The fantastic's connection to poetry and allegory is discussed through literal and figurative language--a extremely helpful link for me to finally and comfortably say why the mythic, fable and fairy tale (including folklore, religion, and broad swaths of medieval literature) have always also been of great interest. While these modes have some of the ambiguity of the fantastic, they ultimately offer a resolution governed by natural laws (the uncanny) or the supernatural (the marvelous). Todorov uses Alvaro from Jacques Cazotte's Le Diable amoureux as an example of a fantastic event. A must-read for all scholars of gothic literature, folklore and fairy tales who are looking for guidance through the forest of the heart. This itself dra. moments for. Ch 3 - "The Uncanny and the Marvelous" for Victorian Gothic. In The Fantastic, Tzvetan Todorov first gives the definition of literary genres, the concepts on which they should be designed and critical view on the genre studies prior to his. I had to write a paper on it though, so I think I got a little too much of it. “‘I nearly reached the point of believing’: that is the formula which sums up the spirit of the fantastic. People of this zodiac sign like romance, to sleep, spiritual themes and dislike the know-it-all, to be criticized, and cruelty of any kind. As an important note, when Todorov discusses the fantastic, he is not discussing fantasy literature. Todorov calls the larger territory simply "the imaginary," and he locates his "fantastic" on the interface between the real and the imaginary just as Lem locates his "real" on … I'm pretty sure this is the one that I read: the title in French was "introduction a la litterature fantastique". In doing so, he attempts to move away from a static understanding of genre built off of non-literary categories, to produce a dynamic understanding of the structures of literature that builds a vocabulary from its internal dynamics. Todorov explains that The Turn of the Screw fits the characteristics of the fantastic genre in regard to the reader's hesitation. Todorov's structuralist breakdown of the marvelous, the fantastic, and the uncanny--with the fantastic mediating in the middle through uncertainty--was the holy grail of aha! Todorov was a Franco-Bulgarian historian, philosopher and literary theoretician. Overall, the discussion about themes in literature and how they work structurally was more interesting than the one on the fantastic. and finally a philosophical-historical discussion of the relation of 'the fantastic' to literature itself. At the same time, there are some major pitfalls and some major boring parts; it is structuralism after all. Some really cool parts--Todorov articulated a lot of what I was already thinking. The fantastic (French: le fantastique) is a subgenre of literary works characterized by the ambiguous presentation of seemingly supernatural forces. Northrop Frye, in order to develop a structural interpretation of genre and literature. Either total faith or total incredulity would lead us beyond the fantastic: it is hesitation which sustains its life” (Todorov 31). Only that suspension between the two makes the literature fantastic. The uncanny is a term originating from the German das unheimlich. Sometimes I read things on literary analysis, and I wonder why it matters, but, for some reason, I was completely drawn into Todorov's arguments and never once questioned why I couldn't just enjoy a book for what it's worth and move on. Once we choose one answer or the other, we leave the fantastic for a neighboring genre, the uncanny or the marvelous. When someone refers to an event as “fantastic” or “fantastical,” chances are that they are referring not to Todorov’s fantastic, but to fantasy in general. His chapter on allegory was interesting, but then he seemed to contradict himself by later ignoring every rule about reading fantasy that he put forth. While doing so, Todorov also draws structural parallels between fantastic and some other genres to clear cut its boundaries and founding rules. The Fantastic: A Structural Approach to a Literary Genre. According to him, so long as the reader hesitates about what is happening in the story, Todorov calls it "The Fantastic," neither the uncanny nor the marvelous. Hoffman works here, and King fails there, and why Nabokov's "Wingstroke" remains such an enduring and chilling delight for me. 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. Structurally, fantastic should be read in a linear way which can appeal to historiographic metafiction as well even though it does not have a linear sense of happenings. In addition, the type of fantasy literature that he discusses is clearly dated, his most recent named author being (by my guess) H.P. “The fantastic occupies the duration of this uncertainty. In The Fantastic, Tzvetan Todorov first gives the definition of literary genres, the concepts on which they should be designed and critical view on the genre studies prior to his. by Cornell University Press, Introduction à la littérature fantastique. His work on the fantastic is indeed about a historical phenomenon that we recognize, about … Nevertheless, his contributions to the development of genre theory and methodology are vital, despite the work's shortcomings. The strengths of this sign are being compassionate, artistic, gentle, wise, while weaknesses can be to be fearful, overly trusting and desire to escape reality. Welcome