La restauration sarde de 1815 a créé une littérature qui, d'abord dévouée à la dynastie savoisienne, cherchait à en rétablir le caractère sacré. Cela a tendu à forger une mythologie, dont la question est de savoir si elle est de pure convention, ou si elle a un fondement plus profond dans le sentiment individuel.Les conditions objectives de la vie culturelle de la Savoie d'alors manifestent une constante recherche d'identité dans le passé féodal. Contrairement à ce qui s'est produit en France, on a, un temps, renoncé complètement à l'héritage de la Révolution, pour revenir à l'ancien état d'esprit. L'Académie de Savoie fut créée dans cette dynamique et, en instaurant un prix de poésie, elle participa à la restauration du merveilleux médiéval. L'éducation était, de son côté, rendue à des évêques soucieux d'instruire le peuple dans un sens religieux. Cependant, malgré le tempérament romantique de Charles-Albert, l'édifice va se fissurer, sous les poussées de l'évolution sociale.La Savoie est restée une région profondément catholique jusqu'au début des années 1900 (bénéficiant, un temps, des dispositions issues du traité d'Annexion pour conserver à son clergé ses prérogatives propres) ; son goût pour le merveilleux se déplaçant vers les traditions locales, elle a longtemps entretenu un imaginaire spécifique et chatoyant. Elle puisait, à cet égard, dans une tradition littéraire déjà riche avant 1792, dominée par l'œuvre de François de Sales, mais marquée également par les chroniques dynastiques et la poésie de cour ou plus généralement patriotique, apparue dès la Renaissance. Mêlant l'art baroque et le culte des princes et des saints locaux, elle fait apparaître l'ébauche d'une mythologie dès les XVIe-XVIIe siècles. L'influence de Rousseau, également, se fera sentir sur les nostalgiques d'une Savoie idéalisée, pensée plus proche de la divinité que ne le sont les villes des plaines françaises.Le paysage est transfiguré par la poésie romantique naissante et l'individu se regarde comme un résumé de l'histoire religieuse de l'humanité. Le héros en devient, par contrecoup, plus imprégné d'humanité, sans perdre pour autant son lien avec la divinité. Les créatures surnaturelles du merveilleux païen ou chrétien, populaire ou érudit, sont également irriguées de vie propre, se reliant aux montagnes, aux lacs, aux princes, au peuple, aux réalités ordinaires vécues par les auteurs. Loin d'être laissés dans des sphères abstraites, toutes de convention, elles s'insèrent dans la vie locale et semblent être l'expression d'un génie national conçu comme une vie secrète de la terre savoisienne, à laquelle il manque peu de chose pour être une âme pensante à part entière. De fait, les phénomènes naturels eux-mêmes sont regardés comme habités par la sagesse divine, et considérés dans leur harmonie globale ; on établit l'existence d'une sphère intermédiaire, située entre le monde physique et le monde divin, dans laquelle la Providence peut précisément se manifester et s'exercer. Une forme de science romantique, sur le modèle allemand, se développe donc. Mieux encore, on tente de sonder les desseins de la divinité dans l'histoire présente, pour l'humanité prise collectivement, pour l'Europe, mais aussi pour l'individu, dont les énigmes propres sont effleurées. Ainsi s'est créée une vraie mythologie, vivante et mouvante, en Savoie.Face à la richesse de cette inspiration qui n'est convenue qu'en apparence, la question se pose de savoir pourquoi les œuvres en sont aujourd'hui négligées par la critique. Des pistes sont proposées, parmi lesquelles l'inadéquation de la tradition savoyarde, marquée par l'Italie et l'Allemagne, aux catégories de l'Université française. / The Sardinian restoration, in 1815, aroused a literature that was first devoted to the Savoyan dynasty and which tried to restore its sacredness. As a matter of fact, this situation moved towards the emergence of a mythology whose nature may be questioned. Was this mythology a pure convention or was it based on deeper soul foundations ?The objective conditions of the Savoyan cultural life at the time are known to have shown a constant research for identity in the feudal past. In Savoy, contrary to what happened in France, at first the legacy of the French Revolution was rejected in order to return to the old state of mind. The Academy of Savoy was created in this impetus of cultural restoration, opening widely to a poetry, which would also revive the marvelous medieval. Education, on the other hand, was rendered entirely to the bishops who were anxious to instruct the people in a religious sense. However, despite the romantic personality of Charles Albert, this trend finally collapsed under