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Orientador: Mario Luiz Frungillo Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem Resumo: O romance Lavoura Arcaica, de Raduan Nassar, é um rico objeto para se pensar o caráter referencial dos personagens. A figura paterna, encarnando uma tradição que valoriza o trabalho, o comedimento como valores essenciais à vida, encontra forte resistência nos filhos Ana e André. Assim sendo, o embate que se delineia reflete um clássico confronto entre tradição e liberdade. Tal disputa é fruto (e estopim) para atos tidos como monstruosos: o incesto e o filicídio. Indo além do procedimento da caracterização dos personagens como recurso de análise do romance, esta dissertação se ocupa em discutir a prática de ações capazes de "monstrificar" os personagens. Destarte, a investigação menciona peculiaridades que fazem com que um ser seja visto como ente horrífico. A pesquisa se ocupa também com a noção de concatenação de situações-limite como elemento construtor das idiossincrasias. Com isso, o modo como as pessoas dessa família se tratam, como tratam o tempo e algumas leis fornece subsídios para que eles sejam vistos como "ameaças morais". O lugar do incesto e do filicídio fulgura, portanto, como elemento fundamental na análise desses personagens Abstract: The novel Lavoura Arcaica, by Raduan Nassar, is a rich object to think the referential character of the personages. The father, embodying a tradition that says how worthy is work, the restraint as values essential to life, finds strong resistance in Ana and André. Thus, the conflict that emerges reflects a classic clash between tradition and freedom. Such dispute is a result (and wick) for acts taken as monstrosity: incest and filicide. Going beyond the procedure of characterization of the personages as an analysis resource of the novel, this paper is concerned about discussing the practice of actions capable of "monsterizing" personages. Therefore, this research mentions the peculiarities that make someone to be seen as being horrifying. This research also deals with the notion of extreme concatenation of the on-the-edge situations such as a building element of the idiosyncrasies. With that, the way the personages treat the time, each other in this family and some laws provides subsidy so they can be seen as "moral threats". The incest and filicide altogether, thus, appear as a key element in the analysis of the personages Mestrado Literatura Brasileira Mestre em Teoria e História Literária

Orientador: Mario Luiz Frungillo Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem Resumo: O presente trabalho foi realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior ¿ Brasil (CAPES) - Código de Financiamento 001. "Monstro" encontra definições em diferentes épocas, desde Aristóteles, que o definia por oposição à norma da natureza, o excepcional ¿ um desvio na curva da fisionomia dos seres, um acontecimento isolado e único. Todavia, expandindo o sentido aristotélico, "monstro define-se, em primeiro lugar, em oposição à humanidade" (NAZÁRIO, 1998, p.11), deparamo-nos com consequências morais e/ou sociais. É o caso d¿Os Anormais (2002), de Foucault, em que o filósofo aponta na palavra "anormal" outras características como as mentais e comportamentais destoantes do padrão, chegando a identifica-lo com o termo "monstro". O aspecto excepcional do monstro se reflete de forma direta na criatura de Frankenstein: sozinha no mundo, identifica-se com o Adão e com o Satã de Milton. Solitária, ela se enquadra na definição aristotélica: desproporcional, desafia a própria feição do "homem universal". Porém, não é criação da natureza: temos um monstro artificial à semelhança de seu criador, o que lança uma nova luz à estrutura narrativa do Gótico. O fantasma, lembrança de um passado violento, porém preso a uma narrativa familiar (The Castle of Otranto), abre espaço para o monstro da abjeção (HOGLE, 2004 apud KRISTEVA, 1982), trazendo o medo para mais próximo das ansiedades causadas pela crescente industrialização e as revoluções dos séculos XVIII e XIX, em especial a Revolução Francesa (PAULSON, 2004). Some-se a isso o crescente contato com o Outro e a subsequente crise do Eu e encontramos no século XIX uma miríade de monstros cuja principal característica é a diferença em relação à Europa Ocidental protestante. A criatura de Frankenstein é, nesse sentido, o pontapé inicial nessa nova tradição, uma vez que é artificial ao mesmo tempo