[pt] O presente trabalho se ocupa de fazer uma releitura da obra do escritor goiano José J. Veiga com base nas diversas revisões que têm ocorrido no conceito de fantástico dentro da literatura e na noção de realidade nas obras de alguns filósofos. É uma revisão geral da obra de Veiga, inclusive retornando à leitura original que muitos críticos fizeram do autor no contexto da ditadura e destacando os principais elementos que aparecem na maior parte da obra do autor. / [en] The present study engages itself in read anew the work of José J. Veiga, a brazilian writer from Goiás. This reading is based on several reviews that have been made to the concept of fantastic literature and to the notion of reality in the work of some philosophers. It is a general reexamination of Veiga’s works, which includes a return to the original readings made by most critics during the period of dictatorship in Brazil. The main elements of most of his work will be recollected.

La littérature fantastique au XXe siècle semble est issue d’un triple conflit qui est aussi celui de l’homme contemporain : rupture avec la réalité, crise identitaire et perte de sens de l’univers caractéristiques à l’époque postmoderne, profanisation graduelle de l’espace urbain. Dans ce contexte difficile troublé encore plus par des prévisions alarmistes de l’avenir proche, l’homme contemporain exorcise ses peurs à travers les œuvres fantastiques, il s’invente des monstres pour arriver à supporter le quotidien. Pourtant, l’intrusion de la Surnature ou de l’étrange dans l’espace urbain moderne se rapproche du besoin que les sociétés traditionnelles avaient pour la présence du sacré dans leurs univers. A travers l’œuvre de trois écrivains, Mircea Eliade, Jean Ray et H.P. Lovecraft, l’espace urbain profane devient paradoxalement l’espace fantastique par excellence et le désenchantement du monde moderne se trouve confronté aux anciennes et nouvelles croyances simultanément. Ainsi, l’effet de fantastique urbain revalorise les aspects du sacré et permet des incursions analytiques interdisciplinaires, oscillant entre la littérature et l’histoire des religions. / During the 20th century, fantastic fiction seems to be the outcome of a triple conflict also attached to contemporary societies : a gap between the real world and the supernatural; an identity crisis in a meaningless post-modern era; and, a gradual divestment of ancient sacred symbols. In this highly problematic reference frame, obscured even more in anticipation of an alarming near future, Modern Man desperately struggles to alleviate his multiple fears through fantastic literature ; he creates imaginary monsters in order to help him cope with reality. Nevertheless, the encroaching of the Supernatural or the uncanny in the modern urban enclosed space is connected to the need that traditional societies expressed for the presence of the sacred in their universe. Throughout the works of three authors, Mircea Eliade, Jean Ray and H.P. Lovecraft, the urban and profane space paradoxically becomes a space of the fantastic par excellence. The disil! lusionment of the modern world finds itself exposed to and confronted by both topical and archaic beliefs. Thus, the urban fantastic effect is constantly reassessing features of the sacred and allows rich interpenetrations of different disciplines such as literature and history of religions.

RADKA SOTÁKOVÁ: CIENCIA Y MITOLOGÍA EN LOS CUENTOS DE LEOPOLDO LUGONES (Science and mythology in the short stories by Leopoldo Lugones) ABSTRACT The fantasy short stories by Argentinian Leopoldo Lugones are traditionally divided in two mutually exclusive and opposite groups: the mythological and the science based ones. In this paper, we analyze the short stories from the author's collection Las fuerzas extrañas and the critical papers on fantasy literature and Leopoldo Lugones to study the possible division. We base our study on three aspects: the distribution of characters throughout the book; the description of the forces that create the supernatural element; and finally on the references that appear abundantly in the collection. We observe the correlation of the three aspects with the traditionally delimited types and try to establish whether this division can be considered suitable and exact enough to capture the spirit of the short stories.

