Academic literature on the topic 'Fantastic metamorphosis'
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Journal articles on the topic "Fantastic metamorphosis"
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Bizek-Tatara, Renata. "Métamorphoses fantastiques. Des êtres aquatiques de Maurice Carême et d’Anne Richter." Lublin Studies in Modern Languages and Literature 42, no. 3 (October 5, 2018): 150. http://dx.doi.org/10.17951/lsmll.2018.42.3.150.
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<p>This article focuses on the aquatic element in two fantastic Belgian texts: Médua by Maurice Carême and La Grande pitié de la famille Zintram by Anne Richter, to study different functions: first, the aquatic space evokes the geography of mist and rain of Flanders, mythical land where everything can happen and around which floats an aura of mystery. The role of this location is twofold : it creates both the effect of reality and the fantastic effect. Water also has a diegetic function. Tainted with negative value, it has a negative influence on the characters: it triggers or promotes their metamorphosis and their decay.</p>
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Johnson, Suzanne R. ""Metamorphosis, Desire, and the Fantastic in Thomas Hardy's 'The Withered Arm'"." Modern Language Studies 23, no. 4 (1993): 131. http://dx.doi.org/10.2307/3195211.
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Guignard, Sophie. "The irrational and the shift of human boundaries in contemporary novels by Castillon, Martinez and NDiaye." Bergen Language and Linguistics Studies 10, no. 1 (November 7, 2019): 10. http://dx.doi.org/10.15845/bells.v10i1.1403.
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The infiltration of magical, marvellous and fantastic features in novels which have a realist anchoring is a remarkable trend in contemporary literature by women writers in French. In order to reveal the issues conveyed by such an imagery built on various literary traditions, I examine the representations of the irrational in recent novels by three authors: Eux (2014) and Les Pêchers (2015) by Claire Castillon, Du Domaine des murmures (2011) and La Terre qui penche (2015) by Carole Martinez and Ladivine (2013) by Marie NDiaye. I use the term “irrational” as a comprehensive notion referring to the fantastic and supernatural elements in the novels, including altered perceptions, paranormal and strange occurences, metamorphosis, staging of an alter ego, monstrosity and animality in human beings, life-after-death issues, emphasised relations to nature, and other phenomena and states that can not be explained by logic. Formulations of the irrational theme exploit a literary patrimony, related in particular to the traditions of medieval marvellous literature, the fairy tales, fantastic literature, surrealism and fantastic realism. I find that the irrational articulates a shift in human spatiotemporality towards vegetal states, animality or monstrosity, and initiates an altered approach to the world. A displaced sense of reality stemming from irrational phenomena and perceptions leads to a dislocation of human consciousness which is performed through the narrative voices. The framework for the analysis consists of a feminist and posthumanist conceptualisation which involves the notions of ‘performativity’ and ‘traces’ developed by Butler and Derrida.
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Cortellete, Letícia. "Fantastic Femininities: Metamorphosis and Resistance in the Fiction of Marie Darrieussecq and Armonía Somers." Forum for Modern Language Studies 57, no. 4 (October 1, 2021): 438–58. http://dx.doi.org/10.1093/fmls/cqab046.
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Abstract This article seeks to examine the construction of female embodied identities via metamorphosis in two works of Uruguayan and French literature: Armonía Somers’s La mujer desnuda (1950) and Marie Darrieussecq’s Truismes (1996). The internal and external transformations of these heroines are a result of bodies that refuse to be disciplined into silence and passivity, and, instead, make a spectacle of themselves, symbolically voicing their right to take up space and delight in the unacceptable – the grotesque, nudity, lust. Hence, it is not surprising that both novels, in foreshadowing new ways of being in the female body, generated scandal and controversy. Read through the lens of écriture féminine, the much-debated ambiguity of these texts can be understood as a device affirming women’s corporeal autonomy. Nevertheless, the tragic ending of these tales ultimately points to society’s persistent and violent rejection of female excess as an embodied identity.
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Patoine, Pierre-Louis. "The Role of Empathy in Literary Reading: From Einfühlung to the Neuroscience of Embodied Cognition, with the Example of Kafka’s The Metamorphosis." Seminar: A Journal of Germanic Studies 58, no. 1 (February 1, 2022): 11–37. http://dx.doi.org/10.3138/seminar.58.1.1.
