Tesi sul tema "Magic in literature"
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1
Chartier, Mary K. "Multicultural literature through the magic of storytelling". CSUSB ScholarWorks, 1991. https://scholarworks.lib.csusb.edu/etd-project/737.
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Spence, Leah Mogford. "Magic words : a reconceptualization of magic realism /". Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9423.
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Micklitz, Bill. "The censors' magic wand the disappearing children's literature /". Menomonie, WI : University of Wisconsin--Stout, 2006. http://www.uwstout.edu/lib/thesis/2006/2006micklitzw.pdf.
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McGill, Anna. "Magic and Femininity as Power in Medieval Literature". Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/293.
Testo completoAbstract (sommario):
It is undeniable that literature reflects much about the society that produces it. The give-and-take relationship between a society and its literature is especially interesting when medieval texts are considered. Because most medieval plots and characters are variants of existing stories, the ways that the portrayals change has the potential to reveal much about the differences between medieval societies separated by distance and time. Changes to the treatment of these recurring characters and their stories can reveal how the attitudes of medieval society changed over time. Perceptions of magic and attitudes toward its female practitioners, both real and fictional, changed drastically throughout the Middle Ages among clergy members and the ruling class. Historically, as attitudes toward women became more negative, they were increasingly prohibited from receiving a formal education and from gaining or maintaining positions traditionally associated with feminine magical power, such as healer, midwife, or wise woman. As the power of the Church grew and attitudes changed throughout the Middle Ages, women’s power in almost all areas of life experienced a proportional decrease. Using a combination of historical and literary sources, this paper will explore whether this decrease in power is evident in literary portrayals of magical female characters in medieval literature. Specifically, it will examine the agency and potency, or the intrinsic motivation and effectiveness within the story, respectively, of female characters within medieval narratives, comparing the characters to their earlier iterations. This research will offer a unique perspective on the roles of magical women in medieval literature.
5
Vollick, L. Erin. "Spellbound : magic in contemporary fiction". Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102849.
Testo completoAbstract (sommario):
This dissertation examines five figures associated with magic in contemporary literature: voodoo ghosts, magicians, automata, fortune tellers, and freaks. While glancing at a number of novels, this study chiefly examines five books published between 1972 and 2001: Ishmael Reed's Mumbo Jumbo, Allen Kurzweil's A Case of Curiosities, Michael Chabon's The Amazing Adventures of Kavalier & Clay, Susan Sontag's The Volcano Lover, and Thomas Wharton's Salamander. In these novels, figures of magic display different aspects of the work of representation, coded as magic, as well as the effect of magic on representation. In fiction, magic localizes enchantment as an inherent product of the representational act, as spectators or readers are compelled to think about the relation of perception to deception during magical performances.Magical characters highlight the problems of literary bodies, which in these texts are bizarre, exotic, and glamorous. Ishmael Reed employs voodoo ghosts to liberate the novel from cultural essentialist representational practices; voodoo, the marriage of form to spirit, is plural and polymorphous. As celebrations of trickery, voodoo bodies do not reflect inner character. Similarly, magicians are sleight-of-hand artists or escapologists who confound perception. In Chabon's novel, magicians and super heroes evade the bounds of representation through crafts of illusion. Magicians invent visual illusions; analogous to authors, magicians animate inert forms such as golems or automata. The automaton, a spectacular parody of the human body, questions whether any represented body is alive or not. In Kurzweil's A Case of Curiosities, readers wonder about the veracity of the automaton as extensions of or surrogates for novelistic characters. Fortune tellers, on the other hand, turn bodies into objects of destiny. Tarot readers, such as Efrosina in The Volcano Lover, interpret bodies through visual texts in relation to the past and future. By contrast, in Salamander, the freak poses riddles to readers regarding the authenticity of the body. Not unlike automata or voodoo fetishes, freaks are human puzzles that resemble narrative invention rather than mimetic representations of character. Contemporary novels articulate magical bodies as spirit cabinets, ineffable spaces rendered briefly and spectacularly visible for the delight of readers.
6
Barulich, Nadia Stosija. "Magic Wood". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/cmc_theses/1088.
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This project is a translation of Liu Qingbang's novella 'Shénmù' from Chinese into English. It is also accompanied by an analysis of the text and Li Yang's movie 'Blind Shaft', which was based on the novella.
7
Greaves, Anthony Eric. "Stendhal's Italy : a writer's magic lantern". Thesis, University of Exeter, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304475.
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Adams, Jennifer. "Magic Realism in Holocaust Literature : Troping the Traumatic Real". Thesis, University of Sheffield, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521912.
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Aniballi, Francesca. "Towards an anthropology of literature : the magic of hybrid fictions". Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4306/.
Testo completoAbstract (sommario):
Anthropology and literary criticism can interact fruitfully in the investigation of theoretical, general and specific issues concerning literature. Anthropological concepts of magic and ritual are useful to account for those fictions which defy neat labels and sit at the crossroad between the fantastic and the mimetic impulses. Furthermore, the reading process of such fictions can be interpreted as a liminal experience, whereby the reader’s consciousness is ritualized. Adopting a phenomenological stance and a socio-anthropological methodology, the thesis presents the author’s auto-ethnography of reading, also integrating the latest findings of cognitive linguistics and psychology of fiction into the theoretical reflection. Other conceptual tools, such as ideas concerning performative language, the hero quest and epiphany, metaphor and symbolism, are elaborated in order to illustrate the reading of ‘hybrid’ fictions, and how the reader is actively involved in the process. Moreover, three sample novels are analysed in the light of concepts of magic from a thematic and structural point of view, as texts which posit the issue of the de-reification of the real and of the imagination itself as a critique of the discourses of modernity. Overall the thesis supports an ecological view of the (literary) imagination, conceived as a relational process whereby nature and culture are seen as co-extensive and not in opposition to each other.
10
McCausland, Elly. "Malory's Magic Book : King Arthur in children's literature, 1862-1960". Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/12432/.
Testo completoAbstract (sommario):
This thesis examines adaptations of Thomas Malory’s 'Morte Darthur' produced for children between 1862 and 1960. It aims to interrogate the complex link between children and the Arthurian legend that has existed since J. T. Knowles’s first adaptation for a juvenile audience in 1862, and which remains strong today. By comparing authors’ alterations to their medieval source, I explore the ‘child’ as a discursive construct, as a mutable and protean category that is equally revelatory of assumptions about adult identity as about childhood itself. Tracing adaptations of the 'Morte' chronologically, I examine the ways in which they participate in wider cultural dialogues relating to national heritage, citizenship, mental health and masculine development through their representations of childhood. Against the backdrop of empire, changes in educational policy, the increasing application of psychology to childcare and two world wars, the diverse ways in which this versatile text is offered as relevant to children illuminates both shifting conceptions of childhood and the complex relationship between adapters and their imagined child readers. This study contributes to enquiries regarding the refashioning of Arthur and the function and manifestation of medievalism, and to studies of children’s literature, by illuminating the ways in which the elusive ‘child’ has been used to focus shifting perceptions regarding the essence and significance of the Arthurian legend over a century.
