Journal articles: '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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Dan, Anca. "Mythic Geography, Barbarian Identities: The Pygmies in Thrace." Ancient Civilizations from Scythia to Siberia 20, no. 1 (May 8, 2014): 39–66. http://dx.doi.org/10.1163/15700577-12341260.

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AbstractThe presence of Pygmies in Thrace is neither a misunderstanding nor a fantasy of Pliny the Elder: this reference, confirmed by Stephanus of Byzantium, can be explained through the history of the Pygmies, mythic people mentioned in theIliadand integrated in the Classical, Hellenistic, Roman, Medieval and Renaissance descriptions of the inhabited world. The modern historian can reveal the reasons that made the Greeks and Romans locate these little men in the northern country of the cranes: the indigenous, under-earth houses of Dobrodgea and the abandoned caves in the region of Yailata as well as the Greek toponymy imported from the Aegean nourished the imagination of the Greeks and their stories about the Euxine Pontus, colonized by Milesians and Megarians. These observations contribute not only to a better understanding of the geography and ethnography of the western Black Sea coast, but also throw light on the process of “inventing” foreign peoples, at the center but also at the periphery of the civilized world, on the basis of racial, geographic and historical otherness, by taking into account the everlasting authority of the literary tradition.

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Sumarokov, G. J. "ABOUT THE INTERACTION OF FANTASY AND SCIENCE FICTION: ROMAN J. SINISALO ENKELTEN VERTA (BLOOD OF ANGELS)." Учёные записки Петрозаводского государственного университета 42, no. 5 (June 2020): 60–65. http://dx.doi.org/10.15393/uchz.art.2020.500.

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Tüzün, Defne. "A Moebial Ride through Polanski’s Repulsion." CINEJ Cinema Journal 8, no. 2 (December 3, 2020): 426–56. http://dx.doi.org/10.5195/cinej.2020.323.

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This article examines Roman Polanski’s film Repulsion from a psychoanalytic perspective by attending Julia Kristeva’s notion of abjection. This paper deals primarily with two main focal points. First, it focuses on the film’s portrayal of the protagonist, Carole’s abjection, her problem of non-differentiation, as evidenced by her relation to the maternal body and to corporeality. Secondly, the article investigates how the film positions its viewers with regard to Carole. It questions how Repulsion impels its spectators to engage Carole with a similar non-differentiation by generating a complex web of ambiguities with regard to the differentiation between external/internal, objective/subjective and reality/fantasy.

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강선미. "Sophistry Named Love: Male Fantasy and the Self-Cancelation of Misogyny in Le roman de la rose." Medieval and Early Modern English Studies 19, no. 2 (August 2011): 115–38. http://dx.doi.org/10.17054/memes.2011.19.2.115.

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Gragnani, Cristina. "Irredentist Propaganda “Baedeker Style:” Anna Franchi’s and Willy Dias’ Nationalist Geographical Fantasy." Quaderni d'italianistica 40, no. 1 (May 4, 2020): 41–75. http://dx.doi.org/10.33137/q.i..v40i1.34152.

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This article analyzes how Anna Franchi and Willy Dias (Fortuna Morpurgo) utilized the language of tourism in their irredentist writings during the first two years of World War I. I look at how they adopted specific features of travel guidebooks to create a nationalistic geographical fantasy. I argue that the two authors’ similar approaches have the same two-fold goal: to teach about the geography, history, and even the existence of the contended areas; to induce their readers to “imagine” the nation (in Benedict Anderson’s terms) as a community ideally united, within and beyond the state’s borders, by a common cultural, linguistic, geographical and ethnic heritage. Inspired by Risorgimento ideology and by irredentist historians, Dias and Franchi rooted such heritage in Greek and Roman history and myth and in the Venetian identity of the contended lands. I show how, through discursive strategies of inclusion/exclusion, Dias and Franchi represented the Mediterranean civilization as antithetic to German and Slavic “barbarism.” Drawing upon the work of historians of the Adriatic Littoral, I place Dias’ and Franchi’s works in the broader context of the history of the representation of the contended provinces in irredentist discourse. Through the lens of the Sociology of Tourism, and the Semiotics of Tourism I look at how the two authors produced an ideologized vision of landscape.

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Rabiner, Emily. "Dannunzian aesthetics and the necrophilic imagination in Le vergini delle rocce." Forum Italicum: A Journal of Italian Studies 51, no. 2 (March 15, 2017): 488–504. http://dx.doi.org/10.1177/0014585817698409.

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Le vergini delle rocce (1895) represents the culmination of Gabriele D’Annunzio’s Aestheticist Roman phase, uniting thematics, narrative, and poetry in the textual fabric of his ‘poema in prosa’. Privileging atmosphere over plot, the novel luxuriates in the beautiful language, landscape, and characters that surround the protagonist, Claudio Cantelmo. This article argues that the production of this beauty depends on D’Annunzio’s adoption and elaboration of a necrophilic aesthetic, one that is linked to Claudio’s assertion of his poetic fantasy and its reliance on the eponymous virgins—Massimilla, Anatolia, and Violante. Through readings of the prologue and the tale-within-a-tale of Umbelino and Pantea, a story of incestuous passion, murder, and necrophilia, the article explores the novel’s complicated interweaving of aesthetics, death, and beauty.

