Orientadores: Luiz Carlos Dantas, Jefferson Cano / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-10T23:52:54Z (GMT). No. of bitstreams: 1 Ribeiro_JulianaSeixas_M.pdf: 428130 bytes, checksum: 7c37d11da1de0e7305fc197633243c89 (MD5) Previous issue date: 2008 / Resumo: O livro base para esta dissertação de mestrado é uma compilação de contos publicados em diversas fases da produção literária de Lygia Fagundes Telles, sendo o mais antigo deles "A estrela branca" (1949) e o mais recente "A presença" (1977). Inicialmente, esta coletânea foi publicada na Alemanha com o título Contos fantásticos, idéia que partiu de um projeto dos professores Maria Luiza e Alfred Ortiz. No Brasil o livro foi publicado em 1981 com um novo título: Mistérios. O objetivo deste trabalho é analisar alguns contos de Lygia Fagundes Telles a partir de teóricos da literatura fantástica como Tzvetan Todorov, Irène Bessière, P. G. Castex, L. Vax, Jaime Alazraki, entre outros ressaltando o jeito singular com o qual a autora "tece sua teia" e mesmo a particularidade deste gênero em seus contos. Os contos incluídos na coletânea Mistérios apresentam temas bastante relevantes para justificar a leitura fantástica proposta, tais como: sonho versus realidade, duplo, mistérios sem solução, metamorfose, descontrole, loucura, paranóia, transformações do tempo e do espaço, ambientes insólitos / Abstract: The main book of this paper is a compilation of short stories published in several phases of the literary production of Lygia Fagundes Telles, being oldest of them "A estrela branca" (1949) and most recent "A presença" (1977). Initially, this book was published in Germany with the title Contos fantásticos, thanks to the work of the professors Maria Luiza and Alfred Ortiz. In Brazil, the book was published in 1981 with a new title: Mistérios. The objective of this study is to analyze some Lygia Fagundes Telles short stories from the point of view of the theoreticians of fantastic literature as Tzvetan Todorov, Irène Bessière, P. G. Castex, L. Vax, Jaime Alazraki, among others standing out the Lygia singular skill to "weave a web" and the particularity of this literary genre in her short stories. The rational interlaces to the unusual, the wonderful and the magic properties. The logic of the real appears paralyzed." The short stories included in the Mistérios book have too relevant themes to justify the fantastic analysis proposed, such as dreams versus reality, double, unsolved mysteries, metamorphosis, uncontrolled, madness, paranoia, time and space changes, unusual environments / Mestrado / Literatura Brasileira / Mestre em Teoria e História Literária

Made available in DSpace on 2015-04-11T13:49:11Z (GMT). No. of bitstreams: 1 Sonia Maria Vasques Castro.pdf: 716184 bytes, checksum: e49feb5b8e4a42e6f6eed4aafb8dcc78 (MD5) Previous issue date: 2014-03-25 / The book Sôbolos rios que vão (2010), the Portuguese novelist António Lobo Antunes brings philosophical bias as the theme of death, showing that this is a reality that no one will escape. Besides the philosophical tone raised by theme, the difficulty of reading enjoyment and consequent misunderstanding of the narrative, were the items that guided the interest in investigating the procedures adopted in the language and techniques resulting in her novelistic evident, since the work collapses literary canons hitherto established. The high degree of experimentation with language, which does not take into account the paragraphing, punctuation, capitalization, employment, plot, narrator, time, space, or any other component that integrates the "revenue" behaved the way of narrating the work is presented here as fantastic narrative in current patterns, defended by Karin Volobuef, which states that the fantastic today moved for language. This hypothesis, rooted in ideas of Mikhail Bakhtin, Roland Barthes, Martin Heidegger, Tzvetan Todorov, Karin Volobuef and also relies on other more current voices, among them those of essayists scholars and the work of Lobo Antunes, Ana Paula Arnaut, Ph.D., University of Coimbra and Maria Alzira Pebble, Ph.D., University of Lisbon. / A obra Sôbolos rios que vão (2010), do romancista português António Lobo Antunes, traz como viés filosófico o tema da morte, mostrando que esta é uma realidade da qual ninguém escapará. Além do tom filosófico suscitado pelo tema, a dificuldade de fruição na leitura e aparente incompreensão da narrativa, foram a motivação que guiou o interesse em investigar os procedimentos adotados na linguagem bem como as técnicas romanescas nela evidenciadas, posto que a obra esboroa os cânones literários até então estabelecidos. Por conta do elevado grau de experimentação com a linguagem, que não leva em conta a paragrafação, a pontuação, o emprego de iniciais maiúsculas, trama, narrador, tempo, espaço ou qualquer outro componente que integre as receitas do modo comportado de narrar, a obra é aqui apresentada como narrativa fantástica, nos moldes atuais, defendidos por Karin Volobuef, que afirma que o fantástico hoje se transportou para a linguagem. Essa hipótese, ancorada nas ideias de Mikhail Bakhtin, Roland Barthes, Martin Heidegger, Tzvetan Todorov e outros, apoia-se também em outras vozes mais atuais, dentre elas as das ensaístas e estudiosas da obra de Lobo Antunes, Ana Paula Arnaut, Professora Doutora da Universidade de Coimbra e Maria Alzira Seixo, Professora Doutora da Universidade de Lisboa.

