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Relevant bibliographies by topics / Supernatural in literature

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Academic literature on the topic 'Supernatural in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Supernatural in literature"

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Harjito, Harjito. "Supernatural Women Modernity in Indonesian Literature." Asian Social Science 13, no. 10 (September 27, 2017): 65. http://dx.doi.org/10.5539/ass.v13n10p65.

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In Indonesia, people who have supernatural powers are not strange today and the past and in literary texts around daily life. They are called human supernatural man. In Javaarea, parts of Indonesia, the spirit and the magics that are spiritual are more superior and respectful than body and physicality. Those are indicated by the presence many pilgrims visiting the tomb. Supernatural man comes to protect their families, small communities, and environment. As a patron family, women who have supernatural power keep the family unity. As a protector of the people that is in lower social classes, she beats humans with cruel, angry, wicked, conceited, and arrogant personality and turned it into a noble human character as a humble, quiet, patient, forgiving, and polite. In addition, supernatural women are presented as a form of resistance to modernity and economic development in a various things that are physical, ignoring the religious-spiritual; get rid of lower social class, andenvironmental destrcution.

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Łuksza, Agata. "Boy Melodrama: Genre Negotiations and Gender-Bending in the Supernatural Series." Text Matters, no. 6 (November 23, 2016): 177–94. http://dx.doi.org/10.1515/texmat-2016-0011.

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For years Supernatural (CW, 2005–) has gained the status of a cult series as well as one of the most passionate and devoted fandoms that has ever emerged. Even though the main concept of the series indicates that Supernatural should appeal predominantly to young male viewers, in fact, the fandom is dominated by young women who are the target audience of the CW network. My research is couched in fan studies and audience studies methodological perspectives as it is impossible to understand the phenomenon of Supernatural without referring to its fandom and fan practices. However, it focuses on the series’ structure in order to explain how this structure enables Supernatural’s viewers to challenge and revise prevailing gender roles. Supernatural combines elements of divergent TV genres, traditionally associated with either male or female audiences. It opens up to gender hybridity through genre hybridity: by interweaving melodrama with horror and other “masculine” genres the show provides a fascinating example of Gothic television which questions any simplistic gender identifications.

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Smajic, S. "Supernatural Realism." Novel: A Forum on Fiction 42, no. 1 (March 1, 2009): 1–22. http://dx.doi.org/10.1215/00295132-2008-001.

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Riddle, Amy. "Nature and the supernatural in African literature." African Identities 18, no. 1-2 (April 2, 2020): 80–94. http://dx.doi.org/10.1080/14725843.2020.1773238.

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Engel, Amir. "Literature as Magic." Journal of Avant-Garde Studies 3, no. 1-2 (December 18, 2023): 122–41. http://dx.doi.org/10.1163/25896377-00301003.

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Abstract Magic and literature are mostly understood as mutually exclusive domains. Magic is taken to be part of religious life, an aspect of the human desire to overcome the order of things and strive for the supernatural. Literature, on the other hand, is commonly described as an artistic endeavor and thus associated with secular art and culture. For this reason, it is possible to read about magic in literature, but it is very rare to read literature as magic. This article aims to reverse that trend. It entails a contextual and critical discussion of Carl Einstein’s 1912 novel Bebuquin oder die Dilettanten des Wunders, suggesting that this novel is best understood as magic, that is, as a sincere and radical attempt to reach the supernatural and transform the present. The article also suggests that the avant-garde is precisely the context for a renewed appreciation of literature and religion.

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Evans, Arthur B. "Dorothy Scarborough. Supernatural Science." Science Fiction Studies 48, no. 2 (2021): 193–217. http://dx.doi.org/10.1353/sfs.2021.0043.

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Sommer, Joseph, Julien Musolino, and Pernille Hemmer. "The Memorability of Supernatural Concepts: Some Puzzles and New Theoretical Directions." Journal of Cognition and Culture 22, no. 1-2 (March 11, 2022): 90–135. http://dx.doi.org/10.1163/15685373-12340126.