the pressure of social evolution. Nevertheless, Savoy remained a deeply Catholic region in a remarkable way until the beginning of the 1900s, taking advantage of the arrangements of the Annexation Treaty to preserve its own prerogatives. As its taste for the marvelous focused on local traditions, for a long time Savoy succeeded in keeping ts specificity and rich, shimmering imaginations.In this field, it obtained its inspiration on a literary tradition which was already rich before 1792 and dominated by the work of Francis de Sales. It was also marked by dynastic chronicles and court, or even patriotic, poetry, which appeared in the Renaissance period. Mixing baroque art with the worship of princes and local saints, it brought out the outline of a new mythology from the sixteenth to seventeenth century. Furthermore, Rousseau influenced those who felt nostalgia for an idealized Savoy, perceived as closer to deity than the great cities of the French plains.The landscape was transfigured by a bourgeoning romantic poetry and individuals saw themselves as a summary of the religious history of humanity. As a consequence, the hero became closer to humanity, without losing his links with the deity. The supernatural creatures of the marvelous, pagan or Christian, popular or learned, were also provided with life, connecting themselves with mountains, lakes, princes, people and with all other ordinary realities experienced by the authors. Instead of remaining in abstract and conventional worlds , these creatures inregrated the local life, becoming the expression of a national genius conceived as a secret soul of the Savoyan land, which could even have a thought by itself. Hereafter natural phenomena were regarded as inhabited by divine wisdom, and considered in their overall harmony allowing the existence of an intermediate world situated between the physical world and the divine world and where Providence could communicate and act by itself. A sort of romantic science, similar to the German one, started to develop trying ti test the aims of divinity in the present not only for humanity, as a group, in Europe, but also for the individual, whose own enigmas were touched. This is how a real mythology, alive and moving, emerged in Savoy.Faced with the richness of this inspiration, we may wonder why today these works are disregarded by critics. Among the answers that could explain the situation we may point out the inadequacy of the Savoyan tradition, marked by Italy and Germany, to the standards of French University.

John Crowley’s Little, Big is an innovative piece of fantasy writing. This thesis aims to prove that Crowley’s innovation lays the groundwork for new avenues in which fantastic space can be manipulated and constructed. Deep study in Euclidean geometry, modern physics, and occult astronomy reveal a new fantastic space, and a new concept for the threshold of Faerie. Crowley’s fantastic space is constructed as infundibular; with layers of concentricities that funnels his characters to their final destination of self-actualization and the heaven-like realm of Faerie. Crowley amalgamates the boundaries of Faerie and the primary world in an unusual fashion that is noted as Coalesced Fantasy: a fantasy wherein there is ultimately no dichotomy between Faerie and the primary world, as there is no division between the fantastic and science. This deliberate aim to blend boundaries is to establish an All in One theory. Faerie and the primary world oppose each other as antithetical conical space, and Crowley’s Edgewood house serves as the threshold to allow man to access the divinity and vastness of Faerie. Faerie (Divinity/macrocosm) and man (microcosm) exist in and amongst one another; everything is connected and every path intersects, spinning on a hyperbolic plane in this new, quantifiable space. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-05-02T11:57:46Z No. of bitstreams: 1 JEOVANA JOSÉ DE SOUZA.pdf: 1486541 bytes, checksum: 014ec5c4c34b35ab7a35960e1facf30e (MD5) / Made available in DSpace on 2017-05-02T11:57:46Z (GMT). No. of bitstreams: 1 JEOVANA JOSÉ DE SOUZA.pdf: 1486541 bytes, checksum: 014ec5c4c34b35ab7a35960e1facf30e (MD5) Previous issue date: 2017-03-14 / The purpose of this project is to present the inventive procedures in the work of the argentine writer Julio Cortázar, and, has as cut the reading and analysis of some tales, that earned us as paradigms to the achievement of this project. Such procedures involve not only the proper specifications of the tale’s structure, but, the possibilities of relations between the verbal speech and other ways of semiotics interactions, in the case of this project, the painting, the