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In the second half of the nineteenth century, Hermann Lotze, Robert Vischer, and Theodor Lipps pioneered the notion of Einfühlung, a term translated into the English empathy by Edward Titchener in 1911. This article investigates the role of empathy in literary reading by reconnecting it to its origins in the theories of Einfühlung and by revisiting these theories in the light of neuropsychological studies of embodied cognition carried out since the nineties. Contemporary to the coinage of the term empathy and to the broader dissemination of the notion of Einfühlung, Franz Kafka’s The Metamorphosis (1915) is here used as a test terrain for the hypotheses generated by this investigation. Kafka’s novella shows us how literature can use “fantastic cognition” (Kukkonen) to open a space of empathic indetermination in which the reader can resonate with structures of feeling extended beyond “normal” human sensorimotor forms.
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Nikolchina, Miglena. "Of Bugs and Masks." differences 32, no. 1 (May 1, 2021): 97–125. http://dx.doi.org/10.1215/10407391-8956967.
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This essay examines the entanglement of Galin Tihanov’s three regimes of relevance of literature—literature as art, literature as high-minded social engagement, and literature as popular entertainment—in the encounter between a literary theoretician (Tzvetan Todorov) and a science fiction writer (Stanislaw Lem). The overt clash takes place in a polemical article by Lem, in which he attacks Todorov’s theory of the fantastic. Not so obviously, the writer’s revolt against the theoretician imbues Lem’s masterpiece “The Mask.” Kafka’s novella “The Metamorphosis” plays a considerable role in both Lem’s polemic and in his fictional response, raising questions of genre (and its dependence on the market and the entertainment industry), of subjective agency (and its philosophical and political implications), and of artistic ingenuity vis-à-vis despotic power. Although Lem’s reading of Todorov involves considerable misunderstanding, it nevertheless produces fascinating results and exemplifies the impossibility of relegating literary theory to a single regime of relevance.
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Semenova, Anastasia V. "ALLEGORICAL TRAVELS OF THE KIEVAN PRINCE IN THE POEM “VLADIMIR” BY M. M. KHERASKOV." World of Russian-speaking Countries 6, no. 4 (2020): 63–74. http://dx.doi.org/10.20323/2658-7866-2020-4-6-63-74.
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The article examines several episodes of the poem “Vladimir” by M. M. Kheraskov, highlights and analyzes two allegorical journeys of the main character. By means of allegories, the work implements the author's didactic tasks – to instruct readers on the path of virtue on the example of the character's adventures. Vladimir's wanderings take place in a fantastic space and are aimed at spiritual rebirth and salvation of the soul. The vices and temptations of the Kievan Prince appear personified before him and try to turn the hero away from receiving baptism, discredit or distort the Christian faith. The first allegorical journey corresponds to the initial stage of the inner transformation of the character, the second coincides with the final one. Going to the abode of the righteous, Vladimir finds himself in darkness and fog, symbolizing his spiritual blindness, doubts and delusions, faces monstersvices under beautiful disguises, but with the help of a magic object – the flame of faith, presented by the wise mentor Idolem – fights with them and wins. On the way to the temple in the last song of the poem, Vladimir is again stopped and confused by pagans and embodied temptations, but the hero independently distinguishes between good and evil, truth and lies. As a result, the Kievan Prince makes the right choice, overthrows opponents and reaches the goal – the true temple where he receives baptism. Vladimir's twice-completed journey reflects the metamorphosis taking place with the hero. At the same time, allegorical journeys create the fantastic background necessary for the epic, replacing the mythological component. The magical adventures of Vladimir make the plot of the poem more fascinating, illustrate the moral quest of the Kievan Prince, thus allowing you to unobtrusively educate readers without boring teachings.
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Parker, John. "Northern Gothic: Witches, Ghosts and Werewolves in the Savanna Hinterland of the Gold Coast, 1900s–1950s." Africa 76, no. 3 (August 2006): 352–80. http://dx.doi.org/10.3366/afr.2006.0048.
