Relevant bibliographies by topics / Roman fantasy

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Roman fantasy'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Roman fantasy"

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Holmes, Brooke. "Greco-Roman Ethics and the Naturalistic Fantasy." Isis 105, no. 3 (September 2014): 569–78. http://dx.doi.org/10.1086/678172.

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Spehner, Norbert. "Paralittératures. Les indispensables (une bibliothèque de référence)." Outils 30, no. 1 (April 12, 2005): 119–30. http://dx.doi.org/10.7202/501193ar.

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Ces orientations bibliographiques, adressées au lecteur désireux d'en savoir plus sur l'étude du récit paralittéraire, comprennent des ouvrages généraux et de références, quelques collectifs et quelques études théoriques (mais pas d'analyse d'auteurs spécifiques). Elles sont regroupées par genres : la paralittérature en général et les études regroupant plusieurs genres, le fantastique, le roman western, le roman historique, le roman d'aventures maritimes et le roman de guerre, le roman d'amour et le roman érotique, le roman policier et le roman d'espionnage, la science-fiction et la fantasy .
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Pelling, Christopher. "Tragical Dreamer: Some Dreams in the Roman Historians." Greece and Rome 44, no. 2 (October 1997): 197–213. http://dx.doi.org/10.1093/gr/44.2.197.

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There are many ways of classifying dreams. This paper is concerned with only one, perhapsthe most fundamental: one which also – we are told – captures the most important difference between modern and ancient dream-interpretation. Ancient audiences were primed to expect dreams to be prophetic, to come from outside and give knowledge, however ambiguously, of the future, or at least of the otherwise unknowable present. This sort of dream is hard to distinguish from the ‘night-time vision’, and indeed it is sometimes hard with dreams in ancient literature to tell whether the recipient is asleep or not. For moderns, especially but not only Freudians, dreams come from within, and are interesting for what they tell us about the current psychology of the dreamer: for Freudians, the aspects of the repressed unconscious which fight to the surface; for most or all of us, the way in which dreams re-sort our daytime preoccupations, hopes, and fears. This distinction between ancient and modern was set out and elaborated a few years ago by Simon Price; it was also drawn by Freud himself. At the risk of oversimplification, we could say the first approach assimilates dreams to divination, the second to fantasy - with all the illumination that, as we increasingly realize, fantasy affords into the everyday world, as it juggles the normal patterns of waking reality at the same time as challenging them by their difference.
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MacDonald, Carolyn. "Dream, Fantasy, and Visual Art in Roman Elegy by Emma Scioli." American Journal of Philology 137, no. 2 (2016): 361–64. http://dx.doi.org/10.1353/ajp.2016.0017.

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Champlin, Edward. "Phaedrus The Fabulous." Journal of Roman Studies 95 (November 2005): 97–123. http://dx.doi.org/10.3815/000000005784016252.

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Phaedrus, far from being a Greek freedman striving to inscribe himself among the élite of Latin letters, was a Roman aristocrat masquerading as a man of the people to say in fable what could not safely be otherwise said. Modern biographical constructions are mostly fantasy. In coded terms the poet playfully reveals his gentle birth in Rome itself; he parades a mastery of the two most Roman contributions to literature, (Horatian) satire and jurisprudence; and he proclaims his belief in life's unfairness and in resignation to it, his contempt for both monarchs and mobs, and his admiration for the wise individual.
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Rabaté, Jean-Michel. "SIGNS and MEANINGS: Pataphallics: Jarry’s Novels and Ityphallicism." Human and Social Studies 3, no. 2 (June 1, 2014): 80–89. http://dx.doi.org/10.2478/hssr-2013-0030.

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Abstract This article discusses Alfred Jarry as a precursor of French modernism. With a particular focus on Messaline, Roman de l’ancienne Rome (1901) and Le Surmâle, Roman moderne (1902), I analyse the subtle ways in which the past and the future are intertwined and Jarry’s philosophy of sexual excess. In both novels, the main characters seek a paroxysmal erotic pleasure from which they die after reaching world records in sex-making. Read together, the novels work to create a lemniscate, the symbol of infinity symbolically represented, in modernism, by the speeding bicycle. In both novels, sexual excess leads to a superhuman transformation of women and men into a rigid phallus, underlying which is the fantasy of bisexualism.
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Richlin, Amy. "Nox Philologiae: Aulus Gellius and the Fantasy of the Roman Library (review)." University of Toronto Quarterly 80, no. 2 (2011): 276–78. http://dx.doi.org/10.1353/utq.2011.0131.

