Cette thèse de recherche-création comprend deux parties complémentaires : Hivernages, un roman par fragments, et Habiter l’imaginaire, une étude géocritique des littératures de l’imaginaire au Québec. Ces deux parties explorent les lieux inventés dans la littérature, par la création, puis par l’analyse, et se rejoignent en conclusion. Hivernages : Une année, sans qu’on sache pourquoi, l’hiver ne s’est pas terminé. Depuis, tout est couvert de neige et de froid. Dans une église éventrée, une femme rêve de lieux étranges. Le fleuve charrie des cadavres. Chacun a beaucoup perdu. Talie a été amputée de sa sœur, Sam a laissé partir son grand amour, le vieux a oublié son nom. Socrate, le chien-loup, est redevenu sauvage, et Célia est restée seule dans sa vallée. Ren, l’orphelin, n’a jamais rien eu. Aude est née au cœur d’une tempête, le visage figé dans un rictus étrange. Pourtant, à Ville-réal, la cité souterraine, les vieilles continuent de boire du thé vert et de manger des beignets en parlant de choses ordinaires. Habiter l’imaginaire. Pour une géocritique des lieux inventés : Cette recherche découle d’une série de prémisses. D’abord, l’époque contemporaine se caractérise, entre autres, par une perte de repères spatio-temporels et un sentiment de fragmentation. Ensuite, les œuvres de fiction sont susceptibles de traduire le vécu et les perceptions des humains par rapport à l’espace. Même les lieux fictionnels les moins référentiels révèlent, avant tout, une spatialité contemporaine. Enfin, la nécessité, pour les littératures de l’imaginaire, de contenir leur propre xénoatlas confère une place privilégiée aux lieux dans les récits. De ces prémisses découlent les questions suivantes : est-il pertinent, pour une science des espaces littéraires telle la géocritique, de s’intéresser aux lieux non référentiels ? Si oui, comment s’articulerait une géocritique des lieux inventés ? Quels sont les éléments qui devraient être pris en compte ? Quels outils pourraient être sollicités pour analyser les œuvres ? Le premier chapitre retrace les principales études portant sur la spatialité littéraire, en particulier dans le contexte du tournant spatial qui se dessine en recherche depuis quelques décennies. Il dresse également un état de la question sur les littératures de l’imaginaire. Il en ressort que la géocritique peut et doit s’intéresser aux lieux inventés. Le deuxième chapitre élabore une méthodologie tenant compte des spécificités des littératures de l’imaginaire. Les chapitres trois, quatre, cinq et six analysent quatre œuvres québécoises contemporaines, dans une perspective géocritique. Il s’agit de Récits de Médilhault d’Anne Legault, Les Baldwin de Serge Lamothe, L’aigle des profondeurs d’Esther Rochon et Hôtel Olympia d’Élisabeth Vonarburg. Enfin, en conclusion, les lieux inventés sont revisités, mais du point de vue de l’écriture.

The world today is globalized like never before and with countries becoming more multicultural it is important to strive towards an intercultural society. This essay aims to answer the question “In what ways can one teach representation in the intercultural classroom through fantasy literature?”. That is, to illustrate and exemplify how one can use fantasy literature in the English classroom to give students intercultural knowledge through discussions on representation and intersectionality. The discussions in the essay are based in the democratic values stated in the Swedish course curriculum for upper secondary school (Gy11) in relation to the theoretical background. With examples from the book Who Fears Death by Nnedi Okorafor, the essay breaches both difficult and sensitive subjects that can be discussed to make certain issues less alien for the reader. Cultural diversity is magical and it is important that students get the right tools to form deep relationships across cultural borders, and the fantasy genre is a great tool to use in the classroom to lessen these bridges between different cultures since the genre creates an arena for intercultural meetings where ‘the other’ is in focus, which reduces the alienating aspect of different cultures and identities.

Ingen vet var hon kommer ifrån eller att hon snart ska spela huvudrollen i en uråldrig profetia; allra minst hon själv. 17-åriga Amelia har aldrig passat in i Ljusets systraskap. Hon älskar spänning och äventyr, inte broderier och körsång. I flera år har hon sparat silvermynt från tjuvjaktsbyten för att börja om någon annanstans. Men så en natt träffar hon den mystiska Gabriel – vars sneda leende följer henne ända in i drömmen – och helt plötsligt förändras allt. Ingenting är längre säkert … ingenting förutom att världen som hon känner till den kommer att gå under.

