CADERNO DE RESUMOS II Congresso Internacional da ... - Unesp

II Congresso Internacional da ABRAPUIPoe and Alphonsus: analogies and contrastsJosé Carlos Aissa (UNIOESTE/UDC)The main intent of this paper is to provide a bird’s eye viewof possible analogies and contrasts between Edgar Allan Poeand Alphonsus de Guimaraens vis-à-vis the predominant aestheticprinciples these two nineteenth century poets decided to impressupon their poetic work, chiefly as far as the themes of love (Eros)and death (Thanatos) are concerned. We shall attempt to describethat these poetic overtones underlying their work are addressed,more often than not, from a gothic-melancholic angle in orderto consciously try to reach the sublime. As Jerrold Hogle (2002)states, “…the longevity and power of Gothic fiction unquestionablystem from the way it helps us address and disguise some of themost important desires, quandaries, and sources of anxiety, fromthe most internal and mental to the widely social and cultural,throughout the history o western culture since the eighteenthcentury”. With this in mind, we shall theorize briefly on howthe gothic motifs, melancholy and the sublime can be intertwinedpoetically. Then, we shall discuss the modi operandi that Poeand Alphonsus employ in this tripartite relationship of gothicmotifs-melancholy-sublime, also focusing on the role that thebeloved female figure plays in. Last but not least, under thelight, to a large extent, of Freudian theories and concepts, weshall endeavor to demonstrate the outcome of this gothicmelancholicinterplay between Eros and Thanatos in the “romanticsymbolist”poetry of these artists.Keywords: gothic poetry; melancholy; uncanny; sublime; EdgarAllan Poe; Alphonsus de Guimaraens.What are angels?: perda de centralidade e propósitoontológico em “On angels”, de Donald BarthelmeJosé Carlos Felix (UNEB)Uma das mais importantes expressões do descentramentodas narrativas ocidentais sobre progresso e razão pode ser encontradana obra do filosofo alemão Friedrich Nietzsche, em especial noque tange à ruptura com o pensamento logocêntrico na metáforada morte de deus. Seguindo essa tradição, Derrida, em “Estrutura,265