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Bridges, Emma, and Henry Stead. "Reception." Greece and Rome 66, no. 2 (September 19, 2019): 329–34. http://dx.doi.org/10.1017/s0017383519000147.

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As the editors ofOnce and Future Antiquitiespoint out in their preface, ‘science fiction, fantasy, and the classics have in common the effect of inviting us to reconsider (by speculating, by imagining, by contextualizing) our own world anew’ (xi). The fourteen wide-ranging chapters in this volume eloquently illustrate this point. Contributors explore the multiple ways in which the genres of science fiction and fantasy (SF&F) engage with, respond to, and cast new light on cultural artefacts, story patterns, and characters from the ancient Greek and Roman worlds, reflecting too on how these receptions respond to contemporary preoccupations. Appropriately for a volume on classical receptions, the contributions are all linked by the unifying theme of ‘displacements’ – a concept which refers here both to the movement of ideas, texts, and themes across time and space, and to the disruption of perceived genre boundaries or preconceived ideas about the relationship between receiving and source texts or cultures.
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Newby, Zahra. "The Aesthetics of Violence: Myth and Danger in Roman Domestic Landscapes." Classical Antiquity 31, no. 2 (October 1, 2012): 349–89. http://dx.doi.org/10.1525/ca.2012.31.2.349.

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This paper explores the use of art to recreate violent mythological landscapes in Roman domestic ensembles. Focusing on the Niobids found in two imperial horti it argues that the combination of sculpture and landscape exerted a powerful imaginative effect over ancient viewers, drawing them into the recreated mythological world. Mythological landscape paintings also offered a view out onto a mythological realm, fostering the illusion of direct access to the spaces of myth. However, these fantasy landscapes need to be seen in the light of the associations which natural landscapes held in the Roman imagination. Recreations of mythological landscapes in domestic art express the desire to incorporate the natural world into the domestic sphere but through the presence of violent events they also highlight the inherent powers of those landscapes and the gods who frequent them. They speak to a yearning to immerse oneself in myth and the natural realm, yet also warn of the perils of such a desire.
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Guast, William. "ACCEPTING THE OMEN: EXTERNAL REFERENCE IN GREEK DECLAMATION." Cambridge Classical Journal 63 (July 17, 2017): 82–102. http://dx.doi.org/10.1017/s1750270517000069.

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Traditional accounts of Greek declamation paint this important imperial genre as a flight from the alleged impotence of Greek cities under Roman rule into a nostalgic fantasy of the autonomy of the classical past. But there is clear evidence of declaimers using their works to refer to the world outside the fiction, often to the immediate performance context, and above all to themselves. This paper examines examples from Aelius Aristides, Philostratus’ Lives of the Sophists and Polemo, and shows that such a practice facilitated vigorous and eloquent communication, while also allowing for any external message to be plausibly denied.
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Dissertations / Theses on the topic "Roman fantasy"

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Martins, Eunice Barreto Dos Santos. "La fantasy, phénomène littéraire, éditorial et social en littérature jeunesse." Thesis, Paris Est, 2011. http://www.theses.fr/2011PEST0009.