11
Kanzler, Katja. "Kansas, Oz, and the Magic Land". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-163001.
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The following essay addresses Alexandr Volko's adaption and appropriation of L. Frank Baum's "The Wizard of Oz". Exceedingly popular throughthout the Easern bloc, Volkov's novels have endeared a magical setting and cast of characters to readers who rarely knew of their American origins. I discuss the Wizard's 'travels' throught the Iron Curtain as an incidence of cultural exchange at once motivated by and subverting Cold War cultural politics. I suggest that it is not so much the changes to which Baum's narrative universe has been subjected on its way from West to East that makes this case study remarkable but the ways in wich the two Wizards have been interpreted to fit contestable notions of 'American' and 'Soviet' culture.
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Souza, Liziane Kugland de. "The magic pudding : a verbal and pictorial translation". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/170382.
Testo completoAbstract (sommario):
A partir de minha tradução para o português brasileiro de The Magic Pudding (1918), novela infantil australiana escrita e ilustrada por Norman Lindsay, o objetivo desta dissertação é demonstrar as peculiaridades da tradução de literatura infantil ilustrada. Portanto, este estudo analisa o papel das ilustrações na tradução, enquanto levanta questões sobre a adaptação literária em uma época em que novos meios e tecnologias de leitura competem com o livro impresso pela atenção infantil. Como O Pudim Mágico é a primeira tradução da novela para o português, e devido à importância das ilustrações na narrativa, é proposta uma tradução estrangeirizada para que elementos da cultura e da natureza australianas, especialmente alimentos e animais, permaneçam visíveis no texto de chegada. Pelas mesmas razões, tanto o texto propriamente dito quanto as ilustrações são tratados como textos, respectivamente, verbal e pictórico, em oposição aos peritextos verbal e pictórico acrescentados ao texto de chegada. Este estudo é dividido em quatro capítulos: 1) apresentação da biografia e obra do autor, bem como do contexto em que The Magic Pudding foi escrito, seguida pelo resumo detalhado da novela, uma discussão sobre as peculiaridades da tradução para crianças e, baseadas principalmente em Lawrence Venuti e Gérard Genette, as justificativas para a abordagem estrangeirizante com o emprego de elementos peritextuais; 2) apresentação das estratégias de Javier Franco Aixelá para a tradução de itens culturais-específicos para discutir o tratamento de nomes próprios contendo significados culturais; considerando o leitor-alvo, é sugerido o acréscimo de elementos peritextuais, tais como novas ilustrações combinadas com um prefácio verbal, a fim de evitar o emprego de notas de rodapé; 3) análise da influência da ilustrações de Lindsay na tradução, com sugestões para o tratamento do texto verbal de chegada; 4) discussão sobre tópicos de adaptação e transmidiação de literatura infantil, com sugestões para tratar os textos verbal e pictórico na transposição de O Pudim Mágico de meio impresso a digital; com base principalmente nos estudos de Lars Elleström e Ellen McCracken, dispositivos digitais de leitura como o Amazon Kindle e o Apple iPad são analisados, concluindo-se que o texto-alvo é considerado uma tradução em formato impresso, uma remidiação em formato para Kindle e uma transmidiação em formato para iPad.Based on my unpublished translation of The Magic Pudding (1918), Australian children’s novel written and illustrated by Norman Lindsay, this thesis aims at demonstrating the peculiarities of translating illustrated children’s literature. Therefore, it analyses the role of the illustrations in the translation while raising questions on literary adaptation at a time when new reading media and technology compete with the printed book for children’s attention. Given that O Pudim Mágico is the first translation of the novel into Portuguese and due to the importance of the illustrations in the narrative, I propose a foreignised translation to preserve Australia’s cultural and natural elements, in particular foods and animals, visible in the target text. For the same reasons, both the text proper and the illustrations are regarded as texts, respectively verbal and pictorial, in opposition to the verbal and pictorial peritexts added to the target text. This study is divided into four chapters: 1) a presentation of the author’s biography and oeuvre, as well as of the context in which The Magic Pudding was written, followed by a detailed summary of the novel, a discussion on the peculiarities of translating for children and, mainly based on Lawrence Venuti and Gérard Genette, a justification for the foreignising approach with the employment of peritextual elements; 2) a presentation of Javier Franco Aixelá’s strategies to translate culture-specific items in order to discuss the treatment of proper names that hold cultural meanings; considering the target reader, the addition of peritextual elements, such as new illustrations combined with a verbal preface, is suggested as a means to avoid the employment of footnotes; 3) an analysis of the influence of Lindsay’s illustrations on the translation with suggestions for the treatment of the verbal target text; 4) a discussion on issues of adaptation and transmediation of children’s literature, with suggestions for treating the verbal and pictorial texts in the transposition of O Pudim Mágico from printed to digitised media; based mainly on the studies by Lars Elleström and Ellen McCracken, digital reading devices such as Amazon Kindle and Apple iPad are analysed to conclude that the novel’s target text is deemed to be a translation in print format, a remediation on Kindle and a transmediation on iPad. Keywords: Adaptation. Australian Literature. Children’
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Rodrigues, Talita Annunciato [UNESP]. "Confinamento e vastidão: a representação feminina e a subversão em The magic toyshop". Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/94075.
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A presente dissertação pretende realizar uma análise da representação feminina no romance da escritora inglesa Angela Carter intitulado The Magic Toyshop (1967), observando sua relação com os elementos presentes na obra. Tendo em vista a importância desta representação nas obras carterianas, este trabalho pretende elucidar como se realiza a construção das personagens femininas e da ambientação (uma vez que esta também vai contribuir para a representação dessas personagens) da obra referida. As informações colhidas têm o intuito de esclarecer aspectos como, por exemplo, o estilo da autora, frequentemente associado à literatura fantástica e ao pósmodernismo, dialoga com a ideologia presente na obra, a saber, a crítica ao modelo patriarcal de sociedade, o qual muitas vezes impunha estereótipos e certos papéis sociais às mulheres. Assim, ao mesmo tempo em que sua obra se aproxima do caráter fantástico, Angela Carter não dissocia sua escrita do tecido social, criando, assim, um estilo de escrita único. Verifica-se, dessa forma, que assim como suas personagens, a autora, através da subversão, busca seu próprio espaço na Literatura
This dissertation intends to conduct an analysis of the female representation in Angela Carter’s novel The Magic Toyshop (1967), observing its relation with the elements present in the book. Considering the importance of this representation in the writer’s works, this dissertation aims to elucidate how the construction of female characters and the setting (since it will also contribute to the representation of these characters) of the referred narrative is done. The information obtained have the intention of clarifying certain aspects, such as the the dialogue between the author’s style, frequently associated with fantasy literature and post-modernism, and the ideology present in the novel: the critique of the patriarchal model of society, which often imposed stereotypes and social roles for women. Thus, at the same time that her work approaches the fantastic features, Angela Carter doesn’t dissociate her writing of the social context, creating an unique style of writing. One notices that, like her characters, the author seeks, through subversion, her own space in Literature
14
Breuer, Heidi Jo. "Crafting the witch: Gendering magic in medieval and early modern England". Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280400.
