Oblicza słowiańskich bóstw w „Amerykańskich bogach” Neila Gaimana

The article takes a closer look at the interpretation of the Slav pantheon made by English writer Neil Gaiman. In his novel American Gods, two worlds collide: old gods — who came to America from Europe, Asia, or Africa over the years and similarly to immigrants tried to fi nd their niche and adapt to the new environment — and the new gods, created by modern men and a constantly evolving civilization. In the first group, we can find representatives of Slavic deities, including Czernobog. It is worth paying attention to the way Gaiman decided to portray them and confront his vision with the current state of knowledge about Slavic beliefs.

O livro como objeto transicional: crianças, ficção, e livros-objeto

Este texto aventa a possibilidade de aplicação do conceito de objeto transicional (da Teoria da Ilusão-Desilusão de Donald Winnicott (1971) aos livros-objetos para crianças. Inicialmente traçamos um panorama das discussões de cunho teórico que envolvem a relação limítrofe entre a narrativa ficcional, o texto (enquanto conjunto de símbolos e ferramenta literária), e o livro (enquanto suporte tridimensional). Em seguida procuramos demonstrar que, em última instância, um livro-objeto é também um brinquedo. Até, por fim, introduzirmos a proposta dos fenômenos transicionais de Winnicott e, em diálogo com autores como Ilsa Goulart, Gilles Broügère e Neil Gaiman, expormos os argumentos que visam a justificar a adaptação do conceito de objeto transicional à análise dos livros-objeto.

Genre games: Edward Gorey's play with generic form

<p>This thesis examines Edward Gorey's play with form and content across five literary genres, how that play results in the style that has come to be known as the "Goreyesque" and how the Goreyesque has influenced later artists and writers. Gorey consistently places style ahead of thematic and moral considerations, removing the purpose of each genre to reveal what remains in its absence. In doing so, Gorey maps out the boundaries of each form, providing genre- and period-specific details that act as signposts to how his audience should approach each narrative. With these markers in place, Gorey's readers are thus made aware of which genre expectations rule each piece. These expectations, however, are undermined as Gorey removes the audience-understood literary endgame, so that the work appears in all respects to be an accurate representation of the chosen genre, yet is missing the central heart. Gorey's melodramas present scenarios in which deep familial loss and suffering are at the forefront of each narrative, yet as a result of the distance that Gorey places between the text and his readers, these works ultimately lack sentimentality. His Dickensian narratives, while populated with virtuous orphans and embittered, isolated men, lack moral pronouncements and just rewards, resulting in exceptionally bleak, nihilistic endings that provide little or no social commentary. His children's literature, although full of mnemonic systems, rejects all pedagogical functions in favour of inviting in adult audiences to luxuriate in sound and linguistic form. His mystery and detective fiction, while containing secrets, crimes and criminals, ignores any pretence of decoding the central mysteries. His Gothic horror revels in supernatural excesses, yet engenders no fear. By tracing Gorey's play with genre, we can identify the aesthetic parameters of the Goreyesque, and examine how they manifest in the works of other artists and writers, notably Tim Burton, Neil Gaiman and Roman Dirge. In manipulating genre expectations, Gorey does more than simply leave readers with the shell of narrative purpose. Instead, he draws attention to the absence and pushes beyond expectation to reinvention. He normalizes the strange and fantastic by removing the very things that make the ordinary extraordinary. He infuses his works with a distance that shifts their purpose from generating high emotion and strong reactions to encouraging minute attention to narrative detail. Gorey's fantasies therefore represent odd, underwhelming moments that are otherwise ignored in the search for the uncommon and unique. By underplaying the significance of the events in his stories, Gorey represents and refreshes our concepts of the fantastic, and highlights the strangeness in the overlooked.</p>

