[pt] O objetivo deste trabalho é analisar o programa Fantástico, da TV Globo, e sua relação com o atual movimento de convergência de mídia por que passam os meios massivos e digitais. Para tanto, vamos contextualizar a criação do programa, seus quase quarenta anos de existência e a espécie de vocação para a convergência que se inscreve em sua história. Parte-se da hipótese de que os processos de convergência de mídia seriam propulsores de uma mudança cultural que traz impactos para as identidades e hábitos de consumo em um universo cada vez mais influenciado pelas tecnologias digitais. O movimento tem desencadeado adaptações na produção de conteúdo para a televisão aberta. O Fantástico foi um dos pioneiros no cenário midiático brasileiro a oferecer um ambiente de interatividade e promoção de novos canais de comunicação com o telespectador. As recentes narrativas do programa dialogam com o universo online e com múltiplas plataformas que ampliam as possibilidades de incentivo ao consumo. Tais formatos indicam transformações – tanto materiais, quanto subjetivas – na relação dos sujeitos com os meios de comunicação e nos estilos de vida contemporâneos, oferecendo pistas para compreendermos os códigos de nossa própria cultura. / [en] The objective of this study is to analyze the program Fantástico, from Globo TV, and its relations with the current movement of media convergence experienced by the mass and digital media. For it, we contextualize the program´s inception, its nearly 40 years of existence and the kind of tendency to convergence that is inscribed in its history. The hypothesis is that the processes of media convergence would be the beginner of a cultural change that brings impacts to the identities and habits of consumption in a world increasingly influenced by digital technologies. This movement has brought changes in the production of broadcast television content. Fantástico was a pioneer in Brazilian television to offer an interactive environment and promotion of new channels of communication with the viewer. Recent accounts of the program interact with the online universe and multiple platforms that expand the possibilities to boost consumption. These formats indicate transformations – both material and subjective – in the relationship of the citizens with the media and modern lifestyles, offering clues to understand the codes of our own culture.

Cette thèse est consacrée à l'étude d'un chef-d'uvre de la littérature fantastique : Dracula, roman que Bram Stoker avait écrit à la fin du XIXème siècle et qui n'a jamais cessé de faire rêver les générations. Doté de pouvoirs extraordinaires, Dracula apparaît comme une énigme à déchiffrer. A travers le fantastique, nous nous proposons de découvrir la véritable signification de cet être étrange et de préciser la place et le rôle de l'archétype initiatique dans le roman. Dans une première partie notre objectif est d'étudier l'émergence du phénomène fantastique et du personnage du vampire, en suivant sa naissance dans la littérature, et en retrouvant ses origines dans la mythologie et l'histoire. La deuxième partie est consacrée au fantastique dans Dracula. Elle met en lumière l'espace, les personnages, l'image et les pouvoirs surnaturels du vampire. Dans la troisième et dernière partie, il s'agit d'analyser l'approche psychanalytique du fantastique dans le roman en mettant en valeur l'image érotique, le problème du mal et les différents conflits psychanalytiques présents dans Dracula. / This thesis is devoted to the study of the master piece from the Fantastic literature: Dracula, a novel that Bram Stoker wrote around the end of the XIXth century and that has relentlessly inspired mankind one generation after the other. Gifted with extraordinary powers, Dracula emerged as an enigma that required deciphering. Across the Fantastic, we attempt to discover the real implications of this mysterious being and to point out the position and role of the initiating archetype in the novel. The aim of the first part of the thesis is to study the emergence of the Fantastic phenomenon and of the vampire character through following its birth trail across the literature and tracking its origins in mythology and history. The second part deals with the Fantastic aspect of the novel. It highlights the setting, the characters in addition to portraying the image and the supernatural powers of the vampire. The third and last part deals with the analysis of the psychoanalytical approach of the Fantastic within the novel through appreciating the erotic image, the problem of evil and the different psychoanalytical conflicts present within Dracula.

