Search

"Dolor y gloria" (2019) de Pedro Almodóvar es una obra autorreferencial de ficción. Nuestro objetivo es establecer a qué categoría pertenece, especialmente a partir de las tres formas más frecuentes: la autobiografía, la autoficción y la ficción autobiográfica. Partimos de los postulados de Philippe Lejuene y de la teoría de la autoficción para realizar un análisis fílmico, e igualmente hemos considerado algunos textos del propio Almodóvar y entrevistas que, como paratextos, nos ayudan a comprender qué hay de personal en sus películas. También tendremos en cuenta "La ley del deseo" (1984) y "La mala educación" (2004) como dos obras anteriores con las que "Dolor y gloria" formaría una trilogía. A partir de La ley del deseo, en la que el autor empírico aparece en escena, dejará de tener presencia en sus obras y los autorretratos anteriores desaparecerán, pero mantendrá la representación de algunas vivencias a través de personajes delegados. En esa primera etapa encontramos autorretratos y posteriormente veremos momentos autobiográficos y autoficciones en los que algunos de sus personajes adoptan esas experiencias. El resultado de nuestro estudio es que transforma vivencias propias, cercanas y ajenas en narraciones de ficción. Las conclusiones son que no existe relato autobiográfico, en algunos casos hallamos autoficción y, principalmente, ficción autobiográfica., "Pain and Glory" (2019) by Pedro Almodóvar is a self-referential work of fiction. Our objective is to establish which category it belongs to, especially from the three most frequent forms: autobiography, autofiction and autobiographical fiction. We start from the postulates of Philippe Lejuene and the theory of auto-fiction to carry out a filmic analysis, and we have also considered some texts by Almodóvar himself and interviews which, as paratexts, help us to understand what is personal in his films. We will also take into account "The Law of Desire" (1984) and "Bad Education" (2004) as two previous works with which "Pain and Glory" would form a trilogy. From "The Law of Desire", where the empirical author appears on the scene, he will no longer have a presence in his works and the previous self-portraits will disappear, but he will maintain the representation of some experiences through delegated characters. In this first stage we find self-portraits and later we will see autobiographical moments and autofictions in which some of his characters adopt those experiences. The result of our study is that it transforms own, close and of others experiences into fictional narratives. The conclusions are that there is no autobiographical account, in some cases we find autofiction and, mainly, there is autobiographical fiction.

The article is devoted to the reconstruction of the idea of the white version of the second volume of A.N. Tolstoy's trilogy The Road to Calvary , created by the writer in the emigration in 1921-1923. This idea was fundamentally different from the one embodied by A.N. Tolstoy after his return to the USSR. Materials published in 1918 in the Rostov magazine Donskaya Volna ( Don Wave ) are used for the reconstruction. Those materials help to identify Colonel V.K. Manakin as a supposed prototype of one of the main characters, Vadim Roshchin, in the final chapters of the first volume of the trilogy and in the first chapters of the second volume of the white version. The prototype makes it feasible to reconstruct the possible idea of the second volume of the white version of The Road to Calvary . A.N. Tolstoy's notebooks are also used for the reconstruction. The reconstruction of A.N. Tolstoys plan turned out to be more logically consistent compared to the only existing Soviet version of the second and third volumes of the trilogy The Road to Calvary. Both Roshchin and Telegin, in the emigrant version of the first volume of the trilogy act as ideologists of the White Movement, find themselves in the White Armies of Southern Russia, and then in exile. The study shows that the transition of the main characters to the Red Movement in the Soviet version of The Road to Calvary is artistically unconvincing, since it does not correspond to the original plan of A.N. Tolstoy, embodied in the emigrant version of Sisters .

The initial starting point in directing and choreographic process in developing the `Love`trilogy: the core and heart of the idea behind creating a performative trilogy concerning the theme of love has been the reflecting studies of the performers involved in the creational process. These spectacular and performative sequences begin with `Savage/Love`- the first part of the trilogy desgined in 2019. Starting from the desire in exploring the unfamiliar professional aspects of dance-theater and contemporary dance techniques, the personal experiences of the performers become the leading sources of inspiration in the directing and choreographic process. The middle part of the trilogy will be shaped as a performative show entitled `August Rush`. The last and third part will organically become a performative solo- `In/UnLoved bodies`.