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AbstractThis article examines witchcraft, shape-shifting and other supernatural beliefs among the Talensi and neighbouring Gur-speaking peoples on the frontier of the Northern Territories Protectorate of the Gold Coast (Ghana) in the first half of the twentieth century. Its starting point is the succession of religious movements dedicated to the eradication of witchcraft that swept through the southern forest region of the Gold Coast in the inter-war period. Most of these movements were animated by exotic deities originating in the savanna zone, a cross-cultural passage in part propelled by the ambivalence with which the Akan peoples of the forests viewed the so-called Gurunsi of the remote north. While the ‘Gurunsi’ were generally regarded as primitive barbarians, they were also seen to have an intimate relationship with the spiritual realm and therefore to be free from the ravages of malevolent witchcraft. This intimacy with dangerous spiritual forces was most clearly manifested in the widely reported ability of ‘the grassland people’ to transmogrify into animals. Evidence suggests, however, that far from being free from witchcraft, stateless savanna societies had their own problems with malevolent occult powers. Moreover, their reputation for shape-shifting was not simply a lurid, fantastic stereotype of northern brutishness on the part of the Akan. Animal metamorphosis – and especially the ubiquity of were-hyenas – was widely reported in the northern savanna, where it was imbricated with ‘witchcraft’ and with notions of personhood and collective identities.
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Panchenko, Lyudmila Nikolaevna. "CHARACTER STRUCTURE OF MANSI FOLKLORE: FOREST MAN MISKHUM." Yearbook of Finno-Ugric Studies 15, no. 1 (April 2, 2021): 60–71. http://dx.doi.org/10.35634/2224-9443-2021-15-1-60-71.
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Mansi folklore is the richest material for research in the field of folklore, linguistics, ethnography and other sciences. Comprehension of folklore genres and images opens new boundaries for the study of representations reflected in codes and symbols. The characters of folklore are people, animals, elements, fantastic (mythical) creatures. In this article we will focus on one character - Miskhum. In Mansi folklore, he is presented as a forest man, whose main function is to help forest dwellers, hunters, disadvantaged orphans. Miskhum belongs to a local group of characters living in the forest. Extensive information about him is contained in fairy tales, stories and myths. The aim of the study is to conduct a systematic analysis of the image of Miskhum on the material of folklore texts and folk ideas. The research materials were field material of the author, as well as the texts of Mansi fairy tales published in various folklore collections, in periodicals. This work adds to the scientific knowledge about the Mansi folklore. For the first time, on the basis of folklore, linguistic and literary data, the image of a forest man is subjected to system analysis, and its functionality is revealed. The anthropomorphism of the image, its desire for socialization, distinguishes the folklore image from the mythological. Possession of the ability to metamorphosis, the desire to provide assistance, to bestow people with magical objects and abilities, all these qualities allowed Miskhum to be elevated to the rank of higher beings. In the traditional views of individual local groups, the Mansi Miskhum is exalted to the status of a patron spirit. The complex of prohibitions, ritual actions, the system of amulets existing in the Mansi determine the boundaries and degree of human interaction with Miskhum. The material opens up possible prospects for continuing research into the character and plot structure of Mansi folklore.
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Flores-Silva, Dolores, and Marina Warner. "Fantastic Metamorphoses, Other Worlds: Ways of Telling the Self." Sixteenth Century Journal 35, no. 4 (December 1, 2004): 1206. http://dx.doi.org/10.2307/20477204.
Full textDissertations / Theses on the topic "Fantastic metamorphosis"
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Chappell, Shelley Bess. "Werewolves, wings, and other weird transformations fantastic metamorphosis in children's and young adult fantasy literature /." Doctoral thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/226.
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Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2007.Bibliography: p. 239-289.
Introduction -- Fantastic metamorphosis as childhood 'otherness' -- The metamorphic growth of wings : deviant development and adolescent hybridity -- Tenors of maturation: developing powers and changing identities -- Changing representations of werewolves: ideologies of racial and ethnic otherness -- The desire for transcendence: jouissance in selkie narratives -- Conclusion -- Bibliography -- Appendix: "The great Silkie of Sule Skerry": three versions.
My central thesis is that fantastic motifs work on a metaphorical level to encapsulate and express ideologies that have frequently been naturalised as 'truths'. I develop a theory of motif metaphors in order to examine the ideologies generated by the fantastic motif of metamorphosis in a range of contemporary children's and young adult fantasy texts. Although fantastic metamorphosis is an exceptionally prevalent and powerful motif in children's and young adult fantasy literature, symbolising important ideas about change and otherness in relation to childhood, adolescence, and maturation, and conveying important ideologies about the world in which we live, it has been little analysed in children's literature criticism. The detailed analyses of particular metamorphosis motif metaphors in this study expand and refine our academic understanding of the metamorphosis figure and consequently provide insight into the underlying principles and particular forms of a variety of significant ideologies.