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Abstract We evaluate the literature on the memorability of supernatural concepts (e.g., gods, ghosts, souls), itself part of a growing body of work in the emerging cognitive science of religion (Barrett, 2007). Specifically, we focus on Boyer’s (1994a, 2000, 2001) Minimally Counterintuitive (MCI) hypothesis according to which supernatural concepts tap a cognitively privileged memory-enhancing mechanism linked to violations of default intuitive inferences. Our assessment reveals that the literature on the MCI hypothesis is mired in empirical contradictions and methodological shortcomings which makes it difficult to assess the validity of competing theoretical models, including the MCI hypothesis itself. In light of this fractured picture, we make the case for an account of the MCI effect which dispenses with a memory mechanism specific to supernatural concepts. This account has several desirable properties. First, it preserves Boyer’s pioneering insights regarding the ontological status of supernatural concepts and the cognitive mechanisms that give rise to their cultural prevalence. Second, our account is based on independently-motivated mechanisms that are well-established in the literature. Third, this account offers a principled resolution of the tension in the extant literature between studies that do replicate the MCI effect and those that seemingly fail to do so. Finally, because the proposed mechanisms are not specific to supernatural concepts, the scope of the MCI effect may be extended to account for a broader range of highly transmissible concepts than those it was originally intended to explain. We conclude with a set of theoretical and methodological prescriptions designed to guide future research on the memorability of supernatural concepts.

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Accad, Evelyne, Ghada Samman, and Issa J. Boullata. "The Square Moon: Supernatural Tales." World Literature Today 73, no. 4 (1999): 811. http://dx.doi.org/10.2307/40155267.

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Cameron, Ed. "Psychopathology and the Gothic Supernatural." Gothic Studies 5, no. 1 (May 2003): 11–42. http://dx.doi.org/10.7227/gs.5.1.2.

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Hughes, William. "The Haunted Mind: The Supernatural in Victorian Literature (review)." Victorian Studies 44, no. 1 (2001): 131–33. http://dx.doi.org/10.1353/vic.2001.0139.

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Dissertations / Theses on the topic "Supernatural in literature"

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Manor, Gal. "Supernatural language in the works of Robert Browning." Thesis, University College London (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248427.

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Clery, Emma Juliet. "The writing of the supernatural in eighteenth-century Britain." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240444.

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Gan, Min. "The phantom returns: on Lilian Lee's three supernatural stories." Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/804.

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This thesis, based on Green Snake, The Reincarnation of Golden Lotus and Rouge, three novels written by Hong Kong author Lilian Lee, discusses the respective supernatural heroines in relation to the Chinese folklore and to the Hong Kong status quo before the 1997 Handover, seeking to find the allegorical significance behind the heroines beyond the genre of fantastic.

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Yule, Jeffrey V. "Science, the supernatural, and the postmodern impulse in contemporary fiction /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487952208107624.

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Tupman, B. W. "A commentary on magic and the supernatural in Petronius' Satyrica." Thesis, The University of Sydney, 2000. https://hdl.handle.net/2123/27744.

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Petronius, like many of his contemporaries, had a deep interest in magic. Although magic rituals and tales with a supernatural theme make up a considerable part of the fragments that remain of his novel the Satyrica, little attention has been paid to Petronius’ account of magic. It is a commonplace of Petronian scholarship that the author is a realist, in his predilection for the seamier side of life, in his reproduction of popular speech, in his satirising of contemporary social issues, in his frank treatment of sexuality and in his expropriation of the popular mime, a genre defined by its attention to realism. This thesis, however, will argue that Petronius is a realist in a dimension which has not hitherto been explored in detail: his treatment of res magicae, which, as the commentary will show, is grounded in a bedrock of popular belief as recorded in documentary, as well as literary, texts. The commentary provides, therefore. a detailed examination of a selection of passages from Petronius’ novel Satyrica which have bearing on this aim. These passages include the rituals of Quartilla (16.1-26.6), Proselenos (131.1-131.7) and Oenothea (134.8-138.4) as well as the supernatural anecdotes recounted in the Gene Trimalchionis: the tales of Niceros (61.6-62.14) and Trimalchio (63.1-64.2). it is the contention of this thesis that these passages have real value for the study of ancient magic in that they provide rare insight into contemporary beliefs and realistically describe in detail actual magical rites as they would have been practised by members of Petronius’ society. The commentary provides numerous parallels for the magical procedures described by Petronius as well as discussion, and where these procedures are part of a greater scheme (for example, the three rituals mentioned above) particular attention has been paid to the role these individual procedures play in the ritual as a whole.

