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1

Fantástico y terror: teoría y práctica de dos categorías ficcionales en el ámbito hispánico

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Carrera Garrido M.

Studia Romanica Posnaniensia

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2018

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vol. 45

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issue 2

5-20

EN

In the studies of non-mimetic fiction in the Hispanic world, reflections on expressions traditionally considered popular have been consolidating little by little. It is striking that, in this process of academic visibilization, such scarce attention is paid to horror. Often associated with the category of the fantastic, it urges to claim the specificity of this genre as an expression similar to the fantastic; not coincident with it, but, on the contrary, endowed with particular features. The purpose of the article is precisely to illustrate these characteristics. To this end, we resort to sources of various kinds, including those that assume the specific character of horror, and those that study it as part of the fantastic mode. All of them will contribute to the establishment of a solid theoretical basis; once it is fixed, we will proceed to exemplification by means of the analysis of two stories belonging to each of the categories and by the same author: Cádiz-born Félix J. Palma (Sanlúcar de Barrameda, 1968).

2

De la zarzuela a la ciencia ficción: El anacronópete, de Enrique Gaspar. Expansión de los límites de lo fantástico en la coyuntura del nacionalismo

100%

Brina M.

Studia Romanica Posnaniensia

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2018

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vol. 45

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issue 2

51-63

EN

This article addresses Enrique Gaspar’s novel El anacronópete (1887) by means of the articulation of the fantastic genre and nationalism. The nineteenth century witnessed a powerful scientific and technological development, which introduced economic, political and social changes. This can be traced in literature, especially in the second half of the century: for example, in the antagonistic positions between Emilio Ferrari and Gaspar Núñez de Arce in the field of poetry, or novels by Benito Pérez Galdós as Doña Perfecta (1876), in which the tension between the countryside and the city is compared to that existing between tradition and modernity. In this context, the value of Gaspar's novel surpasses the anecdote of presenting the first time machine in literature, eight years before Wells’s. Its value lies in the way in which, starting from the articulation of scientific and literary discourse, it expands the limits of the fantastic while using the procedure to address the question of national identity. The action takes place during the International Exhibition in Paris in 1878. The novel shows the popularity of the “famous Jules Verne” in Spain, whose “marvelous hypotheses” will be considered “children's toys in the face of the magnitude of the real invention of the modest Zaragoza neighbour of Spain”. More than a science fiction novel, the text calls for the incorporation of concepts related to the process of creation of national identities from such disciplines as history and sociology.

3

Una nueva mirada desde los límites de lo irreal: la fusión de categorías genéricas en la escritura de la imaginación de Juan Jacinto Muñoz Rengel

88%

Álvarez Méndez N.

Studia Romanica Posnaniensia

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2018

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vol. 45

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issue 2

107-120

EN

Juan Jacinto Muñoz Rengel (1974) is one of the greatest exponents of the hybridization of the fantastic with other non-mimetic modalities and with popular genre narratives. The mestizaje characterizes, through juxtaposition or fusion, much of his work, generating the ultimate significance of a broader scope. The fantastic is intertwined with adjacent categories, including science fiction, terror and magical realism. It is also commonly combined with the historical, detective, adventure or humorous narrative styles. He merges these diverse modes of invention by transgressing the rigid and normative molds with the aspiration of constructing new literary options. The dissolution of frontiers between the fantastic and other neighboring genres is also potentiated with frequent intertextual nods and suggestive tributes to the traditions of the unusual.

4

Lengua, literatura y fantasticidad en dos relatos de Pere Calders

87%

Gregori A.

Estudios Hispánicos

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2014

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vol. 22

27 - 37

EN

Pere Calders is one of the most recognised contemporary Catalan authors, especially on account of his uses of humorous and fantastic motives. In the present article two of his short stories are analysed as samples of involvement between fantasticity, on the one hand, and literality, metafiction and discourse construction on the other. It is showed how the narrative voice manipulates language semantically, syntactically and pragmatically in order to create ambiguity and, therefore, enlarge the limits of reality. If narrator’s parody strategy is seen as the representation of the unreal in front of everyday life, and reality as what certainly tortures and strongly worries people in the name of reason, we can conclude that in Calders’ short stories unreality is subtly invaded by the real, producing at the same time aparody of aparody in itself.

5

Histeryczny realizm, fantastyka, postmodernizm: Niewyczerpany żart (Infinite Jest) Davida Fostera Wallace’a

73%

Stasiewicz P.

Colloquia Litteraria

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2022

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vol. 32

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issue 1

45-68

EN

The paper is an analysis of some peculiar aspects of David Foster Wallace’s most famous novel, Infinite Jest, concerning particularly the novel’s approach towards traditional realistic and fantastic literary strategies and a general literary worldbuilding. One particularly emphasized aspect of Infinite Jest is its connection with postmodernism regarded as a strategy of subversion of reader’s habits created by 20th century realistic and fantastic literary conventions. The novel’s unclear and problematic worldbuilding is explained as Wallace’s inclination towards literary irony and also as a typical postmodern strategy of parodying “honorable” literary forms and a general disregard of literature of “themes” and “meaning” in favor of emphasizing of act of reading in itself.

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Eine befreiende Expansion ins Nichts – Raum- und Zeitkonstruktion in Michael Stavarič’ Roman „Brenntage”

73%

Ritz S.