By examining several principal metamorphosis motif metaphors I investigate how a number of specific cultural beliefs are constructed and represented in contemporary children's and young adult fantasy literature. I particularly focus upon metamorphosis as a metaphor for childhood otherness; adolescent hybridity and deviant development; maturation as a process of self-change and physical empowerment; racial and ethnic difference and otherness; and desire and jouissance. I apply a range of pertinent cultural theories to explore these motif metaphors fully, drawing on the interpretive frameworks most appropriate to the concepts under consideration. I thus employ general psychoanalytic theories of embodiment, development, language, subjectivity, projection, and abjection; poststructuralist, social constructionist, and sociological theories; and wide-ranging literary theories, philosophical theories, gender and feminist theories, race and ethnicity theories, developmental theories, and theories of fantasy and animality. The use of such theories allows for incisive explorations of the explicit and implicit ideologies metaphorically conveyed by the motif of metamorphosis in different fantasy texts.
In this study, I present a number of specific analyses that enhance our knowledge of the motif of fantastic metamorphosis and of significant cultural ideologies. In doing so, I provide a model for a new and precise approach to the analysis of fantasy literature.
Mode of access: World Wide Web.
[12], 294 p
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Oliveira, Cinthia Lopes de. "Fabulação e metamorfose nos contos de Murilo Rubião." Centro de Ensino Superior de Juiz de Fora (CES/JF), 2013. https://repositorio.ufjf.br/jspui/handle/ufjf/6181.
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PROQUALI (UFJF)
Este estudo apresenta a metamorfose como elemento temático e metalinguístico nos contos de Murilo Rubião. Tem por finalidade abordar a representação da fragmentação da personalidade do indivíduo moderno nos contos: O ex-mágico da Taberna Minhota, O pirotécnico Zacarias, Os dragões, Teleco, o coelhinho e Alfredo cujas temáticas abordam a fabulação da metamorfose. Esses contos revelam, ainda, características internas da obra do escritor como a reescrita dos contos, a intertextualidade epigráfica e a escrita cíclica. Sob o véu da fantasticidade, os contos revelam reflexões existenciais com as quais os leitores podem se identificar. Por meio da indiferença e da estagnação de algumas personagens dos contos, revela-se o inconformismo dos indivíduos e a dificuldade dos relacionamentos sociais. Por fim, conclui-se que o Fantástico é um véu da literatura que pode permitir um posicionamento crítico diante dos acontecimentos. A fabulação natural do ser humano lhe dá capacidade, portanto, de construir realidades alternativas que espelhem novas significações para as relações entre o indivíduo e a sociedade.
This study presents metamorphosis as a thematic and metalinguistic element in the short stories of Murilo Rubião. It aims to demonstrate the fragmentation of personality of the modern man in the short stories: O ex-mágico da Taberna Minhota, O pirotécnico Zacarias, Os dragões, Teleco, o coelhinho e Alfredo whose themes manifest the fable of metamorphosis. These tales also reveal internal features of the work of the writer such as the rewriting of the tales, epigraphic intertextuality and cyclical writing. Under the veil of the fantastic, the short stories reveal existential reflections with which readers can identify. Through the indifference and stagnation of some characters of the tales, they reveal the reluctance of individuals and the difficulty of social relationships. Finally, it is concluded that the Fantastic is a type of literature that can allow for a critical stance towards events. The natural fabulation of human beings offers the ability, therefore, to build alternate realities that reflect new meanings in the relationship between man and society.
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Bissonnette, Lise. "Maurice Sand, un créateur fantastique méconnu : la transversalité, brisant d’une œuvre au 19e siècle." Thèse, 2014. http://hdl.handle.net/1866/11986.