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Si l’on peut faire remonter la naissance de la fantasy aux récits mythologiques et la rattacher aux contes populaires, la fantasy moderne n’a été reconnue qu’au début du XXe siècle. Venu de l’anglais imagination, le genre appartient au domaine de la littérature d ‘évasion, car il propose un « réenchantement » de notre monde.Marquée par de grands titres, tels que la trilogie du Seigneur des anneaux de J. R. R. Tolkien, la fantasy s’est ouverte à la littérature de jeunesse, notamment avec Harry Potter. Notre étude porte sur un corpus d’oeuvres marquantes de S. Audouin-Mamikonian, P. Bottero, B. Bottet, S. De Mari, N. Farmer, C. Paolini, M. Paver et E. Rodda, qui ont été publiées en France entre 2000 et 2006. Après avoir esquissé une typologie des sous-genres de la fantasy en la caractérisant par rapport aux autres littératures de l’imaginaire, il s’agit d’interroger les œuvres du corpus au niveau de la construction du héros et du monde dans lequel il évolue, d’étudier les phénomènes intertextuels et, notamment, comment le schéma narratif du conte est utilisé pour offrir à son lecteur un parcours quasi initiatique de l’adolescence et, enfin,de montrer comment la fantasy jeunesse en France est devenue un phénomène social et éditorial par l’intermédiaire des nouveaux outils de commercialisation
Although fantasy dates back to mythological tales and may be associated with folktales, modern fantasy has only been recognized since the beginning of the 20thcentury. According to its definition as “imaginative fiction”, the genre belongs to thefield of escapist literature since it provides a “re-enchantment” of our world.Highlighted by best-sellers, such as The Lord of the Rings trilogy by J. R. R. Tolkien,fantasy flourished in children’s literature especially with Harry Potter. Our study relieson a significant body of works written by S. Audouin-Mamikonian, P. Bottero,B. Bottet, S. Mari, N. Farmer, C. Paolini, M. Paver and E. Rodda and published in France between 2000 and 2006. After outlining a typology of the subgenres of fantasy by characterizing it in relation to the other types of speculative fiction, the study focuses on the works themselves, especially with regard to the construction of the hero and of the world he lives in with a view to analyzing intertextual phenomena, grasping notably how the narrative scheme of the tale is used to offer the reader some sort of initiation journey through adolescence and, lastly, to showing how youth fantasy in France has become a social and editorial phenomenon through innovative marketing tools
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Paver, Chloe E. M. "Narrative and fantasy in the post-war German novel : a study of novels by Johnson, Frisch, Wolf, Becker, and Grass /." Oxford : Clarendon press, 1999. http://catalogue.bnf.fr/ark:/12148/cb370936357.

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Arbelius, Karin. "För sakens skull : Det omöjliga mötet i Rut Hillarps roman Sindhia - en lacansk läsning." Thesis, Södertörn University College, School of Gender, Culture and History, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-475.

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This essay examines the love affair between the two main characters of Rut Hillarp’s novel Sindhia. It draws attention to the schism between the Surrealist version of love as an extatic-religious fusion of the sexes – that in a way marks the relationship – and the yet remarkable coolness between the two lovers.

With the theories of French psychoanalyst Jacques Lacan, I will show how the man and the woman project their unrealistic individual fantasies on each other, thus rendering impossible the Surrealist Meeting, with its road to an absolute reality. The Surrealist "l’amour fou", I will argue, is trapped in the ritualized "l’amor interruptus"; a lacanian term for a certain kind of love that wishes to conceal the fact that desire will never find its object. It does so by pretending that the object would be found if only love had been consummated (thus the reason love is never consummated, since, as Lacan puts it, the object, or the Thing, is never to be found).

I will, in brief, argue that the love affair depicted in the novel in different ways tries to deal with the “lack-of-being” that marks the subject according to Lacan; the absolute distance to the desirable Thing.

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Deschênes, Pradet Maude. "Hivernages (roman par fragments), suivi de Habiter l’imaginaire : pour une géocritique des lieux inventés (essai)." Thèse, Université de Sherbrooke, 2017. http://hdl.handle.net/11143/10448.