The topic of this thesis is the gothic fiction of Selma Lagerlöf. Its primary purpose is to investigate how Lagerlöf's work can be understood in relation to the gothic genre; what particular themes, motifs and formal aspects appear when making this connection and how they can be interpreted, as well as which literary and cultural contexts become relevant. The study is based on close readings of six short stories that, in comparison, appear to be some of the most gloomy and horrific in her production: "Karln. En julsägen" (1891), "De fågelfrie", "Stenkumlet", "Riddardottern och havsmannen" (1892), "Spökhanden" (1898) and "Frid på jorden" (1917). The gothic was an important feature of the literature of the last decade of the nineteenth century, when Lagerlöf made her debut. Therefore one of the main purposes of this study is to highlight her as one of the key writers of gothic fiction in Sweden by the time. In this context the gothic might be considered as closely related to the currents of decadence and fin-de-siècle. However, the gothic continued to be an important element throughout Lagerlöf's production, and this is illustrated by the inclusion of a story from a later period among the primary sources. The gothic genre can be defined by certain themes and motifs, but also by its narrative strategies. The analyses of the six stories show how themes and composition are used to create an atmosphere of fear and darkness, but also, more importantly, to create a sense of ambiguity. The study also discusses the relationship between the gothic and the fantastic and special attention is paid to aspects such as the hesitation concerning how to interpret the supernatural, as well as the fragmentary bodies and psyches of the stories. The main themes of the six stories can be summarized as dealing with the haunting and return of the past, as well as the fear associated with the transgression of limits - between fantasy and reality, the civilized and the primitive, life and death and self and other. Central to the argument in this study is das Unheimliche - the uncanny - a concept that links a certain kind of fear to uncertainty, doubles, ghostliness and haunting. Sigmund Freud has described it as a paradox, as something terrifyingly strange and yet familiar at the same time. The gothic reproduces the experience of reality expressed by this concept - a sense that the self is the source of horror and that identity is something highly unstable.

This thesis analyses the persistence of Gothic-fantastic themes and motifs in the literature of Soviet Russia between 1920 and 1940. Nineteenth-century Russian literature was characterized by the almost universal assimilation of Gothic-fantastic themes and motifs, adapted from the fiction of Western writers such as E.T.A. Hoffmann, Ann Radcliffe and Edgar Allen Poe. Writers from Pushkin to Dostoevskii, including the major Symbolists, wrote fiction combining the real with the macabre and supernatural. However, following the inauguration of the Soviet regime and the imposition of Socialist Realism as the official literary style in 1934, most critics assumed that the Gothic-fantastic had been expunged from Russian literature. In Konstantin Fedin's words, the Russian fantastic novel had "умер и закопан в могилу". This thesis argues that Fedin's dismissal was premature, and presents evidence that Gothic-fantastic themes and motifs continued to play a significant role in several genres of Soviet fiction, including science fiction, satire, comedy, adventure novels (prikliuchenskie romany), and seminal Socialist Realist classics. My dissertation identifies five categories of Gothic-fantastic themes, derived jointly from analysis of canonical Gothic novels from the late eighteenth and early nineteenth centuries and from innovative approaches to the genre made by contemporary critics such as Fred Botting, Kelly Hurley, Diane Hoeveler, Elaine Showalter and Eric Naiman (whose book Sex in Public coined the phrase 'NEP Gothic'). Each chapter analyses one of these five Gothic themes or tropes in the context of selected Soviet Russian literary texts. The chronotope of Gothic space, epitomized in the genre as the haunted castle or house, is readdressed by Mikhail Bulgakov as the 'nekhoroshaia kvartira' of Master i Margarita and by Evgenii Zamiatin as the 'drevnyi dom' of his dystopian fantasy My. Gothic gender issues, including the subgenre of Female Gothic, arise in Nikolai Ognev's novels and Aleksandra Kollontai's stories. The Gothic obsession with dying, corpses and the afterlife re-emerges in fictions such as Daniil Kharms' 'Starukha' (whose hero