Made available in DSpace on 2017-07-10T18:56:17Z (GMT). No. of bitstreams: 1 bernadet_korzun_pedroso.pdf: 611376 bytes, checksum: a4bacb0bc061ed972cc2a5db4eb6ca5f (MD5) Previous issue date: 2011-02-26 / This study aims to verify how the fantastic elements and the narrative composition of Pedro Páramo (1995) are done aesthetically. We intend to reflect about the proportion that the work finishes the perspectives of contemporary latin american narrative and joins it in a social memory. The concept of fantastic used for the present study is based on Todorov (1975), which recognizes it as a time of hesitation caused in the reader as a reflection of the narrative. The inherent hesitation in the fantastic corresponds to the unfinished dialog between the rational and the nonrational, to the imbalance between reality and the supernatural, to the unbelievable reasonableness caused by the occurrence of the supernatural and its consequent questioning. In this perspective, we looked for theoretical support in the reflections proposed by the Cuban Alejo Carpentier (1954), when it comes to the wonderful realism as opposition to the wonderful proposed by surrealists. It is important to detach that, in the context of the latin american literature production, the notion of wonderful real would be a result of the cultural mix of Latin America, according to Alejo Carpentier. It is observed, in Pedro Páramo, a rupture attempt and reversal with the hierarchy and traditional aesthetics of text, as the plausible and implausible are incorporated, thus distorting ritual practices of speeches until then practiced and inaugurate a new poetic way, where minorities are convened to integrate the new discursive woof and to contribute in the deconstruction of hegemonic discourse in Latin- American context. Pedro Páramo is alongside other works responsible by the revolution in the sense of contravening the rules in the style of writing and in the form of addressing the issue of Latin American culture. / Esta pesquisa almeja verificar como se realizam esteticamente elementos do fantástico e a composição narrativa na obra Pedro Páramo, de 1955, de Juan Rulfo. Pretende-se refletir em que medida a obra encerra perspectivas da narrativa contemporânea latino-americana e abarca uma memória social. O conceito de fantástico empregado para o presente trabalho está fundamentado em Todorov (1975), que o reconhece como tempo de hesitação provocada no leitor como reflexo da narrativa. A hesitação inerente ao fantástico corresponde ao diálogo inconcluso entre o racional e o não racional, ao desequilíbrio entre a realidade e o sobrenatural, ao verossímil inacreditável causado pela ocorrência do sobrenatural e seu consequente questionamento. Nessa perspectiva, buscou-se também respaldo teórico nas reflexões do cubano Alejo Carpentier (1954), quando o mesmo trata do realismo maravilhoso como oposição ao maravilhoso proposto pelos surrealistas. Cabe destacar que, no contexto da produção literária latino-americana, a noção de real maravilhoso seria uma resultante da mestiçagem cultural da América Latina, segundo Alejo Carpentier. Observa-se, em Pedro Páramo, uma tentativa de rompimento e de inversão com a hierarquia e com a estética tradicional do texto, à medida que o verossímil e o inverossímil se incorporam, subvertendo as práticas ritualizadas dos discursos até então praticados e inauguram um novo fazer poético, onde as minorias são convocadas a integrar a nova trama discursiva e a contribuir na desconstrução do discurso hegemônico no contexto latino-americano. Pedro Páramo coloca-se ao lado de outras obras responsáveis pela revolução no sentido de transgressão às normas vigentes de estilo da escrita e na forma de abordar a temática cultural da/na América Latina.