Horsemanship as Cormac McCarthy represents it in his novels of the border Southwest is a variable craft—horsemanship contingent upon the particular needs and practices of the horsemen in each work. In Blood Meridian, the scalphunters use horses as tools to aid in killing. In All the Pretty Horses, John Grady Cole's abilities with horses strain credulity as a nearly chimerical communicative experience exists between the working cowboy and his horses. In The Crossing, Billy and Boyd Parham, who are not professional cowboys, use horses as vehicles, and Billy's horsemanship rests upon an emotional bond to the Parham horses, a bond that is based upon his psychological and emotional ties to the horses. In Cities of the Plain, horsemanship returns to the horse as tool for both constructive utility and extermination, while the working cowboys use horses to eradicate a wild dog population in a bloody excursion that mirrors Blood Meridian and All the Pretty Horses. Thus, in Blood Meridian and the Border Trilogy, horsemanship is a gradation shaped by the means and purposes of the riders as well as the historical locus in which the works are set.

Several contemporary film directors have created distinct auteur-signatures through their approach to music. The article analyzes how Lars von Trier has used music and sound to enhance his idiosync...

Proponho analisar a música do conjunto Fall of Efrafa como potência de reformulação política, não somente a partir da composição literária, mas também no âmbito da composição harmônica. A obra do conjunto consiste em três álbuns, que formam um trilogia, onde os pensamentos anti-fascista e revolucionário, inclusive ao modo de vida humano, são centrais. Para refletir na ação da música na política, utilizo o pensamento de Agamben em La musica suprema, ao ler A República de Platão, de que a música é política e a política é musical. É impossível escapar de uma leitura, nessa mesma direção política, do romance Watership Down, de Richard Adams, no qual a banda não só retira o seu nome, como também se baseia em sua mitologia e narrativa para elaborar suas composições.

A Apple construiu uma marca que provoca não apenas a admiração de seus usuários, mas a veneração. Através do emprego consciente de imagens sagradas e narrativas mitológicas, a empresa e seus entusiastas manipulam símbolos para fortalecer os vínculos com os usuários até torná-los verdadeiros fiéis em um culto à marca. O objetivo desta pesquisa é analisar uma trilogia de livros do consultor Carmine Gallo, especializado no modelo Apple de comunicação empresarial, para investigar a influência deste discurso mitológico no conteúdo das obras. Para isso, empregaremos o método da revisão bibliográfica e da pesquisa documental. Observamos que, ao lado da linguagem técnica, os livros analisados reproduzem e amplificam a mística da Apple, reforçando também o culto dos consumidores à marca.

J. M. Coetzee's trilogy of novels with Jesus in their titles, published between 2013 and 2019, has bewildered many reviewers. This essay review proposes that that bewilderment stems from a misconception of the novels’ allegorical dimension and of the possible meanings evoked by their titles. The trilogy is the consummation of Coetzee's meditations on analogy and linguistic skepticism; on the ontological status of fictions; on the eschatological impulsion of writing; and on memory's capacity for true recognitions that have no empirical basis. The trilogy presents us with a world that affirms a purely immanent life. Coetzee tests this world dialogically by subjecting its self-identical “here” to the nonidentical repetitions of analogical thought, through which an “elsewhere” impinges on the “here.” The trilogy's deepest questions turn on the metaphysical scope of this “elsewhere”: that is, on whether the vertiginous depths of analogy participate in an underlying substrate of meaning, recognizable as “the Word of God.”

This essay examines the concepts of life and afterlife as they appear across Beckett’s trilogy, through focussing on representations of the act of burial, an act which draws attention to a caesura between biotic and abiotic conceptions of both life and afterlife. As the worlds of the trilogy become progressively less biotic, The Unnamable might be thought of as a laboratory in which the ‘lives’ of its characters are subjected to various biological experiments, experiments which suggest that narrative fiction, like the act of burial, is a kind of prophylactic against the fundamental processual nature of biotic life.

The original Star Wars trilogy established a storytelling model that still influences Hollywood filmmaking today. However, the third episode in the saga, Return of the Jedi (1983), was received less favorably than its predecessors by critics. This article will examine historical record and analyze aspects of syuzhet (‘plot’) and fabula (‘story’) (BORDWELL, 1985, pp. 49-50) in the screenplay in order to establish why Return of the Jedi works less successfully as a narrative than the first two films. The results of the investigation suggest that this was due to a fundamental philosophical conflict between screenwriters George Lucas and Lawrence Kasdan.

