Tzvetan Todorov Fantastic Pdf Download

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Tzvetan Todorov Fantastic Pdf Download: A Guide to the Theory and Analysis of the Fantastic Genre

The fantastic genre is one of the most fascinating and challenging forms of literature, as it explores the boundaries between reality and imagination, between the natural and the supernatural, between the rational and the irrational. But how can we define and understand the fantastic? What are its main characteristics and functions? How can we interpret and evaluate its works?



One of the most influential and authoritative answers to these questions can be found in Tzvetan Todorov's The Fantastic: A Structural Approach to a Literary Genre, a seminal book that was first published in French in 1970 and translated into English in 1973. In this book, Todorov proposes a rigorous and comprehensive framework for studying the fantastic, based on a structuralist methodology and a historical perspective.



Tzvetan Todorov Fantastic Pdf Download

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In this article, we will provide a brief overview of Todorov's theory and analysis of the fantastic genre, as well as a link to download his book in PDF format. We will also discuss some of the strengths and limitations of his approach, and suggest some further readings for those who want to delve deeper into this fascinating topic.



What is the Fantastic According to Todorov?

Todorov defines the fantastic as "that hesitation experienced by a person who knows only the laws of nature, confronting an apparently supernatural event" (Todorov 1975: 25). In other words, the fantastic is a mode of literature that creates a sense of uncertainty and ambiguity in both the characters and the readers, who are faced with an event that seems to defy the laws of reality.



For Todorov, the fantastic is not a genre in itself, but rather a subgenre or a category that belongs to a broader genre that he calls "the literature of the imaginary". This genre includes all the works that present events that are impossible or improbable in the real world, such as fairy tales, science fiction, fantasy, horror, etc. However, within this genre, Todorov distinguishes three subgenres according to the way they resolve or maintain the hesitation between reality and imagination:




The marvelous: in this subgenre, the supernatural event is accepted as part of the fictional world, without any attempt to explain it or rationalize it. The characters and the readers do not hesitate or doubt about its existence or nature. Examples of this subgenre are fairy tales, myths, legends, etc.
The uncanny: in this subgenre, the supernatural event is eventually explained or rationalized by natural causes, such as hallucinations, dreams, illusions, madness, etc. The characters and the readers are initially puzzled or frightened by the event, but they eventually find a logical solution that restores their sense of reality. Examples of this subgenre are psychological novels, detective stories, Gothic novels, etc.
The fantastic: in this subgenre, the supernatural event remains unexplained or unresolved until the end of the story. The characters and the readers are constantly hesitating or wavering between two possible interpretations: either there is a natural explanation for
the event (the uncanny), or there is not (the marvelous). Examples of this subgenre are works by Edgar Allan Poe,
Henry James,
Franz Kafka,
Jorge Luis Borges,
etc.


Todorov argues that
the fantastic is
a transitional subgenre
that exists only
insofar as there is hesitation.
Once
the hesitation is resolved
or eliminated,
either by accepting
or rejecting
the supernatural event,
the fantastic disappears
and gives way
to either
the marvelous
or
the uncanny.
Therefore,
he claims that "the fantastic occupies
the duration
of this uncertainty" (Todorov 1975: 25).



How Does Todorov Analyze
the Fantastic?

Todorov adopts
a structuralist approach
to analyze
the fantastic genre.
This means that he focuses on identifying
and describing
the formal elements
and patterns
that constitute
and organize
this genre.
He does not pay much attention
to
the historical
or cultural context
of
the works he studies,
nor
to their psychological
or moral implications.
He also does not consider
the author's intentions
or biographical details.



Todorov's analysis consists
of two main parts:
a poetics
of themes
and a poetics
of discourse.
In other words,
he examines both what is said (the content)
and how it is said (the form)
in
the fantastic works.



In his poetics
of themes,
Todorov identifies four types
of themes
that are characteristic
of
the fantastic genre:




The theme
of metamorphosis:
this theme involves
a transformation
or change
of one being
into another being (such as human into animal),
or one state
into another state (such as life into death).
This theme creates
a sense
of instability
and uncertainty about
the identity
and nature
of things.
The theme
of duplication:
this theme involves
a repetition
or multiplication
of one being
or object (such as twins,
doubles,
clones),
or a division
or fragmentation
of one being
or object (such as split personalities).
This theme creates
a sense
of confusion
and ambiguity about
the uniqueness
and originality
of things.
The theme
of animation:
this theme involves
a movement
or action
of something that is normally inert
or passive (such as statues,
dolls),
or an immobility
or passivity
of something that is normally active
or alive (such as corpses).
This theme creates
a sense
of contradiction
and paradox about





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