Primo Levi (1919-1987), de origem judaica, antifascista e químico de formação, passa quase um ano de sua vida como prisioneiro em um dos campos de concentração de Auschwitz. Preso como partigiano, deportado como judeu, e sobrevivente por acaso, Levi faz daquela experiência, através da necessidade de narrar, o ponto de partida de sua literatura. Seu percurso parte da literatura de testemunho, matéria de suas duas primeiras obras, Se questo è un uomo e La tregua. Porém, sua grande vocação narrativa faz com que cultive os mais diversos gêneros ao longo de sua carreira, indo desde a autobiografia, até a poesia, o romance e os contos fantásticos e de ficção científica. A análise da obra literária de Levi, obrigatoriamente, deve considerar dois aspectos, que estão na gênese e na construção de seus escritos: o primeiro é a origem de sua literatura, nascida da experiência como prisioneiro e da observação daquele universo e que dele nunca se desprendeu; o segundo é a sua formação, pois, como químico, o olhar que dirigia ao mundo era determinado pelos preceitos da ciência que escolheu, e pela qual era apaixonado. Assim sendo, pretendemos analisar a literatura de Levi a partir da relação que ela estabelece com a ciência, com a técnica e com a tecnologia, partindo de seu livro de estreia, no qual o olhar do cientista permitiu definir o Lager como um grande experimento biológico e social. As referências para a análise serão os dois primeiros volumes de contos, que se ligam à tradição do fantástico e da ficção científica Storie naturali e Vizio di forma e os dois livros da década de 70, que apresentam a técnica e o trabalho como símbolos de liberdade: Il sistema periodico, obra na qual a química, os químicos e o seu trabalho são protagonistas; e La chiave a stella, que apresenta a exaltação do trabalho liberatório, portador de satisfação e felicidade. Dessa forma, demonstraremos que nenhuma página da literatura de Primo Levi está dissociada de sua experiência como deportado ou de sua formação científica, e isso influencia diretamente o seu estilo, transformando-o em um dos principais representantes, na literatura universal, da relação entre as duas culturas, como também em um dos principais prosadores da segunda metade do século XX. / Primo Levi (1919-1987), of Jewish origin, anti-fascist and chemist of formation, passes nearly a year of his life as a prisoner at the Auschwitz concentration camp. Captured as partigiano, deported as Jew, and survivor by chance, Levi makes that experience, through the need of narrating, the starting point of his literature. His pathway starts from the testimonial literature, subject of his first two works, Se questo è un uomo and La tregua. However, his narrative vocation makes him cultivate the most diverse genres throughout his career, from autobiography to poetry, romance, fantastic tales and science fiction. The analysis of the literary work of Levi, mandatorily, must consider two aspects that are on the genesis and construction of his writings: the first one is the origin of his literature, born from his experience as prisoner and from the observation of that universe - and from which he never came off; the second one is his formation, since, as a chemist, the way he looked at the world was determined by the precepts of the science he chose, and to which he was passionate. Therefore, we intend to analyze Levis literature from the relationship it establishes with science, technique and technology, starting from his debut book, in which the look of the scientist allows to define the Lager as a great biological and social experiment. The references for this analysis will be the first two volumes of short stories, that bind to the tradition of fantastic and science fiction Storie naturali and Vizio di forma and the two books of the 70s, that present technique and work as symbols of freedom: Il sistema periodico, work in which chemistry, chemists and their work are protagonists; and La chiave a stella, that presents the exaltation of liberatory work, promoter of satisfaction and happiness. Thus, we will demonstrate that any page of Primo Levis literature is dissociated from his experience as deported or his scientific training, and it directly influences his style, transforming it into one of the leading representatives in world literature, from the relationship between \"the two cultures \", as well as one of the major prose writers of the second half of the 20th century.

