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Fb2 The Fantastic: A Structural Approach to a Literary Genre ePub

by Richard Howard,Richard Scholes,Tzvetan Todorov

Category: History and Criticism
Subcategory: Fiction
Author: Richard Howard,Richard Scholes,Tzvetan Todorov
ISBN: 0801491460
ISBN13: 978-0801491467
Language: English
Publisher: Cornell University Press; 1st edition (May 31, 1975)
Pages: 190
Fb2 eBook: 1844 kb
ePub eBook: 1456 kb
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Tzvetan Todorov (Author), Richard Howard (Translator), Richard Scholes (Introduction) & 0 more.

Tzvetan Todorov (Author), Richard Howard (Translator), Richard Scholes (Introduction) & 0 more.

Tzvetan Todorov, Richard Howard (Translator)

Tzvetan Todorov, Richard Howard (Translator).

His work on the fantastic is indeed about a historical phenomenon that we recognize, about specific works that we may read, but it is also about the use and abuse of generic theory. test cricket, Perth (WA), "Parkes, Henry". Separate different tags with a comma. To include a comma in your tag, surround the tag with double quotes.

Tzvetan Todorov was born in Sofia, Bulgaria on March 1, 1939. Richard Howard was born in Cleveland, Ohio on October 13, 1929. He did his undergraduate studies at the University of Sofia and then moved to France to pursue postgraduate work.

real or imaginary, Todorov says that we enter into the genres of uncanny and marvelous. Richard Howard as The Fantastic: A Structural Approach to a Literary Genre in 1973. The Tzvetan Todorov Book Interview.

Upon choosing whether the event was real or imaginary, Todorov says that we enter into the genres of uncanny and marvelous. In the fantastic uncanny, the event that occurs is actually an illusion of some sort. Introduction à la littérature fantastique (1970), translated by Richard Howard as The Fantastic: A Structural Approach to a Literary Genre in 1973. Theories of the Symbol (1982), translated by Catherine Porter. Symbolism and Interpretation (1982), translated by Catherine Porter. Interview with Tzvetan Todorov: "It is surprising to see so many walls erected in the midst of globalisation", Barcelona Metropolis, num. 78, Spring 2010.

In his book The Fantastic: A Structural Approach to a Literary Genre, Todorov sets out to define what he calls the fantastic. For Todorov, the fantastic is a subjective term referring to a very small canon of literary works. It is a very specific term which stands between two other literary genres: the uncanny and the marvelous. The uncanny is a term originating from the German das unheimlich. In English, given that there is no clear English equivalent for the German, is instead referred to as the uncanny. The uncanny is experienced upon encountering something that is at once both strange.

Foreword by Robert Scholes. Ithaca: Cornell University Press, 1975. Lubomír Doležel (a1). University of Toronto. Published online by Cambridge University Press: 27 January 2017. Send article to Kindle. To send this article to your Kindle, first ensure no-replyridge.

A Structural Approach to a Literary Genre. Tzvetan Todorov, Richard Howard, Robert Scholes.

Tsvetan Todorov, Richard Howard, Robert Scholes.

oceedings{Dolezel1976TheFA, title {The Fantastic: A Structural Approach To A Literary Genre. German Cinematic Expressionism in Light of Jungian and Post-Jungian Approaches. Translated from the French by Richard Howard. Foreword by Robert Scholes. author {Lubom{'i}r Dolezel}, year {1976} }. Lubomír Dolezel.

In The Fantastic, Tzvetan Todorov seeks to examine both generic theory and a particular genre, moving back and forth between a poetics of the fantastic itself and a metapoetics or theory of theorizing, even as he suggest that one must, as a critic, move back and forth between theory and history, between idea and fact. His work on the fantastic is indeed about a historical phenomenon that we recognize, about specific works that we may read, but it is also about the use and abuse of generic theory.

As an essay in fictional poetics, The Fantastic is consciously structuralist in its approach to the generic subject. Todorov seeks linguistic bases for the structural features he notes in a variety of fantastic texts, including Potocki's The Sargasso Manuscript, Nerval's Aurélia, Balzac's The Magic Skin, the Arabian Nights, Cazotte's Le Diable Amoureux, Kafka's The Metamorphosis, and tales by E. T. A. Hoffman, Charles Perrault, Guy de Maupassant, Nicolai Gogol, and Edgar A. Poe.

Comments to eBook The Fantastic: A Structural Approach to a Literary Genre
Twentyfirstfinger
This review forced me describe the plot of this book before I could write an actual review--um, since it's nonfiction and literary theory, that's completely irrelevant.

However, I really enjoyed Todorov's perspective on the fantastic because it helps to consider the conventions of fantasy and science fiction in terms of structure instead of tropes. The idea helped me to do some rhetorical analysis of arguments made through these genres--so very useful (tropes can't do that). I'm not sure I fully buy his spectrum of the uncanny to the fantastic, but I haven't considered much the uncanny side of the spectrum.

I should note that scholar Rosemary Jackson built off of this theory in "Fantasy, the literature of subversion," and I think her discussion is far more useful, but Todorov's work is a good place to start when generating ideas about the structures of fantasy and science fictions.
GWEZJ
It provides a didatic systematization of the fantastic, by dividing it into the marvelous and the uncanny. This system of definiton is of much help for researchers of literature, like myself, who sometimes get lost amidst so many prolix approaches. Definitelly a must-have to gothic literature aficionados interested in a deeper understanding of authors such Lovecraft and Poe.
Golden Lama
Those interested in the structuralist criticism of the 1960s-70s will find the most joy here, with Todorov applying the rigorous structuralist stance to one of literature's most fascinating genres. His demolition of Northrop Frye's approach to 'genre' in Chapter 1 is still cogent after thirty years (and an amusing read in its own right), but it's Todorov's chapters on the 'themes of the fantastic', and his conclusion on its role in literature generally, which are most compelling. This is not, however, an easy read. As Robert Scholes notes in his foreword, "neither structuralism itself nor poetics in general is noted for its ability to charm readers." You don't say. Fortunately, Todorov uses many examples from well known fantastic texts - such as 'The Arabian Nights' and the works of Edgar Alan Poe - and also from lesser known French works which will have you rushing out to the antiquarian bookstore to hunt them down. You can accept or reject the structuralist position - but if nothing else, this book will open up a whole new world of 'fantastic' novels for you to enjoy.
Kulalas
This book is a great achievement in criticism, but one should be warned that Todorov is not talking about elves and dragons when he uses the term "Fantastic." In this book Todorov advances his definition of the fantastic as a "hesitation" or inability to decide whether events in a narrative are natural or supernatural. Thus, the book deals more with straight supernatural fiction, than with what we usually think of as "fantasy" fiction. All in all, Todorov is insightful and his book is a great companion to anyone who enjoys French, English, or American supernatural fiction.
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