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Fathallah, Judith. "Changing discursive formations from Supernatural : fanfic and the legitimation paradox." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/58900/.

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This thesis argues that fanfic operates through a paradox of legitimation. Using the current cult text Supernatural (CW, 2006-) as a case study, discourse theory adapted from Foucault is utilized to establish that discursive formations from the source text can be de- and re-constructed, sometimes consolidating canon’s constructions, but at other times, altering Othered characterizations and criticising statements from canon. Paradoxically, however, this process utilizes and functions through the capital of the already-empowered: the White male Author (Jenkins 1995; Hills 2002; 2010a; Wexelblat 2002; Gray 2010; Kompare 2011; Scott 2011), and/or the White male protagonists of the series (c.f. Dyer 1992). The discursive formations studied are identified from the researcher’s situated position as fan- insider and academic (c.f. Hills 2002; Hodkinson 2005). They are judged to be of significance in the canon and fandom, and pertinent to the questions of power and Authority this study addresses. The methodology utilizes some techniques from network analysis (Park and Thelwall 2003) to chart the impact of fan-statements in an innovative fashion, using both quantitative and qualitative measures, whilst retaining insights from discourse theory to account for the specificity of fiction as a particular form of writing. In this way, the strength of statements, discursive boundaries, and techniques for alteration can be observed. The study concludes that, though the legitimation paradox cannot be unproblematically escaped or overcome, fanfic has begun to compromise it via deconstruction of the concepts of originality and authorship; and thus, from a postmodern perspective, the terms of the legitimation paradox can begin to be questioned.

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劉柏康 and Pak-hong Lau. "Tales of vixen transformation in traditional Chinese "supernatural stories"." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B3121549X.

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Maguire, Muireann. "Soviet Gothic-fantastic : a study of Gothic and supernatural themes in early Soviet literature." Thesis, University of Cambridge, 2009. https://www.repository.cam.ac.uk/handle/1810/224215.