que um corpo subjugado, além de moralmente duvidosa. Vista com horror desde o início de sua vida ¿ quando seu criador a contempla pela primeira vez, se apavora e se arrepende, caindo em uma depressão profunda ¿, é uma metáfora cruel para a genialidade e criatividade romântica. Ver o monstro, produto original (e possível molde) de um indivíduo excepcional (Frankenstein) faz com que as pessoas tremam e fujam ou queiram destruí-lo, pois ele concentra em si um caráter único, marcado pela transgressão do que se considera "natural". Vai além: invoca o horror no seu sentido mais físico, a mácula da carne e a bricolagem dos corpos. Temos um construto orgânico e superpotente: um problema narrativo e social, uma figura insólita ¿ sobretudo por estar à margem. Frankenstein foi capaz de dar vida ao que não era nem mesmo um (único) corpo, afirmando seu papel de criador. Contudo, esse papel é incompleto, pois Victor nega ao monstro a qualidade de se constituir enquanto espécie: ao invés de um "crescei e multiplicai-vos", Victor condena sua criatura primeiramente ao esquecimento e, depois, à destruição. Essas condições fazem com que a criatura discuta com o seu criador a sua própria condição enquanto ser vivo: nasce monstro ou torna-se monstro? Uma contrafação (counterfeit) humana ¿ de onde se deriva o insólito do romance ¿ a criatura é qualquer coisa que se assemelhe a seu criador, menos humana. Disforme, desproporcional, orgânica, um "pecado" de Frankenstein, que desafia a natureza para criar algo para além dela, resulta fisionomicamente em um monstro. A aparência se mostra aqui mais que presente ¿ em seu discurso a criatura é tão humana quanto nós; Não obstante, sua aparência vai condená-la até o dia em que supostamente se suicida no ártico. Ser artificial, fruto de um desenvolvimento científico sem ponderação sobre suas consequências, resultou em efeitos danosos para os indivíduos. Também, o termo "Frankenstein", referindo-se ao monstro, é comumente atribuído àquilo que desafia a natureza como o establishment a entende ¿ o nome é atribuído àqueles que desafiam as noções postas de gênero, por exemplo, por sua relação transgressora com as identidades masculina e feminina. Através, então, da figura do monstro, buscamos compreender a formação do monstro como um outsider e a apropriação de sua figura por um discurso estabelecido (ELIAS, 2000) Abstract: This study was financed in part by the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Finance Code 001. The definition of "monster" can be found at different times since Aristotle, who defined it as opposed to the nature¿s order. It is the exceptional - a deviation in the physiognomy of beings, an isolated and unique event. However, by expanding the Aristotelian sense, "monster is defined in the first place in opposition to humanity" (NAZARIO, 1998, p.11), we are faced with moral and / or social consequences. That is the main theme in Michel Foucault's Abnormal (2002), in which the philosopher points out in the word "abnormal" other moral and behavioral characteristics that deviate from those of the establishment ¿ even identifying the "abnormal" with the term "monster". The exceptional aspect of the monster is reflected directly in the creature of Frankenstein: alone in the world, it identifies itself with Adam, and Satan from Milton¿s Paradise Lost. Solitary, it fits into the Aristotelian definition: disproportionate, defies the very features of the "universal man." However, it is not a creation of nature: we have an artificial monster in the likeness of its creator. That aspect of the narrative throws a new light on the structure of the Gothic. The ghost, reminiscent of a violent past ¿ but bound to a familiar narrative (The Castle of Otranto) ¿ opens space for the monster of abjection (HOGLE, 2004 apud KRISTEVA, 1982), bringing the fear and thrill of the story closer to the anxieties caused by the crescent industrialization and the revolutions of the eighteenth and nineteenth centuries, especially the French Revolution (PAULSON, 2004). Add to this the growing contact with the Other and the subsequent crisis of the Self, and we find in the nineteenth century a myriad of monsters whose main feature is to differ from Protestant Western Europe. The creature of Frankenstein is, in this sense, the start of this new tradition, since it is artificial as well as a subjugated body ¿ one of a dubious morality, one can say. Seen with horror from the beginning of its life. When its creator