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Moran, Patrick. "Les vertus de l’oubli : ambivalences du passé arthurien chez Kazuo Ishiguro." Tangence, no. 110 (December 23, 2016): 141–60. http://dx.doi.org/10.7202/1038502ar.

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The Buried Giant (2014) de Kazuo Ishiguro est un roman à la frontière des genres : l’auteur puise dans la matière arthurienne, notamment dans Gauvain et le chevalier vert, pour élaborer un texte à mi-chemin entre la fantasy, le conte de fées et le roman intime. Située peu après la mort du roi Arthur, l’action se concentre sur un couple vieillissant et présente une Bretagne crépusculaire, où la coexistence des Bretons et des Saxons se fait de plus en plus inconfortable. Une étrange amnésie frappe l’île, et le souvenir d’événements récents risque sans cesse de resurgir et de briser l’équilibre des forces, en même temps qu’il menace de ruiner l’harmonie fragile qui unit les deux protagonistes. Un tel travail sur la mémoire et ses ambivalences est typique de l’oeuvre d’un auteur qui privilégie les zones de non-dit et d’incertitude. En se concentrant sur le rapport ambivalent que The Buried Giant entretient avec ses sources médiévales, cet article cherche à montrer comment Kazuo Ishiguro, tout en se tenant à distance de l’imaginaire médiéval et breton, réactive en fait la réflexion arthurienne sur l’impermanence, et construit un récit qui assume pleinement ses penchants allégoriques.

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CHAPMAN, MARK D. "The Fantasy of Reunion: The Rise and Fall of the Association for the Promotion of the Unity of Christendom." Journal of Ecclesiastical History 58, no. 1 (January 2007): 49–74. http://dx.doi.org/10.1017/s0022046905004331.

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This paper traces the history of the Association for the Promotion of the Unity of Christendom, one of the most successful of the eccentric and idiosyncratic private ecumenical initiatives of the mid-nineteenth century. The principal motivation behind the venture was a Romantic medievalism inspired by the lay Roman Catholic Ambrose Phillipps de Lisle and the Anglican ritualist priest, Frederick George Lee. While initially attracting widespread support, the leaders failed to recognise the power of vested interests in both Churches. After a vigorous denunciation by Henry Manning, the hopes of reunion proved to be little more than a dream.

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Martynov, D. E. "The Ancient Past and Fiction, or about the Construction of Worlds by Humanities Scholars: A Review of Books." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 163, no. 1 (2021): 190–205. http://dx.doi.org/10.26907/2541-7738.2021.1.190-205.

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This paper reviews three novels by different modern authors, all published in 2020 and applying to the realities of Ancient Rome. Marik Lerner’s science fiction novel “Practical Ufology” fits within the subliterary genre of “accidental travel”, and any background information from the Roman-Byzantine life is not very appropriate in the adventure text. The new novel “The Triumphant” by Olga Eliseeva, a professional historian, can be labeled as a form of the “science novel” genre, because it has numerous references and “anchors” that only an educated person is able to understand. The main canvas of O. Eliseeva’s novel is a synthesis of the personalities and actions of Julius Caesar and Constantine the Great, so the writer used the motif of the fantasy world, in which the Roman Republic and Rome are replaced by Latium and Eternal City with the Nazarenes (i.e., Christians) playing an important role in its future. The trilogy “Divine World” by Boris Tolchinsky, a professional politologist, is the most radical inversion of the reality with its own alternative history. The world of the Amorian Empire is a synthesis of the ancient Mediterranean and the ancient Egyptian civilizations. These texts can be considered as “imperial literature” tied to the post-Soviet realities and projects aimed to find a better future.

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Koropeckyj, Roman, and Robert Romanchuk. "Ukraine in Blackface: Performance and Representation in Gogol'’s Dikan'ka Tales, Book 1." Slavic Review 62, no. 3 (2003): 525–47. http://dx.doi.org/10.2307/3185805.

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In this article, Roman Koropeckyj and Robert Romanchuk present a Lacanian reading of the preface and “The Fair at Sorochintsy” from Nikolai Gogol’s Evenings on a Farm near Dikan'ka, vol. 1 (1831), viewed through the prism of American blackface minstrelsy. They trace representations of ethnicity and class in Gogol'’s “performance” of Ukraine. Their analysis of the preface demonstrates how Pan'ko’s Ukraine reaches a Russian lowerclass audience through the intervention of the gaze of an Other, an elite nonreader. The self-absenting of this Other opens a space for the audience’s imaginary identification with the Ukrainian minstrel, while structuring this space symbolically. Their analysis of “The Fair” demonstrates how this “opening” creates a fantasy of Ukraine as a world of unbridled sexuality, simultaneously repressed and re-presented by the story’s Russian- language fabula and elegiac “bookends.” The repressed Ukrainian content irrupts, symptomatically, in the story’s epigraphs. Akin to minstrelsy’s “blackening” of American popular culture, the tension between the repressed and the expressed adumbrates the “Ukrainianization” of Russian national culture.

