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(In)Verosímil e Fantástico ou a Arte de Provocar o Medo
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Filho do Iluminismo, o fantástico recusa igualmente a inverosimilhança do maravilhoso e a verosimilhança aristotélica do Classicismo ou do Realismo. Real e irreal entrelaçam-se, originando perturbação, mistério e angústia. Privada de Deus, a realidade humana é percepcionada como enigmática e inquietante. Para provocar no leitor o efeito da angústia e do medo, o fantástico assenta na ambiguidade da apresentação do fenómeno meta-empírico, inserindo, num quadro real verosímil, algo de escandalosamente inverosímil que instaura o paradoxo nos quadros de referência do mundo conhecido. Como explicar o sucedido? As respostas de Crébillon, Baudelaire ou Maupassant aqui tratadas serão diferentes. Contudo, depois de Todorov, aceita-se que o maravilhoso crê no sobrenatural, a ficção científica desenvolve uma fantasia baseada nos poderes racionais da ciência e o estranho encontra uma solução racional. No fantástico – construído a partir da incerteza e da ambiguidade – devem permanecer a hesitação, a perplexidade, a angústia e o medo.
Child of the Enlightenment, fantastic literature refuses both the lack of truthlikeness of imaginary fiction and the Aristotelian verisimilitude present in classical and realistic literature. Real and unreal mingle together, originating anxiety, mystery and anguish. Deprived from God, human reality is perceived as puzzling and disturbing. To provoke anguish and fear in the reader, fantastic fiction makes use of ambiguity in the presentation of the meta-empirical phenomenon, by inserting on a real and likely frame of reference something scandalously unlikely, which sets the paradox on the frames of reference of the known world. How to explain the event? The answers here studied given by Crébillon, Baudelaire or Maupassant differ. However, after Todorov, it is accepted that imaginary fiction believes in supernatural, science fiction develops a fantasy based on the rational powers of science and strange fiction finds a rational solution. In fantastic fiction – built from uncertainty and ambiguity – hesitation, perplexity, anguish and fear must remain.
Child of the Enlightenment, fantastic literature refuses both the lack of truthlikeness of imaginary fiction and the Aristotelian verisimilitude present in classical and realistic literature. Real and unreal mingle together, originating anxiety, mystery and anguish. Deprived from God, human reality is perceived as puzzling and disturbing. To provoke anguish and fear in the reader, fantastic fiction makes use of ambiguity in the presentation of the meta-empirical phenomenon, by inserting on a real and likely frame of reference something scandalously unlikely, which sets the paradox on the frames of reference of the known world. How to explain the event? The answers here studied given by Crébillon, Baudelaire or Maupassant differ. However, after Todorov, it is accepted that imaginary fiction believes in supernatural, science fiction develops a fantasy based on the rational powers of science and strange fiction finds a rational solution. In fantastic fiction – built from uncertainty and ambiguity – hesitation, perplexity, anguish and fear must remain.
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Verosimilhança Fantástico Ambiguidade Angústia Medo