Cette étude est consacrée à la potentielle part superstitieuse immanente aux contes fantastiques français du XIXe siècle. Au sein de cette forme concise du récit, nous cernons l’impact dégagé par la collision du fantastique et de la superstition, ces deux ennemis de la raison, témoins d’une époque où l’imaginaire est à la recherche d’un nouveau souffle littéraire. Nous revenons sur les origines de la rencontre de ces deux notions en faisant le point sur leurs étymologies et histoires respectives, puis mettons en exergue leurs assonances narratives. Le second temps de notre analyse s’articule autour des auteurs précurseurs, initiateurs et romantiques allant de J. Cazotte à P. Mérimée. Notre troisième partie est consacrée aux œuvres phares de la seconde moitié du siècle, qui, sous l’impulsion du très remarqué E. A. Poe et de quelques auteurs réalistes jugés mineurs, profitent d’un nouvel imaginaire s’achevant avec le décadentisme de J. Lorrain. Ces recherches permettent de constater la présence, la nécessité et l’évolution de la croyance dans un genre tributaire d’une verve particulièrement réceptive au désenchantement causé par une réalité exécrée. Nous observons que fantastique et superstition se situent conjointement à la croisée du monde ordinaire et d’un au-delà alternatif paradoxalement anxiogène et salvateur, reflet de la sensibilité des fantastiqueurs qu’ils retranscrivent au travers d’une pensée de plus en plus macabre au fil du siècle, folklore traditionnel puis pathologies psychiatriques à l’appui. / This study is dedicated to the potential superstitious part inherent to French fantastic tales of the XIXth century. Within this concise form of storytelling, we outline the impact arising from the collision of fantastic and superstition, two enemies of reason, witness of a time when imagination was in search of a new breath in literature. We return to the origins of the reunion of these two notions by considering their respective etymologies and evolutions, before focusing on their narrative similarities. The second part of our analysis revolves around the precursors, initiators and romantic authors, from J. Cazotte to P. Mérimée. Our third part is dedicated to major works of the second half of the century, which, at the instigation of the particularly famous E.A. Poe and other few realistic authors considered as less influent, benefit from a new form of imagination ending with J. Lorrain’s Decadent movement. This study shows the existence, necessity and evolution of the belief, in a genre dependent on a verve particularly receptive to the disillusion caused by a despised reality. We observe that fantastic and superstition both stand at the point where the ordinary meets an alternative hereafter which is paradoxically source of anxiety and salvation, reflecting the sensibility of the fantastic authors who transcribed it into an increasingly macabre imagination throughout the century, supported by traditional folklore, then by psychiatric pathologies.

Mermaid Rumspringa is a short story collection that focuses primarily on female protagonists at different stages in their lives. It is an exploration into the effects society has on young people, the way in which mental health issues manifest in young minds, and the way the people who are closest to the individuals dealing with these issues try to adapt and understand them, and in some cases, completely ignore them. This collection utilizes magical elements to try and soften the blow of the serious issues that are being explored both internally and externally within each of the individual stories. These stories present as allegories, as well as classic story tropes with intricate twists and subversions, to make the readers uncomfortable within their comfort zones. As a whole, these stories fit in nicely within the speculative fiction spectrum, and they draw the attention of the average millennial.

Denna avhandling tar upp filmmusiken i Fantastic Mr. Fox. Syftet är mer specifikt att ta reda på vad musiken har för funktion i filmen, hur man använder musiken för att hjälpa till att föra fram handlingen och varför använder man sig av både egen komponerad musik och redan befintlig musik. Urvalet av låtar är grundat på hur stor betydelse de har för samspelet mellan musik och bild. Metoden som är använd är ett närstuderande, eller snarare ett närlyssnande, av musiken i filmen med hjälp av teoretisk grund i tidigare forskning och litteratur. Texten behandlar dels de låtar som är specifikt komponerade för filmen och dels de som är tagna utifrån, det vill säga redan befintlig musik, som har använts i filmen. Genom en diskussion utrönas också det olika musikala beståndsdelarnas viktigare element där diskussionen utmynnar i en jämförelse mellan de två musikala huvudgrupperna, det vill säga de sammanställda (de redan befintliga) låtarna och de sammansatta (de speciellt komponerade) låtarna. Avhandlingen slutar med att diskutera olika metoder man kan använda sig av för att studerna musiken i Fantastic Mr. Fox och även att förklara resultaten i analysen mer djupgående.