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Sauf par des regards fugitifs et distraits sur son travail d’illustrateur et son théâtre de marionnettes, l’histoire culturelle et littéraire n’a en général retenu de Maurice Sand que son état de fils bien-aimé de la plus célèbre écrivaine du 19e siècle. Étudiée pour elle-même, son œuvre multidisciplinaire - qui allie peinture, dessin, illustration, théâtre, histoire de l’art, sciences naturelles - se propose pourtant avec cohérence, marque d’une création soutenue plutôt que du dilettantisme où son souvenir s’est incrusté. Maurice Sand apparaît alors comme un de ces individus situés aux interstices des récits majeurs de la littérature et des arts qui, bien qu’ayant figure de minores, amènent à des réflexions nuancées sur la constitution de ces récits. Explorer son cas permet ainsi de scruter de plus près les mécanismes de la méconnaissance qui a pu et peut encore affecter un créateur et une œuvre soumis aux arbitrages mémoriels. Discrets angles morts de l’histoire, certains de ces mécanismes jalonnent clairement son parcours et les aléas de sa trace posthume. D’une part le vaste corpus des études sur George Sand, notamment des écrits biographiques et autobiographiques, fait voir à l’œuvre le mode déformant de la constitution de la mémoire d’un être saisi à partir des positions d’autrui : son existence devient cliché, elle se réduit peu à peu au rôle d’adjuvant dans des débats, passés ou actuels, qui font l’impasse sur le cours autonome de sa carrière, voire de sa vie. D’autre part la mise au jour de son œuvre, enfin vue comme un ensemble, dévoile une cause encore plus déterminante de sa méconnaissance. Presque tous les travaux de Maurice Sand sont traversés par une ligne de fantastique, au surplus connotée par son intérêt pour les sciences liées à la métamorphose, de l’ethnogénie à l’entomologie. Réinvention constante du passé, sa démarche cognitive et créatrice ignore les frontières disciplinaires, son objet est hybride et composé. L’œuvre se constitue ainsi par transversalité, trait et trame irrecevables en un siècle qui n’y perçut que dispersion, mais paradoxalement marque supérieure de qualité dans le champ éclaté où se déploient les arts de notre temps.Aside from fleeting, inattentive glances at his illustration work and his puppet theatre, cultural and literary history has generally taken little notice of Maurice Sand except as the beloved son of the most famous woman writer of the 19th century. Yet considered on its own merits, his multidisciplinary work—in painting, drawing, illustration, theatre, art history, natural science—forms a very coherent whole, indicative of sustained creativity, rather than the dilettantism of which he is often accused. From this perspective, Maurice Sand appears to be one of those individuals whose work lies in the interstitial space between major literary and artistic narratives and who, though seemingly minor figures, prompt nuanced reflection on how those narratives are constructed. An exploration of his case is an opportunity for a closer examination of the mechanisms of misappreciation that affected, and can still affect, a creator and oeuvre that have fallen victim to the arbiters of memory. Some of those mechanisms have clearly turned various points in his career and posthumous traces into discrete blind spots of history. First, the extensive corpus of studies on George Sand, especially biographical and autobiographical writings, demonstrates how the recollection of someone constructed from the positions of others can be distorted: his existence becomes a cliché, gradually reduced to a mere adjunct to past or current discussions of his mother, which overlook his independent career and life. Second, bringing his oeuvre to light, so it can at last be seen as a whole, reveals an even more significant cause of history’s misappreciation of him. Virtually all Maurice Sand’s works are not only shot through with the fantastic, but also marked by his interest in the sciences of metamorphosis, from ethnogeny to entomology. Constantly reinventing the past, his cognitive and creative processes ignored boundaries between disciplines, embracing hybrid, composite subjects. The inherently transversal nature of his work, which made it totally unacceptable in a century that saw it as indicative of a lack of focus, is now paradoxically viewed as a mark of superior quality in the fragmented field of the arts today.
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Gomes, Paula Maria Lopes. "O mundo maravilhoso dos animais nos contos de Mia Couto: mitos, ritos e mistérios." Master's thesis, 2021. http://hdl.handle.net/10400.2/11509.
