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The founder of the modern theater of the 20th century, Konstantin Stanislavsky, and his student Evgeny Vakhtangov, in rehearsals and in performances, implemented the principle: “as in life”. They believed that an actor should be on stage like a child. The latter, dropping the doll, may treat it like a wounded soldier and bandage it quite seriously. So, the actor must relate to untruth (the space of the stage). He must treat this “as if it were truth, that is, turn lies into truth” (VAKHTANGOV, 1918). We propose to consider examples of “truth theater” (school of experiencing, school of representation) through semiotic categories (veridictory modalities, engagement/disengagement), as well as through the prism of Lotman's semiotics of culture, and also ask the question what the truth on the theater stage is today.

Yüksek Lisans Tezi, Fantastik konulara tarih boyunca hep ilgi olmuştur. Fantastik konu ve olaylar, hayatımızda birçok alana olduğu gibi sanata da nüfus etmiş, özellikle düşsel olanın gerçeklik algısı ile anlatımına katkı sağlamıştır. Edebiyat, mimari, müzik, sinema gibi birçok sanat dalına tesir ettiği gibi resim sanatında da etkisini göstermiştir. Resim sanatında fantastik imgelerin, konuların ve aktarım üslubunun Klasik Dönemde temellendiği söylenebilir. İlk örnekleri 15. yüzyılda Rönesans sanatı içindeki fantezist ressamlarda görmekteyiz. Rönesans’ın ilk fantezist ressamlarından Sandro Botticelli ve Hieronymus Bosch ile başlayan bu serüven, Barok Döneminde devam ederek kendini 19. yüzyıl Sembolizmine kadar bırakır. Sembolistlerle birlikte resim sanatında fantastik etkiler ilk kez literatüre geçer. Ardından Dada ve Sürrealizm gibi akımların doğmasıyla devam etmiş ve Fantastik Realizm bir grup sanatçının Viyana Fantastik Gerçekçilik Okulu’nu kurmasıyla sanat literatürüne geçmiştir. Bu araştırmanın amacı; resim sanatında Fantastik Realizmin gelişim sürecini sanatçı ve eser örnekleri ile ele alıp değerlendirmek, sanat akımlarının birbirleri ile olan etkileşimden bahsetmek ve okuyucuya bu alanda yararlanabileceği bir kaynak oluşturmaktır. Girişten sonra ikinci bölümde fantastik sanat ve Fantastik Realizm konuları anlatılmış, üçüncü bölümde Fantastik Realizmin oluşumunda katkısı olduğu düşünülen akımlar ve bu akımlardaki fantezist sanatçılar üzerinde durulmuş, sanatçıların fantastik ögeler içerdiği düşünülen eserler seçilmiş ve eser analizleri yapılmıştır. Son bölümde 20. yüzyıldan günümüze kadar geçen süreçte sanat akımları içinde fantastik realist tarzda eser üreten sanatçılara değinilmiş, seçilen eserleri incelenmiş ve konu bağlamında yapılan uygulama çalışmaları ele alınarak değerlendirilmiştir., Fantastic subjects have always attracted attention throughout history. Fantastic subjects and events have permeated art as well as many other areas of our lives, and they especially contributed to the expression of the imaginary with the perception of reality. Fantastic events have influenced many branches of art such as literature, architecture, music and cinema, as well as in the art of painting. It can be said that fantastic images, subjects and transmission style in the art of painting were based in the Classical Period. The first examples are seen in the fantasist painters in the Renaissance art in the 15th century. This adventure, which started with Sandro Botticelli and Hieronymus Bosch, one of the first fantasist painters of the Renaissance, continued in the Baroque Period and showed itself until the Symbolism of the 19th century. With the Symbolists, fantastic effects in the art of painting are in literature for the first time. Then, it continued with the emergence of movements such as Dada and Surrealism, and Fantastic Realism entered the art literature with the founding of the Vienna School of Fantastic Realism by a group of artists. The purpose of this research is to evaluate the development process of Fantastic Realism in the art of painting with examples of artists and works, to talk about the interaction of art movements with each other and to create a resource that the reader can benefit from in this field. After the introduction, fantastic art and Fantastic Realism are explained in the second part, in the third part, the movements that are thought to contribute to the formation of Fantastic Realism and the fantasy artists in these movements are emphasized, the works of the artists that are thought to contain fantastic elements are selected and the work analyzes are made. In the last part, the artists who produced fantastic realist works in art movements in the period from the 20th century to the present were mentioned, their selected works were examined and the application studies in the context of the subject were evaluated.