Testo completoAbstract (sommario):
This project documents and analyzes the gendered transformation of magical figures occurring in Arthurian romance in England from the twelfth to the sixteenth centuries. In the earlier texts, magic is predominantly a masculine pursuit, garnering its user prestige and power, but in the later texts, magic becomes a primarily feminine activity, one that marks its user as wicked and heretical. The prophet becomes the wicked witch. This dissertation explores both the literary and the social motivations for this transformation. Chapter Two surveys representations of magic in the texts of four authors within the Arthurian canon: Geoffrey of Monmouth, Chretien de Troyes, Marie de France, and Layamon. These writers gender magic similarly (representing prophecy and certain forms of transformative magic as masculine and healing as feminine) and use gendered figures to mitigate the threat of masculine power posed by the feudal patriarchy present in England and France in the twelfth century. Chapter Three explores representations of two magical characters who appear in a group of fourteenth- and fifteenth-century romances associated with Gawain: the churlish knight and the loathly lady. The authors of these romances privilege gender conventions radically different from those in earlier models and conjure a figure neglected by the earlier writers, the wicked witch. In particular, representations of the witch as a wicked step-mother reflect the anxiety created by expanding space for women (especially mothers) in previously exclusively male arenas of English society. In Chapter Four, I follow the romance tradition into early modern England, studying the work of Malory, Spenser, and Shakespeare. For these authors, the wicked witch (alternately represented as temptress or crone) is connected specifically to maternity; the severe anxiety about maternity in these texts is representative of widespread concern about mothers and motherhood in sixteenth-century England. Chapter Five traces the legislative policy governing prosecution of witches in England and offers suggestions about the relationship between legal climates and literary representations of magic. Though prosecution of witchcraft is now extremely rare in the U.S., filmmakers still rely on medieval and Renaissance models to inform their representations of witches. Once she arrived, the witch never left.
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Szollosy, Michael. "Surviving our paradoxes : the psychoanalysis and literature of uncertainty". Thesis, University of Sheffield, 2003. http://etheses.whiterose.ac.uk/3440/.
Testo completoAbstract (sommario):
This thesis explores the importance of tolerating and facilitating uncertainty as it is recognised by British Independent and Kfeinian psychoanalysis and contemporary British magic realist fiction. In Part I, I offer some theoretical investigations, arguing that postmodem and some psychoanalytic discourses, namely Lacanian psychostructuralism, remarkably fail to address the challenges facing subjects in late- twentieth, early twenty-first century consumer culture. In their inability to tolerate paradoxes and uncertainty, these discourses objectify the subject, through processes of depersonalisation, derealisation and desubjectification. To redress these problems, I offer the work of British psychoanalysts, specifically, that of D. W. Winnicott and Melanie Klein and her followers. These perspectives, I argue, better serve the contemporary subject by recognising the importance of paradox and helping develop facilitating environments for the realisation of creative experience. In Part II, I examine how the play of paradox is fostered in contemporary British magic realist fiction. Specifically, I look at how these narrative strategies attempt to move away from the vicissitudes of internal and external, certainty and uncertainty, reason and unreason, to negotiate a Winnicottian third, potential space. The conceptualisation of such a space, I believe, offers a place from which we can begin to dialogue, to draw ourselves out of the oppositional dialectics that have plagued the bourgeois subject. I believe that in the novels of writers such as Jeanette Winterson, Joanne Harris, John Fowles, John Murray and, most especially, Angela Carter, we can find alternatives to bourgeois conceptions of reason and rationality, alternatives that are not based on the paranoid-schizoid, primitive processes and depersonalisation necessitated by the Enlightenment and capitalism but instead upon, in Kleinian terms, depressive ambivalence and the recognition of whole-objects.
16
Fratini, Claudia Caia Julia. "Beyond the invisible a representation of magic in contemporary fantasy literature /". Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-06172005-113436/.
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Rodrigues, Talita Annunciato. "Confinamento e vastidão : a representação feminina e a subversão em The magic toyshop /". Assis : [s.n.], 2011. http://hdl.handle.net/11449/94075.
Testo completoAbstract (sommario):
Orientador: Cleide Antonia RapucciBanca: Altamir Botoso
Banca: Ana Maria Domingues de Oliveira
Resumo: A presente dissertação pretende realizar uma análise da representação feminina no romance da escritora inglesa Angela Carter intitulado The Magic Toyshop (1967), observando sua relação com os elementos presentes na obra. Tendo em vista a importância desta representação nas obras carterianas, este trabalho pretende elucidar como se realiza a construção das personagens femininas e da ambientação (uma vez que esta também vai contribuir para a representação dessas personagens) da obra referida. As informações colhidas têm o intuito de esclarecer aspectos como, por exemplo, o estilo da autora, frequentemente associado à literatura fantástica e ao pósmodernismo, dialoga com a ideologia presente na obra, a saber, a crítica ao modelo patriarcal de sociedade, o qual muitas vezes impunha estereótipos e certos papéis sociais às mulheres. Assim, ao mesmo tempo em que sua obra se aproxima do caráter fantástico, Angela Carter não dissocia sua escrita do tecido social, criando, assim, um estilo de escrita único. Verifica-se, dessa forma, que assim como suas personagens, a autora, através da subversão, busca seu próprio espaço na Literatura
Abstract: This dissertation intends to conduct an analysis of the female representation in Angela Carter's novel The Magic Toyshop (1967), observing its relation with the elements present in the book. Considering the importance of this representation in the writer's works, this dissertation aims to elucidate how the construction of female characters and the setting (since it will also contribute to the representation of these characters) of the referred narrative is done. The information obtained have the intention of clarifying certain aspects, such as the the dialogue between the author's style, frequently associated with fantasy literature and post-modernism, and the ideology present in the novel: the critique of the patriarchal model of society, which often imposed stereotypes and social roles for women. Thus, at the same time that her work approaches the fantastic features, Angela Carter doesn't dissociate her writing of the social context, creating an unique style of writing. One notices that, like her characters, the author seeks, through subversion, her own space in Literature
Mestre
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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.
Testo completoAbstract (sommario):
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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Chan, Siu-wai Sylvia, e 陳小惠. "Carnivalesque adventures in Kiss of the spider woman and Nights at thecircus". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29789151.