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Nwakanma, Obi. "Okigbo Agonistes: Postcolonial Subjectivity in "Limits" and "Distances"." Matatu 33, no. 1 (June 1, 2006): 327–38. http://dx.doi.org/10.1163/18757421-033001037.

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Among Africa's leading twentieth-century poets, Christopher Okigbo occupies a most interesting space. Born to Igbo Roman Catholic parents in Eastern Nigeria, Okigbo studied the Classics and began to write poetry as a means of re-identification with his primal world. Yet both his life and his poetry staked a claim to a universalist impulse, and, as a colonial subject interpreting the postcolonial moment, Okigbo rejected a narrow, essentialist categorization of either himself or his poetry. He rejected the Africa Prize in 1966, claiming that "there is no such thing as African poetry, there is only good poetry or bad poetry." Okigbo appropriated signs and tropes from a vast range of sources, emphasizing the cosmopolitan, hybrid, transborder nature of signs and language in the postcolonial text. Yet Okigbo's poetry exhibits the recursive fantasy, displacement, and disorientation of a problematic imaginative cosmos. I argue in this essay that Okigbo, especially in the poems "Limits" and "Distances," was expressing his attempt to engage in an agonistic search, a quest for some stable identity. In interpreting the chaotic space of postcolonial experience, the poet Okigbo reflects what Homi Bhabha describes as a "mixed and split text of hybridity" – the double-toned voice of postcolonial anxiety.

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Franklinos, T. E. "ROMAN ELEGY AND THE VISUAL - E. Scioli Dream, Fantasy, and Visual Art in Roman Elegy. Pp. xii + 278, ills. Madison, WI and London: The University of Wisconsin Press, 2015. Paper, US$55. ISBN: 978-0-299-30384-6." Classical Review 67, no. 1 (December 1, 2016): 97–99. http://dx.doi.org/10.1017/s0009840x16002559.

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Butler, Shane. "E. Gunderson, NOX PHILOLOGIAE: AULUS GELLIUS AND THE FANTASY OF THE ROMAN LIBRARY. Madison: University of Wisconsin Press, 2009. Pp. 313. ISBN 978-0-299-22970-2. US$55.00." Journal of Roman Studies 100 (November 2010): 310–11. http://dx.doi.org/10.1017/s0075435810000729.

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Gold, Barbara K. "E. SCIOLI , DREAM, FANTASY, AND VISUAL ART IN ROMAN ELEGY (Wisconsin Studies in Classics). Madison, WI: University of Wisconsin Press, 2015. Pp. xii + 278, illus. isbn 9780299303846. US$55.00." Journal of Roman Studies 107 (August 31, 2017): 416–17. http://dx.doi.org/10.1017/s0075435817000855.

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Hartendi, Bayu, and Nursaid Nursaid. "STRUKTUR, MAJAS, DAN KONJUNGSI TEKS CERITA FANTASI KARYA SISWA KELAS VII SMP NEGERI 5 RAMBAH HILIR, KABUPATEN ROKAN HULU, PROVINSI RIAU." Pendidikan Bahasa Indonesia 8, no. 2 (March 17, 2019): 30. http://dx.doi.org/10.24036/103911-019883.

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ABSTRACT The purpose of this research is to describe these following two things. First, to describe the generic structure of fantasy story texts by seventh grade students in SMP Negeri 5 Rambah Hilir, Rokan Hulu Regency, Riau Province. Second, to describe the language features of fantasy story texts by seventh grade students in SMP Negeri 5 Rambah Hilir, Rokan Hulu Regency, Riau Province. The method that is used is descriptive qualitative method. This research was conducted at SMP Negeri 5 Rambah Hilir, Rokan Hulu Regency, Riau Province. The data of the research are fantasy story texts collected in many sources such as the documents of 30 text stories written by the students. The instrument of this research is the researcher himself. Data were analyzed by describing, analyzing, and discussing the data toward the theory. Based on the results of the study, there are two things that can be concluded. First, the seventh grade students in SMP Negeri 5 Rambah Hilir, Rokan Hulu regency, Riau province have used the third generic structure of fantasy story in writing. The generic structures of of fantasy story text are orientation, complication and resolution. It is proven by 30 fantasy story texts that have been analyzed, there are 28 fantasy story texts that used generic structure correctly. Second, there are 16 types of figurative languages were found in writing fantasy story and 82% accuracies in using conjunctions by the seventh grade students in SMP Negeri 5 Rambah Hilir, Rokan Hulu Regency, Riau Province. Kata kunci: Struktur Teks, Diksi Teks, Konjungsi Teks

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Lúcio Reis Filho. "A recepção dos clássicos em Final Fantasy IX." Zanzalá - Revista Brasileira de Estudos de Ficção Científica 3, no. 1 (August 8, 2019): 45–51. http://dx.doi.org/10.34019/2236-8191.2019.v3.27564.

