12_Sara Tavassoli and Parvin Ghasemi.pdf

<font size="3"><span style="font-weight: bold;">Abstract</span>: One of the interesting aspects of Angela Carter's fiction, which she has used since her<br>first novel Shadow Dance (1966), is the Gothic. Horrible castles, damsels in distress, dungeons,<br>disguises, and vampires are just some Gothic elements which permeate her work. Sadism and<br>Masochism are also elements in Gothic literature which govern the relationship between many of the<br>above-mentioned characters. Carter is particularly interested in how such relationships can be<br>dislocated and what they reveal about power structure in the modern society. In her late twentieth<br>century fiction, Carter critically demonstrates the reversal of values and identifications that occur via<br>the Gothic mode. Otherness, or to put it more precisely the relationship between self and other, takes<br>center stage in her work. Sexual transgression, dark desires, and fantastic deviance subvert the<br>restrictive orders of reason, utility and patriarchal morality.<br><br><span style="font-weight: bold;">Key words</span>: Gothic literature, power structure, modern society, haunted mansion, otherness,<br>rebellion and liberation.</font>

04_Alina Buzatu.pdf

<font size="3"><span style="font-weight: bold;">Abstract</span>: The present paper deals with the binomial to read / to imagine and its taxinomic<br>definitions in various aesthetic paradigms. The point of departure is the discrimination between<br>mimetic and non-mimetic texts and the ways they are (semantically) tributary (or not) to the reference<br>world. The focus is on the idea that the conversion of signifiers and the negotiation of meaning are<br>guided by textual procedures. They act as operational instructions for the reader or, as I put it, a<br>User’s Guide to reading. The more elaborated they are, the more intense is the autotelism, the<br>narcissistic nature of a given text. The parameters of fictionalization are discussed contrastively using<br>two aesthetic paradigms (Realism and Surrealism) and their epitomic examples (Flaubert’s Madame<br>Bovary and, respectively, Breton’s Nadja). At the superficial narrative level, these texts actualize the<br>theme of love (licit or illicit, euphoric or deluded, real or specious etc.); in the profound semiotic<br>layers, these two entities are self-referenced. But, if the Realist work dissimulates its specularity, the<br>Surrealist text is ostentatiously self-reflexive; the Realist art creates possible possible worlds, while<br>the Surrealist doctrine is the recipe for the impossible possible worlds.<br><br><span style="font-weight: bold;">Key words</span>: autopoiesis ; specularity;textual procedures ; User’s guide to reading; Realism;<br>Surrealism</font>