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A gripping, thrilling, uncanny tale about the frightful fate that befell a yachting party on the dreadful island of living dead men.
Fantasy fiction, American. --- American fantasy fiction --- Fantastic fiction, American --- American fiction
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A powerful story of stark horror, and the dreadful thing that happened in a lone house in the Maine woods.
Fantasy fiction, American. --- American fantasy fiction --- Fantastic fiction, American --- American fiction
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The amethyst-covered boots had been worn by an evil wanton in medieval Florence-but what malefic power did they carry over into our own time?
Fantasy fiction, American. --- American fantasy fiction --- Fantastic fiction, American --- American fiction
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Something of the wonder that must have come to men seeking magic in the sky in days long vanished.
Fantasy fiction, American. --- American fantasy fiction --- Fantastic fiction, American --- American fiction
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Old Mr. Wiley and the dog came over every night ... but were they real?
Fantasy fiction, American. --- American fantasy fiction --- Fantastic fiction, American --- American fiction
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A story of the shocking revelation that came to the twenty-first Baron Kralitz.
Fantasy fiction, American. --- American fantasy fiction --- Fantastic fiction, American --- American fiction
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An amazing weird mystery story, packed with thrills, danger and startling events.
Fantasy fiction, American. --- American fantasy fiction --- Fantastic fiction, American --- American fiction
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Fantasy fiction, American. --- American fantasy fiction --- Fantastic fiction, American --- American fiction
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Walking Shadows focuses on the American fantastic and the American grotesque, attempting in this manner for the first time to establish an overview of and a theoretical approach to two literary modes that have often been regarded as essential to an understanding of the American cultural canon. The central importance of these two literary forms has been pointed out earlier by important theorists such as Stanley Cavell, David Reynolds, and William Van O’Connor. A number of literary works, from the beginning of the nineteenth to the end of the twentieth centuries, are taken up in order to illustrate the inherent links or family resemblances between the two modes, with special reference to the way in which a Bakhtinian reading may facilitate our appreciation of their status within the canon. These excursions into the House of Fantastic and Grotesque Fiction may be of interest not only to hardcore aficionados, but also to philosophically minded readers in general, in particular perhaps to those who have paid acute attention to debates on late twentieth and early twenty-first century post-structuralism and deconstruction (where the classic positions of Foucault, Derrida, and others still appear to be relevant).
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La voluntad de este proyecto es construir una Historia de lo fantástico en la narrativa de las diversas literaturas latinoamericanas (incluido Brasil), con el fin de poder ofrecer una visión panorámica del cultivo de esta categoría entre la década de 1830, momento en que empiezan a aparecer las primeras muestras de lo fantástico en Latinoamérica, y 1940, año en que se publicó la célebre Antología de la literatura fantástica de Borges, Bioy y Ocampo, una obra que contribuyó decisivamente a la reivindicación de lo fantástico en el ámbito hispano. Si bien contamos ya con algunos trabajos específicos sobre varias de estas literaturas en particular, la mayoría de estudios tiene una orientación fundamentalmente crítica o bien circunscritos a breves periodos cronológicos, por lo que componen una imagen fragmentaria de la historia y evolución de lo fantástico latinoamericano.La visión de conjunto que aquí se ofrece permite evidenciar los caminos temáticos y formales por los que ha discurrido la narrativa fantástica en los diversos países de Latinoamérica, sus principales líneas de fuerza, los elementos recurrentes y las vías de renovación, sin perder de vista sus mutuas influencias, trasvases e intertextualidades. Una visión de conjunto en la que, además, se ha querido visibilizar y reivindicar la obra de las escritoras, cuya presencia en los cánones literarios y en el propio canon de lo fantástico resulta cuando menos insatisfactoria, lo que afecta negativamente al conocimiento tanto del estricto panorama de lo fantástico como de la producción cultural realizada por mujeres.
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