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Cette thèse de recherche-création comprend deux parties complémentaires : Hivernages, un roman par fragments, et Habiter l’imaginaire, une étude géocritique des littératures de l’imaginaire au Québec. Ces deux parties explorent les lieux inventés dans la littérature, par la création, puis par l’analyse, et se rejoignent en conclusion. Hivernages : Une année, sans qu’on sache pourquoi, l’hiver ne s’est pas terminé. Depuis, tout est couvert de neige et de froid. Dans une église éventrée, une femme rêve de lieux étranges. Le fleuve charrie des cadavres. Chacun a beaucoup perdu. Talie a été amputée de sa sœur, Sam a laissé partir son grand amour, le vieux a oublié son nom. Socrate, le chien-loup, est redevenu sauvage, et Célia est restée seule dans sa vallée. Ren, l’orphelin, n’a jamais rien eu. Aude est née au cœur d’une tempête, le visage figé dans un rictus étrange. Pourtant, à Ville-réal, la cité souterraine, les vieilles continuent de boire du thé vert et de manger des beignets en parlant de choses ordinaires. Habiter l’imaginaire. Pour une géocritique des lieux inventés : Cette recherche découle d’une série de prémisses. D’abord, l’époque contemporaine se caractérise, entre autres, par une perte de repères spatio-temporels et un sentiment de fragmentation. Ensuite, les œuvres de fiction sont susceptibles de traduire le vécu et les perceptions des humains par rapport à l’espace. Même les lieux fictionnels les moins référentiels révèlent, avant tout, une spatialité contemporaine. Enfin, la nécessité, pour les littératures de l’imaginaire, de contenir leur propre xénoatlas confère une place privilégiée aux lieux dans les récits. De ces prémisses découlent les questions suivantes : est-il pertinent, pour une science des espaces littéraires telle la géocritique, de s’intéresser aux lieux non référentiels ? Si oui, comment s’articulerait une géocritique des lieux inventés ? Quels sont les éléments qui devraient être pris en compte ? Quels outils pourraient être sollicités pour analyser les œuvres ? Le premier chapitre retrace les principales études portant sur la spatialité littéraire, en particulier dans le contexte du tournant spatial qui se dessine en recherche depuis quelques décennies. Il dresse également un état de la question sur les littératures de l’imaginaire. Il en ressort que la géocritique peut et doit s’intéresser aux lieux inventés. Le deuxième chapitre élabore une méthodologie tenant compte des spécificités des littératures de l’imaginaire. Les chapitres trois, quatre, cinq et six analysent quatre œuvres québécoises contemporaines, dans une perspective géocritique. Il s’agit de Récits de Médilhault d’Anne Legault, Les Baldwin de Serge Lamothe, L’aigle des profondeurs d’Esther Rochon et Hôtel Olympia d’Élisabeth Vonarburg. Enfin, en conclusion, les lieux inventés sont revisités, mais du point de vue de l’écriture.
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Feger, Claudia. ""Ideen habe ich mehr als genug"." Universitätsbibliothek Chemnitz, 2005. http://nbn-resolving.de/urn:nbn:de:swb:ch1-200501807.

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Jardillier, Claire. "Lectures et relectures : le roman arthurien moderne à la croisée du réalisme et du merveilleux." Paris 4, 2006. http://www.theses.fr/2006PA040284.

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Au cours du XXe siècle, de nombreuses réécritures arthuriennes ont porté un regard neuf sur la Matière de Bretagne. Elles ont souvent cherché à lui redonner une dimension historique. Cependant, depuis les années 1990, on discerne dans le genre arthurien une nouvelle tendance, subordonnée à deux objectifs apparemment contradictoires : préserver la vraisemblance d'un contexte historiquement et géographiquement situé tout en y réinjectant une part de merveilleux. Le roman arthurien à l'aube du XXIe siècle oscille donc entre deux pôles majeurs : le roman historique et le roman de fantasy. Bernard Cornwell et Stephen Lawhead, auteurs de The Warlord Chronicles et de The Pendragon Cycle, sot représentatifs de cette approche. Chacun instaure un dialogue constant avec les sources médiévales tout en portant un regard original sur l'historicité d'Arthur. Ce faisant, ils incluent plus ou moins d'interventions surnaturelles dans leur récit. On observe, d'une part, une rationalisation du merveilleux, qui consiste à proposer une interprétation vraisemblable de la merveille ; d'autre part, un cloisonnement de la magie, réservée alors à quelques rares acteurs en marge des protagonistes. Cette oscillation s'articule autour de motifs récurrents dans les romans arthuriens modernes, que cette thèse se propose donc d'étudier de manière thématique. On verra ainsi comment sont présentés le contexte martial et les « chevaliers », puis la magie et ses détenteurs, pour se tourner ensuite vers les différentes religions et la manière dont elles se mêlent au politique et au merveilleux. Enfin, on s'arrêtera plus particulièrement sur les personnages féminins qui recoupent tous ces thèmes
Numerous Arthurian rewritings have been opening new perspectives on the original material throughout the XXth century. Most modern novels have endeavoured to portray the « real » or historical Arthur. However, since the 90's, a new trend has emerged, apparently pursuing two contradictory goals : the likeliness and realism of Britain in the Vth-VIth centuries is still preserved while some measure of fantasy is working its way back into the material. Thus, the Arthurian novel of the beginning of the XXIst century is a delicate balance between the historical and the fantasy novel. Both Bernard Cornwell's The Warlord Chronicles and Stephen Lawhead's The Pendragon Cycle are representative of this recent trend. Each writer questions and reinterprets the medieval texts while suggesting his own theory about the historicity of Arthur. Their resort to fantasy is either prominent or scarce, according to two distinctive processes: magic is either rationalised, i. E an alternative to magic is suggested, or it is restricted, meaning it pertains exclusively to some of the characters. The way these works swing back and forth between the realistic and the wonderful define other components of the Arthurian novel, which this thesis approaches thematically. First, we shall see how war and warriors are portrayed, then how magic and magicians are involved in this wartime context. Then we shall turn to the different religions and how they are related both to magic and to politics. Finally, we shall take a closer look at the female characters, since they cross over all the main topics
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Robin, Mabriez Françoise. "Les versions du XVe siècle d’Artus de Bretagne : édition et étude littéraire." Thesis, Rennes 2, 2011. http://www.theses.fr/2011REN20028.