is threatened by an animated corpse) and Nikolai Erdman's banned play Samoubiitsa (the story of a failed suicide). Gothic bodies (deformed or regressive human bodies) are contrasted with Stalinist cultural aspirations to somatic perfection within a utopian society. Typically Gothic monsters - vampires, ghosts, and demon lovers - are evaluated in a separate chapter. Each Gothic trope is integrated with my analysis of the relevant Soviet discourse, including early Communist attitudes to gender and the body and the philosopher Nikolai Federov's utopian belief in the possibility of universal resurrection. As my focus is thematic rather than author-centred, my field of research ranges from well-known writers (Fedor Gladkov, Bulgakov, Zamiatin) to virtual unknowns (Grigorii Grebnev and Vsevolod Valiusinskii, both early 1930s novelists), and recently rediscovered writers (Sigizmund Krzhizhanovskii, Vladimir Zazubrin). Three Soviet authors who explicitly emulated the nineteenth-century Gothic-fantastic tradition in their fiction were Mikhail Bulgakov, Sigizmund Krzhizhanovskii and A.V. Chaianov. Many mainstream Soviet writers also exploited Gothic-fantastic motifs in their work. Fedor Gladkov's Socialist Realist production novel, Tsement, uses the trope of the Gothic castle to dramatise the reclamation of a derelict cement factory by the workers. Nikolai Ognev's Dnevnik Kosti Riabtseva, the diary of an imaginary Communist schoolboy, relies on ghost stories to sustain suspense. Aleksandr Beliaev, the popular science fiction writer, inserted subversive clich's from the Gothic narrative tradition in his deceptively optimistic novels. Gothic-fantastic tropes and motifs were used polemically by dissident writers to subvert the monologic message of Socialist Realism; other writers, such as Gladkov and Marietta Shaginian, exploited the same material to support Communism and attack Russia's enemies. The visceral resonance of Gothic fear lends its metaphors unique political impact. This dissertation aims at an overall survey of Gothic-fantastic narrative elements in early Soviet literature rather than a conclusive analysis of their political significance. However, in conclusion, I speculate that the survival of the Gothic-fantastic genre in the hostile soil of the Stalinist literary apparatus proves that early Soviet literature was more varied, contradictory and self-interrogative than previously assumed.

This study examines six texts o f the 12[sup th] and 13[sup th] centuries for the fantastic mode. It first refutes the critical assertion that the fantastic could not exist in medieval literature, but also establishes that most of the casually denominated "fantastic" is not. For the genuine fantastic, both in general and in its medieval appearances, questions of reality are at most peripheral. Rather the fantastic mode encodes itself in the narrative structure, creating ambiguity and openness. The structural approach frees the discussion o f the fantastic from theories predicated upon issues of thematics, reality-based analysis, and didactic categorizations o f supernatural objects. The first two chapters synthesize those elements from modern works of fantastic theory, (re)deflning the fantastic based upon a semiotic approach. The introduction concentrates on the need to reexamine the corpus of critical works addressing the fantastic. Chapter 1 summarizes the theoretical discussion in order to adjust the definition of "fantastic" as a critical term according to a more pre-Renaissance view of reality. Chapter 2 proposes the parallel worlds model as a structural model for the identification of the fantastic mode in texts where the supernatural is evident, with an emphasis on fantastic space as an intermediary locale between worlds. The last four chapters apply the parallel worlds model to a selected corpus of six narratives. While the structures of these texts vary in length, the fantastic is consistently manifested in a pattern that alternates between the real world, fantastic space and the otherworld. The open-ended structure of five narratives indicates that journeys to the otherworld are rarely accomplished with a high degree of completion, and therefore the narrative program remains incomplete. The conclusion is a defense of the fantastic within medieval French literature, concentrating on how the supernatural creates /otherness/, fantastic space and openness in the narrative program. The fantastic as a powerful but elusive force within Old French romance narratives often shifts to the merveilleioc in the end. The parallel worlds model, when used in conjunction with other theories for identifying the fantastic, is a structural method that emphasizes openness as a characteristic of the fantastic within medieval romance narratives. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-07T12:33:53Z No. of bitstreams: 1 pedrofelipeleitecarcereri.pdf: 1340263 bytes, checksum: f705b9a7aa2ec51f03164f4f9aaef593 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-07T21:40:23Z (GMT) No. of bitstreams: 1 pedrofelipeleitecarcereri.pdf: 1340263 bytes, checksum: f705b9a7aa2ec51f03164f4f9aaef593 (MD5) / Made available in DSpace on 2015-12-07T21:40:23Z (GMT). No. of bitstreams: 1 pedrofelipeleitecarcereri.pdf: 1340263 bytes, checksum: f705b9a7aa2ec51f03164f4f9aaef593 (MD5) Previous issue date: 2015-04-01 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / Puzzle-films são filmes que apresentam narrativas com estruturas não-lineares. Seu contexto envolve a apresentação de pistas que são usadas para chegar a uma conclusão. A presença dessas estruturas no gênero fantástico dá origem a uma estrutura narrativa interessante, com semelhanças e diferenças peculiares. O fantástico pode subverter a estrutura conclusiva do puzzle, como um quebra-cabeças montado, através do aspecto da hesitação que é inerente ao gênero fantástico, originando dessa maneira representações de um “desvio autorizado”. Para um estudo de caso foram escolhidos dois filmes: Abre los Ojos (Abre los Ojos, Espanha, Alejandro Amenábar, 1997, 117 min.) e Yella (Yella, Alemanha, Christian Petzold, 2007, 89 min.). É possível, a partir do estudo dos referidos filmes, encadear uma análise de como o puzzle e o fantástico se relacionam dentro de narrativas fílmicas e se as dicotomias estudadas ocorrem nas duas ocasiões. Pode-se traçar desta forma, alguns objetivos relevantes para o estudo. Os puzzle-films se relacionam com o gênero fantástico de maneira exclusiva ou relacional? O gênero fantástico serve como efeito subversivo da ordem final do puzzle resolvido, através de características de hesitação, transgressão, desvio e estranheza? Esse desvio pode ser motor de análise de possíveis reflexos de questões da sociedade contemporânea? Esses dois filmes, através de suas narrativas puzzle, são capazes de ser usados como exemplo para responder a essas questões? Feitas essas perguntas, partiremos então para a tentativa de respondê-las com uma metodologia e uma fundamentação teórica já bem consolidada. Aproximaremos-nos da questão de gênero através de uma perspectiva semântico/sintática pragmática. Quanto às questões do fantástico e dos puzzle, nos utilizaremos de pesquisas feitas no âmbito literário e cinematográfico. E, ao analisar a questão da transgressão, olharemos para teorias da sociologia do desvio para entender onde se localizam as representações dos outsiders. / Puzzle-films are films that present narratives with non-linear structures. Their context involves the presentation of cues that are used to arrive at a final conclusion. The presence of these structures in the fantastic genre results in an interesting narrative structure, with similarities and differences. Fantastic can subvert the puzzle conclusive structure, like a puzzle assembled, by the hesitation aspect that is inherent in the fantastic genre, giving this way representation of an "authorized deviation". For a case study we chose two films: Abre los Ojos (Abre los Ojos, Spain, Alejandro Amenábar, 1997, 117 min.) and Yella (Yella, Germany, Christian Petzold, 2007, 89 min.). It is possible so chain together from an analysis of how the puzzle and the fantastic relate in film narratives and studied dichotomies occur on both occasions. Then we can draw some important goals for the study. The puzzle-films relate to the fantastic genre exclusively or relational way? The fantastic genre serves as subversive effect of the final order of the puzzle solved through hesitation features, transgression, deviation and strangeness? This deviation can be an analysis engine of possible reflections of the contemporary societal issues? These two films through their narratives puzzle, are able to be used as an example to answer these questions? With these questions then we depart to the attempt to answer them with a methodology and theoretical foundation already well established. We will approach to the question of gender through a semantic perspective / pragmatic syntax. The questions of the fantastic and the puzzle we will use the research done in the literary and cinematic scope. And in discussing the question of transgression, we will look at the sociology of deviance theories to understand where are located the representations of outsiders.