Fyodor Dostoevsky's "fantastic realism" penetrates reality's surface to reveal what he refers to as the "moral center" of reality and, in the process, transfigures readers. In Dostoevsky's The Idiot, the novel's main protagonist, Prince Lev Nikolaevich Myshkin, embodies this fantastic realism. This process provides Myshkin with a "fantastic sight" that allows him to see past the immorality of the manners ---or "feigned decorum"--Of Russian society as represented in the novel. In so doing, Myshkin serves his peers as a "Nouwenian minister," classifying him as a "wounded healer" archetype as presented in Henri J.M. Nouwen's The Wounded Healer. This thesis also draws from the writings of Robin Feuer Miller, Harriet Murav, Jessica Hooten Wilson, Liza Knapp, and Marshall Gregory in an effort to demonstrate that Myshkin, as a "Nouwenian minister," also serves as a positive, Christ-like role model for readers. Readers, as they participate in Myshkin's ministry through the act of reading the novel, are transfigured, discovering how they can serve as Nouwenian ministers to others

Dicha exposición tuvo lugar entre el 30 de noviembre de 2017 y 14 de enero de 2018 en el Museo de Alcalá de Guadaira. El presente artículo analiza la práctica del Realismo Fantástico en Sevilla en la década de los setenta, como entidad singular de un modo de concebir la figuración y como reflejo de una “vuelta a la pintura” representada por un grupo destacado de representantes de esta tendencia. This paper analyzes the practice of Fantastic Realism in Seville in the 1970s, as a singular entity of a way of conceiving figuration and as a reflection of a “return to painting” represented by a group of prominent representatives of this trend.

В статье впервые комплексно рассматривается историческое движение отечественной трагедийной концепции от века ХIХ к ХХ, от музыкальных трагедий Чайковского к трагедийно-сатирическим шедеврам Прокофьева и Шостаковича. Теоретическая значимость статьи определяется представленной в ней типологией образов зла, исследованием логики музыкально-гротескового процесса. Сложная структура трагедийно-гротескового противоречия, которым комплексно оформляется музыкальное целое трагедий-сатир, во всех своих составных признается производной от музыкальных откровений ХIХ века., The article analyzes the historical formation of grotesque poetics in Russian music, which has been expressed holistically and completely in the genre of tragedy-satire, the “brainchild” of the twentieth century. It is the tragic grotesque that became the most vivid embodiment of the sociopsychological catastrophes of the century; thus, it is natural to examine it based on Pyotr Tchaikovsky’s music, which is so close to the turn of the twentieth century. Applying the method of comparative analysis to music by Tchaikovsky and by Dmitry Shostakovich and Sergei Prokofiev, the direct successors of Tchaikovsky’s tragic symphonism in the twentieth century, the author arranges the study in line with the main theses of the PhD dissertation she defended in 1991. The tragic grotesque, the most complex form of musical grotesque, is understood as a comprehensively working contradiction of the tragedy-satire— the semantic equivalent of the Russian “laugh through tears”. The romantic “world pain” inherent in the tragic grotesque, so characteristic of Tchaikovsky’s thinking, does not yet have the degree of social specificity it will acquire in the reflection of the historical cataclysms of the twentieth century. Using the methodology of historical musicology, the author shows the existential content of Tchaikovsky’s grotesque images in the contradictory playful element of “the living vs the dead”, inherent in his operas; this element is the main romantic way to embody the image of evil. The tougher and more specific way to present the social contradiction “the living vs the dead” in the music of Prokofiev and Shostakovich makes their musical concepts the greatest revelations of the twentieth century in its “struggle for the human in man against the inhuman in man”. This idea of L.A. Mazel, which he expressed about Shostakovich’s music, accentuates the music’s accusatory pathos determined by the power of the embodiment of the image of evil, and characteristic not only of the opera tragedy-satire, but of all the composer’s works, which directly inherit the principles of Tchaikovsky’s tragic process. This idea fundamentally expresses the specificity of the juxtaposition of the outstanding musical phenomena of the 19th and 20th centuries, pointing to the common “generic” features of the grotesque musical process. This process develops from the “norm” (lyric and dramatic images of the first parts of Tchaikovsky’s symphonies) to the grotesquely deformed “anti-norm” (which in Tchaikovsky is a form of symphony with tragic grotesque as an image of evil). The function of the grotesque here is the exacerbation of the tragic that contributes to the particular expressiveness of the subsequent tragic catharsis of the finale. The author notes that this logic is constant for the tragic-grotesque process that developed in Russian music in the nineteenth century: in accordance with the specifics of Modest Musorgsky’s thinking, it is reproduced in the famous theatrical existential vocal cycle Songs and Dances of Death, in which the tragic grotesque culmination is the playful “Trepak”, and the tragic ending of “The Field Marshal” is the conclusion from it. It is also fundamental to derive a typology of images of evil by Tchaikovsky: it is always a march militaire, an aggressive-offensive march characterized by a certain timbre dynamics creating the effect of spatial approximation (from the “distant” pizzicato of strings to the deafening orchestral tutti); this shows the logic of the future deadly “marches of evil” of the twentieth century. The tragic expression of Tchaikovsky’s images is the pinnacle of the 19th-century Russian symphonism; it coincides with the humanistic pathos of the Russian philosophical thought of the time. The foregoing allows recognizing it as the direct forerunner of the further development of the Russian accusatory concept, an outstanding artistic and sociophilosophical phenomenon of the 20th century.