Orientador: Alvaro Luiz Hattnher / Banca: Aparecido Donizete Rossi / Banca: Vera Helena Gomes Wielewicki / Resumo:Com o intuito de descrever e verificar os recursos mais recorrentes utilizados na criação de fanfictions sobre Harry Potter por autores brasileiros, discute-se neste trabalho o movimento de consumidores a uma cultura participativa nas últimas décadas, suas implicações nos debates sobre propriedade intelectual e o impacto da evolução da tecnologia na produção e circulação de produtos midiáticos. O surgimento das fanfictions e os mecanismos existentes na reinterpretação de narrativas originais também são abordados, bem como os números expressivos que representam o sucesso dos livros de J.K. Rowling como fenômeno editorial e como comunidade na internet. Tendo em vista a atividade significativa de fãs brasileiros da série e sua produção de histórias inspiradas em Harry Potter, três fanfictions representativas da produção do fandom no Brasil foram analisadas e constatou-se que os recursos mais frequentes em seu desenvolvimento são: universo alternativo, foco em personagem secundário, o subgênero slash e extensão da linha do tempo, premissa que evidencia predileção de autores e leitores por maior espaço para criação própria / Abstract: 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 / Mestre

Undersökningen har som utgångspunkt att studera lyrik i fantastisk fiktion, d.v.s. i skönlitterära verk inom genrerna science fiction och fantasy. Den genomsyras även av syftet att studera fantastisk fiktion som didaktiskt verktyg i lyrikundervisningen på gymnasiet samt utreda lyrikundervisningens bidrag till elevers läs- och skrivutveckling. Arbetet tar avstamp i en kvalitativ litteraturstudie där tolkning av lyriska utdrag är grundläggande. Det material som valts ut för undersökningen är Härskarringen (Tolkien 1992) trilogin, Hungerspelen (Collins 2011) trilogin samt MaddAddam (Atwood 2009-2015) trilogin.Resultatet visar att den lyriska omfattningen i de utvalda skönlitterära verken är stor, att dess funktion är mångfacetterad och att fantastisk fiktion i allra högsta grad kan användas som didaktiskt verktyg i lyrikundervisningen. Vidare ger undersökningen goda argument för lyrikens positiva påverkan på elevers läs- och skrivutveckling. Undersökningen är ett resultat av en vilja att belysa vikten av lyrikundervisning på gymnasiet och att göra det genom skönlitteratur som intresserar ungdomar.

Literature is an important part of the curriculum of Swedish secondary school and The Lost Hero by Rick Riordan is a popular novel among teenagers in Stockholm. This creates an opportunity to look closer at the novel, and to investigate the narrative’s discussion of the female, and in this particular case, its depictions of the female characters. This essay will show that by reading the novel with a feminist approach, inspired by the work of Luce Irigaray, the narrative reveals cultural aspects that might work well as a ground for discussions in the classroom.                       This essay considers how the narrative allows for opportunities of female resistance. Without replacing the male on the frontier of adventure, and without betraying their femininity, the female characters of the novel manage to change the power dynamic of how they are perceived. The female protagonist, Piper, works as a gatekeeper for the female resistance, and eliminates – for the cause – unbeneficial female behaviours.                       A feminist approach is beneficial to the diversity that is expected in Swedish secondary school. In addition to already existing research on Riordan’s work, this essay helps justify why The Lost Hero is a good literary alternative for the classroom.

Ce travail de recherche vise à mettre au jour un aspect particulier de l’œuvre d’Eduardo De Filippo (Naples, 1900 – Rome, 1984), à savoir l’intrusion du surnaturel dans la production théâtrale de l’auteur-acteur-metteur en scène. Nous avons structuré notre thèse en deux phases. Nous analysons d’abord l’adhésion de De Filippo au théâtre dit “réaliste”, sa conception de la fonction du théâtre, l’ancrage thématique dans l’Histoire du XXe siècle et dans le vécu personnel de l’auteur ; nous nous attachons à la manière dont De Filippo intègre la tradition littéraire et théâtrale du XXe siècle et propose une autre vision du réel faisant appel aux catégories du fantastique. Puis nous examinons l’espace scénique, lieu de l’ailleurs et du fantasme par excellence, dans les différentes composantes de la scène (scénographie, objets), du jeu actoriel (la parole, la corporéité, le personnage et le fantôme) et du contrat spectatoriel pour mettre en lumière la relation que tous les participants au spectacle entretiennent avec le surnaturel. Enfin, nous mettons à l’épreuve de l’analyse la traduction sur scène des problématiques liées au fantôme et au fantasme dans deux interprétations exemplaires et très différentes de La grande magia : celle de Giorgio Strehler au Piccolo Teatro de Milan en 1985 et celle de Dan Jemmett à la Comédie-Française en 2009. / This research work focuses on a specific point of Eduardo De Filippo’s work (Naples, 1900 – Rome, 1984), that is to say the irruption of the supernatural in the production of the author-actor-stage director. We have structured our thesis in two phases. We first analyse the authors’s compliance with the so called « realistic » theatre, his vision of the role of theatre, the thematic foothold in the 20th century history and in his personal experience ; we are concerned with how De Filippo integrates the literary and theatrical tradition of fantasy and offers a realistic vision appealing to the Fantastic categories. Then we investigate the stage space as an ideal place for fantasy and fantasies, we examine the stage varied components (stage design, objects), the acting of the actors (voice, corporeality, the character and the ghost) within the stage-audience conventions to bring to light the particular link that all those who participate to the performance maintain with the supernatural. Finally, we study the process of traduction on stage of problematics linked to ghost and fantasy in two remarkable and very different interpretations of La Grande magia : the one by Giorgio Strehler at the Piccolo Teatro of Milan in 1985 and one by Dan Jemmett at Comédie-Française in 2009.