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Artus de Bretagne est un roman du XIVe siècle conservé dans de nombreux manuscrits, ce qui établit son succès. Le fils d'un duc de Bretagne y gagne le royaume de Sorrolois, devenant ainsi le roi Artus. Il existe des continuations du roman au XVe siècle, conservées dans quatre manuscrits. Ils contiennent des textes proches qui constituent une version longue du roman. La thèse édite les 229 premiers folios du manuscrit BnF fr 19 163. Le texte est établi grâce aux trois autres manuscrits et au manuscrit BnF fr 761 qui contient la version courte. Le texte pose peu de problèmes de lecture et utilise le moyen français de manière régulière, avec un vocabulaire déjà connu par ailleurs, même si plusieurs copistes ont travaillé. L'analyse littéraire s'intéresse aux problèmes posés par l'écriture de continuation. Comment l'auteur de la version longue d'Artus de Bretagne les a-t-il résolus ? L'auteur commence son texte avant la fin de la version courte et en reprend la matière sans différence significative. Il faut penser qu'il y a là de quoi intéresser le lecteur médiéval, grand amateur de variations sur le même sujet. Pour autant comment ne pas lasser ? La thèse s'attache à étudier les solutions mises en oeuvre par l'auteur qui conduisent à s'interroger sur une nouvelle esthétique fondée sur le mélange des matières - antique, bretonne, française - et le mélange de l'épique, du merveilleux, du lyrisme. Le roman est aussi un roman favorable à la France et aux Français qu'il valorise, considérant le roi Artus comme un Français.. Le roman se révèle aussi porteur d'une vision du monde qui permet au XVe siècle de mieux se vivre et de préserver une image favorable de lui-même
Artus de Bretagne is a 14th century novel. Its presence in several manuscripts helped establish its popularity. The narrative follows Artus, the son of a duke from Brittany, winning the kingdom of Sorrolois and therefor becoming king Arthus. There are sequel to the novel dating from the 15th century disseminated in four manuscripts. They contain stories close that constitute a longer version of the original novel. This thesis edits the first 229 folios of the BnF fr 19 163 manuscript. This text is based on three other manuscript and the short version of the novel, contained in the BnF fr 761 manuscript. The BnF fr 19163 text is easily readable and uses moyen français throughout ; the vocabulary is known even though several copists worked on it. The literary analysis focuses on the problems surfacing from continuation writing. How did the author of the long version of Artus de Bretagne overcome them? The author starts the text before the end of the short version and uses the content without any significant differences. There is enough to interest medieval readers, fond of variations on the same subjects. However, this raises the question, how to keeo the audience engaged? This thesis aims at studying solutions used by the author and how they lead to a reflexion on new aesthetics based on merging genres: antiquity, breton, french - and styles, epic, fantasy and lyrism. The novel is also complimentary towards France and French people, valorised through Artus being considered French. The novel reveals itself as the bearer of a vision of the world allowing the 15th century to live better
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Dallaire, Julie. "Pour une narratologie relative : la narratologie à l'épreuve de la science-fiction /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2004. http://theses.uqac.ca.

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Vladimir, Kirda Bolhorves. "Utopija u delu Herberta Džordža Velsa i Gabrijela Kosteljnika." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2016. https://www.cris.uns.ac.rs/record.jsf?recordId=101178&source=NDLTD&language=en.