first contemplates it, he panics and repents, falling into a deep depression ¿ it is also a cruel metaphor for romantic genius and creativity. To see the monster, the original product (and possible future mold) of an exceptional individual (Frankenstein), causes people to tremble and flee or want to destroy it, for it concentrates in itself a unique character, marked by the transgression of what is considered "natural." Moreover, it invokes horror in its most physical sense, the macula of the flesh and the bricolage of the bodies. We have an organic and superpotent construct: a creature that invokes a narrative and social problem ¿ mostly because it is marginalized. Frankenstein was able to give life to what was not even one (only) body, affirming its role of creator. However, this role is incomplete because Victor denies the monster the quality of being a species: instead of a "go forth and multiply," Victor condemns his creature first to forgetfulness and then to destruction. These conditions cause the creature to debate with its creator its own condition as a living being: is it born a monster or does it become a monster? A human counterfeit ¿ from which the unusual of the novel is derived ¿ the creature is anything that resembles its creator, but human. Malformed, disproportionate, organic, a "sin" of Frankenstein, who defies nature to create something beyond it, physically results in a monster. The appearance here has a critical role ¿ in its speech the creature is as human as we are; Nevertheless, its appearance will condemn it until the day it allegedly commits suicide in the Arctic. Being artificial, fruit of a scientific development without weighing on its consequences, resulted in harmful effects for the individuals. Also, this gives chance to comprehend why the term "Frankenstein" (referring to the monster) is commonly attributed to what defies nature as the establishment understands it ¿ the name is used to refer to those who challenge gender roles and notions, due to their transgressive relationship with male and female identities. Then, through the figure of the monster, we seek to understand the formation of the monster as an outsider and the appropriation of its image by an established discourse (ELIAS, 2000) Mestrado Teoria e Crítica Literária Mestre em Teoria e História Literária CAPES

In this thesis, I investigate representations of adolescent and elderly sexuality from throughout the medieval Icelandic saga corpus. To access expressions regarding these liminal sexualities, I pay particular attention to depictions of supernatural phenomena. Because of their distance from everyday reality, such depictions can be used to express uninhibited commentaries about uncomfortable subjects. They can therefore provide us with expanded, nuanced, or alternative perspectives on the sexual ideologies indicated in naturalistic episodes and non-literary sources. Chapter One examines portrayals of male adolescent sexuality. I analyse supernatural ‘riding’ episodes from Eyrbyggja saga and Illuga saga Gríðarfóstra, which depict the violent sexual domination of women by young men as beneficial to masculine adult supremacy. I then analyse portrayals of trysts with troll-women in four sagas, which offer diverse commentaries on the impact of pre-marital sexual experimentation on male maturation. Chapter Two investigates depictions of female adolescent sexuality. I examine the ghostly sexual assault of a teenage girl in Heiðarvíga saga, an attack that is partly blamed on her nascent erotic volatility. I then consider a maiden-king episode from Sigrgarðs saga frækna, which conversely defends young women’s active engagement in the marital and sexual spheres. Chapter Three examines representations of elderly male sexuality. I analyse senex amans episodes in Hrólfs saga kraka and Hjálmþés saga ok Ölvis, which lament the loss of male socio-sexual power during senescence. However, the following examination of rapacious revenants indicates that, though this decline is regrettable, resisting it could be considered even more problematic. Chapter Four considers elderly female sexuality, which is almost exclusively denigrated throughout the corpus. Consistent with this trend, the Fróðárundur of Eyrbyggja saga are interpreted as symbolic criticisms of the sexuality of the menopausal Þórgunna. However, the ubiquity of this trend is then contested, with reference to the beneficial eroticism of ancient, supernatural foster-mothers.