Two ways are followed in the construction of memory in cinema. First, governments use cinema as a means of creating an ideological memory for the continuation of their existence. Accordingly, cinema is an important tool in the clearing the past, ignoring the traumatic past and constructing the fictionalized reality. Especially the powers of countries with a negative past rebuild social memory to ignore traumatic past. In this respect, the past does not remain as it in memory; it is constantly constructed. Secondly, cinema is a tool of creating a strong memory and witnessing the past, despite the policies of the powers to efface. The handling of traumatized situations in films turns cinema into a space of reckoning, confronting and witnessing the past. In this respect, memory is a challenge. The main motivation of this study is to analyze how the Chilean director Pablo Larrain constructs the past through his movies. In this study, Chilean director Pablo Larrain’s films that Tony Manero (2008), Post Mortem (2010) and No (2012) which knowns as Pinochet trilogy in history of cinema, analyzed in terms of how constructs Chile’s traumatic past knowledge and contributes to create social memory. In this context, it has been determined that contrary to an understanding that affirms the official history and reinforces the knowledge of the past; the films have developed a counter-discourse practice outside the official historical discourses by questioning the effects of the painful periods because of a coup in Chile on people and society. Presenting an alternative way of remembering and reckoning with the past with these films, Larrain used cinema as an effective memory space in order not to experience and forget the traumatized situation in his country.

The collective consciousness of a community is tremendously shaped by myths and folktales passed on from generation to generation. With the publication of Joseph Campbell's book The Hero with a Thousand Faces, the idea of the hero and his journey took a giant leap, allowing the commoner's life narratives to be equated with the mythical journey. This study analyzes how mythology is demythified and symbolically represented in two of India's famous narratives, a novel series Shiva Trilogy by Amish Tripathi and an “over-the-top” (OTT) film Bulbbul by Anvita Dutt. The objects of this research are Indian mythological narratives about Goddess Shakti and her various manifestations — Durga, Kali, Sati, and Parvati — whose respective nature and purpose differ vastly from one another. Through the qualitative research method, the paper shows that the reader/viewer has well-received the interweaving of myth with contemporary fiction. It has given way to a change in diegesis, from the predominantly male-hero-focused outline to a female-driven narrative. The myth-bound heroines thus represent the power to break the shackles of patriarchy and normative culture, allowing an area for women to radicalize themselves through bold actions. Kesadaran kolektif suatu komunitas sangat bergantung pada mitos dan cerita rakyat yang diturunkan dari generasi ke generasi. Dengan diterbitkannya The Hero with a Thousand Faces karya Joseph Campbell, gagasan tentang pahlawan dan perjalanannya memungkinkan narasi kehidupan orang biasa untuk disejajarkan dengan perjalanan mitos. Studi ini bertujuan untuk menganalisis bagaimana mitologi didemistifikasi dan secara simbolis direpresentasikan dalam dua narasi terkenal India, yakni serial novel Shiva Trilogy karya Amish Tripathi dan film “over-the-top” (OTT) Bulbbul karya Anvita Dutt. Objek penelitian ini adalah narasi mitologi India tentang Dewi Shakti dan berbagai manifestasinya — Durga, Kali, Sati, dan Parvati — yang sifat dan tujuannya masing-masing sangat berbeda satu sama lain. Melalui metode penelitian kualitatif, ditemukan; 1) pembaca/pemirsa telah menerima dengan baik jalinan mitos dengan fiksi kontemporer; 2) memberi jalan pada perubahan diegesis, dari garis besar yang berfokus pada pahlawan pria menjadi narasi yang digerakkan oleh wanita; 3) para tokoh wanita yang terikat mitos, mematahkan belenggu patriarki dan budaya normatif, memungkinkan area bagi perempuan untuk meradikalisasi diri mereka sendiri melalui tindakan yang berani.

This essay examines the politics of embodiment in The Wormwood Trilogy in relation to queerness, transness, and decoloniality, and how the struggles for embodied self-determination are metaphorical...

