A presente tese se ocupa de uma vertente da literatura e do cinema contemporâneos, especialmente do escritor Julio Cortázar e do cineasta David Lynch, que: busca um novo tratamento para a realidade, não esconde os artifícios discursivos das obras, joga com estratégias ilusionistas e antiilusionistas, debate a própria ficção por meio de recursos metaficcionais, que se utiliza da metáfora do teatro como espaço diferenciado e como palco de ilusões e que trabalha com a questão do fantástico (ou absurdo). Grande parte do trabalho é dedicada ao estudo da obra do escritor argentino Julio Cortázar. Estudo esse que se constrói a partir das correspondências entre as produções ficcionais e teóricas de Cortázar, além de suas próprias entrevistas. Cortázar é nosso foco principal e dele, acreditamos, brotou um veio dos mais significativos na narrativa contemporânea, que estabelece novos modos de se lidar com a representação e com as referências. É devido a esses aspectos, apontados anteriormente, que estabelecemos relações com outros autores, inclusive do cinema, como é o caso de David Lynch / This thesis deals with one aspect of literature and contemporary cinema, especially the writer Julio Cortázar and filmmaker David Lynch, that: a search for new treatment really does not hide the artifice of the discursive works, plays with illusionist and anti-illusionist strategies, debate the fiction itself through metaficcionais resources, which uses the metaphor of the theater as a space variable and to stage illusions and working with the issue of the fantastic (or nonsense). Much of the work is devoted to the study of the work of Argentine writer Julio Cortázar. Study which is constructed from the correspondence between the fictional and theoretical productions of Cortázar, and his own interviews. Cortázar is our main focus and goals, we came a shaft of the most significant in contemporary novels, establishing new ways of dealing with the representation and referrals. It is because of these issues, previously mentioned, we have established relationships with other authors, including the cinema, as is the case of David Lynch

A presente tese se ocupa de uma vertente da literatura e do cinema contemporâneos, especialmente do escritor Julio Cortázar e do cineasta David Lynch, que: busca um novo tratamento para a realidade, não esconde os artifícios discursivos das obras, joga com estratégias ilusionistas e antiilusionistas, debate a própria ficção por meio de recursos metaficcionais, que se utiliza da metáfora do teatro como espaço diferenciado e como palco de ilusões e que trabalha com a questão do fantástico (ou absurdo). Grande parte do trabalho é dedicada ao estudo da obra do escritor argentino Julio Cortázar. Estudo esse que se constrói a partir das correspondências entre as produções ficcionais e teóricas de Cortázar, além de suas próprias entrevistas. Cortázar é nosso foco principal e dele, acreditamos, brotou um veio dos mais significativos na narrativa contemporânea, que estabelece novos modos de se lidar com a representação e com as referências. É devido a esses aspectos, apontados anteriormente, que estabelecemos relações com outros autores, inclusive do cinema, como é o caso de David Lynch / This thesis deals with one aspect of literature and contemporary cinema, especially the writer Julio Cortázar and filmmaker David Lynch, that: a search for new treatment really does not hide the artifice of the discursive works, plays with illusionist and anti-illusionist strategies, debate the fiction itself through metaficcionais resources, which uses the metaphor of the theater as a space variable and to stage illusions and working with the issue of the fantastic (or nonsense). Much of the work is devoted to the study of the work of Argentine writer Julio Cortázar. Study which is constructed from the correspondence between the fictional and theoretical productions of Cortázar, and his own interviews. Cortázar is our main focus and goals, we came a shaft of the most significant in contemporary novels, establishing new ways of dealing with the representation and referrals. It is because of these issues, previously mentioned, we have established relationships with other authors, including the cinema, as is the case of David Lynch

By the late nineteenth and early twenty century both the United States and Europe were experiencing massive shifts in social organization, social attitudes, and global influence due to the effects of the industrial revolution and imperialistic expansion. This birth of a public sphere and the mass entertainment industry was related to a blurring of the lines between traditional social classes. Mass entertainment's growth was directly related to the need to attract large audiences with entertainment that appealed in some way to a broad spectrum of the populace. At the same time, stage illusionists or magicians were one of the most recognizable stars of mass entertainment. In fact, they were in the midst of what has been termed the “Golden Age” of magic. By recognizing the popularity of their performances in the United States and Europe, this thesis will use them as a reflection of historical trends and popular attitudes in areas such as romanticism, secular/technical superiority, race, and gender. Historians, like Lawrence Levine, have produced a number of historical studies in regards to performance art, mass entertainment, and the historical implications represented in entertainment. Previous studies of magicians during the time period have been primarily biographical or technical in nature. It is only recently that historians have begun to combine the two in regards to performance magic. This thesis will combine previous research on the historical narrative of the time from authors such as Leon Fink, Sean Cashman, and Alan Trachtenburg in order to analyze how magical performances confirm conclusions reached by previous work on the historical context of these performances. The themes that are addressed within this work begin with the birth of mass entertainment, the need for an act with mass appeal to attract audiences, and how the mass entertainment displays a blurring of class lines. It will expand on work by Daniel T. Rogers in explaining how these trends were not exclusive to the United States or Europe and were actually a transatlantic phenomenon. It will use Simon During to explain how magicians, with roots in folk culture, became stars on the stage because of their appeal and their unique position in performance art. It will add to work by authors such as Lawrence Levine, showing how magicians needed to perform acts for mass consumption by working class, middle class, and upper class individuals. Finally, it will use magical performances as text to reflect social attitudes of the time period much in the way that authors such as Eric Green or Katherine Prince have done in their work.

The purpose of this thesis is to investigate whether young people with neuropsychiatric disabilities feel that they have a spiritual longing. The research questions are also about what young people experience that which their spiritual longing is expressed and what conditions and obstacles exist to meet their longing and needs. With the help of role theory, language theory, and the theory of the illusionist world, new knowledge about young people's spiritual longing is gained.   The essay uses a qualitative method and collects empirical data by having two (2) group interviews, the first was with key people who are active in the business. And the second interview was with some young people who are active in the same business. With the help of the key people, broader knowledge has been achieved. By interviewing young people, their spiritual longing has been identified.   The essay shows that young people have a spiritual longing and that it must be allowed to take place and be taken seriously. The young people and the key people show signs that a language and an expression of spiritual longing is something that needs to be explored and developed. The essay concludes that young people have a spiritual longing and there are good conditions for further development, but more knowledge is needed when dealing with young people and their spiritual longing. The Church of Sweden has come a long way on its journey to a community, but there are still unexplored paths to follow.