Behind the Frontiers of the Real

Offers for the first time an English translation of Roas' landmark work Tras los límites de lo real. Una definición de lo fantástico (2011)

Examines the works of some Spanish authors born between 1960 and 1975 in order to establish the poetics of the contemporary fantastic, as well as a series of figures from global media

Provides a concept of the fantastic as an aesthetic category that allows for a definition of a multidisciplinary nature which is valid for literature and film as well as theater, comics, videogames, or any other art form that reflects on the characteristic conflict within the fantastic between the real and the impossible

Offers for the first time an English translation of Roas' landmark work Tras los límites de lo real. Una definición de lo fantástico (2011) Examines the works of some Spanish authors born between 1960 and 1975 in order to establish the poetics of the contemporary fantastic, as well as a series of figures from global media Provides a concept of the fantastic as an aesthetic category that allows for a definition of a multidisciplinary nature which is valid for literature and film as well as theater, comics, videogames, or any other art form that reflects on the characteristic conflict within the fantastic between the real and the impossible

Autorentext

David Roas is Associate Professor of Literary Theory and Comparative Literature at the Universitat Autónoma de Barcelona, Spain, where he directs the Grupo de Estudios sobre lo Fantástico (GEF; Research Group on the Fantastic) and Brumal. Research Journal on the Fantastic. As a leading specialist in the fantastic, he has devoted several works to the field; among the most influential are Teorías de lo fantastico (2001), Hoffmann en España. Recepción e influencias (2002), and La sombra del cuervo. Edgar Allan Poe y la literatura fantástica española del siglo XIX (2011). He also writes short stories, such as Horrores cotidianos (2007), Distorsiones (2010; winner of The Eighth Annual Setenil Award for best Spanish book of stories), and Bienvenidos a Incaland® (2014).

Inhalt

1. Reality.- 2. The Impossible.- 3. Fear.- 4. Language.- 5. The Fantastic in Post-Modernity.- 6. Conclusions.