A leitura e a produção escrita dos alunos que iniciam a segunda etapa do Ensino Fundamental geram preocupações para professores de Língua Portuguesa e vêm sendo alvo de estudiosos da linguagem nas últimas décadas. Com base em minha experiência como professora e em relatos de experiência profissional de outros professores que atuam no Ensino Fundamental, tenho notado que o conto fantástico é um gênero pouco discutido nas aulas de Língua Portuguesa, contudo é um gênero interessante para a pré-adolescência época em que se vive um período de transição, de busca de respostas para situações que parecem absurdas. Adolescentes apreciam a leitura de algo diferente das situações já encontradas nos textos lidos na primeira etapa de seus estudos e se identificam com textos que fogem à realidade aparente. Como, de modo geral, alunos dessa faixa etária não tenham o hábito de ler e achem a produção escrita muito difícil, o contexto de minhas salas de aula mostrou-se favorável a esta pesquisa, que teve por objetivo geral desenvolver com os alunos da segunda etapa do Ensino Fundamental um trabalho com o gênero discursivo conto fantástico. Especificamente, os objetivos foram: ampliar o gosto pela leitura do conto fantástico e, como consequência, pela leitura de modo geral, e realizar a produção escrita do gênero conto fantástico. Realizada em forma de pesquisa ação, foi delimitada em cinco momentos: 1) leitura para reconhecimento do gênero; 2) interpretação de 4 contos fantásticos; 3) produção de contos fantásticos; 4) correção e exposição dos contos; 5) lançamento do livro de contos produzido e editado. Foi desenvolvida durante todo o ano de 2011 e durante o mês de fevereiro de 2012. Os sujeitos da pesquisa foram alunos do 6 ano do Ensino Fundamental de uma escola pública de Minas Gerais. Baseou--se nos pressupostos teóricos da perspectiva sociocognitiva de leitura, conforme Marcuschi (2008), Koch (2005, 2008), Koch e Elias (2006); na concepção bakhtiniana da linguagem e de gêneros discursivos (BAKHTIN, 2010) e nas abordagens literárias sobre o conto fantástico. Seguiu as orientações dos documentos oficiais PCN (BRASIL,1998) e Proposta Curricular de Português para o Ensino Fundamental de Minas Gerais, os Conteúdos Básicos Curriculares - CBC (MINAS GERAIS, 2007) sobre leitura e produção escrita. Os resultados mostraram que os alunos podem se tornar leitores proficientes e bons produtores de texto desde que o professor esteja comprometido com o ensino-aprendizagem desses alunos. / Students reading skills and written production at the beginning of Middle school concern Portuguese teachers and have been calling language scholars attention in recent decades. Based on my own experience as a teacher and other teachers experience accounts, I have noticed that the fantastic tale genre is seldom discussed in the Portuguese classes. However, it is an interesting genre for pre-teens who face a period of transition, seeking answers for situations that seem absurd. Teens enjoy reading something different from what they have read in Elementary school and also identify themselves with texts that are beyond their apparent reality. Although in general, students at this age are not used to reading and find it very difficult to write, the context of my classroom was favorable for this research which aimed to develop a project on fantastic tale genre with Middle school students. The specific objectives were to increase students pleasure of reading not only the fantastic tales but also other kinds of reading and to write on fantastic tale genre. It was an action research divided in five times: 1 th) reading for recognition of gender; 2 th) interpretation of four fantastic tales; 3th) production of fantastic tales, 4th) and exposure correction of short stories; 5th) release of a book of short stories produced and edited. It was developed throughout the year 2011 and during the month of February 2012. The subjects were 6th grade students of a public school in Minas Gerais. It was based on the theoretical perspective of sociocognitive reading according to Marcuschi (2008), Koch (2005, 2008), Koch and Elias (2006); Bakhtinian concepts of language and speech genres (Bakhtin, 2010) and the literary approaches to fantastic tales. It followed the official documents PCN (BRAZIL, 1998), the Portuguese national curriculum for Elementary Education of Minas Gerais and the Basic Curriculum Content - CBC (MINAS, 2007) on reading and writing. The results showed that students can become proficient readers and good producers of texts if teachers are committed to the teaching and learning of these students.