Cette thèse porte sur le rêve et le récit de rêve dans les romans d’Anne Hébert, figure majeure de la littérature québécoise. Ses objectifs sont d’identifier une typologie de rêves à partir de la place du phénomène onirique au niveau du corpus et d’analyser les particularités de la transposition des rêves dans le discours, soit leur fonctionnement, afin de démontrer l’existence d’un discours onirique hébertien encadré par le discours romanesque. Une étude narratologique portant sur le contenu, l’instance narrative, le temps de la narration et la structure des récits de rêves dans les romans d’Anne Hébert sous-tend cette recherche et conduit à plusieurs résultats. Ainsi, le rêve comme moyen de révélation du surnaturel, le rêve prémonitoire, le rêve comme forme d’exil, la rêverie, le rêve remémoratif, le rêve comme reflet de la réalité et l’hallucination sont-ils autant d’expériences qui situent le personnage hébertien dans l’entre-deux, en provoquant des ruptures dans sa perception de la veille. Le discours romanesque illustre ces scissions par une grande fragmentation et par les relations complexes qu’il entretient avec le discours onirique au niveau du contenu, de l’instance narrative, du temps de la narration et de la structure du récit onirique. / This thesis focuses on the study of dreams and recollection of dreams in Anne Hébert's novels, an important Quebecois writer. The aims of this paper are to identify a dream pattern following the importance of the oneiric phenomenon as presented in the corpus and to analyze the particularities of dream transposition into the discourse and their purpose, in order to prove the existence of a Herbertian oneiric discourse framed by the Romanesque discourse.A narrative study of the content, the narrative instance, the narrative tense and the structure of the recollection of dreams in Anne Hébert novels underlie this research and lead up to various results. Thus, the dream as manner of supernatural revelation, the premonitory dream, the dream as a way of exile, the recalling dream, the dream as a reflection of reality and imagination are all experiences that place the Hebertian character between the two of them, causing breaches into his perception of wakefulness. The Romanesque discourse shows these scissions by a wide fragmentation and through the complex relations with the oneiric discourse within the content, the narrative instance, the narrative tense and oneiric structure.

Méconnue en France, la littérature fantastique espagnole est souvent considérée comme inexistante ou mineure par rapport à d’autres traditions européennes ou au fantastique latino-américain. Une forte présence de thématiques morales et religieuses au XIXe siècle peut contribuer à expliquer qu’elle soit placée hors du canon fantastique. La relation qu’entretient le fantastique espagnol avec la morale et la religion doit tout d’abord être envisagée au travers d’une étude du contexte socio-culturel, qui semble peu enclin au développement du genre. Dans un deuxième temps, nous porterons notre attention sur les différentes manifestations de l’hispanisation du genre : l’étude de la réception des textes étrangers ainsi que de la production d’œuvres nationales, telles que la légende, montrera les transformations subies par le fantastique en Espagne, notamment sa moralisation. Une perspective comparatiste nous permettra d’appréhender les phénomènes d’hybridation complexes qui configurent notre corpus de 1830 à 1890. Enfin, les implications de la cohabitation entre les poétiques fantastique et exemplaire seront étudiées. L’analyse des stratégies édifiantes et des illustrations sera complétée par des apports de la théorie psychanalytique dans une recherche de sens, par-delà les mécanismes exemplaires conscients. / Almost unknown in France, Spanish fantastic literature is frequently considered as nonexistent or minor, in comparison with other traditions from Europe or Latin America. A strong presence of moral and religious thematics in the nineteenth century can contribute to explain the fact that she is placed out of the fantastic canon. First, the relationship between Spanish fantastic and morality and religion must be considered through a study of the socio-cultural context, which seems reluctant to the development of the genre. In a second time, we will concentrate on the different manifestations of the hispanization of the genre: the reception of foreign texts, and the national production, as the legend, will be studied in order to show how the fantastic changes in Spain, in particular how it becomes more moral. A comparative perspective will permit to understand the complex phenomenon of hybridization, characteristic of the corpus between 1830 and 1890. Finally, the consequences of cohabitation of fantastic and exemplar poetics will be analyzed. The study of edifying strategies and of illustrations will be completed by psychoanalytical theory in a search of sense, beyond the conscious mechanisms of exemplarity.