Genre games: Edward Gorey's play with generic form

<p>This thesis examines Edward Gorey's play with form and content across five literary genres, how that play results in the style that has come to be known as the "Goreyesque" and how the Goreyesque has influenced later artists and writers. Gorey consistently places style ahead of thematic and moral considerations, removing the purpose of each genre to reveal what remains in its absence. In doing so, Gorey maps out the boundaries of each form, providing genre- and period-specific details that act as signposts to how his audience should approach each narrative. With these markers in place, Gorey's readers are thus made aware of which genre expectations rule each piece. These expectations, however, are undermined as Gorey removes the audience-understood literary endgame, so that the work appears in all respects to be an accurate representation of the chosen genre, yet is missing the central heart. Gorey's melodramas present scenarios in which deep familial loss and suffering are at the forefront of each narrative, yet as a result of the distance that Gorey places between the text and his readers, these works ultimately lack sentimentality. His Dickensian narratives, while populated with virtuous orphans and embittered, isolated men, lack moral pronouncements and just rewards, resulting in exceptionally bleak, nihilistic endings that provide little or no social commentary. His children's literature, although full of mnemonic systems, rejects all pedagogical functions in favour of inviting in adult audiences to luxuriate in sound and linguistic form. His mystery and detective fiction, while containing secrets, crimes and criminals, ignores any pretence of decoding the central mysteries. His Gothic horror revels in supernatural excesses, yet engenders no fear. By tracing Gorey's play with genre, we can identify the aesthetic parameters of the Goreyesque, and examine how they manifest in the works of other artists and writers, notably Tim Burton, Neil Gaiman and Roman Dirge. In manipulating genre expectations, Gorey does more than simply leave readers with the shell of narrative purpose. Instead, he draws attention to the absence and pushes beyond expectation to reinvention. He normalizes the strange and fantastic by removing the very things that make the ordinary extraordinary. He infuses his works with a distance that shifts their purpose from generating high emotion and strong reactions to encouraging minute attention to narrative detail. Gorey's fantasies therefore represent odd, underwhelming moments that are otherwise ignored in the search for the uncommon and unique. By underplaying the significance of the events in his stories, Gorey represents and refreshes our concepts of the fantastic, and highlights the strangeness in the overlooked.</p>

The Story of Coraline(s): A Gothic Coming of Age

This study deals with Coraline (2002), the novel by Neil Gaiman, and Coraline (2009), the animated adaptation directed by Henry Selick based on Gaiman’s book. While Gothic stories often emphasize and question human morality, children’s literature usually holds a moralizing value. Neil Gaiman’s Coraline presents a story within the genre of children’s literature that seems to be deeply rooted in the Gothic tradition. Some of the fundamental gothic elements in Coraline’s story are the presence of ghosts, grotesque beings, and the existence of a parallel and dark universe that serves as the setting for the story. Coraline deals with anxieties related with personal development, growing up, and the environments that surround her. Gothic content within both the book and the film contribute to the undermining of the idealization of Coraline’s family, her own process of growing up, and her coping with moving to a completely different place. The creation of the gothic world is exploited in both works to represent Coraline’s coming-of-age experience and her conflict with her family. However, despite Selick’s film being a faithful and well-delivered adaptation of Gaiman’s novel, there are considerable differences that affect how the audience interprets Coraline as a character and her story, which this analysis will highlight.

A Comparative Study of Magic Realism in Works of Neil Gaiman and Angela Carter

Since the release of Gabriel Garciá Márquez’s One Hundred Years of Solitude, Magical Realism has been in favour as a narrative style or genre in adult fiction. The representation of the genre in children’s and juvenile literature, on the other hand, is a recent trend; the components of the genre have been tracked and proven to be genuinely important in the interpretation of current children’s fiction, such as David Almond’s Skelling (1998). The aim of this paper is to look at the elements of magical realism in Neil Gaiman’s Coraline and Angela Carter’s Nights at the Circus works in this respect.

O sonho da cidade

As metrópoles contemporâneas, onde efemeridade e velocidade assumem papéis econômicos fundamentais, propiciam o surgimento de ambiances e imaginários sobre cidades ideais ou de sonho. Neste artigo, temos como objetivo estudar, a partir de uma leitura da antropologia das emoções e de estudos urbanos, uma situação de évasion: o conto fantástico “Uma história de duas cidades”, dos quadrinhos de Sandman, de Neil Gaiman. No conto, a cidade de sonho torna-se labirinto de significações do qual os indivíduos buscam uma fuga. Metodologicamente, a partir de uma perspectiva qualitativa, hermenêutico-interpretativa, lemos texto e imagens da HQ, observando a cidade imaginada como tentativa de évasion movidos pela questão sobre em que medida medo e interação midiatizada produzem sentidos sobre a cidade contemporânea. Como resultado preliminar, observamos que na HQ o indivíduo se divide entre a segurança do espaço privado e o desejo de lançar-se ao espaço desconhecido, aos encontros e à morte.

Neil Gaiman Coraline című regényének komparatisztikai vizsgálata

Jelen tanulmány elsődleges célja az, hogy Neil Gaiman Coraline című alkotását összevetve más világirodalmi, illetve filmes alkotásokkal feltárjam a regény, valamint a történetben megtalálható motívumok értelmezési lehetőségeit. Továbbá célom amellett érvelni, hogy a történet megegyezik a beavatási, valamint az átmeneti rítusok szertartásának folyamatával, szerkezetével. A tanulmányban a regény fontosabb alapmotívumai kerültek kiemelésre: az ajtó, és annak a történetben betöltött funkciója – mint a különböző világok között átjárási lehetőséget biztosító poétikai eljárás; a köd és a tükör motívuma – melyek a látással állnak szoros kapcsolatban; továbbá a macska és az egér irodalomban betöltött szerepe. A dolgozat utolsó fejezetében a regény és a filmes adaptáció közötti eltérésekre keresem a válaszokat. A történet olvasható gyermekeknek szóló meseként, azonban a felnőtt olvasók számára is mély jelentéssel bír, ezért a művet a gyermeki és a felnőtt nézőpont közötti átmenetiség tükrében elemzem.