This article explores the highly contested topic of nostalgia for the Japanese colonial period in contemporary Taiwanese popular culture and the ways in which colonial nostalgia participates in contemporary identity politics in Taiwan. By analysing three of Wei Desheng’s recent movies that engage in different ways with aspects of the colonial past, this article illustrates how the creative use of nostalgia helps to challenge certain cultural and political narratives that have hitherto dominated discourses of identity in Taiwan. Focusing in particular on Wei’s baseball period-drama KANO, this study shows that nostalgia in Taiwanese cinema is not a singular trope whereby the bygone colonial era is uncritically eulogized, but a complex cultural practice through which issues such as Taiwan’s position in a globalizing economy, a new emphasis on diversity and multi-culturalism, and finally contemporary politics vis-à-vis mainland China are negotiated. The colonial past, far from being a stable, monolithic historical memory, thus constitutes a constantly shifting discursive space in which questions of national identity can be addressed from a number of angles.

Considerations of the queer thematics of McCarthy's work remain scant, and interpretations of the novels of the Border Trilogy—All the Pretty Horses, The Crossing, and Cities of the Plain—commonly elide the presence of queer affect. At the same time, theorizations of violence in McCarthy's novels are abundant. Through reading interspecies violence as an expression of queer desire, this article exposes the centrality of queerness to the function and production of violence in the Border Trilogy. I contend that the queer presences in the Border Trilogy produce new insights into our reading of interspecies violence and creates nuance in our understanding of the relationship between transgressive desire and violence in McCarthy's wider corpus.

The semantic and plot-generating functions of the onomastic paradigm in the works of Dina Rubina “Napoleon wagon train” and “The White Dove of Cordoba” is examined in the article. The relevance of the study is due to the fact that the trilogy “Napoleon’s Wagon Train” has not previously been subjected to scientific analysis, nor has the artistic techniques of this trilogy been compared with those of other works by Dina Rubina. The novelty of the research is seen in the fact that, based on the material of the latest novels by Rubina, repeated motives of the reification and humanization of a name, giving it the status of an independent being, a character equal to the bearers of this name, are revealed. Attention is paid to the tendencies in the use of the onomastic code and its gravitation towards a certain type of characters, the life story of which is considered by the author in comparison with the characters who lose, hide and deliberately deform their names in an extensive chronotope, covering the period from the era of antiquity, the Renaissance and the Napoleonic wars to the present day. It is proved that the onomastic code, manifested in novels included in different trilogies, appears as a structural component cementing all the later novelistic works of Dina Rubina as the author’s supertext, arranged according to uniform semantic laws. The proper name in Rubina’s works is a meta-symbol, a sign of personality identification in its uniqueness and in the history of the clan and family.

The article considers of film re-adaptations of literary texts dedicated to anniversaries that are endowed with a special ideological significance at the state level. It is shown that for film adaptations literarу texts, recognized by the mass audience and based on ambiguous historical circumstances, are chosen. Functionally “jubilee” adaptations support the memory of an event of national importance in society, inform about the position and its changings about this event of the public authorities, allow to capture public sentiment about the event and explicitly or covertly seek to transform the collective memory. It is proved that although the A.N. Tolstoy’s trilogy meets the needs of the mass audience in the ordering of historical events and its optimistic interpretation, the trilogy’s potential ideological ambiguity gives reasons for regularly updating the interpretation of Russian wars and revolutions of 1910th, correlating it with current political requirements. The film (1957–1959), TV movie (1977) and TV series (2017) based on the trilogy are described in terms of their response to the “state order” and simultaneously manifestations of the crisis state of society during the creation of the films. “Thaw” film adaptation focuses on the productive opportunities offered by revolutionary changes to the country and the person, “stagnant” — on the complexity of the revolutionary cultural project, the implementation of which requires personal super-efforts of its participants, “post-Soviet” — on the futility of revolutionary intervention in society and its tragic consequences for each person.

This article explores the relationship between zombies and ‘mass subjectivity’ through examining the motifs, as well as the critical and scholarly reception, of Romero’s classic Dead movies and their successors. Contrasting the ‘fast zombies’ of later films, Romero’s zombies are withered and decayed versions of everyday people: tattered and frayed at the edges, their colours muted, their skin and clothing rendered in greyed-out tones. They are the mundane dead, animated. Romero’s filmic horror taps an uncanny rendering of the everyday. Gardens, streets and malls are made strange by the homogeneous mob progressing in endless lines, murmuring incoherencies and striving to just be. We can locate the visual character of the zombie within a genealogy of metaphors of mass subjectivity such as the man of the crowd, the badaud figure, constantly searching for a place, but symbolically disarticulated. By considering the sometimes comic, sometimes tragic and often horrific Romero zombie in a lineage of visual and literary figures linked to mass subjectivities – the man in the suit, the monstrous man, the man of the crowd, the badaud – this article answers the question: What does thinking about the relationship between the Romero zombie and mass subjectivity enable us to do, think or observe?