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邱偉平 e Wai-ping Yau. "Magic realism and `root-searching' in the works of Mo Yan, Zhaxi Dawa and Han Shaogong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31213844.
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Manion, Deborah Maria. "The ekphrastic fantastic: gazing at magic portraits in Victorian fiction". Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/1360.
Testo completoAbstract (sommario):
While Oscar Wilde's The Picture of Dorian Gray depicts the quintessential literary portrait endowed with uncanny life and movement, dozens of such magic portraits are featured in Victorian fiction. From the ravishing picture of the title character in Mary Elizabeth Braddon's Lady Audley's Secret to the coveted portrait of a Romantic poet in Henry James's The Aspern Papers, imagined portraits in these texts serve as conduits of desire and fear--windows into passions and repressions that reveal not only the images' external effects but their relation to the unconscious of their viewers. My dissertation turns a critical eye on this gallery of ekphrastic pictures--those not actually visible to the reader but rather visualizable through verbal description--to argue that the meditations on representation and desire that these novels and stories perform not only anticipate but augment theories of the image and the gaze developed primarily since the advent of cinema. Though the dissertation benefits from film theory's models of visual exchange, the distinctions between these portraits and images in film open up fertile analytical terrain. Ekphrastic magic portraits provide a unique opportunity to delve into the intersecting realms of word painting and image perception, the optics of desire and subjectivity, to advance critical discourses in visual studies that are framed both historically and theoretically. Using psychoanalytic and narratological methodologies, particularly those relevant to feminist and queer image theory, "The Ekphrastic Fantastic" demonstrates how the fictional visual exchanges on display in magic portrait stories elucidate various power struggles regarding sexuality and narrative structuring. These literary pictures thereby provide new access to the social and artistic commentaries that often subtend Victorian fiction.
Each chapter considers three primary texts and the branch of image theory most relevant to their deployment of magic portraits. Laura Mulvey's foundational essay, "Visual Pleasure and Narrative Cinema," provides the point of departure in the first chapter, which looks at Charles Dickens's Bleak House, Braddon's Lady Audley's Secret, and Wilkie Collins's The Woman in White. The second chapter addresses Margaret Oliphant's "The Portrait," Thomas Hardy's "An Imaginative Woman," and James's The Aspern Papers with further feminist insights from Vivian Sobchack and Teresa de Lauretis. The final chapter determines the relationship of principles of visual representation and narrative production of the Aesthetic movement to magic portraits in Walter Pater's "Sebastian van Storck," Vernon Lee's "Oke of Okehurst," and Wilde's Dorian Gray, particularly as they relate to the nascent medium of cinema and the theories that soon as well as later arose to account for the impact of its kinetic mirage. The arc of my argument emphasizes how, as the Victorian period advances, the portraits become increasingly animate and subversive in their challenges to patriarchal gender norms and narrative formulas. In this way, they become the mechanisms by which new models of psycho-sexual relations can be expressed and new social and narrative systems can emerge.
22
Pedros-Gascon, Antonio Francisco. "Dialogos transatlanticos un "Boom" de Uda y Vuelta /". Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1187031136.
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DeVoe, Lauren E. "Erichtho’s Mouth: Persuasive Speaking, Sexuality and Magic". ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2020.
Testo completoAbstract (sommario):
Since classical times, the witch has remained an eerie, powerful and foreboding figure in literature and drama. Often beautiful and alluring, like Circe, and just as often terrifying and aged, like Shakespeare’s Wyrd Sisters, the witch lives ever just outside the margins of polite society. In John Marston’s Sophonisba, or The Wonder of Women the witch’s ability to persuade through the use of language is Marston’s commentary on the power of poetry, theater and women’s speech in early modern Britain. Erichtho is the ultimate example of a terrifying woman who uses linguistic persuasion to change the course of nations. Throughout the play, the use of speech draws reader’s attention to the role of the mouth as an orifice of persuasion and to the power of speech. It is through Erichtho’s mouth that Marston truly highlights the power of subversive speech and the effects it has on its intended audience.
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Pike, Jonathan. "Magic Swords, Mythic Creatures, and Mighty Warriors: Archetypal Patterns in Fantasy Literature". Thesis, Boston College, 2003. http://hdl.handle.net/2345/438.
Testo completoAbstract (sommario):
Thesis advisor: Timothy DuketSynthesizing elements of so many traditions, fantasy has grown into perhaps the most pervasive genre of literature in the western world. The archetypal adventures and themes that have been carried into fantasy through ancient legends and myths have survived over the ages because it was decided long ago those tales had great worth. It was the unpopular and poorly formed legends that died out, while the superior stories were carried from culture to culture under new guises. In this way, fantasy can be seen as the culmination of human legends, filtered throughout history so that only the great tales remain. On what greater pedestal could a form of literature be based? Fantasy has even continued the refinement process in the last fifty years, with active writers like Jordan and Goodkind incorporating elements from the greatest of previous fantasy authors like Tolkien, Howard, and Donaldson. Thus fantasy is continually improving upon itself and evolving in new ways through its modification of old themes. How long can critics refuse to recognize fantasy as a legitimate form? With such admirable authors writing today, it seems logical that the answer would be sooner rather than later. Might fantasy be vanquished by sneering critics and replaced with another form of fiction? Gandalf claims even the Wise cannot see all ends, and while in no way do I profess such wisdom, I find it difficult to believe that, as the successor of mythology, fantasy will ever fizzle and die. A force greater than all the magic swords and rings combined would be necessary to kill four thousand years of human imagination
Thesis (BA) — Boston College, 2003
Submitted to: Boston College. College of Arts and Sciences
Discipline: English
Discipline: College Honors Program
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Chicoyne, Ruth Ann. ""Selcouþ signes" : magic, reason and social order in William of Palerne". Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21201.
Testo completoAbstract (sommario):
This thesis seeks to assert the literary merit of the Middle English alliterative translation, William of Palerne, which has been dismissed by earlier critics of the poem as, at best, a mediocre work by an incompetent poet. It demonstrates that previous criticism of the poem has generally misunderstood its key elements, such as magic, as well as the poet's use of certain self-reflexive techniques to convey meaning. By tracing the poet's treatment of the magical and pseudo-magical events in the poem, and the alterations that the English translator makes to the original French version, the thesis reveals the sophistication involved in the poet's examination of human nature and of order in society. Furthermore, the thesis illustrates that through the repeated models of perception in the romance, the poet actually provides his audience with models for reading the text, and stresses the importance of interpretation by exploring the ability of outer appearance to represent inner Truth.
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Maksymiuk, Stephan Karl Alexander. "Knowledge, politics and magic : the figure of the court magician in medieval German literature /". Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/9944.
Testo completo
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Roach, Katherine. "Between magic and reason : science in 19th century popular fiction". Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/13687/.