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Considerando que a cultura do mundo clássico continua a moldar a do Ocidente moderno, este artigo pretende lançar luz sobre a permanência dos clássicos na produção audiovisual contemporânea. Nesse sentido, tomamos como objeto um game de RPG que mescla fantasia e ficção científica, um jogo com fortes raízes na literatura do mundo greco-romano: Final Fantasy IX (Square, 2000). A fim de localizar os elementos da cultura clássica no jogo, nosso estudo terá como base a relação prolífica entre Literatura e Game Studies. Dessa maneira, observaremos os jogos enquanto meios de divulgação dos textos e imagens da antiguidade.

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Vardi, Amiel. "Gellius - (E.) Gunderson Nox Philologiae. Aulus Gellius and the Fantasy of the Roman Library. Pp. x + 313. Madison: University of Wisconsin Press, 2009. Cased, US$55. ISBN: 978-0-299-22970-2." Classical Review 60, no. 1 (March 8, 2010): 139–41. http://dx.doi.org/10.1017/s0009840x09990758.

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Smadja, Isabelle. "Héros et héroïnes des romans de fantasy contemporains." La lettre de l'enfance et de l'adolescence 82, no. 4 (2010): 53. http://dx.doi.org/10.3917/lett.082.0053.

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Edgecomb, Sean F. "A Performance between Wood and the World: Ludwig II of Bavaria's Queer Swans." Theatre Survey 59, no. 2 (April 25, 2018): 221–48. http://dx.doi.org/10.1017/s0040557418000078.

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In her 1964 essay “Notes on ‘Camp,’” Susan Sontag includes Tchaikovsky's Swan Lake (1875–6) in a list that illustrates “random examples” from “the canon of Camp.” Though the ballet has become an integral part of the classical repertory for professional companies from Moscow to New York to Sydney as well as the inspiration for numerous figure skaters (most notoriously in Johnny Weir's outré and rhinestone-bedecked interpretation in 2006), it has, as suggested by Sontag, been creative afflatus for gay underground performers for more than a century. But what are the origins of the swan gone queer? As this article demonstrates, I suggest that one way to trace both the swan's queer genealogy and its continuity lies in the dramatic history and lived performance of the ill-fated Ludwig II (hereafter “Ludwig”) of Bavaria (1845–86)—the Swan King (Fig. 1). Tchaikovsky, after all, had been inspired by the dramatic story of the effete young king (and perhaps titillated by a shared closeted gay desire), who would become a prototype for the ballet's tragic hero, Prince Siegfried. In fact, dance scholar Peter Stoneley suggests that “Swan Lake confirms the virtual impossibility, in Tchaikovsky's [and Ludwig's] era, of accommodating homosexuality within wider society.” Ludwig's desire was expressed through a lens of his same-sex fantasies and their inspired artistic interpretations, most notably taking form in the construction of his neo-Romanesque, fairy-tale castle Neue Burg Hohenschwangau (more commonly known as Neuschwanstein or New Swan on the Rock Castle, though it was not renamed until after Ludwig's death). Ludwig's queer positionality also arises from the theatrical way that he performed a highly aesthetic (though hardly effective) approach to monarchy with his swan-bedecked castle and its environs as a sort of metastage set. In this context, the swan may be read as an example of what Donna Haraway calls “a companion species,” or a personal animal symbol (real or mythical) that represents a variety of feelings that are otherwise difficult to express in the hegemonic context of a given time and place (like homosexuality in Roman Catholic Bavaria in the nineteenth century). Ludwig chose the swan (drawn from family heraldry but primarily envisioned in his own life through storybook-driven fantasy) as a means of alternative expression to that normally available to a man in his position and with his responsibilities, and also as a way to enact his forbidden desires.

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Aloisio, Miriam. "Architettura e scrittura in Fantasmi romani di Luigi Malerba." Quaderni d'italianistica 36, no. 2 (July 27, 2016): 127–54. http://dx.doi.org/10.33137/q.i..v36i2.26902.