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O presente trabalho propõe-se fazer uma reflexão sobre o maravilhoso na
narrativa breve de Mia Couto, em especial sobre o papel central dos animais e a forma
como estes interagem com os deuses e os antepassados, revelando-se os tradutores das suas
palavras, das suas mensagens, junto dos vivos. Vagueando entre o real e o onírico, entre a
vida e a morte, sofrem metamorfoses, indicam presságios, participam nos feitiços da
comunidade, estabelecendo, assim, pontes entre a tradição e a modernidade. No primeiro
capítulo, pretendemos apontar as diferentes fases da literatura moçambicana e as suas
principais linhas, nela inserindo a obra de Mia Couto. No segundo capítulo, tentámos traçar
o percurso de vida do escritor, desde a sua infância, passada na Beira até aos dias de hoje e
abordámos, de forma breve, o percurso histórico-geográfico do conto e a sua importância
no continente africano, onde o conto oral busca as suas raízes nas origens mais profundas
das culturas africanas. No terceiro capítulo, partindo do conceito de “fantasia literária”,
esboçámos uma aproximação teórica do maravilhoso, incidindo sobretudo na sua faceta de
sobrenatural aceite e naturalizado e na sua articulação com o natural e o real. Refletimos
sobre a importância do mito na construção da história e da identidade dos povos,
concretamente no continente africano. Ainda neste capítulo, abordámos a importância e a
simbologia dos animais neste continente. No capítulo quarto, analisámos o papel e a
importância dos animais presentes nos contos, partindo da visão do mundo que o
maravilhoso encerra e que nos remete para uma representação literária do imaginário
tradicional dos vários povos que constituem o mosaico moçambicano. O maravilhoso
torna-se assim um processo através do qual se afirma a identidade, se constrói a
moçambicanidade, recuperando os ritos, as crenças e as conceções do mundo, marcados
pelo mito e pelo sagrado.This work proposes to reflect on the marvellous in Mia Couto's short narrative, in particular on the central role of animals and the way they interact with Gods and ancestors, revealing themselves as the translators of their words, of their messages, to the living. Wandering between the real and the oneiric, between life and death, they undergo metamorphoses, indicate omens, participate in the community's spells, thus establishing bridges between tradition and modernity. In the first chapter, we intend to point out the different phases of Mozambican literature and its main lines, including the work of Mia Couto. In the second chapter, we tried to trace the writer's life path, from his childhood, spent in Beira to the present day, and briefly discussed the historical-geographic path of the short story and its importance in the African continent, where the oral tale seeks its roots in the deepest origins of African cultures. In the third chapter, starting from the concept of “literary fantasy”, we sketched a theoretical approach to the marvellous, focusing mainly on his dimension of the accepted and naturalised supernatural and articulation with the natural and the real. We reflect on the importance of myth in the construction of the history and identity of peoples, specifically on the African continent. Also in this chapter, we discussed the importance and symbolism of animals on this continent. In chapter four, we analyse the role and importance of animals present in the tales, starting from the vision of the world that the marvellous encloses and which leads us to a literary representation of the traditional imagination of the various peoples that make up the Mozambican mosaic. The marvellous thus becomes a process through which the identity is affirmed, the Mozambicanity is built, recovering the rites, beliefs and conceptions of the world, marked by myth and the sacred.
Books on the topic "Fantastic metamorphosis"
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Fantastic metamorphoses, other worlds: Ways of telling the self. Oxford: Oxford University Press, 2002.
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Applegate, Katherine. Everworld: Fear the Fantastic. New York: Scholastic Inc., 2000.
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Mihaljević, Nikica. La luna nell'acqua: Le metamorfosi nel racconto fantastico tra Italia e Croazia. Macerata: EUM, 2012.
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Metamorphosis: 50 contemporary surreal, fantastic and visionary artists. [Victoria?]: beinArt Publishing, 2007.
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Beinart, Jon. Metamorphosis 2: 50 Contemporary Surreal, Fantastic and Visionary Artists. beinArt Publishing, 2008.
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Fantastic Metamorphoses, Other Worlds: Ways of Telling the Self (Clarendon Lectures in English Literature). Oxford University Press, USA, 2004.
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Nilles, Melanie. Metamorphosis: Three Fantastic Stories of Strong Women and the Transforming Power of Love. CreateSpace Independent Publishing Platform, 2012.
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Edmonds III, Radcliffe G. Drawing Down the Moon. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691156934.001.0001.
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What did magic mean to the people of ancient Greece and Rome? How did Greeks and Romans not only imagine what magic could do, but also use it to try to influence the world around them? This book provides the most comprehensive account of the varieties of phenomena labeled as magic in classical antiquity. Exploring why certain practices, images, and ideas were labeled as “magic” and set apart from “normal” kinds of practices, the book gives insight into the shifting ideas of religion and the divine in the ancient past and in the later Western tradition. Using fresh approaches to the history of religions and the social contexts in which magic was exercised, the book delves into the archaeological record and classical literary traditions to examine images of witches, ghosts, and demons as well as the fantastic powers of metamorphosis, erotic attraction, and reversals of nature, such as the famous trick of drawing down the moon. From prayer and divination to astrology and alchemy, the book journeys through all manner of ancient magical rituals and paraphernalia. It considers the ways in which the Greco-Roman discourse of magic was formed amid the cultures of the ancient Mediterranean, including Egypt and the Near East.