El vacío y el ruído (o lo abigarrado) son dos antónimos que se dan la mano en la filmografía de Huo Hsiahsien. Taiwanés perteneciente a la «Nueva ola» del cine de su país, su obra será una mirada formalista a la realidad de su patria desde la distancia que imponen sus lejanos encuadres, manteniendo, en muchas ocasiones, un punto de vista único. Retratista del pasado, Hsiao-Hsien se lanzará a partir de 2001 a reflexionar sobre el presente, con tres películas que conforman una trilogía informal sobre la juventud y su encaje en la sociedad actual. Una reflexión que se vuelve espacial y que desarrolla un lenguaje, unido a la postmodernidad, que va a generar un discurso a través de la relación de los sujetos y sus cuerpos con el campo visible e invisible del encuadre. Heredero de la tradición iconográfica china, de su pintura y su modo de representación, el vacío para Hsiao-Hsien será un elemento lleno de sentido que invitará a compartir al espectador, ofreciéndole un espacio para introducir su propia reflexión. Un vacío físico y espiritual que establecerá, a su vez, una dialéctica con el ruido y lo abigarrado de la sociedad actual, generando una tensión creativa que se transmite en cómo los cuerpos habitan, o no, el espacio cinematográfico vehículo de su discurso.

Haider, the terminal film in Vishal Bhardwaj's Indian Shakespeare trilogy, reconfigures Hamlet in the context of Indian-occupied Kashmir. Haider, tethers Shakespeare's play to contemporary geopolit...

Joe Abercrombie is a prominent contemporary British author famous for working in such a currently popular branch of fantasy as grimdark. The characteristic feature of Abercrombie’s novels is a conscious play with conventions, traditions and clichés of classical fantasy. This article is devoted to analysis of some central figures of Abercrombie’s The First Law trilogy: infamous warrior Logen Ninefingers, young nobleman Jezal dan Luthar, inquisitor Sand dan Glokta, and Bayaz, First of the Magi. The study aims to reveal, through comparison with classical models, how the mentioned characteristic feature of Abercrombie’s books manifests itself at the level of character development. The analysis shows that for creating his characters Abercrombie employs classical archetypes (a wise mentor, a young protagonist on a long journey to find treasure), which have roots, as much as fantasy literature itself, through adventure fiction and chivalric romance, in the fairy tale and mythos. However, in distinction from the authors of classical fantasy such as J.R.R. Tolkien and his numerous less talented followers, Abercrombie fills the characters who impersonate those archetypes in his works with psychological content that is not in accord with or even contradicts their traditional plot functions. Moreover, the writer changes and transforms the meaning of those functions, thus creating a complex, shadowy realistic image of his grimdark fantasy world instead of an optimistic fairy-tale one typical of earlier fantasy books. Abercrombie’s characters are not only realistic and impressive, they are built upon a three-element structure, more complex than that of characters in classical fantasy, which demonstrates the development of this kind of literature in general.

The prevailing view in modern film studies is that television documentary drama (docudrama) is either a hybrid, a synthesis, or a documentary film genre. The author of the article hypothesizes that docudrama has long exceeded the boundaries of documentary films and asserted its own place in the system of screen arts on par with feature films, documentaries and animated films. The author claims that docudrama is a unique phenomenon generated by television and it combines all the modern innovations in cinema. Docudrama allows for the text information to be reformatted into an audio-visual experience in an emotional, spectacular and accurate way, therefore possessing the inherent features of other screen arts. Like other forms of screen arts, it forms an image capable of evoking certain emotions and makes the viewer think and draw their own conclusions. The combination of artefacts and quotes adds volume and artistic value to the image. The article explores the genesis and development of television docudrama and gives it a definition based on key characteristics. It shows how films of various genres can be created within docudrama, proving that docudrama is not a subgenre within the genre of documentary film but a new independent branch of screen arts. The author highlights that the reason for the popularity of docudrama lies in the fact that the historical and informative material, which can be interesting and useful to the viewer, is presented in a spectacular and lightweight form. This idea is supported through the analysis of the documentary drama trilogy The Chronicle of the Minsk Ghetto, in which an image of the Holocaust, the unspeakable tragedy of the Jews during the Second World War, is shown.

