Academic literature on the topic 'Pullman, philip , 1946-'

Indhold: Bøger og bibliotek; Ny bog om Småtrykssamlingen i Det Kongelige Bibliotek; H.O. Lange-Prisen for stor H.C. Ørsted-biografi; H.C. Andersens livsrejse med vennerne; Det Kongelige Bibliotek på nettet; Danske bøger op til 1600 nu på nettet; Luftfoto over Danmark 1944; Udstillinger; Foredrag; International forfatterscene; Bret Easton Ellis; Philip Pullman; A.S. Byatt; Fay Weldon; Herta Müller; Kulturnat i Den Sorte Diaman; Slaget ved Als og Dybbøl; Forfatteren Tom Buk-Swienty; Musik; Erhvervelser; Kongeligt biblioteksbord hos Royal Copenhagen; Publikationer

While the theatrical works of Jules Verne have gathered some critical attention over recent years, the text of the Voyage à travers l’Impossible has remained an obscure space in the author’s oeuvre or deemed unworthy by Vernian scholars. Jules Verne has predominantly been seen as a writer of adventure novels whereas the fantastic elements in his work have commonly been overlooked by critics. This thesis examines the ways in which the Voyage à travers l’Impossible amalgamates ideas that are representative not only of the Vernian work in general but also of the pre-freudian spirit of the nineteenth century. By viewing the play within the context of theatrical fantasy, this thesis opens up new paths of analysis in the genre. Part of this endeavour consists of a comparison with a seemingly disparate text: Philip Pullman’s His Dark Materials, which, similarly to Verne’s play, facilitates an exploration of the function of fantasy both in literary and theatrical terms as it was first adapted for the stage in 2003. During the course of this thesis I offer an analysis of the trilogy and proceed to cover new ground by comparing this to an analysis of the adapted text. For the purpose of my examination I establish a connection between the two texts by regarding the Voyage à travers l’Impossible and His Dark Materials as dominated by the literary motif of initiation according to the model introduced by Vernian specialist Simone Vierne. I subsequently interweave an array of theories on fantasy, psychoanalysis, topography and the body as part of my analysis of the literary fantastic. Texts by Sigmund Freud, Jacques Lacan, Tzvetan Todorov, Irène Bessière, Mircea Eliade, Judith Butler and Vernian critics such as William Butcher are amply used in my readings of Verne and Pullman before I proceed to examine their relevance to the theatrical experience of the fantastic. An analysis of the adaptation of His Dark Materials offers the opportunity for fresh critical insights by creating new perspectives on the function of fantasy in its fluctuation from page to stage and vice-versa. It is through these different perspectives that I revisit old questions and introduce new ones such as the difference between fantasy and the fantastic, their regressive or progressive character, the modification of ii fantastic elements on the passage from the literary to the theatrical and from pre-modernism to post-modernism. Basing my analysis on stories of initiation, I suggest that fantasy evades exclusive association with either progress or regress and only remains faithful to the notions of passage and blurring of frontiers.

La littérature pour la jeunesse connaît un essor extraordinaire depuis une vingtaine d'années, notamment grâce à des œuvres transcendant les catégories littéraires. Des récits-fleuves battent des records de vente, tels "His Dark Materials" de Philip Pullman (1995-2000). Cet engouement pour la lecture chez les enfants est un phénomène qui date de la naissance de la littérature pour la jeunesse, en 1865 avec la publication d'"Alice au pays des merveilles" de Lewis Carroll. En 1937, "Le hobbit" de J. R. R. Tolkien créa un nouveau genre, la "Fantasy", et rencontra un succès international. Dans une période où l'on s'interroge de plus en plus sur les compétences et l'appétit de lecture des enfants, la destinée de ces récits paraît singulière. Comment ont-ils, chacun à leur époque, réussi à attirer un jeune public aussi nombreux ? Quels sont les procédés narratologiques et esthétiques mis en place par les auteurs ? Quelles compétences leur lecteur peu expérimenté doit-il mettre en œuvre pour parvenir à faire du sens en cours de lecture ? Comment ces textes sucitent-ils et mettent-ils en œuvre ces compétences ? Enfin, après avoir été didactique pendant des siècles, la littérature pour la jeunesse est devenue pédagogique, mais elle est restée, hier comme aujourd'hui, un vecteur privilégié de valeurs pas nécessairement doxiques. Les positions axiologiques présentes dans chaque récit révèlent l'image qu'une société se fait des enfants et la place qu'elle leur accorde. A travers la philosophie éducative en filigrane derrière la présence de l'enfant personnage et dans la description en négatif que nous offre chaque récit de l'enfant lecteur se définit le portrait d'une société à une époque donnée
For about twenty years, children's literature has enjoyed an extraordinary boom, particularly thanks to crossover books which bridge the gap between adults and teenagers. Some sagas have become best-sellers, like "His Dark Materials" by Philip Pullman (1995-2000). Since the birth of children's literature in 1865 with the publication of "Alice in Wonderland" by Lewis Carroll, young readers have been infatuated with some narratives. In 1937, Tolkien created a new genre, Fantasy, with "The Hobbit", which became successful worlwide. At a time when we are questioning children's reading skills - as well as their desire to read - the destiny of these novels seems quite remarkable. How have they managed to appeal to so many young readers for years ? What are the narratological and aesthetic devices used by their authors ? What skills are inexperienced readers supposed to use in order to understand the meaning of a text while reading it ? How do such texts bring out and implement these reading skills ? Moreover, after being didactic for centuries, children's literature has become pedagogical, but has always remained an ideal way to transmit values which are not necessarily doxic. The axiological positions in each narrative reveal the idea a society gets of its children and the importance it gives them. Through the educational philosophy embodied in the presence of child characters and the indirect description of the child reader given by each text, we can delineate the portrait of a society at a given time