In the research for this project I investigate several prominent definitions and examples of fantasy in contemporary visual art, notably associated with the Freudian “uncanny” and the Surrealist “marvellous”. In the dissertation I propose a sub-genre of fantasy: the Visionary Fantastic. The mode of this sub-genre, I claim, is manifest in the work of several contemporary artists. It is also a concept I find useful in describing and directing my own artistic practice during this project. The adopted research methods include: / - Surveying a number of concepts, theories and literature on fantasy, I have drawn upon a number of writers, noting two seminal essays, “The Uncanny” (1919), by Sigmund Freud and “The Surrealist Manifesto” (1924) by André Breton, and definitions by theorist Tzvetan Todorov. / - Investigating the subject by discussing elements of the Visionary Fantastic in the practice of six contemporary artists whose work has been of considerable significance to my practice. Fantastic art can hardly be referred to as an autonomous area and does not refer to a particular movement in art. Given that it rather possesses a system of inclusion based upon certain selective principles, these artists address elements of the Visionary Fantastic yet do not approach the concept of fantasy as their exclusive concern. / - Discussing the processes in my practice, addressing the subject loosely within tropes of Utopia (– Arcadian lands, fantastic communities and marginal societies), Obsession (– techniques of detailed repetition, miniscule facture), Monstrosity (– formidable creatures, instinctual domains, hybridity) and Enchantment (– meditative, mediumistic and altered states of mind). / The disciplines I have applied in the work for the end exhibition include painting, printmaking and drawing. The outcome, a selection of works produced within this research, will be displayed as a cohesive body of work. It addresses myriad fantasy manifestations within the four principles discussed in the dissertation.

No description available.

In September of 2013, I challenged myself to find the conjunction between spaces and tales through Architecture, to create buildings, spaces...to design out of tales. A year after, in September 2014, I realized that I became a writer myself. I wrote my own fiction, my own tale. Through the pages of this book, I am sharing with you my story, and the story of how I wrote it. The story of me AT the WAAC, of me AND the WAAC. The story of how, while writing it, I fall in love with Architecture and I learnt how to be an architectural magician. / Master of Architecture

This collection consists of a critical preface and five short stories. The preface considers the use of the fantastical in fiction and how it works as a tool to reach readers in comparison with realistic fiction. The stories investigate this in by following several strange characters put in everyday human situations.

Orientador: Adalberto Luis Vicente / Banca: Gloria Carneiro do Amaral / Banca: Ana Luiza Silva Camarani / Resumo: Este trabalho propõe-se a estudar as concepções poéticas do escritor francês Théophile Gautier (1811-1872), figura relevante para a arte de diversos outros poetas e de movimentos literários posteriores. Tendo em vista que ele participou tanto das tentativas de consolidação do movimento romântico na França em 1830 quanto do desenvolvimento da poética do Parnasse, busca-se compreender como se formou o seu estilo e como se firmou o seu pensamento, para, assim, partirmos ao objetivo principal do trabalho, que é o de assinalar a unidade de algumas obras em prosa de natureza fantástica e de sua obra poética, sobretudo da publicada em 1852, Émaux et Camées. Para esse fim, discorreremos, inicialmente, sobre as relações, por vezes conflituosas, entre o espírito burguês, os partidários de mudanças sociais e os artistas. Localizadas as questões que marcaram o poeta, que, particularmente, são a rejeição à demanda por utilidade social da arte e à necessidade de um posicionamento político do artista, partiremos à análise do corpus, aparentemente tão diverso, em busca de dados que comprovem a existência de uma unidade poética entre as obras escolhidas. / Abstract: This work proposes a study from the poetic conceptions of the French writer Théophile Gautier (1811-1872), relevant name to the art of many other poets and later literary movements. Given that this poet attended both of the Romantic movement consolidation attempts in France in 1830 as the development of poetics of Parnassus, we seek to understand how his style was formed and how his thinking steadied in his composing, for thus we set the main objective of this study, which is to mark the unit inside some works in prose of fantastic nature and inside his poetic composition, especially the one published in 1852, Émaux et Camées. To that, we will discuss initially about conflictual relations between the bourgeois spirit, the supporters of social change and the artists. Once we located the issues that marked the poet, which in particular are the rejections to the social utility demand of art and to the need for a political position of the artist, we will analyze the corpus, apparently so diverse, in search of data to prove the existence of a poetic unity among the chosen works. / Mestre

Thesis (MFineArt)--University of Melbourne, School of Art VCAM, The Faculty of the Victorian College of the Arts, 2010. / Typescript. Includes bibliographical references (leaves 57-60)

