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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.
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Subjects
Fantastic fiction, History and criticism, Roman africain, Roman merveilleux, Roman noir (Genre litteraire), Litterature fantastique, Litte£rature, Fantastique, Histoire et critique, Fantasy fiction, Literary form, Littérature fantastique, Comparative literature, themes, motives, Roman fantastiqueShowing 2 featured editions. View all 18 editions?
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The fantastic: a structural approach to a literary genre
1973, Press of Case Western Reserve University
in English
0829502459 9780829502459
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Includes bibliographical references (p. [185]-188).
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- Created November 3, 2008
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November 14, 2023 | Edited by MARC Bot | import existing book |
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December 20, 2019 | Edited by ImportBot | import existing book |
November 3, 2008 | Created by ImportBot | Imported from The Laurentian Library MARC record |