The article John Crowley’s “Engine Summer”: A Postmodern Vision of the Processual Construction of Identity analyses the eponymous novel as pivoted around the narrative’s role in constructing both individual and collective identity. Drawing from Mieke Bal’s narrative theory, as well as a number of establi­shed (such as paratextuality) and emerging theoretical concepts (Piotr Kubiński’s emersion), Gancarczyk emphasises the multifacetedness of novelistic references, including the stereotypisation of the Other and top-down control of social relationships. Furthermore, Engine Summer is interpreted he­re as drawing the reader’s attention to the medium itself and to the embodied text which co-creates narrative identity, allowing for its inscription and transmission—an idea literally realised in a postapocalyptic world of the novel. Finally, Gancarczyk shows how Campbell’s concept of monomyth reverberates in Crowley’s narrative, proving pivotal for the overall interpretation, indicating the active role of the medium and narrative subjectivity in constructing the meaning.

Dicha exposición tuvo lugar entre el 30 de noviembre de 2017 y 14 de enero de 2018 en el Museo de Alcalá de Guadaira. El presente artículo analiza la práctica del Realismo Fantástico en Sevilla en la década de los setenta, como entidad singular de un modo de concebir la figuración y como reflejo de una “vuelta a la pintura” representada por un grupo destacado de representantes de esta tendencia. This paper analyzes the practice of Fantastic Realism in Seville in the 1970s, as a singular entity of a way of conceiving figuration and as a reflection of a “return to painting” represented by a group of prominent representatives of this trend.

