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.

O presente trabalho analisa a presença do tema do olhar em dois contos fantásticos: "El Aleph", de Jorge Luis Borges, e "Las babas del diabo", de Julio Cortázar. Com base nas teorias da intertextualidade e da interdisciplinaridade, o trabalho trata de efetuar uma aproximação entre a Literatura e as teorias do cinema. À luz das reflexões de Serguei Eisenstein e André Bazin sobre a montagem e o plano-seqüência, este trabalho termina por comparar as concepções de realidade e ficção que norteiam as estéticas de Borges e de Cortázar. / This thesis analyses the act of gazing as a literary theme within two short stories of the fantastic genre: "El Aleph", by Jorge Luis Borges, and "Las babas del diablo", by Julio Cortázar. Based on the intertextuality and interdisciplinarity theories, the work tries to perform an approximation between Literature and film theory. After considering the reflections by Serguei Eisenstein and André Bazin on editing and the long-shot, this work finishes by drawing a comparison between the distinct conceptions of fiction and reality, which conforms different sets of literary aesthetics within the works of Borges and Cortazar.

O presente trabalho analisa a presença do tema do olhar em dois contos fantásticos: "El Aleph", de Jorge Luis Borges, e "Las babas del diabo", de Julio Cortázar. Com base nas teorias da intertextualidade e da interdisciplinaridade, o trabalho trata de efetuar uma aproximação entre a Literatura e as teorias do cinema. À luz das reflexões de Serguei Eisenstein e André Bazin sobre a montagem e o plano-seqüência, este trabalho termina por comparar as concepções de realidade e ficção que norteiam as estéticas de Borges e de Cortázar. / This thesis analyses the act of gazing as a literary theme within two short stories of the fantastic genre: "El Aleph", by Jorge Luis Borges, and "Las babas del diablo", by Julio Cortázar. Based on the intertextuality and interdisciplinarity theories, the work tries to perform an approximation between Literature and film theory. After considering the reflections by Serguei Eisenstein and André Bazin on editing and the long-shot, this work finishes by drawing a comparison between the distinct conceptions of fiction and reality, which conforms different sets of literary aesthetics within the works of Borges and Cortazar.

O presente trabalho analisa a presença do tema do olhar em dois contos fantásticos: "El Aleph", de Jorge Luis Borges, e "Las babas del diabo", de Julio Cortázar. Com base nas teorias da intertextualidade e da interdisciplinaridade, o trabalho trata de efetuar uma aproximação entre a Literatura e as teorias do cinema. À luz das reflexões de Serguei Eisenstein e André Bazin sobre a montagem e o plano-seqüência, este trabalho termina por comparar as concepções de realidade e ficção que norteiam as estéticas de Borges e de Cortázar. / This thesis analyses the act of gazing as a literary theme within two short stories of the fantastic genre: "El Aleph", by Jorge Luis Borges, and "Las babas del diablo", by Julio Cortázar. Based on the intertextuality and interdisciplinarity theories, the work tries to perform an approximation between Literature and film theory. After considering the reflections by Serguei Eisenstein and André Bazin on editing and the long-shot, this work finishes by drawing a comparison between the distinct conceptions of fiction and reality, which conforms different sets of literary aesthetics within the works of Borges and Cortazar.