Testo completoAbstract (sommario):
The scientist in fiction is much maligned. The mad, bad scientist has framed much of the debate about literary representations of science and with good reason since he is a towering icon of popular culture. Yet, I will propose that an equally preeminent figure provides an alternative model of science in fiction. This is the detective. Links between developing scientific disciplines and the emerging genre of detective fiction have been well described to date. Yet the history of the detective as scientific icon has not been told, particularly not as it engages with the history of the mad scientist. These two paragons of modem culture developed from a groundswell of gothic narrative and imagery that emerged in the late 18th century and continued to entertain and challenge audiences throughout the 19th century, as they still do to this day. My aim is to recover some of the complexity of past public images of science, and the understandings that such icons relate to, as they develop and meander through a variety of 19th century fictions. In a series of time slices I relate these figures, their iconography and narratives, to contemporary debates about science and follow through the elements that each generation retains, remoulds and claims for their own time. Ultimately, I hope to show that an panalysis of the mad scientist alongside other fictional scientific figures provides a far more nuanced picture of potential meanings, than the negative and fearful response that he is often assumed to represent. This is significant because both these icons are current in popular culture today and as such are part and parcel of the present pool of cultural resources that provides tools for thinking about science and society in the 21st century.
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Castleman, Samantha G. "Inexhaustible Magic: Folklore as World Building in Harry Potter". TopSCHOLAR®, 2017. http://digitalcommons.wku.edu/theses/1973.
Testo completoAbstract (sommario):
The practice of secondary world building, the creation of a fantasy realm with its own unique laws and systems has long been a tradition within the genre of fantasy writing. In many notable cases, such as those publications by J.R.R. Tolkien and H.P. Lovecraft, folklore exhibited in the world of the reader has been specifically used not only to construct these fantasy realms, but to add depth and believability to their presentation. The universe of J.K. Rowling’s Harry Potter series demonstrates this same practice of folklore-as-world-building, yet her construction does much more than just create a fantasy realm. By using both folklore which predates her writing as well as created elements which while unique to her secondary world specifically reflect the world of the reader, Rowling is able to create a fantasy realm which is highly political, complex and multivocal, yet still accessible to young readers through its familiarity. Specifically through her use of cryptids, belief representation, and folk narratives both invented and recontextualized, Rowling is able to juxtapose her fantasy universe to the real-world of the reader, in effect inventing a believable secondary world but also demonstrating to young readers the ways in which her writing should be interpreted.
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Kincaid, Deirdre Lindsay. "Rough magic : the theatrical life of John Wilkes Booth". Thesis, University of Hull, 2000. http://hydra.hull.ac.uk/resources/hull:4641.
Testo completoAbstract (sommario):
When John Wilkes Booth shot Abraham Lincoln in Ford's Theatre in Washington on the evening of April 14,1865, he destroyed any possibility that his reputation as an actor would be dispassionately assessed for the foreseeable future. A bitter, fratricidal war was drawing to its close, and Northern newspapers were not interested in being fair; opprobrium was heaped on Booth's name, beginning in the press the following day. Twelve days later he was dead, shot during an attempted arrest. In 1890, his fellow player Clara Morris asserted hopefully, ‘At this late day the country can afford to deal justly with John Wilkes Booth.’ That time had not yet come: in fact, some of the worst -- and silliest -- slanders have been perpetrated in the twentieth century. But surely now, over a hundred years later, it should be possible to set aside that April evening and look dispassionately at Booth's career in the theatre of his time. As well as extending simple justice to a man who seems to have been extremely likeable and idealistic, and an actor interesting enough to deserve study, such a reassessment may serve to correct a distortion which the 'mythologized' view of his career has created: the idea that Edwin Booth was the only promising young tragedian in the early 1860s, which falsifies both Edwin's career and the period in general. Moreover, John's entire career covered a mere ten years, and his four full seasons as a star occurred during the Civil War, an under-researched period. The necessary concentration on so brief a time-span allows a more detailed treatment than would be possible in examining a career of average length, which may in turn illuminate some broader aspects of American theatre during an unsettled and transitional period.
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Spear, Keith. "A genetic model of duality in Latin American magical realism /". View online, 1995. http://repository.eiu.edu/theses/docs/32211998781347.pdf.
Testo completo
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Jansen, Anne Mai Yee. "Momentary Magic: Magical Realism as Literary Activism in the Post-Cold War US Ethnic Novel". The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365952312.
Testo completo
32
Lewis, Abby N. "How Disassociating the Past Reassociates the Present: Distilling the Magic out of Magic Realism in Susan Power’s The Grass Dancer". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/421.
Testo completoAbstract (sommario):
American Indian author Susan Power’s novel The Grass Dancer is often categorized as magical realism, yet Power has stated the novel is a representation of her reality and that it is not a magical realist text. The term magical realism was first applied to the work of Latin American authors such as Gabriel García Márquez whose writing depicts magical events in a matter-of-fact narrative tone. It has since expanded to include other cultures. The question is whether it is a term that can readily be applied to the literary work of all cultures. The closest Wendy B. Faris, one of the most prominent experts on magical realism, comes to discussing the term in relation to the work of American Indian authors is by simply acknowledging Ojibwe writer Louise Erdrich’s label as a magical realist author. In order to aid Power in her rejection of the association, I delve into both her Dakota heritage and her life through the lens of biographical criticism in order to obtain a working image of her reality. By locating and examining the seeds of truth in her fiction, I explain the magical qualities of her novel in a rational and logical manner.
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Shea, Jennifer. "The juggler in Shakespeare: con-artistry, illusionism, and popular magic in three plays". Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=96851.