Studia Germanica Posnaniensia

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2019

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issue 40

115-127

EN

Present contribution focuses on the function of mythical and fantastic elements in connection with the role of time in the novel Brenntage of Czech-Austrian author Michael Stavarič. Beyond a special way of waste disposal, the title of the book refers to an iterative symbolic act in a village community which determines the relation to their past. This article examines Brenntage with regard to the linguistic presentation of parallel narrative worlds, which constitutes the polyphony of the text. Special attention will be given to the combination of cyclic and linear concepts of time that create the multi-layering of the text and which are going to be interpreted in the context of the transition toadulthood. Subsequently, variant readings will be presented to show possible consequences of thejuxtaposition of cyclicity and linearity for the position of the first-person narrator.

DE

Im Fokus dieses Beitrags stehen die Funktionen des Mythischen und Märchenhaften sowie in Verbindung damit die Rolle der Zeit im 2011 erschienenen Roman Brenntage des in der ehemaligen Tschechoslowakei geborenen österreichischen Schriftstellers, Michael Stavarič. Der Romantitel verweist über die konkrete Handlung der Sperrmüllverbrennung hinaus auf einen sich wiederholenden symbolischen Akt, der das Verhältnis des Kollektivs zur Vergangenheit bestimmt. In den folgenden Ausführungen wird das Werk im Hinblick auf die sprachliche Gestaltung der nebeneinander existierenden erzählten Welten untersucht, wodurch die Polyphonie des Textes verdeutlicht werden kann. Besonderes Augenmerk gilt dabei der Parallelführung von zyklischer und linearer Zeitauffassung, welche in großem Maß zur Mehrschichtigkeit des Textes beiträgt und in Zusammenhang mit dem Prozess des Erwachsenwerdens interpretiert wird. Abschließend wendet sich der Beitrag den Konsequenzen zu, die diese Engführung von Zyklizität und Linearität für die Erzählerposition hat, und bietet verschiedene Deutungsmöglichkeiten für das Ende des Textes.

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The Fantastic as the Unconcealment of Truth in Debora Vogel’s Work

44%

Lyubas A.

Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica

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2020

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issue 36

29-39

PL

Artykuł poświęcony jest pojęciu tego co fantastyczne w twórczości Debory Vogel. Staram się uzasadnić, że fantastyka według Vogel jest jednocześnie nową postacią sztuki, nową formą życia i szczególnym użyciem języka; jest ona zarówno „znakiem” nowoczesności, jak myślenia o niej. Fantastyka stanowi kluczowy termin w eseju Vogel „Mieszkanie w swej funkcji społecznej i psychicznej” (1932), poświęconym nowoczesnemu projektowaniu wnętrz i przedmiotów. Refleksja Debory Vogel dotycząca fantastyki nie jest nakierowana na wykształcenie pełnej teorii i aparatu pojęciowego, lecz raczej na rozgrywanie tego co fantastyczne we własnej autorskiej teorio-praktyce, zgodnie z założeniami eseju „Białe słowa w poezji” (1930). W eseju tym Vogel omawia różne typy fantastyki, sytuujące się pomiędzy fantazją a rzeczowością: fantastykę pomysłowości, fantastykę asymetrii, fantastykę koloru, fantastykę prostoty. We wszystkich tych typach dokonuje się odsłonięcie prawdy.

EN

This essay examines the notion of the fantastic in Debora Vogel’s work. I argue that the fantastic for Vogel is simultaneously a novel artistic form and a form of life, as well as a singular use of language; it is both a “trait” of modernity and thinking of modernity. The fantastic is analyzed as a key term in the author’s understanding of modern design of space and objects through discussions of “Dwelling in its Psychic and Social Function” (1932), the critic’s essay on lived space. I demonstrate that Vogel’s reflections and theorizing of the fantastic are not necessarily aimed at the development of pure theory and concepts but rather at the performance of the fantastic in the author’s own theory-praxis through the lens of Vogel’s essay on poetics, “White Words in Poetry” (1930). The essay discusses various types of the fantastic which finds itself between matter-of-factness and phantasm: the fantastic of ingenuity, the fantastic of asymmetry, the fantastic of color, and the fantastic of simplicity. All of these different types set forth the unconcealment of truth.

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3 Studia Romanica Posnaniensia

1 Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica

1 Colloquia Litteraria

1 Estudios Hispánicos

1 Studia Germanica Posnaniensia

1 Brina M.

1 Carrera Garrido M.

1 Gregori A.

1 Lyubas A.

1 Ritz S.

1 Stasiewicz P.

1 Álvarez Méndez N.

1 2023

1 2020

1 2019

3 2018

1 2014

Fantástico y terror: teoría y práctica de dos categorías ficcionales en el ámbito hispánico

De la zarzuela a la ciencia ficción: El anacronópete, de Enrique Gaspar. Expansión de los límites de lo fantástico en la coyuntura del nacionalismo

Una nueva mirada desde los límites de lo irreal: la fusión de categorías genéricas en la escritura de la imaginación de Juan Jacinto Muñoz Rengel

Lengua, literatura y fantasticidad en dos relatos de Pere Calders

Histeryczny realizm, fantastyka, postmodernizm: Niewyczerpany żart (Infinite Jest) Davida Fostera Wallace’a

Eine befreiende Expansion ins Nichts – Raum- und Zeitkonstruktion in Michael Stavarič’ Roman „Brenntage”

The Fantastic as the Unconcealment of Truth in Debora Vogel’s Work