Paru en 1983, The Bone People, le premier et à ce jour le seul roman de l'auteure néo-zélandaise aux origines maories Keri Hulme (1947-), a profondément marqué ses lecteurs, car il a montré, de façon poignante et unique, une image d'Aotearoa- Nouvelle-Zélande, de sa nature rugueuse, de ses habitants et de la richesse de la culture maorie. À l'inverse, les poèmes et les nouvelles de Hulme n'ont pas reçu le même accueil et n'ont été que très peu étudiés, c'est pourquoi nous nous y intéressons dans cette thèse. Ces textes brefs laissent au lecteur une sensation d'étrangeté. Est étrange ce qui est hors du commun, bizarre, surprenant. L'étrange possède un caractère indéfinissable, si bien qu'il est parfois impossible de dire précisément ce qui est à l'origine de ce sentiment singulier difficile à cerner, parfois inquiétant. L'objectif de notre étude est de mieux comprendre et d’expliquer les manifestations de l'étrangeté dans l'oeuvre courte de Keri Hulme. Pour ce faire, la première partie ancre l'oeuvre de Keri Hulme dans des contextes historique, culturel et littéraire afin de mieux cerner les identités contemporaines multiples de la Nouvelle-Zélande et de montrer l'affiliation littéraire de Hulme. Dans notre deuxième partie, nous étudions les rapports de l'humain à la nature et au vivant non-humain dans ce que nous nommons l'écriture écopoétique de Hulme. Enfin, dans la troisième partie, nous nous intéressons à la représentation de la hantise et du blocage dans la transmission immatérielle. Nous analysons la manière dont l'auteure se sert des caractéristiques formelles du genre de la nouvelle, mettant à l'épreuve et façonnant sa forme malléable pour exprimer des maux néo-zélandais et traduire la rupture dans la transmission de l'héritage culturel. Nous démontrons que l'écriture de Hulme offre aussi une forme de fantastique, qui invite le lecteur à accepter l'inexpliqué et à voir que se trouver dans un entre-deux culturel – maori et anglo-saxon – permet d'adhérer à deux systèmes de pensée qui confluent et s’enrichissent mutuellement. / First published in 1983, The Bone People, to this day the only novel by New Zealand author with Maori origins Keri Hulme (1947-), had a tremendous impact on its readers. It struck them for its capacity to show, in a unique and poignant way, an image of Aotearoa- New Zealand, its rough nature, its inhabitants and the enriching Maori culture. On the contrary, Hulme's poems and short stories were not read with the same enthusiasm and have been the subject of very few studies. This is the reason why I decided to focus on Hulme’s short texts in this dissertation. These short texts convey the uncanny, which can be defined as a feeling of unease, strangeness and unfamiliarity. What is strange can also be incomprehensible, so that it can be difficult to understand the origin of this feeling of unease. The aim of this study is to better understand and explain the manifestations of the uncanny in Keri Hulme short texts. The first part focuses on the historical, cultural and literary contexts in order to grasp the multiple contemporary identities of New Zealand and to show Hulme's literary affiliation. In the second part, I study the links between humans, nature and the non-human in what I call Hulme's ecopoetics. Lastly, I focus in the third part on the representation of haunting and the impossibility to pass on the cultural heritage. I study how the author uses and challenges the characteristics of the short story, shaping its malleable form to express New Zealand wounds. I also intend to demonstrate that Hulme's writings contain the fantastic, which invites the reader to accept what cannot be explained and realize that being in-between two cultures – maori and anglo-saxon – allows to better understand two belief systems that come together and enrich each other.

(in English): The aim of this work is to analyse selected short stories of the Argentinian writer Silvina Ocampo, which combines the element of violence, cruelty and crime. The work is focused on the original elements of fantastic, which are often referred to as "fantastic everyday life" and puts it in connection with the motive of violence and the presence of crime. In the introduction, it summarizes the author's work and outlines the concept of modern fantasy and its difference from the traditional form. It briefly introduces the concepts of violence and cruelty from the perspective of literature, philosophy and psychology. The short stories selected for analysis are based on the short story sets Viaje olvidado, Autobiografía de Irene, La furia and Las invitadas. A detailed analysis of short stories aims to examine the motive for violence in relation to fantasy and childhood elements. It examines child characters, perpetrators and victims of violence, which takes place in a fantastic setting. In the end, it compares the tools of fantasy construction such as metamorphosis, duality or elements of irony.