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Questo studio è un’analisi testuale di Fantasmi romani (2006) che mira ad illustrare come sia avvenuto un mutamento ideologico nella poetica di Luigi Malerba, che da autore di romanzi divertente e divertito, si presenta ora come un commentatore amareggiato dell’epoca contemporanea. Avvalendomi delle teorie di Remo Cesarani e di Fredric Jameson, secondo cui in conseguenza del tramonto delle “grandi metanarrazioni”, sono apparse nuove forme dello spazio cittadino e nuove tendenze architettoniche, analizzo come i protagonisti di Fantasmi romani vivano in uno stato di disagio e “smarrimento esistenziale” all’interno della metropoli romana. Laddove il personaggio di Clarissa cercherà di orientarsi leggendo i segni magici che la città le offre, l’architetto Giano prima porterà avanti il suo progetto architettonico di distruggere e ricostruire una nuova Roma; poi, attraverso il suo romanzo, cercherà invano di riordinare e dunque, cambiare, la società in cui vive. La consapevolezza del fallimento del progetto utopistico (l’architettura) e della creazione di un romanzo (la scrittura), è il segno di una preoccupazione radicata da parte dell’autore per lo stato attuale delle cose. Se inizialmente la cognizione della crisi ecologica, culturale, relazionale che percorre le pagine degli scritti malerbiani era mitigata da divertissement filologico, gioco linguistico e coinvolgente comicità in romanzi come ad esempio Il serpente, Salto mortale, il Protagonista, essa affiora invece nel testo dell’ultimo romanzo attraverso un sentimento di sfiducia e rassegnazione.

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Kalpazidou, Georgia, Dimitris Alexandros Ladopoulos, and Theofano Papakonstantinou. "Tackling Negative Representation: The Use of Storytelling As a Critical Pedagogical Tool for Positive Representation of Roma." Critical Romani Studies 3, no. 2 (June 23, 2021): 58–70. http://dx.doi.org/10.29098/crs.v3i2.79.

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This article focuses on the negative representation of Roma in Greece in the early twenty-first century. It investigates how negative feedback takes the form of a self-fulfilling prophecy that suppresses the self-esteem of young Roma and maintains a distance between Romani identity and education despite several positive yet little known examples of Romani scientists and scholars. The article questions how negative Romani images canbe reversed in order to enhance Roma’s educational success. The importance of innovative educational activities based on Romani literature, critical multiculturalism, and the parameter of Romani bilingualism is highlighted. Particularly, the article focuses on the power and the echo that stories can have (storytelling),where protagonists have a Romani connection or identity and are portrayed as positive models, both within classrooms with Romani students and within a society where the idea of Romani literature is a fantasy.

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Seillan, Jean-Marie. "Silence, on fantasme. Lecture de « Pierrot sceptique », pantomime de L. Hennique et J.-K. Huysmans." Romantisme 22, no. 75 (1992): 71–82. http://dx.doi.org/10.3406/roman.1992.6003.

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Mehlman, Jeffrey. "Anti-France : Un fantasme du roman américain contemporain." Diogène 203, no. 3 (2003): 146. http://dx.doi.org/10.3917/dio.203.0146.

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Tropin, Tijana. "The relationship between Arthurian tradition and science fiction in Diana Wynne Jones's novel 'Hexwood'." Kultura, no. 168 (2020): 14–27. http://dx.doi.org/10.5937/kultura2068014t.

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This paper analyses Diana Wynne Jones's use of the Arthurian tradition in her novel Hexwood and the links she establishes with the contemporary traditions of the fantasy novel for children and science fiction. By employing a complex non-linear narration and a rich network of intertextual allusions ranging from Thomas Mallory and Edmund Spenser to T. H. White, Wynne Jones creates an unusual and successful genre amalgam. The central concept of the novel, a version of virtual reality where individuals adopt false identities and act accordingly, enables a highly uncommon self aware use of motifs adopted from myth and literature.

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Béhotéguy, Gilles. "Le livre et la scène de lecture dans le roman français contemporain pour la jeunesse." Mémoires du livre 2, no. 2 (April 5, 2011): 0. http://dx.doi.org/10.7202/1001765ar.

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La lecture d’une quarantaine de romans publiés en France entre 1980 et 2005, extraits d’un corpus beaucoup plus important, montre la tension entre mythe et fantasme qui sous-tend la représentation du livre et de la scène de lecture dans la fiction française contemporaine pour la jeunesse. Si les auteurs manifestent une ardeur de prosélytes dans la célébration des vertus de la lecture, force est de constater que, dans l’ensemble, ils ne montrent guère d’originalité dans leur démarche. Ils ne revisitent pas les grands mythes qui fondent la culture du livre, mais ils en réaffirment au contraire la permanence et s’érigent en gardiens du temple, en conservateurs du patrimoine culturel légitimé. L’objet-livre est saisi comme un symbole ou est détourné en fétiche investi par les fantasmes d’écrivains bibliophiles. Tout aussi stéréotypée, la scène de lecture rompt avec la réalité de sa pratique et tend à l’allégorie. Ces mythologies de la lecture courent le risque, finalement, de faire du livre un pur objet de fiction, une curiosité étrange et incompréhensible pour le jeune lecteur égaré dans un roman-musée.