Testo completoAbstract (sommario):
This dissertation argues that Shakespeare's plays Othello, The Taming of the Shrew, and The Winter's Tale engage deeply with representations of, and associations with, that early modern social person known as the juggler, a type of popular entertainer who specialized in legerdemain, feats of agility, and more. Iago, Petruchio, Katherina, Autolycus, and Paulina reflect this figure and recall other con artists and tricksters who were compared to jugglers in Shakespeare's England. Based on perceptions of street magicians and of what were considered their cultural and professional forerunners—gypsies, witches, minstrels and joculators—the word "juggling" was applied to a diverse set of social and religious practices, many of which were branded morally dubious or unlawful. The activities most frequently compared to juggling were Catholic miracles and language, confederate trickery, spiritual magic and witchcraft, illicit sexual behaviour, and, finally, stage-playing. This project takes the study of early modern juggling, and of juggling in Shakespeare, in several new directions. While detailing the juggler's more insidious attributes, my dissertation also discovers characterizations of a morally ambiguous and potentially productive juggling magician within other early modern magic texts, most notably Reginald Scot's Discovery of Witchcraft. These more positive characterizations have heretofore gone largely unnoticed by modern scholarship. This dissertation also notes that women too were called jugglers and that at least a few of Shakespeare's female characters (Katherina and Paulina) may be read as jugglers. Rather than confine itself to a study of the juggler as magician or juggler as metaphor, this dissertation looks carefully both at the social figure of the juggler and at the shadows of perception that that figure casts in philosophical, criminological and religious discourses, all shaping Shakespeare's plays and their reception. Finally, and most importantly, this dissertation considers how juggling and early modern practices associated with juggling are conjured in Shakespeare's plays not peripherally or didactically, but as structuring principles that crucially inform the plays' dramatic action.Cette thèse soutient que les pièces Othello, La mégère apprivoisée, et Le Conte d'hiver de Shakespeare engagent profondément les représentations de, et associations avec, la personne sociale de la Renaissance connue en tant que bateleur, une sorte de saltimbanque qui spécialisait entre autres en prestidigitation et en prouesses d'agilité. Iago, Petruchio, Katherina, Autolycus et Paulina reflètent ce personnage, et rappellent autres escrocs et filous qui étaient comparés aux bateleurs de l'Angleterre au temps de Shakespeare. Basé sur des perceptions des magiciens de rue et de ceux qui étaient considérés leurs ancêtres culturels et professionnels—les bohémiens, sorcières, ménestrels, et jongleurs—le mot « juggling » s'appliquaient à une série de diverses pratiques sociales et religieuses, dont plusieurs marquées comme illégales ou moralement douteuses. Les activités les plus souvent comparées au jonglage étaient les miracles et le langage catholiques, la tromperie confédérée, la magie spirituelle et la sorcellerie, les comportements sexuels illicites, et, finalement, le jeu sur scène. Ce projet amène en plusieurs nouvelles directions l'étude du jonglage dans les œuvres de Shakespeare et pendant la Renaissance. Tout en énumérant les attributs les plus insidieux du bateleur, ma thèse découvre aussi des caractérisations ambigües et potentiellement productives du magicien jongleur dans d'autres textes de magie de l'époque, notamment dans Discovery of Witchcraft de Reginald Scot. Ces caractérisations plus positives ont jusqu'ici passées plutôt inaperçues dans des études contemporaines. Cette thèse note d'ailleurs que les femmes aussi étaient nommées bateleuses, et qu'au moins quelques-unes des personnages de Shakespeare (Katherina et Paulina) peuvent être interprétées de cette façon. Plutôt que se restreindre à une analyse du bateleur en tant que magicien ou en tant que métaphore, cette thèse examine autant le personnage social du bateleur que les ombres que jette celui-ci dans les discours philosophiques, criminologiques et religieux, donnant forme aux pièces de Shakespeare ainsi qu'à leur réception par son public. Finalement, et du plus important, cette thèse considère comment le jonglage et les pratiques y associées pendant la Renaissance sont évoqués dans les pièces de Shakespeare, non de façon périphérique ou didactique, mais comme principes structurants qui informent crucialement l'action dramatique des pièces.
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Coyne, Kelly Marie. ""The Magic Mirror" Uncanny Suicides, from Sylvia Plath to Chantal Akerman". Thesis, Georgetown University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10272269.
Testo completoAbstract (sommario):
Artists such as Chantal Akerman and Sylvia Plath, both of whom came of age in mid-twentieth century America, have a tendency to show concern with doubles in their work—Toni Morrison’s Beloved , Maya Deren’s Meshes of the Afternoon, Cheryl Dunye’s The Watermelon Woman—and oftentimes situate their protagonists as doubles of themselves, carefully monitoring the distance they create between themselves and their double. This choice acts as a kind of self-constitution, by which I mean a self-fashioning that works through an imperfect mirroring of the text’s author presented as a double in a fictional work. Texts that employ self-constitution often show a concern with liminality, mirroring, consumption, animism, repressed trauma, suicide, and repetition.
It is the goal of this thesis to examine these motifs in Sylvia Plath’s The Bell Jar and the early work of Chantal Akerman, all of which coalesce to create coherent—but destabilizing—texts that propose a new queer subject position, and locate the death drive—the desire to return to the mother’s womb—as their source. I will examine the uncanny on various levels, zooming out from the micro-level elements of the text to its broader relationship to its environment: from rhetoric, to the physical landscapes of the texts, to characters of the text, to the structure of the text (as confined by its frame), and then, finally, outside the text itself, to the author’s relationship with her double. What I will argue here is that Akerman and Plath—in doubling on both the extradiegetic and intradiegetic levels of their work—propose a queer liminal space that siphons and ultimately expels repressed uncanny desire, allowing for both self-sustainability and personal integrity.
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Capelli, Carolina. "Entre a lousa e o altar : a inserção da Magia Divina de Rubens Saraceni nos terreiros de umbanda no estado de São Paulo". Universidade Federal de São Carlos, 2017. https://repositorio.ufscar.br/handle/ufscar/8817.
Testo completoAbstract (sommario):
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The Umbanda´s history in Brazil is marked since its foundation by the intense publication of doctrinal and literary books written by different liturgical currents, also representatives of different political associations. Following the trajectory of one of the greatest Umbanda´s authors, this dissertation analyzes the emergence of a new chain of umbanda. Created by Rubens Saraceni in the late 90´s, the so called Divine Magic inserts in Umbanda´s terreiros the use of mandalas, giving to the old Umbanda´s symbols a new look, linked to the esoteric and modern urban movements. Reaching new audiences, the expansion of this new "energetic" Umbanda ", merges in terreiros the classroom and the altar. The integration of courses and practices of Divine Magic on the terreiros features various implications, such as the formation of a network of interconnected terreiros and the emergence of groups and representatives in order to strengthen and unify within the Umbanda. This effort of indoctrination and standardization of practices next to the insertion of a new conflict resolution´s key seems to offer us clues about the contemporary Umbanda movement itself, part of the religious Market is greater than the Umbanda itself.
A história da Umbanda no Brasil é marcada desde sua fundação pela intensa publicação de livros doutrinários e literários escritos por diferentes correntes litúrgicas, representantes também de diferentes associações políticas. Seguindo a trajetória de um dos maiores autores atuais da umbanda paulista, a presente dissertação analisa a emergência de uma nova corrente umbandista. Criada por Rubens Saraceni no final dos anos 90, a chamada Magia Divina insere nos terreiros umbandistas a utilização de mandalas, oferecendo aos antigos símbolos umbandistas uma nova roupagem, ligada aos movimentos esotéricos e modernos urbanos. Alcançando novos públicos, a expansão dessa nova umbanda “energética”, mescla no terreiro a sala de aula e o altar. A inserção dos cursos e práticas da Magia Divina nos terreiros apresenta implicações variadas, como a formação de uma rede de terreiros interligados e o aparecimento de grupos e representantes com intuito de fortalecimento e unidade dentro da umbanda. Este esforço de doutrinação e padronização das práticas ao lado da inserção de uma nova chave de resolução de conflitos, parece nos oferecer pistas a respeito do próprio movimento umbandista contemporâneo, parte do cenário religioso maior do que a própria umbanda.