movies and photography. First the text holds in the verbal speech, by the analysis and reflection of three tales, through the style traces that compose them, are they: “Casa tomada”, “Carta a uma senhoria em Pais” e “Circe”. In a second moment, we will use the tale “Continuidade dos parques” for better disposing to the similarity relations with the paintings “A condição humana” e “o Espelho falso”, represented in the project by the plastic work of René Magritte, and, finally, composing the third chapter, the project realizes an audacious movement, imposed by the tale sui generis, “As Babas do Diabo”, recreating in the movies by Michelangelo Antonioni in the movie “Blow-up”. Move among this two works, the question of real and imaginary, represented by photographic language. This movement of distinct systems, coming of the remarkable universe of invenção of the argentine writer, excites, during the project, many theoretical questions such as: realism notions and its strands, and, concerned questions to artist’s creations and its expressive nuances. / Esse trabalho tem o propósito de apresentar os procedimentos inventivos na obra do escritor argentino Julio Cortázar, e, tem como recorte a leitura e a análise de alguns contos, que nos valeram como paradigmas à realização desse estudo. Tais procedimentos envolvem não apenas as especificidades próprias da estrutura do conto, mas, as possibilidades de relações entre o discurso verbal e outras formas de interações semióticas, no caso desse trabalho, a pintura, o cinema e a fotografia. Primeiramente o texto se detém no discurso verbal, por meio da análise e reflexão de três contos, mediante os traços de estilo que os compõem, são eles: “Casa tomada”, “Carta a uma senhorita em Paris” e “Circe”. Num segundo momento, utilizaremos o conto "Continuidade dos parques” por melhor se dispor às relações de semelhanças com as pinturas “A condição humana” e “O Espelho falso”, representada no trabalho pela obra plástica de René Magritte, e, finalmente, compondo o terceiro capítulo, o trabalho realiza um movimento mais ousado, imposto pelo conto sui generis, “As Babas do Diabo”, recriado no cinema por Michelangelo Antonioni no filme “Blow-Up”. Move-se entre essas duas obras, a questão do real e o imaginário, representado pela linguagem fotográfica. Esse movimento de sistemas distintos, advindo do notável universo de invenção do escritor argentino, suscita, ao longo do trabalho, várias questões teóricas tais como: noções de realismo e suas vertentes, e, questões concernentes à criação artistas e suas nuanças expressivas.

O presente trabalho consiste na tradução anotada da Terceira Parte das Lições do Semestre de Inverno de 1904-1905 intitulada Fantasia e Consciência de Imagem, acompanhada de uma introdução. Nesta apresentamos inicialmente a teoria da intencionalidade desenvolvida nas Investigações Lógicas, cujos elementos são fundamentais para a compreensão da análise da estrutura intencional das imagens físicas e da fantasia empreendida nas Lições. Num segundo momento, buscamos retraçar o percurso analítico feito por Husserl nas Lições, o qual conduz ao reconhecimento de que as fantasias, consideradas inicialmente imagens, possuem uma estrutura intencional semelhante à das percepções. Esta descoberta o levará ao questionamento e à crítica do esquema apreensão-conteúdo de apreensão, até então válido para descrever os diversos modos de consciência intencional, e ao esboço de uma nova teoria para explicitar a diferença entre o caráter atual dos atos presentantes e o caráter inatual dos atos presentificantes, como a memória, a fantasia e a expectativa. / This dissertation comprises the annotated translation of the Third Part of the Lectures from the Winter Semester 1904/1905, entitled Fantasy and Image Consciousness, and an introduction. In the introduction, we initially present the theory of intentionality developed in the Logical Investigations, whose elements are fundamental to understand the analysis of the intentional structure of physical and fantasy images carried out in the Lectures. Secondly, we seek to retrace the analytical path taken by Husserl in the Lectures, which leads to the recognition that fantasies, initially considered as images, have an intentional structure similar to that of perceptions. This discovery will lead him to criticize the scheme apprehension-content of apprehension, hitherto valid for describing the various modes of intentional consciousness, and to outline a new interpretation to explain the difference between the actual character of the acts of presentation and the inactual character\" of the acts of representation, such as memory, fantasy and expectation.