back. While it focuses on a small slice of the genre of speculative fiction (Todorov defines the fantastic as a kind of hesitation between deciding whether a supernatural event is real or imagined, rather than uncanny where the event turns out to have a "real world" explanation, or the marvelous, where the supernatural event has a supernatural explanation), there are many points about the genre that carry over into the greater category. Mexican Gothic begins when happily ever after turns into a nightmare. Otherwise, there is a risk of untimely revelation of the unfulfilled effects. There is too much blah blah in the text extract I have and it's just going in circles. I read one scholar, (Murray Leeder) who states that Todorov's concept of the "uncanny" is different from Freudian theory. I liked his arguments in the first few chapters, but I quickly lost interest in chapter five and onwards. His chapters on themes of the fantastic were the worst; fantasy doesn't have a monopoly on exploration of the self into the other, nor of the intrusion of the other into the self. It is a very fragile literary form, as it can all to easily swing from one side to the other. Among his most influential works is his theory on the fantastic, the uncanny and marvellous. Todorov's coverage of his genre is slick, and he does a very good job of establishing the specific type of fantasy he's dealing with. Essentially, to Todorov, the uncanny is the supernatural explained, and the marvelous is the supernatural accepted as supernatural. He was a visiting professor at several universities in the US, including Harvard, Yale, Columbia and the Univer… You know that ailment that's been bugging you, but you didn't have the name for it and didn't know how a bunch of symptoms were actually related until you went and saw a specialist? He inspired and motivated me to question WHY we have the fantastic, not just what it is. It is about the use and abuse of the generic theory since we cannot recognise the uniqueness except as a deviation from some norm. . First 70-80 pages were great. Some of his omissions raise an eyebrow, but for an academic book this is exceptionally concise and readable. The fantastic is that hesitation experienced by a person who knows only the laws of nature, confronting an apparently supernatural event” (Todorov 25). I find this book delightfully philosophical about my favorite topic: literature. The concepts he introduces are entertaining exercises in mental athletics: In order to qualify as genuine fantastic literature a text has to be right on the edge between the real and imaginary world. The rest was just bleh. You know that ailment that's been bugging you, but you didn't have the name for it and didn't know how a bunch of symptoms were actually related until you went and saw a specialist? Very few parallels are drawn to the fantastic genre and Todorov's rather simple theory is hidden beneath a mountain of academics. Todorov brings about an interesting look into the expeditions of Columbus, based on Columbus’ own writings. The marvelous, by contrast, is the more traditional view of fantasy. Afterwards, by examining separate fantastic texts narrows down the key concepts of the fantastic and formulates his own definition. He creates vivid pictures that stand out in the imagination, colored by a “marvelous” descriptive style. Todorov defines fantastic literature as a genre (19), a group of texts sharing the same structure; the fantastic is the “underlying grammar” behind the group of texts. Only in the hesitation between deciding which of those two applies can the fantastic be found. moments for me as a reader and writer: so THAT'S WHY E.T.A. yum. Tzvetan Todorov (Bulgarian: Цветан Тодоров) (born March 1, 1939 in Sofia) is a Franco - Bulgarian philosopher. This is one of the classic academic books on the subject. Thus, the book deals more with straight supernatural fiction, than with what we usually think of as "fantasy" fiction. I was hoping for more than a few mentions about science fiction. 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. Todorov involves himself in a consideration of the concept of literary genre (with a perceptive critique of Northrop Frye), a detailed and perceptive discourse on 'the fantastic,' . Todorov was a Franco-Bulgarian historian, philosopher and literary theoretician. An analytical view of the fantastic and its contribution to literature as a whole. Todorov's comprehensive report on the definition of fantastic literature wrapped in an exhaustive introduction to structuralist narratology is a classic example of structuralist finickiness producing interesting theory of limited practical use. His initial definition of fantasy as a type of 'hesitation' is wonderful, (compare with Lacan's definition of the 'real' in similar terms for bonus points) but after this point is made, he clearly has little else revealing to part with on the subject. Though fantasy critics, theorists, novelists and fans will often refer to fantasy tropes as fantastic, Todorov adopts the word as a term explicitly separate from fantasy. Ithaca, New York: Cornell UP, 1975. This book is not yet featured on Listopia. Let us know what’s wrong with this preview of, Published anyone interested in fantastic literature, An analytical view of the fantastic and its contribution to literature as a whole. Still - most chapters are very good while a few (like chapter VIII) are almost