scholarly journals Jason Marc Harris. Folklore and the Fantastic in the Nineteenth-Century Briti

2009 ◽  
Author(s):  
Annie Escuret
Keyword(s):  
Nineteenth Century ◽  
The Fantastic

Echoes of the Guillotine: Berlioz and the French Fantastic

2010 ◽  
Vol 34 (2) ◽  
pp. 168-185
Author(s):  
Marianna Ritchey
Keyword(s):  
Nineteenth Century ◽  
Narrative Theory ◽  
Literary Genre ◽  
Important Contributor ◽  
Political Beliefs ◽  
The Past ◽  
Nineteenth Century France ◽  
The Subject ◽  
The Fantastic ◽  
The Many

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.

Sylphs and Other Elemental Beings in French Literature since Le Comte de Gabalis (1670)

PMLA ◽  
1944 ◽  
Vol 59 (1) ◽  
pp. 71-83
Author(s):  
Edward D. Seeber
Keyword(s):  
Nineteenth Century ◽  
French Literature ◽  
Western Europe ◽  
Romantic Period ◽  
Age Of Reason ◽  
The Fantastic

Over the centuries, a varying but persistent interest in magic and the occult sciences has reached, by way of devious paths, the culture and literature of Western Europe. In France, the vigor of this natural human bent was manifest even during the Age of Reason; Swedenborgians, Rosicrucians, martinistes, and Freemasons, together with a host of educated persons with no particular philosophical alliances, became pleasurably entangled in what Diderot disdainfully termed “ce tissu indigeste et ridicule de suppositions.“ “Le culte du merveilleux,” says a historian of that period, Constantin Bila, “n'épargnait aucune classe de la société.” The heightened interest in the marvelous, the supernatural, and the fantastic throughout the Romantic Period and the later nineteenth century is, of course, familiar.

scholarly journals The Comic in the Republic of Machado de Assis

2019 ◽  
Vol 2 (2) ◽  
pp. p1
Author(s):  
Antônio Joaquim Pereira Neto
Keyword(s):  
Nineteenth Century ◽  
Machado De Assis ◽  
The Common ◽  
The Fantastic ◽  
The Republic

This article analyzes the tale “A Sereníssima República” (The Most Serene Republic), by Machado de Assis, approaching the rhetorical artifices of this narrative as constitutive of the conventions of the comic genre. Understanding that this genre consists in a textual unit formalized by images that subvert the common places of realistic enunciation, it points out to the presence of wonder, the fantastic in this fiction, whose conventions amplify the comic and grotesque character of the enunciation. Formed by oxymorons, paradoxical sentences and ingenious metaphors, this narrative satirizes, taking the metonymy as an interpretative procedure, the current values ​​of politics, moral and justice present in the scenes of the nineteenth-century Brazilian republic.

scholarly journals Political realism and the fantastic romantic German liberal discourse and the Sámi in Theodor Mügge’s novel Afraja (1854)

Nordlit ◽  
2008 ◽  
Vol 12 (1) ◽  
pp. 355
Author(s):  
Cathrine Theodorsen
Keyword(s):  
Nineteenth Century ◽  
Travel Writing ◽  
The Novel ◽  
Political Realism ◽  
The Fantastic ◽  
Adventure Stories

The novel Afraja, written by the German author and liberal Theodor Mügge and published in 1854 provides an opportunity to explore connections between travel writing and adventure stories from the perspective of one of Germany's most popular writers of the nineteenth century. The focus of my discussion in this paper is to explore the implications of the meeting between a fictional Sámi, living in the exotic North and a Danish aristocratic adventurer whose attitudes reflect the discourse of Mügge's politically liberal views. Additionally, Mügges fiction sketches out different images of the Sámi.

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