Le but de ce mémoire est d’analyser deux oeuvres de Marguerite Duras : L’Amant et La Pluie d’été. L’étude est effectuée avec l’aide des éléments d’un genre littéraire précis : le fantastique. Ce mémoire examine les conditions pour qu’une oeuvre puisse appartenir à ce genre littéraire ; il en liste les critères, et étudie comment ces derniers sont en partie applicables à ces deux oeuvres. Le mémoire examine les prérequis pour qu’une oeuvre soit considérée comme fantastique, ainsi que les éléments qui placent une oeuvre à la limite de divers genres, tels que le conte, le merveilleux ou encore le réalisme magique. Une analyse des stratégies narratives employées pour persuader le lecteur à hésiter entre le réel et l’irréel est ici appliquée à L’Amant et La Pluie d’été, ainsi qu’une mise en avant des éléments qui peuvent faire entrer ces oeuvres dans la catégorie du fantastique. Les deux oeuvres sont ensuite étudiées séparément. Des personnages sont analysés, ainsi que les lieux, le temps et les actions. La technique narrative, avec la frontière floue entre rêve, retours en arrière et souvenirs, participe du genre fantastique. Les personnages phares, ainsi que des objets classiques du registre du fantastique, peuvent participer eux aussi de cette classification. Bien que les deux oeuvres ne soient pas explicitement classifiées par l’auteur comme appartenant au genre fantastique, il en émane une certaine atmosphère qui permet de mettre en avant des éléments qui contribuent au genre étudié, mais aussi au mode merveilleux, du réalisme merveilleux ou encore du conte. / The aim of this study is to analyze two works by Marguerite Duras: The lover and Summer rain. The study is carried out using elements of a specific literary genre: the fantastic (le fantastique). This study presents the elements needed for a work to belong to this literary genre; it lists the criteria, and studies how they partially are applicable to these two works. The conditions for a work to be considered fantastic, as well as the elements that place a work at the border of various genres, such as the folk tale, the marvelous (le merveilleux) or even the magic realism. This text presents an analysis of the narrative strategies, showing how the reader is led to doubt what is real and what is not. This study investigates The lover and Summer rain. It also highlights the elements that classify a book in the fantastic category. The two works are then studied separately. The characters are analyzed, as well as the setting, the time and the plot. The narrative technique, with the blurry borders between dreams, flashbacks and memories, belongs to the fantastic genre (le fantastique). The most important fictional characters, as well as classic objects, can also contribute to the classification of the texts in the fantastic genre. Although the two works are not precisely classified by the author as belonging to the fantastic genre, a certain atmosphere created by Duras makes it possible to highlight elements that contribute to the genre studied, but also to the folk tale or the magic realism.

Mi disertación se centra en la literatura fantástica latinoamericana escrita por mujeres en el siglo XIX y principios del XX. En ella examino los cuentos y novelas de tres escritoras latinoamericanas del Cono Sur: los cuentos “El guante negro” (1852), “El lucero del manantial (Episodio de la dictadura de Don Juan Manuel Rosas)” (1860), y “La novia del muerto (A mi querido amigo Vicente G. Quesada)” (1861), de la argentina Juana Manuela Gorriti (1818-92); la novela La última niebla (1934), de la chilena María Luisa Bombal (1910-80); y la novela La mujer desnuda (1950), de la uruguaya Armonía Somers (1914-94).Sostengo que los efectos sobrenaturales de estos relatos confrontan no solo la idea de nación y género sino también la de tiempo como una categoría política y arbitraria. También destaco cómo las protagonistas de estas historias muestran la posición conflictiva de la figura de la mujer escritora en el contexto social en el que fueron escritas. En tal sentido, sostengo que las regulaciones sexuales y políticas son cuestionadas por sus autoras a través de lo fantástico. Mi enfoque teórico y metodológico agrupa distintas perspectivas, incluyendo teorías del género fantástico, teoría feminista y teoría queer. Apoyándome tanto en las discusiones recientes en torno a las temporalidades queer, así como en las estrategias narrativas típicas de la literatura fantástica que usan estas historias, argumento que los tropos y motivos fantásticos −como fantasmas, dobles y mundos distópicos, entre otros elementos− funcionan como dispositivos que problematizan elementos relacionados con el género, como la división sexual del trabajo, la institucionalización de la familia, la imposición del trabajo reproductivo y la exclusión de la mujer de la esfera pública. Finalmente, mi disertación no solo busca revisar el canon de la literatura fantástica, que sigue estando dominado por un canon eminentemente masculino, sino que también desafía la visión actual de lo fantástico como literatura escapista, argumentando en cambio que este modo narrativo siempre incluye ansiedades sociales y políticas, sea para apoyar o cambiar el statu quo, y un marco ideológico que no puede ser eludido. Por último, mi tesis destaca la importancia de incluir una perspectiva latinoamericana en los debates actuales sobre literatura fantástica y de género, así como en las discusiones recientes en torno a las temporalidades queer. / Spanish