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Vidal, Jean-Pierre. "La Berlue et le mythe : S/K, ou de Stephen King à Stanley Kubrick." Cinémas 4, no. 1 (December 16, 2010): 115–29. http://dx.doi.org/10.7202/1000115ar.

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L’auteur analyse ici Shining du point de vue de l’adaptation que fait Kubrick du roman de Stephen King. Il montre que la mise en images du roman représente un travail de surexposition et de distanciation de la lecture comme telle, donnant une réalité « objective » à des images sans contour que produit toute lecture, opérant dans le dévoilement de sa propre lecture une représentation concomitante du regard piégé du spectateur. Le travail sur le texte laisse ainsi apparaître comme piste de lecture un récit sans texte, une sorte de fantasme, le mythe peut-être de toute création artistique.

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Dixon, Thomas P. "Judgement for Israel: The Marriage of Wrath and Mercy in Romans 9–11." New Testament Studies 66, no. 4 (September 24, 2020): 565–81. http://dx.doi.org/10.1017/s0028688519000547.

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Reviewing John Barclay's Paul and the Gift, Susan Eastman recognises the need for ‘fuller analysis of judgment’ in Paul to accompany such penetrating work on grace. The dearth of interest in wrath often perpetuates the Marcionite premise that wrath precludes mercy, a false antithesis that especially skews interpretation of Romans. This presumed opposition leads scholars to find dithering dialectic, two covenants, two Israels or contradictory fantasy in Rom 9–11. Replacing the simple binary with a thicker lens of provisional judgement clarifies Paul's argument that God strikes Israel in wrath in order to heal them.

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Hervé, Martin. "Le roman de Mélusine de Claude Louis-Combet ou le roman de l’oeil miroitant." Tangence, no. 110 (December 23, 2016): 127–39. http://dx.doi.org/10.7202/1038501ar.

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En 1986, l’écrivain français Claude Louis-Combet publie Le roman de Mélusine, une fiction consacrée à la légendaire fée ophidienne, haute figure du tabou du voir. S’il s’inscrit clairement dans la tradition du texte établi à la fin du xive siècle par Jean d’Arras, Louis-Combet laisse affleurer dans sa réécriture une obsession du visuel, du mirage et du mimétisme, symbolisée par l’oeil dont les multiples incarnations et colorations traversent le récit. L’oeil de l’amour, regard de l’amant découvrant son reflet dans le miroir d’eau dans lequel se mire la fée, dévoile inévitablement son envers, l’iris tragique, soit l’oeil du sanglier meurtrier, augure et agent du destin. Dans le royaume des images dont Mélusine ouvre les portes à son époux, imaginaire régenté par la Femme serpentine et phallique, l’amour trouve une illustration parfaite et reste parfaitement illusoire. Pourtant, derrière les yeux miroitants de la fée, le réel s’annonce, et avec lui l’instant où la séparation marquera la fin de la passion, de la féérie et du fantasme. Écrire Mélusine revient pour Louis-Combet à rêver d’un temps d’avant la lettre où homme et femme n’étaient que les facettes d’une même imago dont la puissance de fascination reste toujours aussi vivace.

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Kozul, Mladen. "Fantasme théâtralisé et théâtre baroque." Dossier — Sade au théâtre : la scène et l’obscène, no. 41 (May 7, 2010): 40–49. http://dx.doi.org/10.7202/041669ar.

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De nombreux textes théâtraux et érotiques de Sade partagent une forme historiquement spécifique de la codification du fantasme. La structure dramatique et spéculaire de celui-ci se prête particulièrement bien au procédé de l’enchâssement caractéristique du théâtre baroque. L’emboîtement théâtral structure deux textes matriciels de Sade, La ruse d’amour et Les 120 journées de Sodome, qui donnent à la cruauté et à l’érotisme des formes proprement théâtrales. L’omniprésence de la mise en abîme du metteur en scène et de la scène qu’il organise dans les pièces et dans les romans indique que certains aspects de la théâtralité baroque fournissent la matrice de base de l’invention sadienne.

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Bélanger, David. "Fantôme universitaire et fantasme créateur: le roman québécois et le démon théorique." Quebec Studies 64 (December 2017): 47–66. http://dx.doi.org/10.3828/qs.2017.15.

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Heinz, Sarah. "Beyond Sedentarism and Nomadology: Yaa Gyasi's Homegoing and the Ambivalent Desire for Home." Kulturwissenschaftliche Zeitschrift 5, no. 1 (October 9, 2020): 119–32. http://dx.doi.org/10.2478/kwg-2020-0030.