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U ovoj disertaciji istražuju se mnogobrojni oblici utopije unekolikim, prvenstveno u književnim segmentima složenog i obimnogopusa H. Dž. Velsa, kao i u nekolikim, prvenstveno u književnimsegmentima ne tako obimnog, ali takođe složenog opusa G. Kosteljnika.Studiju čine trinaest poglavlja.Prvo je uvodno, te se u njemu najpre objašnjavaju predmet, cilj imetodologija istraživanja, a potom se razmatraju najfrekventniji pojmovi:opšta i naučna fantastika, i, iznad svih, glavni pojam, utopija. Osvetljavajuse i njena geneza, i njene karakteristike, i njene funkcije.U drugom poglavlju su najpre izloženi faktori nastajanja, postojanja inestajanja utopija, a u nastavku je prezentirana iscrpna tipologija utopija.U trećem i četvrtom poglavlju govori se o formiranju stvaralačkihličnosti H. Dž. Velsa i G. Kosteljnika.Narednih šest poglavlja ispunjeno je odeljcima putem kojih seosvetljava romaneskno, pripovedačko i diskurzivno (esejističko,sociološko, politikološko, naučnopopularno i publicističko) stvaralaštvo H.Dž. Velsa, kao i poetsko, pripovedačko, dramsko i diskurzivno (esejističko,teološko, književnokritičko, lingvističko i publicističko) stvaralaštvo G.Kosteljnika.Jedanaesto poglavlje je zaključno. U njemu je još jednom razmotrenznačaj utopije uopšte, a naročito u delu dvojice protagonista ove disertacije:H. Dž. Velsa i G. Kosteljnika.
This thesis researches numerous forms of utopia in several, primarilyliterary segments from complex and comprehensive opus of H. G. Wells, aswell as in several, primarily literary segments of not so comprehensive, butalso complex opus of G. Kosteljnik.The study consists of thirteen chapters.The first chapter is introductory, where the subject matter, aim andmethodology of the research are explained, and the most frequent notionsare considered: general fantasy and science fiction, and, above all, the mainnotion, utopia. Some light is being shed on its genesis, its characteristicsand its functions.In the second chapter, the factors for its emergence, existence anddisappearance are presented, along with exhaustive typology of utopias.The tird and fourth chapter deals with formation of creativepersonalities of H. G. Wells and G. Kosteljnik.The following six chapters include the extracts through which Ithrow light on romanesque, narrative and discursive (essayistic,sociological, politicological, popular scientific and publicistic) artisticcreation of H. G. Wells, as well as poetic, narrative, dramatic anddiscursive (essayistic, theological, literary-critical, linguistic andpublicistic) artistic creation of G. Kosteljnik.The eleventh chapter is conclusion. It once again considers thenotion of utopia in general, and particularly in the works of the twoprotagonists of this thesis: H. G. Wells and G. Kosteljnik.
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Dichamp, Céline. "Du discours médical au récit fantastique : la dimension addictive des drogues dans la littérature française de 1870 à 1914." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30090/document.

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La littérature « stupéfiante » apparaît à travers les substances addictives prises par les poètes dès le milieu du XIXe siècle ; cela permet une nouvelle forme d’écriture liée à la drogue. Celle-ci apparaît alors aux yeux des aliénistes, des psychologues, mais aussi des artistes, comme un véritable instrument d'exploration mentale. Entre 1870 et 1914, dans le roman réaliste et naturaliste, les comportements addictifs et obsessionnels chez les personnages de fiction prennent une importance spécifique. L’aspect de la dépendance à une substance ou à un objet devient un sujet littéraire mais voué à une description précise de phénomènes mentaux. La dépendance est définie comme la répétition d'actes censés procurer du plaisir par l'intermédiaire d'un objet matériel ou d'une situation, recherchés et consommés avec avidité. Nous traiterons dans cette thèse l’addiction aux produits psycho-actifs en vogue à l’époque : l’alcool, la morphine, le haschisch, l’opium et l’éther. L’invention romanesque à visée scientifique a pour but de montrer ou démontrer des faits de manière réaliste afin d’informer, d’avertir ou de théoriser à travers une apparence artistique plaisante. Néanmoins, l’écrivain naturaliste veille a rester dans l’axe du concret sans jamais pervertir son roman de données non vérifiées, d’extrapolations, d’exubérances qui ne permettraient alors plus à son texte d’être crédible. Face aux théories médicales et à l’étiologie de la dépendance, les auteurs utilisent leur imagination pour décrire des phénomènes médicaux d’intoxication et de dépendance à des substances. [etc.]
The addictive literature appears through addictive substances taken by poets in the middle of the 19th century; it allows a new dimension of writing influenced by drugs. This appears not only in psychiatrists and psychologists but also to artists as a real instrument of mental exploration. Between 1870 and 1914, in the realist and naturalist novel, the addictive and obsessional behavior of fictional characters has significant importance. The aspect of specific dependence to a substance or to an object becomes a literary subject but is dedicated to a specific description of mental phenomena. Dependence is defined as the repetition of certain behavior in order to get some pleasure from a material object or a situation, desired and consumed with greed. We will restrict ourselves in this thesis to work on the addiction of substances at that time: alcohol, morphine, hashish, opium and ether. Fictional invention with scientific intent shows or demonstrates facts in a realistic way in order to inform, warn or theorize by giving a pleasant and artistic appearance. However, the naturalistic author has to stay within the realms of reality without ever corrupting his novel with unchecked information, exaggeration, exuberances which would prevent the text from being credible. Confronted by medical theories and the etiology of dependence, the authors use their imagination to describe the medical phenomena of poisoning and dependence on psychoactive products. [etc.]
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Books on the topic "Roman fantasy"

