Orientador: Márcia Valéria Zamboni Gobbi / Banca: Lílian Lopondo / Banca: Sonia Helena de Oliveira Raymundo Piteri / Banca: Maria Lúcia Outeiro Fernandes / Banca: Odil José de Oliveira Filho / Resumo: O presente estudo tem como objetivo principal apresentar os desdobramentos do realismo mágico numa análise de A jangada de pedra (SARAMAGO, 2006) e em leituras de As intermitências da morte (SARAMAGO, 2005) e Ensaio sobre a cegueira (SARAMAGO, 2007), em que o procedimento literário em questão - tendo em conta a figura do narrador - adquire uma função dialógica, que se dá por meio de referências intertextuais com mitos, lendas e outras formas de narrativa da tradição literária ocidental. A análise literária baseia-se nas concepções de Gerárd Genette e outros autores sobre o narrador; para a concepção de realismo mágico, utilizamos essencialmente as reflexões de Irlemar Chiampi e Willian Spindler; no que diz respeito aos diálogos promovidos pela intertextualidade, recorremos aos conceitos propostos por Mikhail Bakhtin, Lauren Jenny e Lucien Dällembach. De posse destes e de outros estudos da teoria da narrativa, analisamos os textos literários, com a preocupação de identificar elementos que inserem os romances mencionados na perspectiva do realismo mágico, procedendo também à reflexão sobre o diálogo que o autor português realiza com a literatura hispano-americana por meio desse procedimento, procurando compreender o processo de construção dos romances pelo viés da narrativa mágica e suas contribuições para a literatura contemporânea / Abstract: This study aims to present the features of magical realism in an analysis of A jangada de pedra (SARAMAGO, 2006) and in readings of As intermitências da morte (SARAMAGO, 2005) and Ensaio sobre a cegueira (SARAMAGO, 2007), in which that narrative procedure - taking into account the narrator - acquires a dialogical function, that comes to the fore through intertextual references about myths, legends and other forms of the Western literary tradition. The literary analysis is based on the ideas of Gerárd Genette and other authors about the narrator; for the concept of magical realism, we use essentially the reflexions of Irlemar Chiampi and William Spindler; as for the dialogues induced by the intertextuality, we make reference to the concepts proposed by Mikhail Bakhtin, Lauren Jenny and Lucien Dällembach. Using those and other studies of narrative theory, we analyze Saramago‟s texts, bearing ever in mind the need to identify elements that insert those novels in the perspective of magical realism, proceeding also to reflect about the dialogue the Portuguese author creates with the Spanish-American literature through this procedure, aiming to understand the process of novel building through the lens of magical narrative and its contributions to contemporaneous literature / Doutor

In this collection of short stories, I abduct experiences from my own life and take them on an imaginative journey. I experiment with elements of structure and point of view, often incorporating the magical or surreal to amplify the narrator’s internal landscape. As demonstrated in the title story, “Almost Astronauts,” these stories all deal with a sudden and sometimes destructive shift in the narrator’s perspective.

The critical preface, "Learning to Break the Rules" discusses workshop rules as guidelines, as well as how and why I learned to break them. The creative portion of this thesis is made up of eight short stories: "The Many Incarnations of Blazer Chief," "Anna's Monsters," "The Pecan Tree's Daughter," "When the Seas Emptied," "The Umbrella Thief," "How to Forget," "Fracture," and "Stealing Dreams."

Magical realism comes from Franz Roh, a german art historian and critic, who first used the term to describe the Post-Expressionism movement in visual art. His seminal writings and definitions on Post-Expressionism, then known as magical realism, were translated into Spanish and made available to Latin America in the mid twentieth century. Authors like Jorge Luis Borges and Gabriel Garcia Marquez adopted Roh's writings and re-appropriated magical realism into literary art, and from there the new genre proliferated through the Latin American Boom and magical realism in literary fiction reached global recognition, inspiring authors across the world to take it up and continue the tradition into the present.

A multi-generational family saga that follows the story of how a one-winged American girl joins family with a four-armed Indian woman.

When the world is full of so much fear and worry, pain and tragedy, we need new ways to work through our own personal loss; we need new ways to heal. It is my opinion that stories are meant to heal, to make us feel and take us to a better place. Stories offer understanding, a good laugh, a way to move forward, they thrill us, make us cry, show us love, or scare us into momentary elation. My creative thesis will be a collection of short fiction that employs elements of literary realism and magical realism to explore the topic of loss and grief, as well as modes of alternative healing, demonstrating a progression of human awareness.

The intent of this thesis is to explore historical issues of Cuban restrictions on emigration through a magical realism lens. Drawing inspiration from Cuban-American writer Ana Menéndez and Columbian writer Gabriel García Márquez, this thesis focuses on family relationships, especially how grief shapes those relationships and the people in them. The thesis approaches these issues of family, grief, and Cuban emigration by weaving a more grounded central narrative with an original fairytale.

This thesis investigates the poetical interplays of the contemporary magical realist computer game Kentucky Route Zero. Through the notion of literariness coined by the Russian formalists, the work centers on the ways the game operates with the established conventions of magical realism. The theory of intermediality, with its concepts of media modalities, media representation and transmediation, introduced by Lars Elleström, foregrounds the underlying connectedness of Kentucky Route Zero with older media – early instances of computer games – and with the discussed literary style. Text-world theory, outlined by Alison Gibbons and Sarah Whiteley, allows locating and analyzing the idiosyncratic presence of magical realism in the game. As the analysis demonstrates, the realization of magical realism in the game performs a subversive role by destabilizing the aspects of linearity and progression, important for games of the same genre. This, in turn, composes an overarching theme of Kentucky Route Zero – nostalgia; the theme that runs both through the stylistic features of the game and through its content.

Snapdragon and Other Short Stories, is an exploration of how characters interact with supernatural elements. These stories give the perception of the characters' encounters with supernatural elements, their reactions, and the results of their acceptance or denial of their response to the supernatural. These stories are not genre fantasy pieces that include dragons, wizards, and the like. The supernatural is presented along the lines of magical realism. Magical realism differs from fantasy in that elements of the miraculous can appear along side of reality while seeming natural and unforced. In his 1949 preface to The Kingdom of This World Alejo Carpentier first defined magical realism as "the practice of melding everyday realism indistinguishably with elements of magic and myth" (Taylor 2). In Dead Zone a young woman who adheres strictly to what can be proven scientifically and factually, is confronted with the ghosts of the Interstate 4 Dead Zone. In Dead Girl Pearls a high school girl is faced with the disappearance of her best friend, and what her dream reveals to her about the disappearance and her own friendship. An old woman in The Color Stealer tells the story of a young man who seeks to have his color vision restored to him for the sake of love, and the price its restoration carries. In China Doll a woman is taken in by a man as his possession and shows the importance and value of belonging to one's self. Snapdragon is the story of a young woman who realizes, upon recognizing her ability to overhear people's thoughts, that changing herself to suit others is not giving her the life she thought she wanted.

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