The article deals with the surnames of the three heroes of the Tolstoy trilogy. Drawing on the documents and memoirs of the writer and his contemporaries, the author of the article suggests that the surnames of the heroes of the trilogy are one of the elements of the branched «Samara code» in the trilogy «The Road to Calvary».

The medium is socially the message — Marshall McLuhan— Dictator Augusto Pinochet was pushed out of power by the victory of the “No” vote in the 1988 plebiscite, but the economic regime remained. In...

El presente estudio tiene por objeto dilucidar cómo Jean-Claude Izzo (1945-2000) secuencia las escenas que describe en el discurso textual de su trilogía policíaca (Total Khéops, Chourmo y Solea) en función de la música con la que las ambienta, intentando, a su vez, precisar qué elementos son los que le llevan a utilizar uno u otro género musical. Este se estructurará, asimismo, a partir de las distintas temáticas asociadas a los vínculos relacionales e identitarios que se establecen entre sus personajes, analizando, en cada una de ellas, la variedad de música que emplea Izzo para aclimatar los pasajes de su obra. Esclarecer esta conexión entre literatura y música nos permitirá determinar los vínculos discursivos que pueden crearse entre ambas manifestaciones artísticas con el fin de intensificar la sensación empática que siente el o la lector/a ante un fragmento donde la música emana de forma simbiótica con el texto escrito.

Este artigo relata o percurso criativo das companhias chilenas Shakespeare & Co. e o Coletivo de Obras Públicas, especializadas em teatro de rua e no espaço públicas. Nesse empreendimento utilizamos o Teatro Móvel Magdalena, uma carreta de reboque transformada em um espaço artístico, concebido para itinerar e levar teatro a lugares onde as comunidades não têm acesso a ele. Construído no Chile, em 1996 pelo cenógrafo belga Herbert Jonckers, o Teatro Móvel Magdalena tem percorrido o país com a trilogia dos Ofícios (1996-2006) e, depois, sob o encargo da Shakespeare & Co., especializado na adaptação popular dos clássicos de Shakespeare.

The article examines how modern Kazakh novels in the framework of historical reality show the traditions and customs of our people, formed over the centuries, it is considered how the authors find an artistic solution to depict the customs and customs of the people. The national character is conveyed through the content and form of the epic. The article notes that the experience of our ancestors, which has developed over thousands of years, should be continued in the future.The image of the national character is particularly evident in modern Kazakh novels, created in the last quarter of the XX century and at the beginning of the XXI century. The author of the article considers the features of the aesthetics of the artistic solution in S. Elubay's novel “Ak Boz Uy” (Lonely Yurt): from the documentary fiction is born, against the background of nature the realities of human life are revealed, national and ethnographic traditions are shown in comparison with the reality of time, etc.

Artikelbeginn:[English title and abstract below] In Franz Hohlers Tschipo (1978), dem ersten Teil einer Trilogie, erlebt ein Schweizer Junge Abenteuer auf seltsamen Inseln. Und in Maggie Stiefvaters Serien The Raven Cycle (2012 – 2016) und The Dreamer Trilogy (2019 – ) bekämpft ein amerikanischer junger Erwachsener mit Namen Ronan Lynch magische Gefahren. Was haben Tschipo und Ronan gemeinsam? Eine seltsame Gabe: Von ihren Träumen bleibt am Morgen etwas zurück. »A Dream of a Dream«Dreaming as a Metafictional Device in Children’s and Young Adult Literature This article analyses the relationship between dreaming, art and identity in Franz Hohler’s Tschipo (1978) and Maggie Stiefvater’s The Raven Cycle (2012 – 2016) and The Dreamer Trilogy (2019 – ). At the centres of their fictional universes lies the fantastic ability of specific characters to take things out of their dreams; an ability which is both a plot element and a narrative principle. In Tschipo, dreaming is used in analogy to storytelling, with the storyteller inventing worlds that are so vibrant that the audience is unable to discern what is ›real‹ and what is ›just‹ invented or dreamed. In Stiefvater’s books, the character of the dreamer is revealed to be a kind of artist who thrives on the thrill of creation and transgression. In all the texts, the concept of taking things out of dreams is transgressive on two levels: Formally, it is used to subvert traditional storytelling and to question the role of the narrator. In terms of plot, it is employed in order to articulate nonnormative identities, lifestyles and desires. By using dreaming as a central narrative device, Tschipo, The Raven Cycle and The Dreamer Trilogy are therefore highly metafictional, revealing that literature addressed to younger audiences participates in a cultural conversation about fact and fiction, and draws on narrative strategies similar to those employed in literature addressed to adults.