Irodalommal nevelni

Az ELTE Tanító- és Óvóképző Kar által megjelentetett Gyermeknevelés jelen számának fókuszában a gyermekirodalom és kutatásának szerteágazó kapcsolatrendszere áll. A színes, több perspektívát érintő, tudományterületeken átívelő tematikus szám írásainak közös jellemzője a gyermekirodalom interdiszciplinaritásának bemutatása és közvetítése. A gyermek- és ifjúsági irodalom kutatási területei számos tudományághoz kapcsolódnak: átívelnek a határokon túl más népek kultúrtörténetébe, felvetnek nyelvészeti, folklórtörténeti, módszertani, tantárgy-pedagógiai témákat, kérdéseket. Irodalom Baka L., P. (2021). Keresztesi József: Csücsök, avagy a nagy pudinghajsza (Rajzolta: Horváth Ildi). Gyermeknevelés, (9)1, 201–2017. https://doi.org/10.31074/gyntf.2021.1.201.217 Balázs, G. (2021). Mi születik velünk? Velünkszületettség: nyelv, gyermekfolklór. Gyermeknevelés, (9)1, 87–98. https://doi.org/10.31074/ gyntf.2021.1.87.98 Bumberák, M. (2021). A Zoomperenciás-tengeren is túl – Egy online élőszavas mesemondó kurzus margójára. Gyermeknevelés, (9)1, 320–326. https://doi.org/10.31074/gyntf.2021.1.320.326 Gaál-Horváth, K. (2021). Borbáth Péter Együtt a Pörkeföldre című meseregényének szintaktikai jellegzetességei. Gyermeknevelés, (9)1, 230– 239. https://doi.org/10.31074/gyntf.2021.1.230.239 Gajdóné Gődény, A., Koósné Sinkó, J. & Merényi, H. (2021). A regényolvasás (be) vezetése – meseregények az olvasóvá válás folyamatában. Gyermeknevelés, (9)1, 261–299. https://doi.org/10.31074/ gyntf.2021.1.261.299 Grandpierre, A. (2021). Könyv születik. Kreatív írás alsó tagozaton. Gyermeknevelés, (9)1, 300–319. https://doi.org/10.31074/gyntf.2021.1.300.319 Gönczöl, A. (2021). Olvasóvá nevelés óvodáskorban a drámapedagógia módszereivel – A mese komplex személyiségfejlesztő hatása. Gyermeknevelés, (9)1, 250–260. https://doi.org/10.31074/gyntf.2021.1.250.260 Kerekes, G. (2021). Ungarndeutsche Kinderliteratur: Josef Michaelis‘ Zauberhut. Gyermeknevelés, (9)1, 145–161. https://doi.org/10.31074/ gyntf.2021.1.145.161 Lengyelné Molnár, T., Racsko, R. & Szűts, Z. (2021). A kommunikációs kompetencia fejlesztésének új lehetőségei: digitális történetmesélés LEGO® eszközzel. Gyermeknevelés, (9)1, 327–339. https://doi.org/10.31074/ gyntf.2021.1.327.339 Lózsi, T (2021). Hisztiretorika. Gyermeknevelés, (9)1, 115– 130. https://doi.org/10.31074/gyntf.2021.1.115.130 Márkus É. (2021). Baranya megyei német népmesék a nemzetiségi oktatásban – Az Ördögcsúcs című mesekötet. Gyermeknevelés, (9)1, 131– 144. https://doi.org/10.31074/gyntf.2021.1.131.144 Mukics, J. (2021). Neil Gaiman Coraline című regényének komparatisztikai vizsgálata. A gyermeki lélek vágyai fantázia és valóság határán. Gyermeknevelés, (9)1, 162–190. https://doi.org/10.31074/gyntf.2021.1.162.190 Nagy, N. (2021). Tulajdonnevek kárpátaljai népmesékben a Három arany nyílvessző című népmesegyűjtemény alapján. Gyermeknevelés, (9)1, 162–190. https://doi.org/10.31074/gyntf.2021.1.162.190 Pölcz, Á. (2021). Hallgatólagos tudás az anyanyelvi nevelésben. A gyermekirodalom szerepe a nyelvi tudatosság kialakításában. Gyermeknevelés, (9)1, 218–229. https://doi.org/10.31074/gyntf.2021.1.218.229