unreadable. Obviously, this is false. On the question of fear as a component of the fantastic, Todorov claims that: It is surprising to find such judgements offered by serious critics. Todorov gives us an interpretation of […] The fantastic is defined as a moment of hesitation between belief and disbelief of the supernatural. While defining fantastic, Todorov suggests its opposition with poetry and allegorical reading. The hint of the supernatural and marvelous has to be believable but never realized, yet the world the reader perceives must be grounded in realism so as to make the incongruity discernible. In doing so, he attempts to move away from a static understanding of genre built off of non-literary categories, to produce a dynamic understanding of the structures of literature that builds a vocabulary from its internal dynamics. The fantastic is defined as a moment of hesitation between belief and disbelief of the supernatural. It was really easy to read, but I absolutely have no use for Todorov's Definition of the Fantastic. If … Afterwards, by examining separate fantastic texts narrows down the key concepts of the fantastic and formulates his own definition. José B. Monleón criticises Todorov for being inconsistent regarding his dismissal of fear as a definitional characteristic of fantastic literature. People born under this sign are popular becau… The fantastic defines a subset of works generally classified within the genres of fantasy or horror, mostly written between the mid-19th and mid-20th centuries. As Todorov says. Instead, Todorov’s theory of the fantastic refers to a much smaller canon of literary works. As Todorov says “The fantastic occupies the duration of this uncertainty. First, the text must oblige the reader to consider the world of the characters as a world of living persons and to hesitate between a natural and a supernatural explanation of the events described. Todorov argues that the uncanny is characterized by a character’s response – often fear – towards something seemingly inexplicable, or impossible. It is a very fragile literary form, as it can all to easily swing from one side to the other. Todorov's structuralist breakdown of the marvelous, the fantastic, and the uncanny--with the fantastic mediating in the middle through uncertainty--was the holy grail of aha! Chinese Zodiac: Tzvetan Todorov was born in the Year of the Rat. At the same time, he develops an understanding of the fantastic as a literature of hesitation, an intrusion of events that do not obey the natural expectations of the audience, and that are not either fully established as supernatural, which would make the text fall in the category of the marvelous, or given a naturalist explanation, which would make it an uncanny text. 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. Are you able to elaborate? The marvelous-fantastic genre is that in which events are presented as fantastic- that is of undecided origins- and end with a supernatural explanation. Todorov's Fantastic Theory of Literature Translated from the Polish by Robert Abernathy Since structuralism in literary studies is largely of French origin, let this attempt to ruin its reputation have as its motto the words of a Frenchman, He's got a very limited definition for fantasy. While doing so, Todorov also draws structural parallels b. Refresh and try again. Todorov utilized this insight to great effect in his book on uncanny literature, Translated as The Fantastic: A Structural Approach to a Literary Genre (1973), which is still used as the standard point of reference in genre studies. Read for Class, 3/13: The Unconcept: Chapter 3 (“Preliminaries to Concept Formation”), 49-71, and From Chapter 4 (“Tying the Knot: the Conceptualization of the Uncanny”), Section 4.3 (“Poetical Structuralism: Todorov’s The Fantastic”), 78-94. In this book Todorov advances his definition of the fantastic as a "hesitation" or inability to decide whether events in a narrative are natural or supernatural. Print. Thoroughly enjoyable reading. Zodiac Sign: Tzvetan Todorov was a Pisces. In this sub-genre evets that seem supernatural throughout a story reveive a rational explanation at its end. Todorov's comprehensive report on the definition of fantastic literature wrapped in an exhaustive introduction to structuralist narratology is a classic example of structuralist finickiness producing interesting theory of limited practical use. Indeed, it is that very quality which has created so much critical contention in the past. This book was fine. Tzvetan Todorov’s The Fantastic: A Structural Approach to a Literary Genre (translated from the French by Richard Howard), has fundamentally changed elements of my perspective on what I shall, for the moment, rather sloppily call “fantastical fiction.” In fact, after reading this book, I find that I must begin to revise terminology that I have been blithely using for years now. I find this book delightfully philosophical about my favorite topic: literature. The concepts he introduces are entertaining exercises in mental athletics: In order to qualify as genuine fantastic literature a text has to be right on the edge between the real and imaginary world. Which is a real weakness, as this approach not only seems painfully incomplete, but suggests that there has been no fantastic literature produced after Poe. Todorov distinguishes the fantastic from two other modes, the uncanny and the marvelous. Furthermore, his