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AbstractHeim und Heimat sind auratische Begriffe, die häufig mit positiven Emotionen und Erlebnissen wie Behaglichkeit, Wärme oder Sicherheit verbunden werden. In solchen Assoziationen wird Heim/at zu einem stabil existenten Ort, einer organischen Gemeinschaft und einem angeborenen Gefühl, d.h. zu einer angeblich natürlichen Erfahrung, die von außen bedroht werden kann. Solch eine ‚sesshafte‘ Metaphysik sieht Mobilität als Pathologie oder Bedrohung und lehnt Heimatlosigkeit, Bewegung und alternative Modelle von Heim/at ab. Diese Konzepte von Heim/at sind von nomadologischen Ansätzen hinterfragt worden. Heim/at wird hier als gefährliche Fantasie und Ideologie verabschiedet, während eine radikale Heimatlosigkeit, Mobilität und nomadische Subjektivität zu einer Quelle für Widerstand gegen Essentialismus und staatliche Kontrolle werden.Diese binären Oppositionen haben zu Aporien in der Diskussion um Heim und Heimat geführt, die der Artikel nachzeichnet, um, angelehnt an Brahs Konzept des ‚homing desire‘ (1996), anhand der Lektüre von Yaa Gyasis Roman Homegoing (2016) einen dritten Weg zur Konzeptualisierung von Heim/at vorzuschlagen. Anhand der beiden Protagonistinnen Effia und Esi als repräsentativen Beispielen für die ambivalente Sichtweise des gesamten Romans wird verdeutlicht, dass Effias Lebensgeschichte organische, sesshafte Sichtweisen auf Heim/at kritisch kommentiert, während Esis Geschichte aufzeigt, dass die Glorifizierung von Nomadismus und radikaler Heimatlosigkeit ebenso problematisch sein können. Für beide Protagonistinnen und ihre Nachkommen ist Heim und Heimat flüchtig, fluide und problematisch, gleichzeitig aber auch eine Sehnsucht und ein unerfüllbarer Wunsch.

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Hél-Bongo, Olga. "Polymorphisme et dissimulation du narratif dans La mémoire tatouée d’Abdelkébir Khatibi." Études littéraires 43, no. 1 (February 14, 2013): 45–61. http://dx.doi.org/10.7202/1014058ar.

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Dans La mémoire tatouée, Abdelkébir Khatibi subvertit le réel en le tressant au rêve, au fantasme et au drame, d’où l’enchâssement de plusieurs genres dans le roman (essai, poésie, théâtre). Essai et roman mettent en scène l’aliénation du colonisé et d’une génération entière, déracinée, et donc rivée à un double langage. La tentative du je consiste à représenter l’intellectuel colonisé pour s’insurger contre sa propre aliénation. L’autobiographie se dit par éclatement et par cris. Son analyse nécessite une bonne connaissance de la trajectoire de l’auteur afin de situer la prise de parole de l’écrivain dans le cadre de sa deixis sociale. Le présent article examine donc le parcours intellectuel de Khatibi en matière de dispositions, de positions et de prises de positions en vue de saisir le portrait autobiographique tel que transfiguré par l’auteur et par la tricherie de l’écriture.

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Masseau, Didier. "La chaussure ou le pied de Fanchette." Études françaises 32, no. 2 (March 15, 2006): 41–52. http://dx.doi.org/10.7202/036024ar.

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Résumé Paru en 1769, Le Pied de Fanchette de Rétif de la Bretonne rappelle quelle fut au xvme siècle la fascination pour le pied féminin. Du roman à la peinture (Boucher, Fragonard, Baudouin), du fantasme rétivien à l'obsession collective, ce fétichisme a une histoire, personnelle et collective. Substitut du corps et du sexe, objet fétiche, topos romanesque permettant à l'intrigue de progresser, point de départ et aboutissement du récit, foyer dé la représentation picturale, marque du symbolique et de l'imaginaire, le pied de Fanchette est le lieu de tous les possibles.

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BELLETÊTE, MARISE. "« ON N’A PLUS LES CONTES QUE L’ON AVAIT »." Dossier 43, no. 3 (September 4, 2018): 41–55. http://dx.doi.org/10.7202/1051085ar.

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Présenté comme un « antépisode moderne au conte de Cendrillon », le roman Javotte de Simon Boulerice s’inscrit dans le courant des variations cendrillonesques, en référant aux versions de Charles Perrault et des frères Grimm, ainsi qu’à l’adaptation filmique de Walt Disney. Toutefois, il a la particularité de se recentrer plutôt sur le personnage de la demi-soeur, « tirée d’un conte de fées, mais catapultée dans son xxie siècle » (Javotte, p. 105), qui est tiraillée entre sa méchanceté et le fantasme obsessif de ressembler à une princesse. L’imaginaire archaïque du conte nourrissant l’intrigue y est ainsi détourné par la narratrice entretenant un rapport trouble avec ces oeuvres. Dans cet article, l’auteure cherche plus particulièrement à dégager la vision subversive et parodique que le roman propose de l’éclatement de la mémoire des contes merveilleux à notre époque, où l’« [o]n n’a plus les contes que l’on avait » (Javotte, p. 105), tout en montrant comment leur accumulation participe à l’ambiguïté identitaire de la narratrice, qui cherche simultanément à s’y comparer et à les mettre à mal.