Master's thesis presents comparison of motifs and images of fantastic appearance and terror in the novel Frankenstein or the Modern Prometheus by Mary Shelley and its film and theatre adaptations, and studies their changes. It deals not only with theoretical problems of fantastic appearance, terror (horror) and adaptation, but especially the Frankenstein myth and its influence on creating these images in given texts. Thesis describes the development of fantastic and horrific images from the literary text towards visual and performance media. The thesis studies the transformation of these images within three film adaptations made by directors J. Searlse Dawley (1910), James Whale (1931) and Kenneth Branagh (1994), and one play written by Nick Dear and directed by Danny Boyle (2011). Key words: Frankenstein, Frankenstein myth, fantastic appearance, fantastic, terror, horror, adaptation

O fantástico tem se desenvolvido ao longo dos séculos, contudo, ainda constatamos dificuldades em se definir as características que o constituem. É certo que, hoje, o elemento fantástico aparece de diferentes formas, com a convivência pacífica de elementos naturais e sobrenaturais. Aqui, o insólito se dissolve na rotina e na banalidade das situações comuns, gerando o efeito fantástico, abordagem da presente dissertação. Não há mais sustos ou sobressaltos diante de um evento sobrenatural, ao contrário do chamado fantástico clássico, que prevê a hesitação como elemento principal. Nesse emaranhado de eventos sobrenaturais, uma figura se destaca, a personagem. Ela tem como principal função ser instrumento para comunicar e confirmar ao leitor a ocorrência dos eventos sobrenaturais. No caso do fantástico contemporâneo ela acaba por auxiliar na naturalização dos eventos sobrenaturais, pois retrata a passividade e a aceitação de tais eventos. Através dela também é possível identificar reações diante desses eventos: incerteza, dúvida, sufocamento, angústia e medo. Nosso principal objetivo com essa dissertação é costurar teoria e texto, buscando identificar o efeito fantástico, através da análise da reação das personagens, em autores contemporâneos, mais especificamente em contos. Utilizaremos para essa exemplificação contos de Amilcar Bettega Barbosa (Deixe o quarto como está), Jorge Luis Borges (O livro de areia) e Murilo Rubião (Contos Reunidos). Para realizar tal desafio, buscaremos trazer questões que enriqueçam a discussão sobre o fantástico contemporâneo, demonstrando com isso, também, sua permanência no cenário literário atual. Com isso esperamos contribuir para a propagação das discussões sobre o fantástico, levando, quem sabe, a um novo posicionamento crítico sobre esses textos / Over the centuries the fantastic has developed, however, we still find difficulties in defining the characteristics that make it up. It is true that, today, the fantastic element appears in different ways, with the peaceful coexistence of natural and supernatural. Here, the unusual dissolves in the routine and banality of common situations, generating the fantastic effect, an approach of this dissertation. No more scares or shocks in front of a supernatural event, unlike the so-called classic fantastic, which provides the hesitation as a principal component. In this tangle of supernatural events, a figure stands out, the character. Its main function is a tool to communicate and confirm to the reader the occurrence of supernatural events. In the case of the contemporary fantastic it ends up helping the naturalization of the supernatural events, because it depicts the passivity and acceptance of such events. Also through it is possible to identify reactions to these events: uncertainty, doubt, suffocation, anguish and fear. Our main goal with this thesis is to tailor theory and text, looking for the fantastic effect, by analyzing the reaction of the characters in contemporary writers, more specifically in stories. We will use for this exemplification stories of Amilcar Bettega Barbosa (Leave the room as is and The sides of the circle), Jorge Luis Borges (Fictions and The Book of Sand) and Murilo Rubiao (Stories gathered). To address this challenge, we seek to bring issues to enrich the discussion of contemporary fantastic, demonstrating that also its stay in the current literary scene. With this, we hope to contribute to propagate the discussions about the fantastic, leading, perhaps, to a new critical stance about these texts

