The Fantastic: A Structural Approach to a Literary Genre

Abstract The fantastic, theorized as an expression of the anxieties, fears, and political beliefs of the generation of young French writers born in the decades directly following the Revolution and Terror, has long been viewed primarily as a literary genre. Observed in light of this artistic movement, Berlioz's most famous work, Symphonie fantastique, emerges as a musical manifestation of fantastic techniques, and Berlioz himself as an important contributor to the Fantastic culture that swept nineteenth-century France. Using Tzvetan Todorov's narrative theory, I identify two techniques fantastic authors exploit that are most useful in understanding Symphonie Fantastique: an intentional ambiguity of form, and a privileging of ambiguous ““thresholds”” over teleological plot resolution. In pursuing a new explanation of the symphony's strange deviations from musical norms, I highlight the many different ways the symphony has been understood and analyzed by prominent musicologists over the past 180 years. By now, musicologists have effectively demonstrated that Berlioz was not the ““incompetent genius”” (in Charles Rosen's wry formulation) he was long considered to be; however, the fact that there is still disagreement and debate over Symphonie Fantastique's deviations from normative form and content, as well as what those deviations might mean, demonstrates the highly fraught signifying structure of the music. Locating the symphony's use of fantastic tropes and techniques demonstrates that many of its strangest aspects——those ““failures”” that have been the subject of musicological debate since 1835——come into focus when we take its title seriously and regard the work as a symphony in the fantastic genre.

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LITTLE BIT OF MUFFIN KARYA AIU AHRA: YUMMY LIT PADA PERSIMPANGAN TEEN LIT DAN SASTRA KULINER

JURNAL PESONA ◽

10.52657/jp.v7i2.1501 ◽

2021 ◽

Vol 7 (2) ◽

pp. 81-96

Author(s):

Tania Intan

Keyword(s):

Structural Approach ◽

Consumption Patterns ◽

Literary Genre ◽

The Novel ◽

Structural Element ◽

Production And Consumption ◽

The World ◽

Qualitative Descriptive ◽

The Relationship ◽

Culinary Literature

AbstrakPenelitian ini bertujuan untuk mengeksplorasi novel Little Bit of Muffin karya Aiu Ahra yang tergolong Yummy lit yang merupakan perpaduan antara sastra Teen lit dan kuliner. Metode yang digunakan dalam penelitian ini adalah deskriptif kualitatif dengan pendekatan struktural, kajian genre sastra, dan gastrokritik. Data berupa kata, frasa, dan kalimat dikumpulkan dari novel dengan teknik mencatat. Data tersebut kemudian diklasifikasikan, diinterpretasikan, dan dianalisis dengan teori-teori yang relevan. Hasil penelitian menunjukkan bahwa setiap elemen struktural mendukung konstruksi narasi cinta yang menjadi fokus Yummy lit selain dunia kuliner. Yummy lit merangkul Teen lit dalam hal pembaca, tema, dan bahasa. Yummy lit juga bisa dikaitkan dengan literatur kuliner karena penulis mengeksplorasi wacana tentang dunia makanan secara masif dan konsisten. Dari tinjauan gastrokritis, terungkap konsep makanan dan kesenangan, makanan dan bricolage, makanan dan nama, serta makanan dan sejarah. Hubungan antara karakter dan makanan ditunjukkan melalui pola produksi dan konsumsi makanan muffin dan kue kering lainnya.Kata kunci: Yummy lit, Teen lit, sastra kuliner, gastrokritik AbstractThis study aims to explore the novel Little Bit of Muffin by Aiu Ahra which is classified as Yummy lit, which is a combination of Teen lit and culinary literature. The method used in this research is a qualitative descriptive with a structural approach, a study of the literary genre, and gastrocriticism. Data in the form of words, phrases, and sentences were collected from the novel using the note-taking technique. The data are then classified, interpreted, and analyzed with relevant theories. The results showed that every structural element supports the construction of the love narrative which is the focus of Yummy lit apart from the culinary world. Yummy lit embraces Teen lit in terms of readers, themes, and language. Yummy lit can also be attributed to culinary literature because the author explores discourse about the world of food massively and consistently. From the gastrocritical review, it is revealed the concept of food and pleasure, food and bricolage, food and names, as well as food and history. The relationship between the characters and food is shown through the production and consumption patterns of food of muffins and other pastries. Keywords: Yummy lit, Teen lit, culinary literature, gastrocriticism

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GENRE CONVERSION IN CONTEMPORARY EUROPEAN DRAMA

LITERARY PROCESS methodology names trends ◽

10.28925/2412-2475.2019.132 ◽

2019 ◽

Author(s):

Vasyliev Yevhenii

Keyword(s):

Common Type ◽

Literary Genre ◽

The Real ◽

Waiting For Godot ◽

Dramatic Text ◽

The Fantastic ◽

Literary Movements ◽

Intertextual Connections

The article considers the original and common type of genre transformations in a contemporary drama — genre conversion. Its essence is in the fact that the drama genre is not just transformed from a non-dramatic or extra-literary genre. Concepts that are completely unrelated to the field of genology are becoming genre categories. They are borrowed from the sphere of literary movements and trends. In the genre system of contemporary drama, an absurd drama occupies a prominent place, which is converted from the trend of the same name. The functioning of the absurd drama genre in European dramaturgy (German, Polish, Serbian, Russian, Belarusian, and Ukrainian) of the late 20th and early 21st centuries is analyzed. The dramas of Andrzej Stasyuk, Bilyana Srblyanovich, Larysa Paris, Artem Vishnevskyi, Volodymyr Serdyuk and Vasyl Kozhelyanko are involved in the analysis. The intertextual connections between the drama of the absurd as a genre («Waiting for the Turk» by Stasyuk) with the works of the drama of the absurd as a trend («Waiting for Godot» by Beckett, «Bald Soprano Singer» by Ionesco, «House on the Border» by Mrożek). The genre features of the convertible genre of the absurd drama are defined (abstract, indefinite chronotope, de-individualized characters, the interpenetration of high, pathetic, tragic and low, comic, farcical, the coexistence of the real with the fantastic, the destruction of the traditional constructive elements of the dramatic text; absurd plot situations; verbal nonsense and word creativity).

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The Fantastic: Towards a Dynamic Notion of Genre

MANUSYA ◽

10.1163/26659077-00402002 ◽

2001 ◽

Vol 4 (2) ◽

pp. 9-23

Author(s):

Suradech Chotiudompant

Keyword(s):

Crucial Role ◽

Structural Approach ◽

The Fantastic ◽

Shed Light

Fantasy has played a crucial role in shaping literature since time immemorial. Yet , proper syste matic work on fantasy has not been done until the last century, when scholars began to realize its importance and give it due recognition. First published in 1970, Tzvetan Todorov’s The Fantastic: A Structural Approach to a Lirerary Genre represents one of the touchstones of critical work on the fantastic genre. His pioneering ideas have inspired literary critics worldwide to deve lop their own premises on the genre, some of which bear Todorov’s indelible imprints. This essay attempts to chart how Todorov constructs his paradigm by means of his structuralist standpoint and how later critics, such as Christine Brooke-Rose and Rosemary Jackson, respond to his theoretical postulate. The main objective of this essay is to investigate how these theoretical dialogues, with Todorov’s model of the fantastic genre functioning as an axis, shed light on a complex notion of genre as dynamic institution, which needs to be resilient enough to accommodate changes and in turn prescriptive enough to be the guideline for readers and writers alike.

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