Banca de QUALIFICAÇÃO: Fábio Ramos Paz

Uma banca de QUALIFICAÇÃO de DOUTORADO foi cadastrada pelo programa.
STUDENT : Fábio Ramos Paz
DATE: 23/12/2023
TIME: 14:00
LOCAL: Plataforma Teams
TITLE:

THE TRAUMA AS THE BASIS OF CONTEMPORARY GOTHIC

KEY WORDS:

Fear. Gothic. Horror. Past. Trauma

PAGES: 123
BIG AREA: Lingüística, Letras e Artes
AREA: Letras
SUMMARY:

The Gothic Literature works with the fear, an emotion which must be in key position of this kind of narrative. With a name that refers to the Goth, and usually associated with the violence in the fall of the Western Roman Empire, the Gothic became “formal” in 1764, with the publishing of Horace Walpole’s The castle of Otranto. Through the second half of the 18th century and though the 19th century, the firming of horror as a valid fiction for literary studies could be observed, popularized by the writing of novels as Matthew Gregory Lewis’ The Monk (1796), Mary Shelley’s Frankenstein (1818), and Bram Stoker’s Dracula (1897). Even though the naming of a story as “gothic” occurred for the first time in “The castle”, one must admit the presence of various horror elements through the whole history of Literature, which includes the presence of the gruesome in Greek tragedies and epic, in the Anglo-Saxon epic, the Italian and English Renaissances, and even in the Bible. For the efficiency of the fear production, the Gothic works with the Terror (thriller), the Horror (materialization of menace) and the Repulse (explicit violence), which is presented in Stephen King’s work and applied to Classic (18th and 19th centuries) and Contemporary Gothic (20th century, post the publication of Sigmund Freud’s Das Unheimliche). Alongside these resources, for a complete interpretation of the Gothic, the following features must also be observed: “unhealthy/haunted location”, “the villain” (sometimes an anti-hero) and “time” (a continuous resumption of the past). This latter characteristic makes necessary the consideration of the trauma as a base element of Contemporary Gothic, especially with the Freudian notions of the uncanny in the fiction of fear. The extreme fear (phobia) and the anticipatory anxiety are inserted into the aesthetic of the Gothic, and there are times in which the experience with these resources becomes intense, resulting in dissociations of one menacing situation. This is found in classic horror fiction, but becomes more evident in the contemporary stories because of the conscious artistic exploration of human unconsciousness elements. Fear is essential to the Gothic and it is possible to perceive that, with an intense resumption of the past, the scenery of contemporary horror is an environment of escape and facing of traumas, may them belong to the characters of the narrative or to the readers.

COMMITTEE MEMBERS:
Externa ao Programa - 5340804 - ALESSANDRA MATIAS QUERIDO - nullPresidente - 2654468 - WILIAM ALVES BISERRA