Orientador: Álvaro Luiz Hattnher / Banca: Karin Volobuef / Banca: Aparecido Donizete Rossi / Banca: Fernanda Aquino Sylvestre / Banca: Renata Kabke Pinheiro / Resumo: Este trabalho propõe uma revisão e uma delimitação do gênero fantasia que se dará fundamentalmente por meio do diálogo com as noções de "contos de fadas" e de "fantasia" tal como formuladas por J. R. R. Tolkien (2013) em seu ensaio "Sobre contos de fadas". Em termos de revisão, procuraremos o cotejo entre a teoria do autor de O senhor dos anéis e críticos tais como Manlove (1982, 1990), Laetz e Johnston (2008), Stableford (1990), Attebery (1980, 1990, 1992). No que tange à delimitação, interessar-nos-á particularmente o contraponto com a concepção do gênero maravilhoso proposta por Todorov (2007). Tal postura contribuirá para a afirmação da fantasia como um gênero mais bem delineado e coerente, contribuindo, também, para a coesão do próprio maravilhoso, gênero demasiado amplo que congrega obras muito heterogêneas. A fantasia surgirá, desse modo, como um dos limites do maravilhoso, justamente quando os elementos "sobrenaturais" da narrativa possuem o que Tolkien chama de "consistência interna de realidade", constituindo um "Mundo Secundário". Portanto, enquanto no maravilhoso encontra-se uma integração (e harmonização) entre o "natural" e o "sobrenatural", a fantasia implicará uma disjunção entre duas realidades, dois Mundos. Segundo essa concepção, propomos uma leitura de A história sem fim, de Michael Ende, focada, por um lado, nos procedimentos narrativos que favorecem a construção da fantasia, e, por outro, no aspecto metalinguístico que ocupa uma posição central no romance do escritor alemão. A abordagem da obra de Ende, dessa forma, deverá simultaneamente permitir o contato entre a teoria sobre a fantasia e a obra literária e favorecer conexões com outras narrativas (como As crônicas de Nárnia, O senhor dos anéis, O silmarillion, Mestre Gil de Ham e a série Harry Potter) que dela se aproximam, contribuindo, consequentemente, para uma melhor delimitação do... / Abstract: This work proposes a revision and delimitation of the fantasy genre that will fundamentally occur through the dialogue with the notions of "fairy tales" and "fantasy" as formulated by J. R. R. Tolkien (2013) in his essay "On Fairy Stories". In terms of revision, it will be done a comparison between The Lord of the Rings author's theory and the ones by critics such as Manlove (1982, 1990), Laetz and Johnston (2008), Stableford (1990), Attebery (1980, 1990, 1992). Regarding delimitation, it will interest us, particularly, the counterpoint with the marvelous as thought by Todorov (2007). This posture will contribute to fantasy's affirmation as a better lineate and coherent genre, contributing also to the cohesion of the marvelous itself, since it is a broad genre that brings together several heterogeneous works. Thus fantasy will appear as one of marvelous' limits, precisely when the narrative's "supernatural" elements have what Tolkien calls "internal consistency of reality", constituting a "Secondary World". Therefore, while in the marvelous it is found an integration (and harmonization) between "natural" and "supernatural," fantasy imply a disjunction between two realities, two worlds. According to this conception, this work proposes a reading of Micahel Ende's The Neverending Story focusing, on the one hand, in the narrative procedures that favor the fantasy construction, and, on the other hand, in the metalinguistic aspect that occupies a central position in the German writer's novel. Therefore, the approach of Ende's work must simultaneously allow the contact between fantasy's theory and literary work as well as foment connections with other narratives with similar procedures (such as The Chronicles of Narnia, The Lord of the Rings, The Silmarillion, Farmer Giles of Ham and the Harry Potter series), consequently contributing to a better definition of the fantasy genre itself / Doutor

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-02-16T12:33:03Z No. of bitstreams: 1 Silvia Regina Conti.pdf: 763287 bytes, checksum: 2efd05f6f379e59eca4a2c20202b1139 (MD5) / Made available in DSpace on 2017-02-16T12:33:03Z (GMT). No. of bitstreams: 1 Silvia Regina Conti.pdf: 763287 bytes, checksum: 2efd05f6f379e59eca4a2c20202b1139 (MD5) Previous issue date: 2017-02-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The active imagination was the technique that Jung used the most, in the access of his unconscious contents and the guided imagination appeared at the same time, based on the jungians constructs. However, due to the shortage in recent publications about it this research became necessary, aiming at the