Esta pesquisa tem como objetivo uma leitura crítica dos romances Amada, Jazz e Paraíso, da autora norte-americana Toni Morrison, para mostrar a forma como nesta trilogia a representação da realidade absurda do sofrimento do povo negro norte-americano e a história de sua resistência transitam entre a metaficção historiográfica e o realismo fantástico. Nesses romances, a voz feminina centra atenção nas experiências de mulheres que viveram (e de certa forma ainda vivem) à sombra de um passado de escravidão. Entre o racismo e o sexismo, as protagonistas dos romances são, para se usar uma expressão do último romance da trilogia, “Evas negras”, em contextos paradoxal-mente insólitos e banais. O recorte temporal é o Pós-Emancipação dos escravos nos anos de 1870 e os movimentos sociais pelos direitos dos negros, em 1920 e em 1970, quando os Estados Unidos da América viviam, respectivamente, a Recons-trução, as grandes migrações dos ex-escravos do Sul para o Norte, a conquista de Direitos Civis e a segunda onda do feminismo. Em todos esses períodos, mesmo livres, os afro-americanos continuaram vivendo grandes desigualdades sociais, econômicas e de direitos civis reais. Os pressupostos teóricos que fundamentam nossa análise consistem nos estudos sobre o romance pós-moderno de Linda Hutcheon; a noção de verdade como cons-truto linguístico de Hayden White; o realismo fantástico de Tzvetan Todorov, Irène Bessière, David Roas e Pampa Arán; a teoria da ironia, segundo Linda Hutcheon; e sobre o feminismo nos reportamos às reflexões de bell hooks (2015) e Deborah Gray White (1999). The purpose of this research is to present a critical reading of the novels Beloved, Jazz and Paradise, by the North-American author Toni Morrison, to show the form through which, in this trilogy, the representation of the sufferings of the Afro-American people and the history of their endurance move between Historiographical Metafiction and the Fantastic Realism. In these novels, the female voice focuses attention on the experience of women who lived (and under a certain point of view still live) in the shadow of past slavery. Between racism and sexism, the protagonists of the novels are, to use an expression from Morrison’s last novel of the trilogy, “Black Eves”, in an unusual but paradoxically mundane context. The period covered by the stories in these books is that of the Post-Emancipation of the slaves in the 1870s, and the social movements for black people’s civil rights, in the 1920s and in the 1970s, respectively, when the United States of America lived the Reconstruction Era, the great migrations of former slaves from the South to the North, the conquest of the Civil Rights, and the second wave of feminism. In all these periods, although free, the African-American people continued living under big and real social, economic and civil rights inequalities. The theoretical assumptions, which are the framework of this study, are the theory on the post-modern novel by Linda Hutcheon; the notion of truth as a linguistic construct, by Hayden White; the fantastic realism, by Tzvetan Todorov, Irène Bessière, David Roas and Pampa Arán; the theory of irony, according to Linda Hutcheon; and, on what concerns feminism, we refer to the studies of bell hooks (2015) and Deborah Gray White (1999).

The article has interpretative character, and attempts to take a deeper look into the story of Thomas Bernhard An der Baumgrenze (the title of the polish translation is Na granicy lasów) from a wood-forest perspective and a border experience which goes beyond its topographical meaning. Forests or individual trees in the austrian writer’s creation are connected with characters minds. In this space they often reach the limit of madness, lose control of themselves, what ultimately leads to death. The text also focuses on the paintings of Anton Lehmden – a representative of the Vienna School of Fantastic Realism – which are included in the tome containing An der Baumgrenze and creatively complements Bernhard’s narrations. Artykuł ma charakter interpretacyjny i stanowi próbę przyjrzenia się opowiadaniu Thomasa Bernharda pt. An der Baumgrenze (tytuł polskiego tłumaczenia brzmi Na granicy lasów) z perspektywy drzewno-leśnej oraz doświadczenia granicy, która wykracza poza swoje topograficzne znaczenie. Lasy lub pojedyncze drzewa związane są w twórczości austriackiego pisarza z umysłami bohaterów. W przestrzeni tej często dochodzą oni do granicy obłędu, tracą kontrolę nad sobą, co ostatecznie prowadzi do śmierci. Tekst koncentruje się także na rycinach Antona Lehmdena – przedstawiciela Wiedeńskiej Szkoły Realizmu Fantastycznego – które znajdują się w tomie zawierającym An der Baumgrenze i twórczo dopełniają narracje Bernharda.