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Lins, Rafael De Castro. "No princípio era o sofrimento: o templo fantasma." Caminhando 23, no. 1 (June 29, 2018): 177. http://dx.doi.org/10.15603/2176-3828/caminhando.v23n1p167-184.

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O artigo se vale de elementos da sociologia da religião a fim de aplicá-los à metade final do século I, período no qual a região da Judeia encontra-se sob jugo e intensa opressão do Império Romano, o que, por conseguinte, desencadeou a revolta judaica cujos efeitos foram a destruição de Jerusalém e de seu templo sagrado. Este marco de sofrimento pôs fim a uma realidade social plausível à cosmovisão judaica – residente em torno do templo – e intensificou a expansão de grupos sectários. Pôde-se dizer, enfim, à luz deste percurso bibliográfico, que a crença em Jesus Cristo, nesse período pós-70, tornou-se uma resposta plausível à crise social eminente. Com esse artigo, quer-se mostrar como o Movimento de Jesus tornou-se uma proposta messiânica cada vez mais reverberante após o sofrimento funesto que Roma infligiu aos judeus.

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Saco, Julio Lopez. "MUERTE E INFRAMUNDO EN LA ANTIGUA ROMA: INMORTALIDAD Y ETERNA MEMORIA." Revista Hélade 3, no. 3 (August 10, 2018): 36. http://dx.doi.org/10.22409/rh.v3i3.10983.

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Los mitos de origen griego vinculados con la muerte, así como los deseos de alcanzar la inmortalidad y una nueva vida en el Más Allá a través de la eterna perduración del alma, impregnaron la imaginación religiosa romana. Con posterioridad a la muerte, el ser humano se transformaba en una serie de entidades (lemures, manes, larvae, penates, lares) de no siempre fácil identifcación. Desde la óptica romana la muerte requería una serie de honores funerarios bien establecidos para evitar la conversión del fallecido en un fantasma sin descanso y para, de ese modo, apaciguar los componentes malignos o negativos. En la antigua Roma la muerte era un acto social que, en cuanto a los lugares de inhumación, modos de celebración y cultos, no igualaba a los fallecidos, existiendo notables diferencias según la condición social o el estatus del muerto.

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Pastore, Graziella. "Miléna Mikhaïlova-Makarius, Amour au miroir. Les fables du fantasme ou la voie lyrique du roman médiéval." Studi Francesi, no. 187 (LXIII | I) (July 1, 2019): 133–34. http://dx.doi.org/10.4000/studifrancesi.16170.

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Ilina, Alexandra. "Milena Mikhaïlova-Makarius, Amour au miroir. Les fables du fantasme ou la voie lyrique du roman médiéval." Cahiers de civilisation médiévale, no. 241 (January 1, 2018): 92–94. http://dx.doi.org/10.4000/ccm.5285.

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LEE, Kwang Jin. ""Jeu de pseudo-pseudo et fantasme de roman familial : ?tude sur les personnages masculins apparaissant dans Pseudo"." Études de Langue et Littérature Françaises 126 (June 15, 2021): 223–48. http://dx.doi.org/10.18824/ellf.126.07.

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McCaffrey, Enda. "Le retour du sexe dans le queer : Ici commence la nuit d’Alain Guiraudie." Voix Plurielles 15, no. 2 (December 9, 2018): 139–53. http://dx.doi.org/10.26522/vp.v15i2.2080.

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En 2014, Alain Guiraudie a publié son premier roman Ici commence la nuit (Prix Sade). Ce roman intervient à un moment opportun dans deux débats qui préoccupent les théoriciens “queer” aujourd'hui. Guiraudie écrit en réaction à l’asexualité ressentie des théories queer et aux accusations d’abstraction, de désincarnation et d’institutionnalisation qui leur sont faites. Il écrit aussi en réaction à la trajectoire principalement dystopique du “queer”, comme illustrée en particulier par le travail de Lee Edelman. Dans ce papier, j’affirme que Guiraudie a un rôle à jouer dans le futur et dans le potentiel de la littérature comme fantasme, pour réinventer les dynamiques du désir et de la pratique “queer”. Je démontrerai que l’originalité de Guiraudie réside dans la façon dont il redonne à l’homosexualité sa part de sexualité en vue de traverser les modalités sexuelles dominantes de relationalité, de monogamie et de narcissisme. À travers la pratique du “cruising”, du sadisme, de la renonciation de soi (rédemption) et de l’ascétisme, Guiraudie explore les contours d’un désir homosexuel durable, au-delà des pratiques sexuelles, de la personne et du corps. Au niveau méthodologique, l’article s’inspire du travail de Leo Bersani et de son concept de relationalité impersonnelle, ainsi que des trois aspects de la jouissance lacanienne : la jouissance comme manque (castration), la jouissance féminine (jouissance comme autre) et jouissance comme lalangue, moteur lacanien de l’inconscient.

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Journal articles on the topic 'Roman fantasy'

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