Este trabalho é resultado de uma pesquisa, desenvolvida durante cinco meses, direcionada para o ensino de língua estrangeira, neste caso, o italiano, e para as estratégias de leitura utilizadas pelo professor, ao adotar a narrativa fantástica, como recurso de aprendizagem. Como objetivo, buscou-se refletir sobre como o uso do texto literário, em específico a narrativa fantástica, pode facilitar a aprendizagem da língua estrangeira, e o desenvolvimento de um leitor competente, com a utilização de estratégias adequadas à leitura. A partir do desenvolvimento desta pesquisa, pôde-se realizar uma análise do percurso percorrido, no início, no meio e no final, por cinco alunos, com a idade de 10 anos, do 5° ano do ensino fundamental, de uma escola bilíngue, português-italiano, para compreender o sentido do texto e como eles manifestaram uma evolução em sua competência leitora por meio das estratégias utilizadas pelo professor, no decorrer da leitura das três estórias escolhidas, do escritor Gianni Rodari. Realizamos, ainda, a análise da produção escrita final dos alunos para investigar não só a progressão linguística como também a capacidade de reconhecer e usar estruturas de manifestação da língua, especificamente a utilizada na narrativa fantástica de Rodari. O corpus que adotamos, encontra-se no livro Favole al telefono (Fábulas por telefone), de Gianni Rodari, e consiste em três narrativas fantásticas, sendo que a primeira é Il palazzo di gelato (O palácio de sorvete), a quinta é La strada di cioccolato (A rua de chocolate) e a décima é a La caramella istruttiva (A bala instrutiva). A análise, pautada na concepção interacionista, da estudiosa Kleiman, e na narrativa fantástica de Rodari, objetivou detectar se a participação do leitor-aprendiz, como sujeito da leitura, centrando-se nas estratégias de leitura, de um lado, e no desenvolvimento de habilidades linguísticas, de outro, se efetivou. Para tanto, trabalhou-se com a ideia de que a leitura não é aceitação passiva de vocábulos fragmentados, mas é construção ativa de sentido, em que o processo de interação é essencial. / This research, developed over five months, is aimed at the teaching of a foreign language in this case, the Italian language and the reading strategies adopted by a teacher when embracing the fantastic narrative as a learning resource. With respect to its purpose, a reflection has been sought on the ways the use of literary text may help the apprenticeship of a foreign language and the promotion of a competent reader by the use of appropriate strategies for reading. The development of the present research allowed the conduction of an analysis of the path followed by five 10-year-old 5th grade students of ensino fundamental (primary education according to Brazilian standards) from a bilingual Portuguese-Italian school. This analysis focused on their understanding of the meaning of the texts and how those students unfolded an evolution in their reading skills through the strategies used by the teacher in the course of the reading of the three stories previously chosen, from writer Gianni Rodari. An analysis of the final written production has been conducted as well, to investigate not only the linguistic progression but also the capability of recognizing and employing manifestations of language structures, specially the one used in Rodaris fantastic narrative. The set of texts that formed the basis for research is to be found in Rodaris book Favole al telefono (Fairy Tales Over the Phone), consisting of three fantastic narratives; the first one is Il palazzo di gelato (The Palace Made of Ice Cream), the fifth one is La strada di cioccolato (The Street Made of Chocolate) and the tenth one is La caramella istruttiva (Educational Candy). Both researcher Kleimans interactionist approach and Rodaris fantastic narrative have subsidized this analysis focusing on the strategies of reading, on one side, and on the development of linguistic skills, on the other side that aimed at verifying whether the participation of the apprentice reader, as the subject of the action of reading, had become effective. To this end, we worked with the notion that reading is not the passive acceptance of fragmented words, but is an active construction of meaning to which the process of interaction is essential.

Amparo Davila's writing style is characterized by circumventing the boundaries between the real and the fantastic and between the known and the unknown. The author creates a narrative that evokes horror in the reader by mixing the uncanny of the unknown with the reality of the world. This study proposes that the sinister in Davila's stories are created by abandonment. This abandonment is the peremptory element of Davilian narrative and can be seen and examined throughout the author's literary work. The abandonment wields a mechanism of loneliness, madness, hopelessness and chaos that eventually provokes the sinister. The element of abandonment disturbs the main character of the story and makes him fall into an abyss from which he or she cannot escape. This abandonment is not always obvious, since most of the time the abandonment is veil by a halo of gothic and fantastic elements. The present thesis has the task of breaking down the different types of abandonment that are presented throughout this narrative, its sinister function and the theoretical and historical interpretation of the various abandonments both personal and collective that Amparo Davila presents. The route of abandonment proposed in this thesis is explained in the following three stories: "El desayuno" (1961), "La quinta de las celosías" (1959) and "La señorita Julia" (1959).