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Berg, Sharon Louise. "Magic in the North : magical realism in contemporary Scandinavian fiction /". Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/10243.
Testo completo
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Buchbinder, Alison H. ""Through the looking-glass" magical and misused objects in nineteenth century children's literature /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 94 p, 2008. http://proquest.umi.com/pqdweb?did=1597631381&sid=31&Fmt=2&clientId=8331&RQT=309&VName=PQD.
Testo completo
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Chalfant, Victor. "The Ritualization of Violence in The Magic Toyshop". Chapman University Digital Commons, 2016. http://digitalcommons.chapman.edu/english_theses/1.
Testo completoAbstract (sommario):
This dissertation will explore the way Philip treats puppets and masks as pseudo-sacred objects in order to maintain control in Angela Carter’s work The Magic Toyshop. To show the implications of the pseudo-sacred, I will use Violence and the Sacred by Rene Girard that examines the way primitive cultures are able to maintain order through particular religious beliefs and collective violence against a scapegoat. My critical reading of the text will look closely at how Philip uses the pseudo-sacred to build up the community. When the pseudo-sacred is finally called into question the community is threatened. Although Philip attempts to deflect blame onto the scapegoat Melanie, he fails as there is no social buy-in, leading to the destruction of the community. While the house is burned down destroying the puppets and masks, presumably along with Philip, the pseudo-sacred still has the chance of being perpetuated through Finn’s own obsession with power and control.
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Bowen, Deborah. "Mimesis, magic, manipulation: A study of the photograph in contemporary British and Canadian novels". Thesis, University of Ottawa (Canada), 1990. http://hdl.handle.net/10393/6007.
Testo completoAbstract (sommario):
The photograph is of interest to the writer because it is uniquely a product both of the realm of objective, physical reality and of the realm of artifice. Its ambiguous status as the physical emanation of a past referent endows it with an uneasy authority. It appears to offer assurances of identity and clarity; at the same time, it undermines the attempt to control experience by demonstrating that to freeze time and space is to render them obsolete. Thus the photograph can be seen as a metaphor for the life-giving and death-dealing enterprise of writing fictions. Moreover, because the photograph is a reflection of the past, private or public, a comparison of the use made of photographic images in the fictions of two different cultures, one older, one newer, may reveal differences in aesthetic between those two cultures. A theoretical dialectic for exploring the use made of the photograph in contemporary British and Canadian fiction can be constructed by comparing the thesis of Susan Sontag's On Photography (1977) with that of Roland Barthes' Camera Lucida (1980). Sontag is concerned with the camera as an instrument of power which victimizes its subjects; she sees the text as necessary to contextualize the image according to its function in time. Barthes understands the photograph's fragmentariness as potentially revelatory, and text as parasitic upon image. Where the Sontagian model emphasizes narrative contextualization and the photographer/writer as wielder of power, the Barthean model emphasizes a vertical hermeneutic of epiphanies and the spectator/reader as creator of meaning. A look at several contemporary British novelists who use photographic imagery (Julian Barnes, Graham Swift, Martin Amis, Fay Weldon, Penelope Lively, Anita Brookner, Timothy Mo, Salman Rushdie) suggests that these writers tend towards an ironical distancing of the photography, which is seen as parodic of traditional mimesis. Such novelists thus ascribe to and yet undermine Sontag's concern with narrative control. A number of contemporary Canadian writers (for instance, Margaret Atwood, Alice Munro, Margaret Laurence, Timothy Findley, Norman Levine, Diane Schoemperlen, Janette Turner Hospital, Michael Ondaatje) find within the photograph a representational magic that transcends boundaries of spatial and temporal logic. They share Barthes' belief in the intransigent value of appearances. An examination of these different writers' use of the photographic image thus provides a commentary upon their various understandings of the real, the fictive, and the relationship between the two.
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Lourenço, Sílvia de Castro. "The ten magic dwarves of aunt aquamarine : readings and the new editorial approach". Master's thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/22107.
Testo completoAbstract (sommario):
Mestrado em Estudos EditoriaisThe present work intends to make a brief reflection about traditional oral tale in Portugal. A special emphasis was placed on the traditional tale The Ten Magic Dwarves of Aunt Aquamarine, including the study of part of its editorial history in three editions of the tale. These editions were made by three different publishers, in different periods of time and for that reason we can see the evolution that occurred in the editorial process. The last aim of this work was to present a new editorial proposal with a new and updated version of the story present in the tale. We concluded that the editorial market for Children Literature in Portugal is growing in the last decades. Today, a new generation of authors is giving renovated attention to it in close collaboration with other professionals, like designers and illustrators. In the basis of Children Literature was the traditional oral tales which carry symbols and myths of the past generations. These tales are often rewritten into new versions, with adaptations and updates that may convert them into Children’s Literature or into Adult Literature. Finally, editorial options, such as book size, illustrations or typefaces, also help to define the target audience of a publication. The edition process of a publication has several phases. Starting on a manuscript, which is revised several times, passing through all the book creation chain. Options taken until the book release to the market including not only design decisions, but also marketing and management decisions. Finally, the result of this work is the mockup of a small publication with the titled Did Aunt Aquamarine lend only ten magic dwarves to help? Its intention was to make an updated version which reflected a renovated look over the traditional oral tale under study in this work.
O presente trabalho tem como objetivo fazer uma breve reflexão sobre o conto tradicional em Portugal. Foi realizado o estudo do conto tradicional Os dez anõezinhos da Tia Verde-Água com principal ênfase nos aspetos editoriais de três versões diferentes, de três editoras diferentes e publicadas em diferentes períodos de tempo. Por fim, o último objetivo deste trabalho foi apresentar uma proposta editorial com uma nova versão da história presente no conto. Concluímos que o mercado editorial para a Literatura Infantojuvenil em Portugal continua a crescer. Hoje, uma nova geração de autores está a prestar atenção renovada a este campo editorial, em estreita colaboração com profissionais como designers e ilustradores. Na base da Literatura Infantojuvenil estiveram os contos tradicionais que carregam consigo símbolos e mitos de gerações passadas. Esses contos são muitas vezes reescritos, com adaptações e atualizações que podem convertê-los em Literatura Infantojuvenil ou em Literatura para Adultos. Finalmente, opções editoriais, como tamanho do livro, ilustrações ou tipos de letra, também ajudam a definir o público-alvo de uma publicação. O processo de edição de uma publicação tem várias fases. Começando por um original, que após aceitação e revisão, passa por toda a cadeia de edição até chegar ao leitor. As opções tomadas até ao lançamento do livro incluem não apenas decisões de design, mas também decisões de marketing e gestão. Por fim, o resultado deste trabalho é a maqueta de uma pequena publicação com o título Did Aunt Aquamarine lend only ten magic dwarves to help? Cumprindo assim o objetivo de fazer uma nova versão que refletisse um olhar renovado sobre o conto oral em estudo neste trabalho.