Considering that the well-known trilogy of Gilberto Freyre Introdução à história da patriarcal no Brasil – composed of Casa-grande & senzala, Sobrados e mucambos and Ordem e progresso – seems a cohesive whole, the non-publication of the fourth essay, which would make the work a tetralogy, Jazigos e covas rasas (which would deal with the Brazilian funeral rituals from the mid-nineteenth century to the beginning of the 20th century, against the background of the development of positivism and republicanism in Brazil, as well as the last published of the Introdução, and would take advantage of the theme of death as a metaphor for the decay of patriarchy in Brazil), it is inevitable that two questions will be asked, which in the end can be reduced to one: as this missing work, which Freyre claims to have written but lost, would have changed the perception of previous works, and secondly if, despite losing the original, his ideas would not be imbriated in the previous works, if he perceived the insistence with which the unpublished title is cited in the introductions to Sobrados e mucambos and Ordem e progresso. Thinking above all the preface to the second edition of the second book of the original trilogy and the transition that takes place between Casa-grande & senzala and Sobrados e mucambos (the two moments of which the title of this analysis speaks), we seek here to show how the metaphor death/decay is already found in the original trilogy and what consequences can this same metaphor have in a rereading of the work of Gilberto Freyre, locating it as a libel in defense of a mode of society that is extinguishing and from which the author proves to be a beneficiary and a nostalrist.

Artikelbeginn:[English title and abstract below] In der Antike und den überlieferten antiken Mythen spielen Visionen bzw. Prophezeiungen und Träume – wie sich beispielsweise am Status des Orakels von Delphi als Omphalos (Giebel 2001, S. 7 f.) oder am vom römischen Philosophen Lukrez beschriebenen Beruf des Traumdeuters (Naf 2004, S. 90 f.) erkennen lasst – eine wichtige Rolle und nehmen ebenfalls politischen Einfluss (Trampedach 2015). Es ist daher nicht verwunderlich, dass auch gegenwärtige Mythenadaptionen, allen voran Rick Riordans Percy Jackson-Reihe bzw. mittlerweile korrekter: Reihen, in denen Percy Jackson mitunter als Crossover-Figur auftritt, auf Orakel, Prophezeiungen, Visionen und Träume vermehrt zurückgreifen. »Don’t Let Morpheus Seduce You ...«Dreams, Oracles and Visions in Contemporary Retellings of Myths Oracles and dreams, which had a prominent position in antiquity, appear in the wake of the success of Rick Riordan’s Percy Jackson series as frequent motifs in retellings of myths in contemporary young adult fantasy. This article examines three examples: Josephine Angelini’s Starcrossed trilogy (2011 – 2013), the first volume of Richard Normandon’s eponymous series La conspiration des dieux (2009) and Daniela Ohms’s two-volume Insel der Nyx (2013 – 2014). In these novels, the motifs serve to mirror typical topics of adolescence. Through their prophecies, the oracles circumscribe possible alter-native futures, and the protagonists react by either not complying or trying to prevent fulfilment. To regain self-determination, most of the young protagonists, and at least at one point in the narration, rebel against the predictions. Dreams (including daydreams), on the other hand, allow them to explore different concepts of identities. Oracles and dreams therefore become symbols for the changes that occur during adolescence. In this way, the ancient myths are reduced to a backdrop, making these novels similar to other novels in the genre, which might account (to a certain degree at least) for the current popularity of retellings of ancient myths in young adult novels.

