On horror in Goya: : Caprices and Disasters of war

Detalhes bibliográficos
Autor(a) principal: de Lima e Silva, Jason
Data de Publicação: 2018
Tipo de documento: Artigo
Idioma: por
Título da fonte: Artefilosofia
Texto Completo: https://periodicos.ufop.br/raf/article/view/862
Resumo: Francisco de Goya is an artist whose work has unsettled a generation of poets and thinkers. The engraving series, however, inaugurated by Caprichos (Los Caprichos) in 1799, represent a turning point in Goya’s aesthetics. Based on the concept of horror, which is constrained by the notions of fantastic and grotesque according to the figure of the monster, I consider it possible not only to understand one decisive part of his work, but also to raise some questions: would not the judgment of taste be, in the art of this Aragonese, closer to an interested displeasure than to an uninterested pleasure? Or, in that case, what would be left if not the comic laughter and the delight in the abject? And if the aesthetic pleasure finds itself banned from the representation by the shocking experience of horror, would there still be a work of art? Lastly, how and why many of these displeasing images of Goya create an effect that implicates his spectators? These are some questions which I intend to debate in this article.
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spelling On horror in Goya: : Caprices and Disasters of warSobre o horror em Goya: : Caprichos e Desastres da guerraHorrorFantasticGrotesqueGoyaHorrorGrotescoFantásticoGoya Francisco de Goya is an artist whose work has unsettled a generation of poets and thinkers. The engraving series, however, inaugurated by Caprichos (Los Caprichos) in 1799, represent a turning point in Goya’s aesthetics. Based on the concept of horror, which is constrained by the notions of fantastic and grotesque according to the figure of the monster, I consider it possible not only to understand one decisive part of his work, but also to raise some questions: would not the judgment of taste be, in the art of this Aragonese, closer to an interested displeasure than to an uninterested pleasure? Or, in that case, what would be left if not the comic laughter and the delight in the abject? And if the aesthetic pleasure finds itself banned from the representation by the shocking experience of horror, would there still be a work of art? Lastly, how and why many of these displeasing images of Goya create an effect that implicates his spectators? These are some questions which I intend to debate in this article. Francisco de Goya é um artista cuja obra tem inquietado uma geração de poetas e pensadores. A série de gravuras, no entanto, inaugurada pelos Caprichos em 1799, representa uma guinada fundamental no percurso estético de Goya. Com base no conceito de horror, circunscrito pelas noções de fantástico e grotesco segundo a figura do monstro, penso ser possível não apenas compreender uma parte decisiva de sua obra, mas levantar algumas questões: não estaria o juízo de gosto, na arte deste aragonês, mais próximo de um desprazer interessado do que de um prazer desinteressado? Ou, neste caso, restaria apenas o riso do cômico e o deleite do abjeto? E se o prazer estético se encontrar interditado na representação pela experiência impactante do horror, haveria ainda obra de arte propriamente dita? Por fim: como e por que muitas dessas imagens não agradáveis de Goya produzem um efeito que compromete seu espectador? São alguns problemas que pretendo colocar neste artigo. palavras-chave: horror, grotesco, fantásticoUniversidade Federal de Ouro Preto2018-08-10info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.ufop.br/raf/article/view/862Artefilosofia; v. 13 n. 24 (2018); 132-160Artefilosofia; Vol. 13 No. 24 (2018); 132-1602526-78921809-8274reponame:Artefilosofiainstname:Universidade Federal de Ouro Preto (UFOP)instacron:UFOPporhttps://periodicos.ufop.br/raf/article/view/862/1378Copyright (c) 2018 Artefilosofiahttps://creativecommons.org/licenses/by-nc-sa/4.0info:eu-repo/semantics/openAccessde Lima e Silva, Jason2021-06-22T13:22:16Zoai:pp.www.periodicos.ufop.br:article/862Revistahttps://periodicos.ufop.br/raf/PUBhttps://periodicos.ufop.br/raf/oaiartefilosofia.defil@ufop.edu.br || periodicos.sisbin@ufop.edu.br1809-82742526-7892opendoar:2021-06-22T13:22:16Artefilosofia - Universidade Federal de Ouro Preto (UFOP)false
dc.title.none.fl_str_mv On horror in Goya: : Caprices and Disasters of war
Sobre o horror em Goya: : Caprichos e Desastres da guerra
title On horror in Goya: : Caprices and Disasters of war
spellingShingle On horror in Goya: : Caprices and Disasters of war
de Lima e Silva, Jason
Horror
Fantastic
Grotesque
Goya
Horror
Grotesco
Fantástico
Goya
title_short On horror in Goya: : Caprices and Disasters of war
title_full On horror in Goya: : Caprices and Disasters of war
title_fullStr On horror in Goya: : Caprices and Disasters of war
title_full_unstemmed On horror in Goya: : Caprices and Disasters of war
title_sort On horror in Goya: : Caprices and Disasters of war
author de Lima e Silva, Jason
author_facet de Lima e Silva, Jason
author_role author
dc.contributor.author.fl_str_mv de Lima e Silva, Jason
dc.subject.por.fl_str_mv Horror
Fantastic
Grotesque
Goya
Horror
Grotesco
Fantástico
Goya
topic Horror
Fantastic
Grotesque
Goya
Horror
Grotesco
Fantástico
Goya
description Francisco de Goya is an artist whose work has unsettled a generation of poets and thinkers. The engraving series, however, inaugurated by Caprichos (Los Caprichos) in 1799, represent a turning point in Goya’s aesthetics. Based on the concept of horror, which is constrained by the notions of fantastic and grotesque according to the figure of the monster, I consider it possible not only to understand one decisive part of his work, but also to raise some questions: would not the judgment of taste be, in the art of this Aragonese, closer to an interested displeasure than to an uninterested pleasure? Or, in that case, what would be left if not the comic laughter and the delight in the abject? And if the aesthetic pleasure finds itself banned from the representation by the shocking experience of horror, would there still be a work of art? Lastly, how and why many of these displeasing images of Goya create an effect that implicates his spectators? These are some questions which I intend to debate in this article.
publishDate 2018
dc.date.none.fl_str_mv 2018-08-10
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://periodicos.ufop.br/raf/article/view/862
url https://periodicos.ufop.br/raf/article/view/862
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://periodicos.ufop.br/raf/article/view/862/1378
dc.rights.driver.fl_str_mv Copyright (c) 2018 Artefilosofia
https://creativecommons.org/licenses/by-nc-sa/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2018 Artefilosofia
https://creativecommons.org/licenses/by-nc-sa/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Federal de Ouro Preto
publisher.none.fl_str_mv Universidade Federal de Ouro Preto
dc.source.none.fl_str_mv Artefilosofia; v. 13 n. 24 (2018); 132-160
Artefilosofia; Vol. 13 No. 24 (2018); 132-160
2526-7892
1809-8274
reponame:Artefilosofia
instname:Universidade Federal de Ouro Preto (UFOP)
instacron:UFOP
instname_str Universidade Federal de Ouro Preto (UFOP)
instacron_str UFOP
institution UFOP
reponame_str Artefilosofia
collection Artefilosofia
repository.name.fl_str_mv Artefilosofia - Universidade Federal de Ouro Preto (UFOP)
repository.mail.fl_str_mv artefilosofia.defil@ufop.edu.br || periodicos.sisbin@ufop.edu.br
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