Picture, imagination, fantasy

FANTASY is one possible way to get to know each other. The fantastic narrative, with its certain historical roots, canonical themes, and characteristic rhetorical procedures, was watched with increasing interest by Todorov’s basic work, Introduction to Fantastic Literature, after his writing in Italian literary history. The word fantastic has a different meaning in French and Italian literary language use. In France, primarily frightening narratives are called fantastic narratives that assume an emotional reader attitude. In Italian terminology, fantasy and fantastic terms presuppose the acceptance of a different logic: the free soaring of the imagination, the miracle and surprise offered by the new and new reading experience. Fantasy literature is not the same as literature on the supernatural, but in the words of Italo Calvino it is about the difference between linguistic expression and sensual experience, the elusiveness of pictorial fantasy. In creating his work, the writer is actually built on the components of three worlds: he combines the infinity of his own imagination and the infinity of experiential life with the infinity of the linguistic possibility of writing. Margit Lukácsi's book presents this imaginary universe, from the Scapigliatura literature in Milan and Collodi's Pinocchio to Savinio's metaphysical and surreal prose, Bontempelli's magical realism, Buzzati's fantastic space-time approach, and Landolfi's linguistic fantasy Margit LUKÁCSI is a professor at the Italian Department of the Pázmány Péter Catholic University, Italianist, translator. His area of interest is the translation of contemporary Italian literature, the relationship between literature and the fine arts