Lugar nenhum: o fascínio dos subterrâneos londrinos

Abstract

This paper examines two versions for the literary composition Never Where written by Nail Gaiman. We have as analytical basis the Fantastic Literature, the paths taken by the genre and its many forms of presentation. Our analysis is also guided through Linda Hutcheon adaptation theory, in which the author introduces us the adaptation as a natural event to art. We conceptualized the adaptation revising literature’s pillars in order to understand how theories dated in 4th century before Christy still resignify and make themselves current front of some contemporary theories. The Aristóteles’ mimesis is observed here in its imitation and reproduction character. The fantastic observed through Todorov literary composition enabled us weave our own conclusions about this genre that is so unique. Still today, we could perceive difficulties to conceptualize which is characteristic from this literary genre. This brief study through temporally distant theories enabled us realizes solid bridges which approximate these theoretical. We concluded that two versions here analyzed complete each other, and with it Neil Gaiman confirmed his vision of an underground world in contemporary London through the series and the novel. Both versions help the reader increases his / her own vision of this underground world, with his new laws, agreements and disagreements. The reader / spectator wishes just that adventures of Door and Richard continue. Literary compositions that work with the fantastic finds a welcome in the reader training, enabling to design a subsequent version, Neil Gaiman has an eager audience for new elements.