When Henry James sat down to write his "amusette" as he called The Turn of the Screw (1898), he created various ambiguities in the text as a means of confusing and surprising his readers or, in other words, catching them off guard. Over a century later, the mysterious ambiance surrounding the novella has not become any clearer. While critics from Edmund Wilson to Edna Kenton have analyzed the work from a somewhat psychoanalytical perspective, stating that the ghosts of Miss Jessel and Peter Quint are merely figments of the governess's imagination, Tzvetan Todorov and Rosemary Jackson examine James's work through a fantastic approach, putting faith in the governess's narrative. From Todorov's perspective, the fantastic requires: "... the fulfillment of three conditions. 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 a supernatural explanation of the events described. Second, this hesitation may also be experienced by a character; thus the reader's role is so to speak entrusted to a character, and at the same time the hesitation is represented, it becomes one of the themes of the work- in the case of naïve reading, the actual reader identifies himself with the character. Third, the reader must adopt a certain attitude with regard to the text: he will reject allegorical as well as 'poetic' interpretations. (33)" In other words, Todorov's concept of hesitation involves a focus on an external point, the perspective of the reader. Yet, the reader's perspective cannot be separated from the character or thematic value of the work, thus linking the two elements through hesitation itself. Todorov explains that The Turn of the Screw fits the characteristics of the fantastic genre in regard to the reader's hesitation. Indeed, it is that very quality which has created so much critical contention in the past. Because of this hesitation, the reader must determine whether or not to believe the governess and thus, believe in the reality of the ghosts. While I will begin by defining the fantastic from Todorov's and Jackson's perspective, it is my belief that both authors fail to connect all of the elements that appear in James's text without venturing outside of the work. In my thesis, I will strictly adhere to James's novella, focusing only on the content as I connect the governess's experience to an alternative reality rather than a deviation into psychological madness. In this way, The Turn of the Screw will be revealed as a fantastic text, producing its effects on the reader through the evolution of these tendencies within the work.

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-01-10Bitstream added on 2014-06-13T19:14:12Z : No. of bitstreams: 1 silva_fs_me_assis.pdf: 453848 bytes, checksum: d51a869a7389c997848a73686f3c97f7 (MD5) / Este trabalho tem por objetivo estudar uma faceta ainda hoje pouco conhecida do poeta fluminense Luís Nicolau Fagundes Varela (1841-1875). Apesar de seu nome ser associado principalmente à poesia, Fagundes Varela explorou também a prosa de ficção, em especial um tipo de literatura que dialoga diretamente com os primeiros impulsos do Romantismo europeu. Trata-se da literatura fantástica, termo muitas vezes genericamente usado para se designar um tipo de literatura que tem como principal característica a representação de um mundo declaradamente imaginário, na qual se incluem numa mesma categoria ficção científica e o conto de fadas, por exemplo. O fantástico com o qual Varela flerta em suas publicações de 1861 é de natureza muito mais restritiva, além de ser também bastante representativa de um momento particular na literatura brasileira. Ao publicar As Ruínas da Glória, A Guarida de Pedra e As Bruxas, Varela não foi o primeiro de nossos escritores a se dedicar ao fantástico, nem o que melhor o fez. É patente a influência da Noite na Taverna, de Álvares de Azevedo, em especial, em um dos contos que nos propomos a analisar aqui, bem como se sente o peso de um E. T. A. Hoffmann, mestre do gênero, evocado nas falas das personagens. Assim, com o intento de trazer à luz um Fagundes Varela ficcionista, cultor da literatura fantástica, esperamos contribuir igualmente para os estudos que vão em direção de se buscar uma tradição fantástica no Brasil que não se limite apenas à Noite e ao Macário, do célebre discípulo de Byron, mesmo que sua obra tenha influenciado os escritores brasileiros que trilharam os caminhos da literatura fantástica e, entre eles, Fagundes Varela / This work aims to study a still little-known facet of the poet Luís Nicolau Fagundes Varela (1841-1875). Although mostly known for his poems, Fagundes Varela also explored fiction, particularly a type of literature that converses directly with the first impulses of Romanticism. It is fantastic literature, generic term often used to designate a type of literature that has as main characteristic the depiction of a world avowedly imaginary, which includes in the same category science fiction and fairytale, for example. However, the fantastic with which Varela flirts in his publications of 1861 is much more restrictive in nature, and is also fairly representative of a particular moment in Brazilian literature. With As Ruínas da Glória, A Guarida de Pedra and As Bruxas, Varela was not the first of our writers who devoted to fantastic, nor the one who did it best. The influence of Noite na Taverna, by Álvares de Azevedo, is clear specially in one of the stories that we intend to analyze here, and it feels the weight of an E. T. A. Hoffmann, master of the genre, mentioned in the speeches of the characters. So, with the intent to bring to light a novelist Fagundes Varela, cultivator of fantastic literature, we also hope to contribute to the studies that go towards to seek a fantastic tradition in Brazil, not limited only to Noite na Taverna and Macário, wrote by Byron's famous disciple, even though his work has influenced Brazilian writers who take the paths of fantastic literature and, among them, Fagundes Varela