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Newman, Melanie. "Real life and magic : an inquiry into the expression of deep ecology in children’s literature". Thesis, University of Winchester, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.698123.
Testo completoAbstract (sommario):
For centuries, the significance of storytelling in developing the way we see the world has been acknowledged and analysed. In a time when we are facing such huge global issues as climate change, resource depletion and species extinction, what sort of stories should we tell our children? The truth is that adults have little idea of how to tackle the issues and it seems clear that our attitude towards the natural world has contributed to many of the problems that their generation will inherit. In recent years there has been a call from many environmentalists to find a new approach to story: one which will help us to form a more life-sustaining relationship with our natural environment. Deep ecology as a worldview offers one way of developing such a relationship through reconsidering anthropocentric viewpoints and extending the sense of the self to encompass the whole of life in all its many forms. In light of David Abram’s call for writers to reconnect the written word with the land, this thesis explores the practice of creative writing in order to express some of the concepts of deep ecology in children’s fiction. Specifically it draws out issues of developing a stronger connection with the natural world as reality and of reconnecting logic with intuition. The thesis is comprised of two elements: the first part is a novel for children aged between ten and thirteen years as an experiment in putting theoretical ideas into practice and second part is a critical reflection on my own experience of deep ecology in relation to the writing of the creative piece.
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Savva, Stefanie. "'I Dreamt of Saltwater and Eggs' : magic, nationhood, and the writer-out-of-country". Thesis, University of Essex, 2016. http://repository.essex.ac.uk/16873/.
Testo completoAbstract (sommario):
This dissertation includes a novel entitled I Dreamt of Saltwater and Eggs and an accompanying critical commentary which aims at examining themes and issues of post-colonial and commonwealth fiction in relation to the context of Cyprus. The novel is a magical realist story about a boy who sets out to find the girl he is in love with, while at the same time an anti-colonial fight breaks out in his homeland, Sarouiki. During his travels he is confronted with questions of identity, belonging and nationhood. While extensive research has been conducted on post-colonial writing and the over- running themes in fiction which falls under this category, Cyprus has remained fairly unexplored, mainly due to the fact that its anti-colonial struggle and post-colonial trauma are not deemed important enough. The thesis of this project is that magical realism as a genre is an organic occurrence that is interlinked with the post-colonial trauma in various countries. Magical realism serves as a way of seeing the world by using magic to understand the human dimensions of history. It is a way of reaching historical, national, and political truths and is thus a natural way of expression for post-colonial writers. By focusing on Cyprus, a fairly uninvestigated area of post-colonial writing, we can expand our understating of the issues and themes linked to this body of literature. As a Cypriot writer, I look at the ways in which I wrote I Dreamt of Saltwater and Eggs and how post-colonial discourses emerged in their creative process, and by doing so, I create the space to further explore minor post-colonial literatures in the light of the global issues they are linked to.
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Guo, Shuqing. "Magic, Power, and Knowledge: Technological Reproducibility in Chinese and American Animations". Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300720577.
Testo completo
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Bertoncini-Zúbková, Elena. "Mayai-waziri wa maradhi: magic realism in Euphrase Kezilahabi\'s long time unpublished short story". Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-90925.
Testo completoAbstract (sommario):
This article will present a short story which appeared in the newspaper Mzalendo on the 15th January 1978, but it took twenty-six years before it was published in a book. Presumably it was written in the same period as both the play Kaputula la Marx and probably also as some of Kezilahabi’s poems from the second collection Karibu ndani (1988). It is a period of his most critical works. In Mayai – Waziri wa Maradhi the author blames, in a highly symbolic manner, the leading classes of his country who became rich at the expense of common citizens during ten years of Independence, symbolized by ten emaciated ghostly children.
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Sherman, Payet Jeannine. "Le rêve et la magie dans le roman africain et afro-américain". Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST0023.
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Garcia, Hugo. "El realismo mágico en la vida de Tita de la Garza (análisis histórico de la novela mexicana Como agua para chocolate) /". Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1970.
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Gondek, Garrison J. "This Is How You Must Always Tell the Story". Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1338568493.
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Kanzler, Katja. "Kansas, Oz, and the Magic Land: A wizard's travels through the Iron Curtain". Universitätsverlag Winter, 2008. https://tud.qucosa.de/id/qucosa%3A28584.
Testo completoAbstract (sommario):
The following essay addresses Alexandr Volko's adaption and appropriation of L. Frank Baum's "The Wizard of Oz". Exceedingly popular throughthout the Easern bloc, Volkov's novels have endeared a magical setting and cast of characters to readers who rarely knew of their American origins. I discuss the Wizard's 'travels' throught the Iron Curtain as an incidence of cultural exchange at once motivated by and subverting Cold War cultural politics. I suggest that it is not so much the changes to which Baum's narrative universe has been subjected on its way from West to East that makes this case study remarkable but the ways in wich the two Wizards have been interpreted to fit contestable notions of 'American' and 'Soviet' culture.
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Sholto-Douglas, Alice. "“Brightly Colored Magic and Weird Worlds”: Sylvia Plath’s Creation of Personae Through Her Visual Poetics". Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/31237.
Testo completoAbstract (sommario):
In this dissertation, I extend existing acknowledgments of the impact of Sylvia Plath’s visual arts training on her writing in order to argue that her painterly sensibilities are central to her character construction. Specifically, I contend that Plath draws upon a set of visual techniques, which I categorise as hallucinations, mental images, dreams, blurriness, and visual-to-verbal re-inscription. The ability to control subjective experience through the imagination, a philosophy Plath discusses in her journals, acts as a framework for her narratives, and visual techniques become, for Plath’s personae, a method of manipulating their experiences through a blurring of the divide between individual imagination and subjective reality. Plath’s visual techniques further function to represent her personae’s psychic interiority in ways that not only illustrate the limits to expression of the traditionally literary but also offer a means of overcoming these limits through an alternative system of meaning-making. Thus, her personae’s agency exists at the level of form, through self representation that is not stymied by the limitations of the written word, as well as at the level of narrative, through her personae’s control of experience. Moreover, because these visual techniques appear frequently in narratives that are preoccupied with a gendered power dynamic, I contend that we should understand Plath’s moments of resistance to textual tradition as enabling her personae’s escape from patriarchal limitations to freedom and selfexpression. While this recognition of the significance of Plath’s visual techniques should not necessarily constitute a panacea to the constraints of traditional language, it does offer a new way of reading Plath which acknowledges her painterly sensibilities as crucial to the way in which she gives her personae agency and writes back to her literary forefathers.
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Rave, Maria Eugenia B. "Magical Realism and Latin America". Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/RaveMEB2003.pdf.
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