reflecting on these aspects and building on the main critical studies on the work produced since its first edition, we consider the appropriateness of classifying as a member of the fantastic. Search is still, after careful reading of these studies, identify the moments of history and literary criticism in which Brazilian Night at the tavern was classified with the terms associated with a rare form of literature in Brazil's nationalist nineteenth century.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Compreender o caráter ambíguo da temática de Oswaldo Goeldi é o grande desafio proposto pelo artista a todos que, de forma geral, estão inseridos em uma compreensão mediana e superficial dentro do cotidiano. Numa atmosfera fantástica, Goeldi procura tornar as paisagens, seus seres e objetos mais ambíguos ainda. E devido à perplexidade que seus trabalhos causam aos espectadores torna-se impossível fechar um único conceito ou opinião sobre o caráter dos desenhos e gravuras deste artista situado entre os extremos da luz e das sombras. Comparando as obras de Goeldi com o gênero literário fantástico, que é caracterizado por um mundo individual regido pelas incertezas de cada um, segundo Tzvetan Todorov em sua obra Introdução à Literatura Fantástica, pode-se vislumbrar nas obras de Goeldi duas condições: ou o ser estranho é uma ilusão, um ser imaginário, ou então existe realmente, exatamente como os outros seres vivos, mas com a ressalva de que raramente o encontramos. Vida ou morte? Real ou irreal? Dessa forma, podemos dizer que Goeldi foi um expressionista que viveu uma realidade fronteiriça entre o interior e exterior, a qual não era menos fantástica do que real. Uma questão que permanece atemporal até os dias de hoje conforme veremos nas obras de Nuno Ramos, José Rufino e William Kentridge / To grasp the ambiguous nature pertaining Oswaldo Goeldis theme is a challenge the artist poses to those who are somewhat involved in an ordinary and superficial approach of everyday life. In creating a fantastic atmosphere, Goeldi manages to make its scenery, beings and objects even more unclear. Moreover, because viewers are struck with the perplexity of his artwork, it is impossible to adopt a definite concept on the character of this artists drawings and prints which lies between the borders of lights and shadows? In comparison with fantastic literary genre, which features a world ruled by individual uncertainties, according to Tzvetan Todorov in his Introduction to Literature Fantastic, one may glimpse two conditions into Goeldis art: either his depicting element is an illusion or imagination or it actually exists just like other living beings despite being hardly ever found. Life or death? Real or unreal? Therefore, Goeldi may be regarded as an expressionist painter living an inward and outward boarding reality. So far such an issue has remained timeless as it may be seen in the works by Nuno Ramos, José Rufino and Willian Kentridge

Made available in DSpace on 2014-06-11T19:25:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-05-23Bitstream added on 2014-06-13T20:53:09Z : No. of bitstreams: 1 machado_dl_me_arafcl.pdf: 665674 bytes, checksum: 848577b81299938ae333362f7d3babe6 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Edgar Allan Poe afirma a respeito de seu poema The raven, em seu ensaio The philosophy of composition, que “[...] nenhum ponto de sua composição se refere ao acaso, ou à intuição, que o trabalho caminhou, passo a passo, até completar-se, com a precisão e a sequência rígida de um problema matemático”, demonstrando, por isso, que ele entendia ser o processo criativo um ato puramente lógico, consciente e analítico. E, de fato, a análise de seus textos comprova a proposição citada. Além disso, o autor americano é considerado por grande parte da crítica literária como o mestre do horror, figurando alguns de seus textos no cânone das obras primas do fantástico, sendo quase que indispensável a presença de algum de seus contos em uma coletânea dessa categoria literária. Partindo-se, então, desses elementos foi possível levantar a hipótese de que, como a obra poeana está tão intimamente relacionada ao fantástico, a análise de seu racional e sistemático método composicional poderá conduzir à inclusão de novos elementos à estrutura já existente da literatura fantástica. Assim, a presente pesquisa procurou sistematizar o peculiar modus operandi de Poe através da análise de seus contos The black cat, The fall of the house of Usher, The oval portrait, The man of the crowd, William Wilson, Ligeia, e ensaios The philosophy of composition Philosophy of furniture e The poetic principle, para em seguida contrastar os resultados obtidos com as teorias do fantástico, em especial a de Todorov, permitindo estabelecer, dessa forma, pouco a pouco, outra leitura da literatura fantástica, sob a ótica da própria teoria pessoal de Edgar Allan Poe / Edgar Allan Poe said about his poem The Raven, in his essay The philosophy of composition, that [...] no one point in its composition is referrible either to accident or intuition - that the work proceeded, step by step, to its completion with the precision and rigid consequence of a mathematical problem. thereby demonstrating that he understood the creative process is a purely logical, conscious and analytical. And indeed, analysis of his texts proves the proposition cited. In addition, the american author is seen by much of literary criticism as the master of horror, featuring some of his texts in the canon of masterpieces of fantastic, with almost indispensable the presence of some of his tales in a collection of this literary category. Starting from those factors, it was possible to hypothesize that as the Poe‟s work is so closely related to the fantastic, the analysis of their rational and systematic compositional method may lead to inclusion of new elements the existing structure of fantastic literature. Thus, this research sought to systematize the peculiar modus operandi of Poe through the analysis of his short stories The black cat, The fall of the house of Usher, The oval portrait, The man of the crowd, William Wilson, Ligeia, and the essays The philosophy of composition, Philosophy of furniture and The poetic principle, then to contrast the results with the theories of fantastic, particularly Todorov‟s, establishing, thus, little by little, another reading of fantastic literature, from the perspective of their own Edgar Allan Poe‟s personal theory