Orientador: Ana Luiza Silva Camarani / Banca: Luiz Gonzaga Marchezan / Banca: Luciana Moura Colucci de Camargo / Resumo: Edgar Allan Poe afirma a respeito de seu poema The raven, em seu ensaio The philosophy of composition, que "[...] nenhum ponto de sua composição se refere ao acaso, ou à intuição, que o trabalho caminhou, passo a passo, até completar-se, com a precisão e a sequência rígida de um problema matemático", demonstrando, por isso, que ele entendia ser o processo criativo um ato puramente lógico, consciente e analítico. E, de fato, a análise de seus textos comprova a proposição citada. Além disso, o autor americano é considerado por grande parte da crítica literária como o mestre do horror, figurando alguns de seus textos no cânone das obras primas do fantástico, sendo quase que indispensável a presença de algum de seus contos em uma coletânea dessa categoria literária. Partindo-se, então, desses elementos foi possível levantar a hipótese de que, como a obra poeana está tão intimamente relacionada ao fantástico, a análise de seu racional e sistemático método composicional poderá conduzir à inclusão de novos elementos à estrutura já existente da literatura fantástica. Assim, a presente pesquisa procurou sistematizar o peculiar modus operandi de Poe através da análise de seus contos The black cat, The fall of the house of Usher, The oval portrait, The man of the crowd, William Wilson, Ligeia, e ensaios The philosophy of composition Philosophy of furniture e The poetic principle, para em seguida contrastar os resultados obtidos com as teorias do fantástico, em especial a de Todorov, permitindo estabelecer, dessa forma, pouco a pouco, outra leitura da literatura fantástica, sob a ótica da própria teoria pessoal de Edgar Allan Poe / Abstract: Edgar Allan Poe said about his poem The Raven, in his essay The philosophy of composition, that "[...] no one point in its composition is referrible either to accident or intuition - that the work proceeded, step by step, to its completion with the precision and rigid consequence of a mathematical problem." thereby demonstrating that he understood the creative process is a purely logical, conscious and analytical. And indeed, analysis of his texts proves the proposition cited. In addition, the american author is seen by much of literary criticism as the master of horror, featuring some of his texts in the canon of masterpieces of fantastic, with almost indispensable the presence of some of his tales in a collection of this literary category. Starting from those factors, it was possible to hypothesize that as the Poe‟s work is so closely related to the fantastic, the analysis of their rational and systematic compositional method may lead to inclusion of new elements the existing structure of fantastic literature. Thus, this research sought to systematize the peculiar modus operandi of Poe through the analysis of his short stories The black cat, The fall of the house of Usher, The oval portrait, The man of the crowd, William Wilson, Ligeia, and the essays The philosophy of composition, Philosophy of furniture and The poetic principle, then to contrast the results with the theories of fantastic, particularly Todorov‟s, establishing, thus, little by little, another reading of fantastic literature, from the perspective of their own Edgar Allan Poe‟s personal theory / Mestre