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Cox, Fiona. Marina Warner. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198779889.003.0003.
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Marina Warner is one of Ovid’s best-known and significant critics, and his influence on her work is evident not only in her works of cultural history, such as Fantastic Metamorphoses, Other Worlds (2002), but also in her novels. The Leto Bundle (2001) is a novel that retells the Ovidian myth of Leto, showing it in different lights across the centuries, but throughout using it as a means of examining homelessness and the plight of refugees. Warner also pays careful attention to questioning the ways in which the past is packaged for us in the modern world, by evoking the world of museums, and the concerns and practices of those who work in them. Through her fiction Warner asks us to re-evaluate our relationship to the past, and the ways in which that past is transmitted and to whom.
Book chapters on the topic "Fantastic metamorphosis"
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"Fetishism and Its Anxiety: A Poetic Biography of Fantastic Rocks." In Metamorphosis of the Private Sphere, 91–148. BRILL, 2003. http://dx.doi.org/10.1163/9781684173877_005.
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"Proust and the Fantastic: Metaphor, Metamorphosis and the Visual Arts." In Textual Intersections, 213–24. Brill | Rodopi, 2009. http://dx.doi.org/10.1163/9789042027329_019.
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"Kafka's photograph of the imaginary. Dialogical interplay between realism and the fantastic. (The Metamorphosis)." In Theorizing the Avant-Garde, 180–201. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511483189.005.
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"7. Sea-Changes - Metamorphoses as Plots of Power." In Visions of Doom, Plots of Power: The Fantastic in Anglo-American Women's Literature, 227–66. Vervuert Verlagsgesellschaft, 1999. http://dx.doi.org/10.31819/9783964567819-009.
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Perepelkin, Mikhail A. "The structure and meaning of the “estate topos” in the A.N. Tolstoy’s story “Nikita’s Childhood”." In Russian Estate in the World Context, 252–61. A.M. Gorky Institute of World literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/978-5-9208-0627-7-252-261.
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The article investigates the structure and artistic function of the “estate topos” in the story of A. Tolstoy “Nikita’s Childhood”. First of all, is considered “The Case of the Samara provincial Council by the insurance Department on the adoption of the fear of the real property owned by the landowner Yakov Mironov and located near the village of Pavlovka (Sosnovka also), Vozdvyzhensky parish of the Nikolaev district of the Samara province” on the basis of which the con- clusion that was sold by the stepfather of the future writer A. Bostrom land owner J. Mironov real estate “near the village of Pavlovka (Sosnovka also)”, depicted by A. Tolstoy in the story “Nikita’s Childhood”. Further, the structure of the estate space in the story is studied and it is concluded that all the components of the estate topos — garden, ponds, cellars, barns, etc. — are in the process of non-stop metamorphoses that set in motion the entire estate as a whole; these metamorphoses constitute the real plot of the story. In conclusion, a fantastic hypothesis of the organization of the “estate topos” in “Nikita’s Childhood” is proposed, which brings this story closer to the works of A. Tolstoy in the genre of fiction and, above all, to the story “Aelita”.
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Newman, Daniel Aureliano. "‘Tampering with the Expected Sequence’: Heterochrony and Sex Change in Orlando." In Modernist Life Histories, 108–33. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439619.003.0005.
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This chapter reads the fantastical sex-change and longevity in Woolf’s Orlando in relation to contemporary experiments on the genetic and developmental determination of sex, notably the concept of heterochrony. The chapter argues that Orlando’s transformation from man to woman should be read literally, as a metamorphic change in the protagonist’s body; the embodied nature and the specific manifestations of the metamorphosis are designed to counter the recapitulatory plot that inheres in sexological discourses of the day. The corporeality of the Orlando’s development is rarely acknowledged in queer and feminist studies, which tend to emphasise gender and performance at the expense of sex and embodiment. By linking Woolf’s novel to contemporary biology, I complicate this common view and provide a positive alternative to the correlative argument that Orlando’s sex change amounts to a mere wish-fulfillment fantasy.