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Introduction a la Litterature Fantastique by…
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Introduction a la Litterature Fantastique (original 1970; edition 1976)

by Tzvetan Todorov

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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.… (more)
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Title:Introduction a la Litterature Fantastique
Authors:Tzvetan Todorov
Info:French & European Pubns (1976), Paperback
Collections:Das Buchregal des Amoralisten
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The Fantastic: A Structural Approach to a Literary Genre by Tzvetan Todorov (1970)

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Author nameRoleType of authorWork?Status
Tzvetan Todorovprimary authorall editionscalculated
Fiala, VladimírTranslatorsecondary authorsome editionsconfirmed
Howard, RichardTranslatorsecondary authorsome editionsconfirmed
Scholes, RobertIntroductionsecondary authorsome editionsconfirmed

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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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