Transfigurações do vampiro à sombra do mal: a fluidez do lugar do vampiro na literatura

• Autor(a) principal: Sardenberg, Thiago Silva
• Data de Publicação: 2018
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/5940
• topic: Vampire literature; Literature and evil; Literature and alterity; Vampire chronicles; Vampiros na literatura; Literatura e mal; Literatura e alteridade; Anne Rice; Crônicas vampirescas; Bram Stoker; Drácula; Literatura e sociedade; Alteridade; Rice, Anne, 1941- - Crítica e interpretação; Stoker, Bram, 1847-1912 - Crítica e interpretação; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::LITERATURAS ESTRANGEIRAS MODERNAS

When it comes to literature, monstrous figures such as the vampire have traditionally played antagonistic roles, embodying the evil that exists in a discursive space constructed as the outside . More frightening than the idea that evil lurks beyond us, however, is the realization that there is, within ourselves, darkness that contains that same evil which we see so distinctively in the figure of the monstrous Other . This Other is feared as it questions our established social and moral constructs and may potentially channel what we fear in ourselves and try to prevent from coming to surface. This thesis elaborates on the way that the literary vampire was conceived as a pure representation of evil whether that which lies beyond us or that which we fear in ourselves to become, in contemporaneity, a figure whose places no longer remain rigid. In order to comprehend this movement beyond binary polarizations such as sacred and profane , light and darkness and good and evil which have been present in the construction of the vampire from its mythical origins to its insertion in literature this thesis will cast a look upon seminal and contemporary works of vampire fiction while also considering different perspectives religious, philosophical, literary that point to the dynamic, ambivalent nature of evil. A powerful reflective device, the figure of the vampire comes to mirror the construction of contemporary identities as they become more fluid and interested in favoring additions instead of alternatives, as well as verifying how opposites may coincide instead of merely polarizing them. As it seeks to resignify itself, the vampire figure embraces its nature, takes on the role of the protagonist and starts to value itself through frameworks that no longer confine it to the rigid places it once occupied, enacting continuous transfigurations as it hovers over the shadow of evil