Em mais de meio século desde a publicação do primeiro volume de O Senhor dos Anéis, de J. R. R. Tolkien, em 1954, a maioria das discussões sobre a construção ficcional tolkieniana tem se concentrado em sua fundamentação lingüística, ou seja, o fato, reafirmado diversas vezes pelo próprio Tolkien, de que a obra foi escrita para dar um mundo às línguas inventadas por ele. O ponto de partida desta pesquisa é a observação do trabalho lingüístico de Tolkien desde uma outra perspectiva: a da concepção da narrativa como tradução fictícia. Partindo de um estudo da pseudotradução dentro dos Estudos da Tradução, observamos como ela opera especificamente nessa obra, com o objetivo de demonstrar que ela é não só uma técnica, mas o princípio criativo da narrativa. Após analisarmos a ficção tradutória que serve como moldura para a narração dos eventos da estória, complementamos a pesquisa com um estudo da utilização da linguagem na construção da fantasia mitológica de Tolkien. Na somatória dessas duas operações, procuramos mostrar como o processo de encadeamento de uma ficção dentro de outra ficção é fundamental para a criação de uma obra no limiar da fantasia e da realidade. / Throughout more than half a century since the publication of the first volume of J. R. R. Tolkien\'s The Lord of the Rings, in 1954, most discussions on the composition of Tolkien\'s fiction have concentrated on the fact that it is a fundamentally linguistic work; namely, the fact, sustained many times by Tolkien himself, that the narrative was created to give a world to the languages invented by the author. The starting point of this research is the observation of such linguistic composition from another perspective: the conception of the narrative as a fictitious translation. Setting about from a study of pseudotranslation inside Translation Studies, we examine how it operates specifically in this work, aiming at demonstrating that it is not merely a narrative technique, but the very creative principle of the narration. After the analysis of the translational fiction, which functions as a frame for the rendering of the events in the story, we present a further study on the use of language in the construction of Tolkien\'s mythological fantasy. Summing up these two operations, we aim at showing how the interlacing process of one fiction into another is fundamental for the creation of a work that dwells on the threshold of fantasy and reality.

Detta arbete undersöker riddarkaraktärer från två olika fantasy-rollspel, och ifall karaktärerna uppfattas som mer trovärdig inom sin genre om rustningen de bär är skapad utifrån ett historiskt perspektiv. En karaktär från varje spel, samt en historisk tolkning av karaktären användes till studien för att undersöka frågeställningen. Åtta informanter deltog i studien, som utfördes vid Högskolan i Skövde i form av semistrukturerade kvalitativa intervjuer. Varje informant fick se varje karaktär i taget, där de sedan fick svara på frågor i hur de uppfattade karaktären. Det visade sig att huruvida varje spelare uppfattar karaktärer som trovärdig eller inte beror helt på vilket sammanhang karaktären befinner sig i. Så länge karaktären och spelvärlden är enhetlig med den typen av fantasy som förmedlas kommer det att kännas trovärdigt inom spelets premisser och tematik. I och med att urvalet av informanter endast var studerande spelutvecklare är det svårt att säga ifall detta påstående även går att applicera på andra målgrupper. Därför behövs ytterligare undersökningar för att svara på frågan.

Popular fantasy is often populated by members of different species, such as dwarves, elves, and orcs. Much of the narrative structure of the genre comes from the interactions and conflicts between these species, with many of them serving as stand ins for real world culture. This has become the underlying fabric of fantasy fiction and has deep resonance in our contemporary pop culture. However, many of these depictions are founded on colonialist constructions of race and otherness, turning the genre into a medium for reproducing racist ideologies, often unconsciously. This thesis examines the origins and trajectory of this trend by looking at one of the most well- known examples of contemporary fantasy: Blizzard Entertainment’s World of Warcraft. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2018. / FAU Electronic Theses and Dissertations Collection