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This thesis analyses the persistence of Gothic-fantastic themes and motifs in the literature of Soviet Russia between 1920 and 1940. Nineteenth-century Russian literature was characterized by the almost universal assimilation of Gothic-fantastic themes and motifs, adapted from the fiction of Western writers such as E.T.A. Hoffmann, Ann Radcliffe and Edgar Allen Poe. Writers from Pushkin to Dostoevskii, including the major Symbolists, wrote fiction combining the real with the macabre and supernatural. However, following the inauguration of the Soviet regime and the imposition of Socialist Realism as the official literary style in 1934, most critics assumed that the Gothic-fantastic had been expunged from Russian literature. In Konstantin Fedin's words, the Russian fantastic novel had "умер и закопан в могилу". This thesis argues that Fedin's dismissal was premature, and presents evidence that Gothic-fantastic themes and motifs continued to play a significant role in several genres of Soviet fiction, including science fiction, satire, comedy, adventure novels (prikliuchenskie romany), and seminal Socialist Realist classics. My dissertation identifies five categories of Gothic-fantastic themes, derived jointly from analysis of canonical Gothic novels from the late eighteenth and early nineteenth centuries and from innovative approaches to the genre made by contemporary critics such as Fred Botting, Kelly Hurley, Diane Hoeveler, Elaine Showalter and Eric Naiman (whose book Sex in Public coined the phrase 'NEP Gothic'). Each chapter analyses one of these five Gothic themes or tropes in the context of selected Soviet Russian literary texts. The chronotope of Gothic space, epitomized in the genre as the haunted castle or house, is readdressed by Mikhail Bulgakov as the 'nekhoroshaia kvartira' of Master i Margarita and by Evgenii Zamiatin as the 'drevnyi dom' of his dystopian fantasy My. Gothic gender issues, including the subgenre of Female Gothic, arise in Nikolai Ognev's novels and Aleksandra Kollontai's stories. The Gothic obsession with dying, corpses and the afterlife re-emerges in fictions such as Daniil Kharms' 'Starukha' (whose hero is threatened by an animated corpse) and Nikolai Erdman's banned play Samoubiitsa (the story of a failed suicide). Gothic bodies (deformed or regressive human bodies) are contrasted with Stalinist cultural aspirations to somatic perfection within a utopian society. Typically Gothic monsters - vampires, ghosts, and demon lovers - are evaluated in a separate chapter. Each Gothic trope is integrated with my analysis of the relevant Soviet discourse, including early Communist attitudes to gender and the body and the philosopher Nikolai Federov's utopian belief in the possibility of universal resurrection. As my focus is thematic rather than author-centred, my field of research ranges from well-known writers (Fedor Gladkov, Bulgakov, Zamiatin) to virtual unknowns (Grigorii Grebnev and Vsevolod Valiusinskii, both early 1930s novelists), and recently rediscovered writers (Sigizmund Krzhizhanovskii, Vladimir Zazubrin). Three Soviet authors who explicitly emulated the nineteenth-century Gothic-fantastic tradition in their fiction were Mikhail Bulgakov, Sigizmund Krzhizhanovskii and A.V. Chaianov. Many mainstream Soviet writers also exploited Gothic-fantastic motifs in their work. Fedor Gladkov's Socialist Realist production novel, Tsement, uses the trope of the Gothic castle to dramatise the reclamation of a derelict cement factory by the workers. Nikolai Ognev's Dnevnik Kosti Riabtseva, the diary of an imaginary Communist schoolboy, relies on ghost stories to sustain suspense. Aleksandr Beliaev, the popular science fiction writer, inserted subversive clich's from the Gothic narrative tradition in his deceptively optimistic novels. Gothic-fantastic tropes and motifs were used polemically by dissident writers to subvert the monologic message of Socialist Realism; other writers, such as Gladkov and Marietta Shaginian, exploited the same material to support Communism and attack Russia's enemies. The visceral resonance of Gothic fear lends its metaphors unique political impact. This dissertation aims at an overall survey of Gothic-fantastic narrative elements in early Soviet literature rather than a conclusive analysis of their political significance. However, in conclusion, I speculate that the survival of the Gothic-fantastic genre in the hostile soil of the Stalinist literary apparatus proves that early Soviet literature was more varied, contradictory and self-interrogative than previously assumed.

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Pulham, Patricia Elizabeth. "Grown-up toys : aesthetic forms and transitional objects in Vernon Lee's supernatural tales." Thesis, Queen Mary, University of London, 2001. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1699.

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This thesis examines the fantastic tales of the marginalized writer Vernon Lee (Violet Paget 1856-1935), focusing on such confections as Hauntings: Fantastic Stories (1890), Pope Jacynth and Other Fantastic Stories (1904), and For Maurice: Five Unlikely Stories (1927). It traces the influence of European Romantics such as Hoffmann and Heine on her writings and juxtaposes Lee's work with that of fin-de-siecle contemporaries such as Walter Pater, Henry James, and Oscar Wilde. Her stories often depend on the supernatural properties of art objects for their uncanny effect, and this study traces the contradiction between Lee's concern with form in her aesthetic treatises, and the 'formless' and metamorphic qualities of the 'ghostly' objects that come to fife in her works. The resultant conflict is explored in the context of D. W. Winnicott's 'transitional object' theory which suggests that a child's subjectivity is formed in a 'potential space', a space existing in a developmental 'limbo' in which the child plays with items or toys while negotiating its separation from the mother, and recognizing its individuality. According to Winnicott, in adulthood, this childhood process is re-experienced in the illusory realm of art and cultural objects. With this premise in mind, this thesis argues that, in Lee's tales, the supernatural functions as a 'potential space" in which Lee 'plays' with the art object or 'toy' in order to explore alternative subjectivities that allow the expression of her lesbian subjectivity. Using an interdisciplinary approach which combines literature with psychology, aesthetics, mythology, religion, and social history, this thesis demonstrates the contemporary validity of Lee's tales, and its importance for the study of gender and sexuality in the nineteenth-century fin de siecle.