research about authors and works that describe techniques, methods and ways of working with active imagination or guided imagination in the jungian psychotherapy. The systematic review method was chosen, and two studies were realized for the active imagination and guided imagination: one of them aiming at the classic literature that helped building the method and techniques used nowadays; the other one aims at the recent literature, present in publications that are more recent. The classic literature study started with Jung’s complete works, up to the moment when the publications became rare. The recent literature study was based on the main academic database, considering the last ten years. For the active imagination, we found 15 classic authors and 23 publications, 10 recent authors and 11 publications. The classic literature focuses on descriptions, methodology and case studies that use the techniques. The recent literature presents some recurring topics: theory, analysis of artistic work, countertransference, mourning and supervision. For the guided imagination, 7 classic authors were found and 8 works. The classic literature begins in the clinical environment, considering just two works. We concluded that there is shortage in publications about the techniques involving imagination in psychotherapy; maybe indicating that they are not being used in clinical practice or that there is the need for more actual research that guides its application / A imaginação ativa foi a técnica mais usada por Jung no acesso aos seus conteúdos inconscientes e a imaginação dirigida surgiu na mesma época, desenvolvida com base nos constructos junguianos. Porém, dada a escassez de publicações recentes a respeito, fez-se necessária esta pesquisa, que teve como objetivo a busca por autores e produções que descrevessem técnicas, métodos ou maneiras de trabalho com imaginação ativa ou imaginação dirigida em psicoterapia junguiana. Foi escolhido o método da revisão sistemática e dois levantamentos foram realizados, para imaginação ativa e imaginação dirigida: um voltado para a literatura clássica, que ajudou a construir metodologia e técnica existentes hoje; e outro voltado para a literatura recente, representativa das publicações mais atuais. O levantamento da literatura clássica iniciou-se com as obras completas de Jung, seguindo ao longo do tempo até que as publicações se tornassem mais escassas. O levantamento da literatura recente foi realizado nas principais bases de busca acadêmica considerando os últimos dez anos. Para a imaginação ativa foram encontrados 15 autores clássicos e 23 publicações; 10 autores recentes e 11 publicações. A literatura clássica é concentrada nas descrições, metodologias e estudos de caso da técnica. A literatura recente apresenta alguns temas recorrentes: teoria, análise de obras artísticas, contratransferência, luto e supervisão. Para imaginação dirigida foram encontrados 7 autores clássicos e 8 obras. A literatura clássica inicia-se no ambiente clínico, mas logo se expande para o hospitalar e a psicossomática, que comprovaram cientificamente sua eficácia. A literatura recente foge ao contexto clínico, sendo considerados apenas dois estudos. Conclui-se que há escassas publicações a respeito das técnicas de imaginação em psicoterapia, podendo ser indicativo de que elas não estão sendo utilizadas em prática clínica ou que precisem de pesquisas atuais que orientem sua aplicação

Fantasy literature has a rather strong position in countries with an English-speaking population but not in Sweden. The supply of fantasy in Sweden is much smaller than that in for example United Kingdom. Does this affect the Swedish readers of this genre? If it does, how does it affect them? The aim of this thesis is to find out how a few fantasy-reading students at the Swedish School of Library and Information Science get hold of the fiction they want to read and who and/or what influence their decision of which book to read. In order to avoid confusion we are also going to try to find out how they define fantasy since it varies from person to person what is included in the genre. To get a result we interviewed eight students using the method of qualitative interviews. Then we analyzed the result using George Kingsley Zipf’s principle of least effort, the theory of the economic man and Patrick Wilson’s cognitive authority. The result show that almost all of the students have the same definition of fantasy and uses different ways to get hold of fantasy compared to how they get hold of other kinds of fiction. It also shows that most of them have different influences when choosing a book in the genre of fantasy and when choosing a book from a different genre. / Uppsatsnivå: D