O fantástico tem se desenvolvido ao longo dos séculos, contudo, ainda constatamos dificuldades em se definir as características que o constituem. É certo que, hoje, o elemento fantástico aparece de diferentes formas, com a convivência pacífica de elementos naturais e sobrenaturais. Aqui, o insólito se dissolve na rotina e na banalidade das situações comuns, gerando o efeito fantástico, abordagem da presente dissertação. Não há mais sustos ou sobressaltos diante de um evento sobrenatural, ao contrário do chamado fantástico clássico, que prevê a hesitação como elemento principal. Nesse emaranhado de eventos sobrenaturais, uma figura se destaca, a personagem. Ela tem como principal função ser instrumento para comunicar e confirmar ao leitor a ocorrência dos eventos sobrenaturais. No caso do fantástico contemporâneo ela acaba por auxiliar na naturalização dos eventos sobrenaturais, pois retrata a passividade e a aceitação de tais eventos. Através dela também é possível identificar reações diante desses eventos: incerteza, dúvida, sufocamento, angústia e medo. Nosso principal objetivo com essa dissertação é costurar teoria e texto, buscando identificar o efeito fantástico, através da análise da reação das personagens, em autores contemporâneos, mais especificamente em contos. Utilizaremos para essa exemplificação contos de Amilcar Bettega Barbosa (Deixe o quarto como está), Jorge Luis Borges (O livro de areia) e Murilo Rubião (Contos Reunidos). Para realizar tal desafio, buscaremos trazer questões que enriqueçam a discussão sobre o fantástico contemporâneo, demonstrando com isso, também, sua permanência no cenário literário atual. Com isso esperamos contribuir para a propagação das discussões sobre o fantástico, levando, quem sabe, a um novo posicionamento crítico sobre esses textos / Over the centuries the fantastic has developed, however, we still find difficulties in defining the characteristics that make it up. It is true that, today, the fantastic element appears in different ways, with the peaceful coexistence of natural and supernatural. Here, the unusual dissolves in the routine and banality of common situations, generating the fantastic effect, an approach of this dissertation. No more scares or shocks in front of a supernatural event, unlike the so-called classic fantastic, which provides the hesitation as a principal component. In this tangle of supernatural events, a figure stands out, the character. Its main function is a tool to communicate and confirm to the reader the occurrence of supernatural events. In the case of the contemporary fantastic it ends up helping the naturalization of the supernatural events, because it depicts the passivity and acceptance of such events. Also through it is possible to identify reactions to these events: uncertainty, doubt, suffocation, anguish and fear. Our main goal with this thesis is to tailor theory and text, looking for the fantastic effect, by analyzing the reaction of the characters in contemporary writers, more specifically in stories. We will use for this exemplification stories of Amilcar Bettega Barbosa (Leave the room as is and The sides of the circle), Jorge Luis Borges (Fictions and The Book of Sand) and Murilo Rubiao (Stories gathered). To address this challenge, we seek to bring issues to enrich the discussion of contemporary fantastic, demonstrating that also its stay in the current literary scene. With this, we hope to contribute to propagate the discussions about the fantastic, leading, perhaps, to a new critical stance about these texts

Cette étude vise à montrer l’influence des sciences du XIX° siècle sur le fantastique européen et se fonde sur un corpus de textes anglais, français et croate comprenant Frankenstein de Mary Shelley (1816), Claire Lenoir de Villiers de l’Isle-Adam (1867), Green Tea de Joseph Sheridan Le Fanu (1869), Lokis de Prosper Mérimée (1869), Le Rêve du docteur Mišić [San Doktora Mišića] de Ksaver Sandor Gjalski (1890) et The Parasite d’Arthur Conan Doyle (1894). La première partie de la thèse dresse le portrait du « héros médecin » et analyse l’émergence de ce personnage dans la littérature fantastique, au moment où la science est en passe de devenir une véritable religion. La deuxième partie met en évidence la place réelle du discours scientifique dans les œuvres du corpus, dans une approche à la fois littéraire et linguistique. Enfin, la troisième partie s’interroge sur la manière dont les sciences du XIX° siècle, et les sciences de l’esprit en particulier, modifient l’espace fantastique et ses topoï. / This study aims at showing the influence of nineteenth-century sciences on the European fantastic. It is based on a corpus of English, French and Croatian texts including Mary Shelley’s Frankenstein (1816), Villiers de l’Isle-Adam’s Claire Lenoir (1867), Joseph Sheridan Le Fanu’s Green Tea (1869), Prosper Mérimée’s Lokis (1869), Ksaver Sandor Gjalski’s Doctor Mišić’s Dream [San Doktora Mišića] (1890) and Arthur Conan Doyle’s The Parasite (1894). The first part of the thesis draws the portrait of a “doctor hero” and analyses the emergence of this character in fantastic literature, at a time when science is about to become a true religion. The second part brings out the real place of scientific discourse in the corpus works, with both a literary and linguistic approach. Lastly, the third part examines how nineteenth-century sciences and the sciences of the mind particularly, affect the fantastic space and its topoï.