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O'Keefe, Karen Maeve. "Relationship between music and the supernatural as that is portrayed in early medieval Irish literature." Thesis, University of Edinburgh, 1996. http://hdl.handle.net/1842/9678.

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This thesis is an essay in the phenomenology of religion; it is not primarily a study of the literature or history of early Ireland. This thesis investigates the content and meaning of the early Irish people's language and expression as it relates to music. The culture being investigated is that of early medieval Ireland, up to and including the twelfth century. The focus of the thesis is on a Collection of music references extracted by this author from selected literature; the Collection itself is presented here as an independent Appendix volume to the main body of the thesis. The specific literature selected for this thesis is found in eight major categories of Old and Middle Irish texts: 1) tales from the Mythological Cycle; 2) Dindshenchas (Place-lore poems); 3) the tales and sagas from the Ulster Cycle; 4) the tales from the Cycles of the Kings literature; 5) the Immrama ("Voyage") literature; 6) tales from the Acallam na Senorach; 7) early Irish poetry; and 8) the early Irish saints' Lives. This thesis is divided into five major chapters--Performers, Instruments, Effects, Places, and Times. The Performers chapter examines the "supernatural" performers, the mundane performers, and those performers portrayed with some degree of Otherworld influence(s). The Instruments chapter discusses the various instruments portryed in this literature, as well as how they might relate to the Otherworld. The Effects chapter examines all of the various effects of music mentioned in the references from the Collection, and discusses how they relate to the "supernatural". The Places and Times chapters discuss the "supernatural'', liminal, and mundane places and times regarding music, as referred to in the references from the Collection. Comparative material is used from other world cultures, in each chapter, for illustratory purposes only. Arguing that music is a means by which the early Irish people test their world and register its realities, this thesis discovers in this select literature on music, an unbroken continuity between the otherworldly and the mundane, experienced and expressed through early Irish music, and this is common to both overtly primal and overtly Christian contexts.

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Books on the topic "Supernatural in literature"

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Lassiter, Rhiannon. The supernatural. Milwaukee, WI: Gareth Stevens Pub., 2006.

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Ganeri, Anita. Supernatural creatures. New York: PowerKids Press, 2012.

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Moreland, Sean, ed. New Directions in Supernatural Horror Literature. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95477-6.

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Lovecraft, H. P. Supernatural Horror in Literature. Independently Published, 2018.

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Lovecraft, H. P. Supernatural Horror in Literature. Independently Published, 2020.

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Lovecraft, H. P. Supernatural Horror in Literature. Independently Published, 2019.

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Lovecraft, H. P. Supernatural Horror in Literature. Independently Published, 2019.

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Lovecraft, H. P. Supernatural Horror in Literature. Independently Published, 2019.

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Lovecraft, Howard Phillips. Supernatural Horror in Literature. Independently Published, 2020.

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Lovecraft, H. P. Supernatural Horror in Literature. Independently Published, 2019.

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Book chapters on the topic "Supernatural in literature"

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Radcliffe, Ann. "‘On the Supernatural in Poetry’." In Literature and Philosophy in Nineteenth Century British Culture, 149–59. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003427858-22.

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Moreland, Sean. "Introduction: The Critical (After)Life of Supernatural Horror in Literature." In New Directions in Supernatural Horror Literature, 1–9. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95477-6_1.

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Cisco, Michael. "Bizarre Epistemology, Bizarre Subject: A Definition of Weird Fiction." In New Directions in Supernatural Horror Literature, 191–208. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95477-6_10.