This essay aims to examine how science fiction literature is supported and made available for readers at four public libraries. Each library has its own opinion of what a public library’s role in society is, and that affects how literature acquisition and media exposure is done at that particular library. To explore this, the author uses a modified version of Elzinga and Andersson’s theory of traditionalism, pragmatism and emancipationism. The research questions are: 1. What factors lie behind acquisition of science fiction literature? 2. How do the public libraries in question make science fiction literature available to its users? 3. Many public libraries use specific tools when classifying literature. How much are they used at the libraries in question? 4. What do the libraries in question do in order to promote science fiction literature? The methods used are interviews, text studies and observations. The author finds that the libraries are mostly driven by a pragmatic view of the role of the library, buying literature requested by the library users and relying on popularity and trends when displaying media. There is hardly any evidence of emancipationism to be found, but there are some traditionalist influences. Due to lack of popularity, science fiction books are not acquired as often as other, more popular, fiction. Science fiction and fantasy are often put on specific shelves, apart from other fiction. It is also common that those genres are placed in the part of the library where literature for young people is put. One of the libraries promotes these genres in a specific section of their web page, and another one have previously had exhibitions on science fiction. Apart from that, science fiction is rarely promoted as a genre, but is treated as a part of other literature when being promoted. All libraries use specific tools, such as BURK-sök, for classifying literature. They do, however, make their own classifications occasionally.

This dissertation explores how Victorian fantastic fiction reimagined an experience central to its era: the full range of affective responses to religious pluralization, from devotion to disillusionment. Indeed, "Extravagant Practices" argues that authors of the fantastic gave voice to late Victorian Britain’s dawning awareness of creeds outside the Judeo-Christian tradition. Toward the close of the nineteenth century, three interrelated developments fueled this awareness: unprecedented proximity to Asian traditions, made possible by imperial circuits of knowledge; comparativist accounts of world religions, which stressed their hidden unity; and the array of esoteric spiritual movements, such as Theosophy and occultism, in which “Christian Britain” took increasing interest. These developments exerted powerful but conflicting pressures on believers and freethinkers alike. In yoking supernatural events to naturalistic detail, authors such as Rider Haggard, Rudyard Kipling and Bram Stoker found a way to capture the sometimes exhilarating, often disorienting experience of exploring religious difference at the fin de siecle. Far from offering mere escapes from disenchanted modernity, then, the fantastic fictions surveyed in this dissertation illumine the complex religious lives of the late Victorians.

Este ensaio se dedica à tarefa sempre insuficiente de descrever e analisar a criação literária a partir de algumas circunstâncias específicas que podem amparar o ato de escrever. De um lado, a circunstância do escritor que conquista uma disciplina e se deixa absorver pelo devaneio da criação. Do outro, a do autor viajante, que se dissipa nas condições de errância e redescobrimento da própria língua, buscando abolir o destino e criar um estado de consciência estimulante para a própria literatura. Na tentativa de compreender o fenômeno nestes dois contextos, recorremos a dois conceitos da psicanálise freudiana: a fantasia dos sonhos diurnos e o inquietante familiar nas condições de exílio e de viagem / This essay focuses on the always-insufficient task of describing and analyzing literary creation from some specific circumstances that support the act of writing. On one hand, the situation of the writer who conquers a discipline and is absorbed by the reverie of creation. On the other, that of the travelling author, who dissipates himself in the conditions of wanderlust and rediscovery of his own language, seeking to abolish destiny and to create a stimulating state of consciousness for literature itself. In an attempt to understand the phenomenon in these two contexts, we use two concepts of Freudian psychoanalysis: the \"fantasy\" of daydreams and the \"uncanny\" in the conditions of exile and travel