Hierdie artikel stel ondersoek in na die wyses waarop die konsep van utopie en/of die utopiese met 'n Deleuziaanse konsep van wording en/of anderswording in verband gebring kan word. Aangesien 'n tematisering van utopie, of alternatiewelik 'n problematisering van hierdie begrip, dikwels in die wetenskapsfiksie-genre vergestalt word, word vir die doeleindes van dié ondersoek die wetenskapsfiksie-trilogie van regisseur Neill Blomkamp bespreek. Op verhaalvlak is daar in District 9, Elysium en Chappie telkens voorbeelde van wording of anderswording, wat elk in terme van 'n utopiese horison geïnterpreteer kan word. Hoewel die protagonis van District 9 anders word, is die utopie waarop Wikus wag 'n terugskouende en statiese restourasie van die verlede. En hoewel Max in Elysium betreklik min verander, realiseer hy deur middel van sy lewensoffer 'n oënskynlike utopie vir almal, wat by nabetragting egter insgelyks 'n statiese opvatting van utopie verraai - 'n wêreld wat die distopiese saad reeds in sy kern dra. Chappie skyn die enigste film van die trilogie te wees om Deleuze se idee van wording met utopie as die dinamiese utopiese in verband te bring. This article examines ways in which the concept of utopia or the Utopian can be related to the Deleuzian concept of becoming or becoming-other. With reference to precursors such as Thomas More and Ernst Bloch, Jameson (2007) distinguishes between utopia understood as a static and systemic program and the utopian as a dynamic process inherently linked to the ontology of being human. Whereas the former often is related to political projects and, as a consequence, with totalising and totalitarian notions of the idyllic, the latter is resistant to any attempt to fixate or map it onto political or other projects, even with the best of intentions. Deleuze, on the other hand, (often in collaboration with Guattari) theorises "becoming" as one of the seminal aspects of his ontology. Although not systematically explicated in his oeuvre, "becoming" is preferred by him to any essentialised conceptualisation of being and identity. Becoming is being, according to him, and consequently it has the continuous potential to deterritorialise any manifestation of subjective and socio-political stasis. He therefore also relates becoming to the Utopian, as it opens the doors to the dynamic flows of the ontology he subscribes to. Since science fiction often is deemed to be the literary or filmic genre best suited to explore notions of utopia and its distopian and anti-utopian variables, it seems obvious that this genre can also be used to explore the relation between utopia and becoming. Ex-South African director Neill Blomkamp has become famous for his trilogy of science fiction films consisting of District 9, Elysium and Chappie. Each of the respective films includes both a "becoming" or "becoming-other" as part of its narrative trajectory, and a notion of utopia or the utopian - whether the latter is explicitly stated as such or resides in the background of the respective narratives. The relation between utopia or the utopian and becoming can therefore be considered to represent one of the common thematic threads exhibited by the respective films. District 9 follows protagonist Wikus van de Merwe who transforms into an alien due to his exposure to alien-DNA, during the undertaking to relocate aliens, who have been stranded in Johannesburg for the past twenty years. The transformation or becoming-other of Wikus never is seen as something that includes any form of utopian potential in the Deleuzian sense of the word: the only aspiration of his that can be seen from this perspective, is his longing for a return to what he regards as a perfect past shared with his wife, i.e. an "utopian" restoration of the past. The film expounds the discrepancy between Wikus' becoming-other and this fixity of his notion of the utopian. Elysium follows the story of Max Da Costa, who is victim of a radiation accident at work and who therefore needs to travel to the utopian space habitat called Elysium, to heal himself. Outfitted with a technologically advanced exoskeleton to enhance his physical powers, he manages to open the doors of Elysium by sacrificing himself, and thereby makes its ostensibly utopian set-up a reality for all. It seems, however, that Max' becoming is nothing more than a narrative vehicle and that the utopia represented by the habitat is nothing more than an inflexible state form, which already carries the seeds ofdystopia in its core. It is only Chappie that manages to find the link between utopia, or the utopian, and Deleuze's concept of becoming. This film explores the notion of "mind-uploading" through the characters of Chappie, Deon and Yolandi and therefore approaches the idea of the post-human as a radical new potential for being human in the future. In accordance with Deleuze's understanding of both becoming and the utopian, the utopian considerations of Chappie cannot be reduced to any systemic programme to be executed, but rather is related to a dynamic ontology of change, that bodes a full range offuture possibilities.