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Wisker, Gina. "Speaking the Unspeakable: Women, Sex, and the Dismorphmythic in Lovecraft, Angela Carter, Caitlín R. Kiernan, and Beyond." In New Directions in Supernatural Horror Literature, 209–34. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95477-6_11.

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Hauser, Brian R. "Weird Cinema and the Aesthetics of Dread." In New Directions in Supernatural Horror Literature, 235–52. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95477-6_12.

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Johnson, Brian. "Paranoia, Panic, and the Queer Weird." In New Directions in Supernatural Horror Literature, 253–78. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95477-6_13.

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Moreland, Sean. "The Birth of Cosmic Horror from the S(ub)lime of Lucretius." In New Directions in Supernatural Horror Literature, 13–42. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95477-6_2.

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Clasen, Mathias. "The Evolution of Horror: A Neo-Lovecraftian Poetics." In New Directions in Supernatural Horror Literature, 43–60. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95477-6_3.

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Packer, Sharon. "Ansky’s The Dybbuk, Freud’s Future of an Illusion, Watson’s “Little Albert,” and Supernatural Horror in Literature." In New Directions in Supernatural Horror Literature, 61–75. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95477-6_4.

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Burger, Alissa. "Gazing Upon “The Daemons of Unplumbed Space” with H. P. Lovecraft and Stephen King: Theorizing Horror and Cosmic Terror." In New Directions in Supernatural Horror Literature, 77–97. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95477-6_5.

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Conference papers on the topic "Supernatural in literature"

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Schiele, Alexandre. "THE NORMAL AND THE EXCEPTIONAL: A COMPARISON OF PU SONGLING’S AND MO YAN’S SURREAL WORLDS." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.10.

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From a comparison of the surreal worlds of Pu Songling and Mo Yan in their respective auctorial context, this paper argues that although Pu Songling’s short stories integrate surreal elements, contrary to the accepted typology of genres, they fall into realistic and not speculative fiction because the worldview of Imperial China in which he lived not only accepted the supernatural as real, but as foundational to the traditional order. By comparison, Mo Yan’s supernatural stories partly fall within supernatural literature, because post-1949 China espoused a scientific worldview which banishes the supernatural. On a second level, however, both Pu Songling’s and Mo Yan’s surreal fictions are political satires of their times. Yet, even on this point they diverge. While Pu Songling articulates the social and political criticism of his present to surreal elements, Mo Yan casts the surreal as a stand-in for the exceptional situations of his recent past which are the object of his criticisms.

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Nariswari, Fitria, and M. Yoesoef. "The Powerless Supernatural Creature as the Victim Figure in Roh dari Masa Lampau." In Proceedings of the Third International Seminar on Recent Language, Literature, and Local Culture Studies, BASA, 20-21 September 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.20-9-2019.2296822.

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Duarte, Madileide de Oliveira. "The third bank of the river and interfaces between short stories, theater and soap operas." In VI Seven International Multidisciplinary Congress. Seven Congress, 2024. http://dx.doi.org/10.56238/sevenvimulti2024-017.

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The aim of this research was to present possible interfaces between the short story A Terceira Margem do Rio by João Guimarães Rosa; the play Terceira Margem , directed and performed by Carlos Lagoeiro; and the soap opera Pantanal , a 1990 version, written by Benedito Ruy Barbosa, directed by Jayme Monjardim, Carlos Magalhães, Marcelo de Barreto and Roberto Naar. The methodology was based on the comparison of existing literature, both bibliographic and digital, combined with my qualitative interpretation, through interfaces, in the intersemiotic field. Main results: 1) narrative adaptation, between the short story and the theater, was achieved through the director/actor's monologue, wooden puppets and their speeches, canoes and the symbolism of the river; 2) approximations between the short story and the soap opera: a) narratives involving the supernatural - Juma (a jaguar-woman), the mysterious guitarist Trindade and the old man of the river and his transformation into the snake Sucuri; b) setting between scenarios; c) the characters' speeches; d) the waters of the São Francisco River and the Rio Negro and their re-significations for each narrative (the short story, the theater and the soap opera).

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