1

Hohlbein, Wolfgang. Die Heldenmutter: Fantasy-Roman. Bergisch Gladbach, Germany: Bastei Lübbe, 1995.

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Kruger, Hardy. Gottlicher Met : Fantasy-Roman. Kaiserslautern: Nitzsche, 1993.

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Tom, Kidd, ed. Das eherne Schwert: Fantasy-Roman. München: Knaur, 1985.

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L'écuyer de Vabrume: Roman fantasy. Longueuil, Québec: Éditions de la Bagnole, 2008.

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Latynina, I︠U︡lii︠a︡. Insaĭder: [roman]. Moskva: ĖKSMO, 2007.

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Nikitin, I︠U︡riĭ. Baĭmer: [roman]. Moskva: T︠S︡entrpoligraf, 2001.

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Madzhong: Roman. Moskva: AdMarginem, 2012.

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Banks, Iain M. Inversii: [roman]. Moskva: ĖKSMO, 2007.

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Die Macht des Steins: Fantasy-Roman. 8th ed. München: Wilhelm Heyne Verlag, 1993.

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Perumov, Nikolaĭ. Pokhititeli dush: Roman. Moskva: Armada, 1996.

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Book chapters on the topic "Roman fantasy"

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Nair, Sashi. "‘Truth & fantasy’: Virginia Woolf’s Orlando as Sapphic roman à clef." In Secrecy and Sapphic Modernism, 95–118. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230356184_4.

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Pittaluga, Stefano. "Narrativa e oralità nella commedia mediolatina (e il fantasma di Apuleio)." In Der antike Roman und seine mittelalterliche Rezeption, 307–20. Basel: Birkhäuser Basel, 1997. http://dx.doi.org/10.1007/978-3-0348-8976-6_15.

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Graham, Anderson. "Verse fantasy into prose." In Fantasy in Greek and Roman Literature, 123–33. Routledge, 2019. http://dx.doi.org/10.4324/9780429029578-10.

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Graham, Anderson. "The summation of fantasy." In Fantasy in Greek and Roman Literature, 167–75. Routledge, 2019. http://dx.doi.org/10.4324/9780429029578-14.

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Graham, Anderson. "Narrators and audiences for Fantasy." In Fantasy in Greek and Roman Literature, 179–88. Routledge, 2019. http://dx.doi.org/10.4324/9780429029578-15.

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"Punishment: license, (self-)control and fantasy." In Slavery and the Roman Literary Imagination, 32–50. Cambridge University Press, 2000. http://dx.doi.org/10.1017/cbo9780511612541.003.

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Graham, Anderson. "Fantasy in Old Comedy and Lucian." In Fantasy in Greek and Roman Literature, 149–59. Routledge, 2019. http://dx.doi.org/10.4324/9780429029578-12.

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Falk, Avner. "The fantasy of the “Holy Roman Empire”." In Franks and Saracens, 53–64. Routledge, 2018. http://dx.doi.org/10.4324/9780429474927-5.

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Graham, Anderson. "Introduction." In Fantasy in Greek and Roman Literature, 1–11. Routledge, 2019. http://dx.doi.org/10.4324/9780429029578-1.

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Graham, Anderson. "Inventing the past in Homer and Philostratus." In Fantasy in Greek and Roman Literature, 134–45. Routledge, 2019. http://dx.doi.org/10.4324/9780429029578-11.

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