The article reviews the literary career of one of the greatest Guayaquileño writers of the post Thirty Generation period: Rafael Díaz Ycaza. An extraordinary storyteller, the author begins with a realist debt very close to that of his predecessors but, little by little, he transitions to the poetic and fantastic, never detaching himself from realism, in his penetrating analysis of subjects closely related to his environment: maritime adventure, the confrontation with death, an obsession with suicide –perceptible in some of his best works, including “Rosamel” and “Las equivocaciones” (The mistakes). A poet of remarkable qualities, he is, on more than one occasion, at the same height as his great contemporaries: David Ledesma Vásquez, Ileana Espinel Cedeño and Fernando Cazón Vera, the outstanding names of the poetry of their city (Guayaquil). The subjects are close to those of his fiction, but his song of the city predominates, which occurs in different creative moments. El artículo pasa revista a la carrera literaria de uno de los más grandes escritores guayaquileños del período posterior a la Generación del Treinta: Rafael Díaz Ycaza. Extraordinario cuentista, el autor se inicia con una deuda realista muy cercana a sus predecesores, pero, poco a poco, se va dando una transición hacia lo poético y lo fantástico, sin desprenderse nunca del realismo, en sus penetrantes análisis de problemáticas cercanas a su entorno: la aventura marítima, el enfrentamiento con la muerte, la obsesión del suicidio – perceptibles en algunos de sus mejores títulos, entre ellos “Rosamel” y “Las equivocaciones”. Poeta de notables calidades, está en más de una ocasión a la misma altura de sus grandes contemporáneos: David Ledesma Vásquez, Ileana Espinel Cedeño y Fernando Cazón Vera, los nombres sobresalientes de la lírica de su ciudad (Guayaquil). Los temas son cercanos a los de su narrativa, pero predomina su canto a la ciudad, que se da en diferentes momentos creativos.

Stanislavskiy, gerçek psiko-fiziksel oyunculuk tekniğini geliştirmek için; hayatının son aşamaları süresince kendini çözücü olarak psiko-fiziksel doğal oyunculuğa adadı ve bu teknik üzerinde kendini geliştirdi. Stanislavskiy geliştirdiği sisteminin, insanın doğal ve biyolojik kanunları sürecinde gerçekte tiyatronun teamülleri anlamına geldiğine inanıyordu. Meseleleri ele alırken kendi sahne tecrübelerine önem verirdi ve teşhislerini, ünlü aktörlerin rol üzerine çalışmalarından derliyordu.Stanislavskiy hareket çözümlemesini ve psiko-fiziksel aksiyonun metodlarını tanımladı. İnsanın doğasına bağlı olan zihinsel, duygusal, ruhsal ve fiziksel güçler ile ilgili bu metotlar aynı dönemdeki bütün aydınlar tarafından kabul ve ilgi gördü.Meyerhold, hocasının psiko-fiziksel oyunculuk yöntemini sahnede salt psiko-fiziksel gerçekçilik olarak algılıyor, her şeyden önce buna karşı çıkıyordu. Ona göre günlük yaşam gerçeği ve sahne gerçeği birbirinden çok farklıydı. Bu yüzden Stanislavskiy'in psiko-fiziksel oyunculuk yöntemini oyuncu açısından fonksiyonel bulmuyordu.Vakhtangov ise tiyatrosunda oyuncunun fantezisini öne çıkaran bir oyunculuk yöntemi benimsemişti. Stanislavskiy'in doğalcı gerçekçi oyunculuk yönteminin büyük bölümünü aynen kullanmış ve bunun yanında Meyerhold'ün biyomekanik oyunculuk anlayışını ise, oyuncunun bedeninin eğitilmesi amacıyla kullanmıştır. Her iki oyunculuk yönteminin sentezi sonucunda, tiyatrosunun seyircilerinin bilinçlerini, oyun esnasında sürekli açık tutmayı hedeflemiştir. Buradan, yaşamda görülmesi olası bir gerçeği, teatrallik içerisinde seyircisiyle buluşturmuştur.Stanislavskiy'in psiko-fiziksel oyunculuk sisteminde olduğu gibi karakterin oyuncu üzerinde etkili olmasına karşın Vakhtangov, oyuncunun karakter üzerinde etkili olmasına müsaade etmiştir.Anahtar Sözcükler: Stanislavskiy, Meyerhold, Vakhtangov, Oyunculuk, Oyunculuk Yöntemleri, Fantastik Gerçekçilik, Biyomekanik. Stanislavskiy, to develop the actual psyco-physical acting technique, has devoted the last part of his life to psycho-physical artless acting as a solvent and he has improved himself on this technique. Stanislavskiy has believed that; at the process of the human natural and biologic laws, his technique means as the customaries of theater in fact. He always attached importance to his own stage experiences to take up the points. He was compiling his diagnosis from the studies about role playing of famed actors.Stanislavskiy has described the movement analysis and the methods of psycho-physical action. These methods which are connected with the mental, emotional, psychological and physical energies related with the human nature are accepted by all the intellectuals at the same time period.Meyerhold has perceived the psycho-physical acting method of his teacher as a simply psycho-physical realism at the stage and he has opposed to that. The usual and daily reality of life and the reality of stage were very different according to him. For this reason he has not accepted the technique of Stanislavskiy?s psycho-physical acting method as functional.On the other side, Vakhtangov has also embraced an acting method in his theatre which puts forward the fantasy of player. He has mostly used the naturalist and realist acting method of Stanislavskiy exactly. In addition to this, he has used the bio-mechanical acting approach to train the body of the player. As the result of both methods? synthesis; he has purposed to call his spectators? attention during all the stages continual. By means of this, he has presented a probable fact that can seen in the life to his spectator with theatre.Stanislavskiy has embraced that the character affects on the player like the method of his psycho-physical acting technique. However Vakhtangov has allowed that the player affects on the character.Key Words: Stanislavskiy, Meyerhold, Vakhtangov, Acting, Acting Methods, Fantastic Realism, Biomechanic. 141

Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2004Bitstream added on 2014-06-13T20:26:34Z : No. of bitstreams: 1 carneiro_nm_dr_assis.pdf: 783953 bytes, checksum: 1b84994fc377be9874ccc08c14280c38 (MD5) A tese, O caleidoscópio de José J. Veiga: intersecções estruturais em narrativas insólitas, efetiva análises comparativas entre textos de José J. Veiga (1915-1999), a saber, Os do outro lado, inserido em Os cavalinhos de Platiplanto (1995), Sombras de reis barbudos (1995) e os contos: Aladino (anônimo), A chinela turca (1974), de Machado de Assis e Casa Tomada (1980), de Julio Cortázar. Este trabalho compreende, ainda, a análise do romance de Veiga, A casca da serpente (1994). Abordagens imanentistas subjazem os referidos procedimentos, valendo-se de considerações dos seguintes estudiosos: Tzvetan Todorov, Roger Caillois, Lovecraft, Irène Bessière, Wayne C. Booth, Norman Friedman, Gérard Genette, Linda Hutcheon e Bakhtin (em parte). Pressupostos sobre narrativas fantásticas e realistas maravilhosas emergem, principalmente, das reflexões de Filipe Furtado, Harry Belevan, Óscar Hahn, Francisca Coalla, Bella Josef, José Paulo, Alejo Carpentier, Irlemar Chiampi, Jorge Schwartz. Quanto aos conceitos do novo romance histórico, o trabalho firma-se em posicionamentos de Seymour Menton e Fernando Aínsa. Tais experimentos analíticos pretendem demonstrar que, embora a construção literária do sobrenatural implique variabilidades temático-formais, os elementos dominantes se interseccionam. Portanto, narrativas de Veiga e outras correlatas resultam em “imagens caleidoscópicas”, paradoxalmente, múltiplas e equivalentes. The thesis, O Caleidoscópio de José J. Veiga: structural intersections in unusual narratives, accomplishes comparative analysis among texts of José J. Veiga (1915- 1999), namely, Os do outro lado, inserted in Os Cavalinhos de Platiplanto (1995), Sombras de reis barbudos (1995) and the short stories: Aladino (anonym), A chinela turca (1974) of Machado de Assis and Casa Tomada (1980), of Júlio Cortázar. This study also includes the analysis of Veiga’s novel, A casca da serpente (1994). Immanenet approaches lie in the above-mentioned procedures since considerations of the following scholarly people: Tzvetan Todorov, Roger Caillois, Lovecraft, Irène Bessière, Wayne C. Booth, Norman Friedman, Gerárd Genette, Linda Hutcheon and Bakhtin (partly). Presuppositons about fantastical and amazing realistic narratives arise, mainly from Felipe Furtado, Harry Belevan, Óscar Hahn, Francisca Coalla, Bella Josef, José Paulo Paes, Alejo Carpentier, Irlemar Chiampi and Jorge Schwartz’s reflections. As for the concepts of the new historical novel, the study rilies on Seymour Menton and Fernando Aínsa’s positions. Such analytical experiments intend to show that, though the literary construction of the supernatural thing involves formal-thematic variabilities, the dominant elements meet. So, Veiga’s narratives and correlate other ones result in “kaleidoscope images”, diverse and equivalente ones in a paradoxical way.