"Within the Western tradition of narratives focused on representing demons, few artists have strayed from the hellish stereotype to introduce comic ones. Still fewer have managed to create what I will call the witty demon, whose representation, I suggest, is one that simultaneously entertains and threatens its audience. The witty demon fits more comfortably in a comedy than a tragedy but is equally at home in both secular and religious narratives. In the narratives I will discuss, the character is also male, sophisticated, and well-composed, with a few strategic exceptions. Ultimately, the witty demon is an oxymoron that performs his role subversively. This interpretation of a demon is unusual when compared to both mimetic and antimimetic predecessors. The focus of this study centers around two twentieth-century novels, The Screwtape Letters and Good Omens, and their place within the tradition of the literary demon. As I will show, The Screwtape Letters subverts tradition by fostering witty demons that inspire self-reflection and laughter, whereas Good Omens provides evidence of naturalization of the witty demon and still maintains its status as an unnatural narrative. AND It is only within recent decades that critics have attempted an intentional study of the Gothic in modernist fiction, so perhaps it is not surprising that scholarship on Thomas Mann's use of the Gothic is not readily available. Examining the Gothic influence on traditional Romantic narratives in contrast to Thomas Mann's modern novellas shows how the Gothic adapts to support first Romantic and then modern aesthetics. Mary Shelley introduces the seminal Romantic Gothic monster in Frankenstein, and Stoker furthers the character type with his vampire in Dracula. Frankenstein's monster and Dracula are powerful and undeniable villains, at least within their respective narratives. It is, however, more difficult to name the villains in Mann's works, but features of the Gothic monster do surface throughout Death in Venice and The Black Swan, my foci in this essay. All three authors bring life to Gothic monsters by drawing attention to anatomic details such as predatory teeth, strong hands, unsettling eyes, odd skin color, as well as to cultural features like foreignness. Rather than collecting these traits in one monster, Mann breaks the Romantic Gothic monster into a set of aspects, which he then disperses among the modern characters and settings of Death in Venice and The Black Swan. In other words, Mann "fragments" the monsters from Frankenstein and Dracula. In so doing, I will contend, the German writer demonstrates the compatibility between the Gothic and modernism."--Abstract from author supplied metadata

Traballo Fin de Grao en Lingua e Literatura Inglesas. Curso 2017-2018 In this final project what I am going to work on is an approach to the concept of the monster in relation to Robert Louis Stevenson's book the Strange Case of Dr. Jekyll and Mr. Hyde. Stevenson's different vision of the figure of the monster. I am also going to relate this to the historical and later on mythical character of Jack the Ripper, who happened to commit his crimes not long after Stevenson released his book, and the different speculations revolving around him. This finsl project will also include how this comes in relation with the English society of that time and Stevenson's interpretation of the dualty of human nature. This means, reflecting on the similarities between both the fictional character Dr. Jekyll and his other salt Mr. Hyde and the culprit of the so called Whitechapel Murders. I will also mention how all of this affected the reception of Stevenson's work during these times. The beginning of a new concept of monster. Physical aspect as a representation of the real interior self

"The fundamental question this dissertation seeks to answer is how late-Victorian horror fiction produced fear for its contemporary audiences. This study argues that the answer to this question lies in the areas of rhetoric--more specifically, oratory--and the body. This may seem unremarkable, but the notion of a rhetorical body was problematic for Victorians due to suspicion of eloquence and anxiety over the instability of bodies. This ambiguity is expressed through recurring images in horror fiction of the destruction of the monstrous body--typically through cutting--in relation to rhetorical performance and display. This study appropriates a medical term to refer to this phenomenon, disarticulation, which means amputation. Disarticulation, then, becomes a form of control of the transgressing body. It is expressed in society and literature in three forms, either as allusions or direct representations: public execution, including torture and dismemberment; anatomical dissection and its suggestion of vivisection; and aestheticization, which refashions death as life. Proponents of these practices claimed that they produced social order, scientific knowledge, and art. In the larger culture, however, they produced horror. But disarticulation is just one explanation for the fear produced by late Victorian horror fiction. This study also speculates that dread is produced by epideictic, which seems peculiarly present alongside other Classically-inspired rhetorical performances and displays in the five primary texts selected for examination: Frankenstein by Mary Shelley; Dracula by Bram Stoker; The Island of Dr. Moreau by H.G. Wells; The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson; and The Picture of Dorian Gray by Oscar Wilde."--Abstract from author supplied metadata.