Made available in DSpace on 2014-06-11T19:25:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-06-06Bitstream added on 2014-06-13T18:26:23Z : No. of bitstreams: 1 almeida_mrvh_me_arafcl.pdf: 418470 bytes, checksum: ef058715f2040b91431ee67175f94bc7 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A dissertação de mestrado “As manifestações do gótico em H. P. Lovecraft: do castelo de Otranto ao solar de Ward” tem como objetivo analisar os elementos herdados da literatura gótica do século XVIII e adaptados por Howard Phillips Lovecraft em sua obra The case of Charles Dexter Ward (1927) assim como em seus contos The lurking fear e The outsider. No primeiro capítulo foi feito um estudo da literatura gótica como suas origens, características e as obras do período. No segundo capítulo encontra-se o estudo de obras que sucederam as obras góticas e que continuaram a utilizar-se de seus motivos, espaço e temas, adaptando-os. Ainda nesse capítulo há a contraposição das teorias do gótico e do fantástico mostrando que da literatura gótica surge uma literatura fantástica que segue a linha do terror. No terceiro capítulo analisamos as características da literatura fantástica de terror norte-americana, e por fim é feita a análise das obras de Lovecraft, salientando a importância da literatura gótica para a obtenção da atmosfera de terror em suas obras. / The master’s dissertation “The manifestations of gothic in H. P. Lovecraft: from the castle of Otranto to the manor of Ward” aims to analyze the elements inherited from the Gothic literature of the eighteenth century and adapted by Howard Phillips Lovecraft in his work The case of Charles Dexter Ward (1927) as well as his short stories The lurking fear and The outsider. In the first chapter we have done a study of Gothic literature like its origins, features and the works of the period. The second chapter is the study of works that preceded Gothic works and continued to use their motifs, space and themes, adjusting them. Still in this chapter we oppose the theories of Gothic and fantastic showing that from the gothic literature arises the fantastic literature that follows the line of terror. In the third chapter we analyze the characteristics of the fantastic literature of terror in the United States, and lastly we analyze the Lovecraft’s works, stressing the importance of Gothic literature to obtain the atmosphere of terror in his works.

Orientador: Márcia Valéria Zamboni Gobbi / Banca: Maria Dolores Aybar Ramirez / Banca: Lílian Lopondo / Resumo: Memorial do Convento (1982), de José Saramago (1922), é a obra primordial que constitui o corpus de nossa pesquisa, na qual o autor português lança mão de um dos elementos representativos da expressão que, de certa forma, se associa à literatura hispano-americana e que se denomina como realismo mágico. É sob a perspectiva dessa categoria literária que propomos uma análise do romance do autor português. O mais importante na configuração do realismo mágico é a descoberta da misteriosa relação existente entre o homem e as circunstâncias em que está inserido. É importante esclarecermos que o realismo mágico não é hoje exclusivo da América Latina, mas foi apropriado por outras literaturas; sua preocupação elementar é constatar uma nova atitude do narrador diante do real. A produção de José Saramago e a de Gabriel García Márquez (1928) - autor cuja obra, Cem Anos de Solidão (1967), também integra, secundariamente, o nosso corpus - se assemelham em determinados procedimentos narrativos - tais como o realismo mágico, a desintegração da lógica linear de construção e a diversidade das vozes narrativas, que justificam sua aproximação. Considerando esses procedimentos, comuns na literatura hispano-americana, pretendemos estudar a comunhão estética entre as duas narrativas em questão, observando como o realismo mágico singulariza a relação entre história e ficção no romance de José Saramago. / Abstract: Memorial do Convento (1982), by José Saramago (1922), is the main work in our research corpus, in which the Portuguese author uses one of the representative elements of the expression that is associated, in a way, with the Hispano-American literature and is called magical realism. It is through the perspective of this literary category that we propose an analysis of Saramago's novel. The most important element in the configuration of magical realism is the discovery of the mysterious relationship between man and the circumstances that surround him. It is important to clarify that magical realism today is not confined to Latin America, but was absorbed by other literatures; its main concern is to show a new attitude of the narrator towards reality. The work of José Saramago and Gabriel García Márquez (1928) - a writer whose novel Cem Anos de Solidão (1967) is also, secondarily, a part of our corpus - resemble each other in certain narrative procedures, like magical realism itself, the breakdown of linear logic and the diversity of narrative voices, all of which warrant their proximity. By considering those procedures, common in Hispano-American literature, we intend to study the aesthetic communion between the two narratives, showing how magical realism informs the relationship between history and fiction in José Saramago's novel. / Mestre