choice to utilize a term which was already – and often still is – used to refer to fantasy literature is problematic on a number of levels, not the least of which is the resultant confusion over terminological distinctions and specifications. In 1970, he helped to found the journal Poétique, of which he remained one of the managing editors until 1979. Among his most influential works is his theory on the fantastic, the uncanny and marvellous. Start by marking “The Fantastic: A Structural Approach to a Literary Genre” as Want to Read: Error rating book. Goodreads helps you keep track of books you want to read. Interesting, but I didn't like the condemning tone that he applies to actual fantasy in contrast. Puts some modern gothic/Southern gothic writers into interesting and illuminating light (F.O'Connor, E.Bowen, C. McCarthy), although not a direct interest of the book. The greatest overall compatibility with Pieces is Virgo and Taurus. If anything, rather than enlightening, Todorov’s theory has done little more than obfuscate. Lovecraft, though this is less important because his very definition of f. Begins wonderfully, quickly loses steam. Todorov's Theory of "The Fantastic " 75 Unfortunately, Todorov does not content himself with saying, as a matter of definition, that "the fantastic," to be experienced as such, "must be read literally" (p. 64). He argues that the marvelous does not require a response from a character, only that the fantastic event occurs. Uncertainty and ambiguity are the defining elements of Todorov's concept of the fantastic. There are no discussion topics on this book yet. Thank you for this crisp yet clear piece of information. Fun With Genres, a video in which I discuss this book. Just a moment while we sign you in to your Goodreads account. It is about the use and abuse of the generic theory since we cannot recognise the uniqueness except as a deviation from some norm. 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 … 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. Be the first to ask a question about The Fantastic. Thank you, that was very insightful! And manages to put mystery into play with John Dickson Carr, Agatha Christie, etc., etc. I was wondering if you consider worthwhile reading Todorov's book or just reading people who read him? i stopped reviewing academic books here a long time ago, for lots of different reasons, but wanted to make a note of this todorov passage just for my own personal amusement: Begins wonderfully, quickly loses steam. . Todorov's theories about defining the fantastic are direct, correct, and applicable. Alvaro must decide whether the woman he is in love with is truly a woman or if she is the devil. Todorov takes on a double task within this text, to both explore the generic structures of the fantastic, and to challenge previous interpretations of genre, viz. Fragility and specificity are the primary indicators of the fantastic. This book came to me highly recommended by a friend of the uncanny, and has truly become one of my most trusted reach-to favorites. In fact, he doesn't define what we usually call fantasy, but offers a liminal space in which he calls out "The Fantastic." May 31st 1975 In Bulgarian Цветан Тодоров. Recommended to me by my PhD supervisor, Professor Lucie Armitt, I cannot believe that I haven’t encountered this work until now. There's still some very good points in there. Let us begin with the fantastic-uncanny. Tzvetan Todorov is a French and Bulgarian literary theorist and cultural critic who is best known for his contribution to literary theory in the form of his definition of the Fantastic in literature. To put it differently. An extremely helpful and well-informed must-read for any student of non-realist fiction. His allegiance to a logically deductive method impels him to argue also that the "literal" is absolutely opposed to the "allegorical" . Lovecraft, though this is less important because his very definition of fantasy categorizes pretty much everything after that point as post-fantastic, and therefore, less interesting. With structuralist literary critic Gérard Genette, he edited the Collection Poétique, the series of books on literary theory published by Éditions de Seuil, until 1987. The fantastic-uncanny is "the supernatural explained" by natural means- coincidences, illusions etc. Northrop Frye, in order to develop a structural interpretation of genre and literature. However, in your article, you appear to argue they're the same, unless I'm misunderstanding. Tsvetan Todorov, The Fantastic (Ithaca: Cornell UP, 1975). . This is just the right bite :). Initially, one can see Columbus nearly overwhelmed by the beauty of these lands that he has encountered. A good structuralists compass. A frustrating read. Todorov was appointed to his post as a director of research at the French Centre Nationale de la Recherche Scientifique in 1968. One of the main weaknesses of Todorov’s argument is that he makes no reference to any literary works published after Edgar Allan Poe. Like Shroedinger's Cat the fantastic is alive and valid only as long as it remains unknown whether the supernatural element is present or not. A good example would be Henry James' The Turning of the Screw where we can never be sure if the character is a ghost or not. In fact quite underwhelming. The reading list alone will keep you busy for a year! 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