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Psicopatologias Em “O Iluminado”, De Stephen King

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Psicopatologias Em “O Iluminado”, De Stephen King Universidade de Brasília Instituto de Letras Departamento de Teoria Literária e Literaturas Programa de Pós-graduação em Literatura PSICODINÂMICA NO GÓTICO CONTEMPORÂNEO: PSICOPATOLOGIAS EM “O ILUMINADO”, DE STEPHEN KING Fábio Ramos Paz Brasília – DF 2019 Universidade de Brasília Instituto de Letras Departamento de Teoria Literária e Literaturas Programa de Pós-graduação em Literatura PSICODINÂMICA NO GÓTICO CONTEMPORÂNEO: PSICOPATOLOGIAS EM “O ILUMINADO”, DE STEPHEN KING Fábio Ramos Paz Dissertação de Mestrado submetida ao Programa de Pós-Graduação/Curso de Mestrado no Departamento de Teoria Literária e Literatura do Instituto de Letras da Universidade de Brasília – TEL-UnB, como parte integrante dos requisitos necessários para a obtenção do grau de Mestre em Literatura. Orientador: Prof. Dr. Wiliam Alves Biserra Brasília – DF 2019 Ficha catalográfica elaborada automaticamente, com os dados fornecidos pelo(a) autor(a) Ramos Paz, Fábio RP348p Psicodinâmica no Gótico Contemporâneo: Psicopatologias em "O Iluminado", de Stephen King / Fábio Ramos Paz; orientador Wiliam Alves Biserra. -- Brasília, 2019. 127 p. Dissertação (Mestrado - Mestrado em Literatura) -- Universidade de Brasília, 2019. 1. Gótico. 2. Horror. 3. Literatura. I. Alves Biserra, Wiliam, orient. II. Título. PSICODINÂMICA NO GÓTICO CONTEMPORÂNEO: PSICOPATOLOGIAS EM “O ILUMINADO”, DE STEPHEN KING Dissertação defendida no Programa de Pós-graduação do Departamento de Teoria Literária e Literaturas do Instituto de Letras da Universidade de Brasília como requisito parcial para a obtenção do grau de mestre aprovada em _______________ pela Banca Examinadora constituída pelos seguintes membros: ________________________________________________ Prof. Dr. Wiliam Alves Biserra (Orientador) ________________________________________________ Prof. Dra. Cintia Carla Moreira Schwantes (Membro interno) ________________________________________________ Prof. Dra. Alessandra Matias Querido (Membro externo) ________________________________________________ Prof. Dr. Maurício Lemos Izolan (Suplente) RESUMO O Gótico é conhecido por explorar o medo. Caracterizada pela utilização de elementos grotescos (violência, mortes e sanguinolência), esse tipo de ficção foi “oficializada” em 1764 com a publicação de O Castelo de Otranto, de Horace Walpole. Componentes típicos do horror literário já estavam em textos de Homero e Shakespeare, como a presença de monstros e de fantasmas em A Odisseia e Macbeth, mas eles não estavam associados a um gênero específico até a segunda metade do século XVIII. Com Walpole veio uma onda de narrativas com foco no fantástico “assustador”, como obras de Mary Shelley (Frankenstein) e Bram Stoker (Drácula). Ainda que os livros do Gótico sejam vistos como um meio de fácil entretenimento, é necessário observar que o horrendo sempre lidou com as ansiedades sociais de onde era produzido e que, mesmo assim, continuou fiel ao devaneio proposto pelo horror. No século XIX, isso é perceptível nos poemas de Percy Shelley e em obras de Charles Dickens, como em Oliver Twist que, mesmo que não tenha elementos sobrenaturais, pode ser lida por um viés gótico. Com o advento do Gótico contemporâneo após a publicação de “The Uncanny”, de Sigmund Freud, os textos de horror começaram a ter grande foco em questões abordadas pela Psicanálise, como a exploração de psicopatologias e a representação de conflitos interpessoais através de figuras sobrenaturais. Diversos autores acrescentaram às suas narrativas esse escopo da psicologia humana, algo que se tornou comum aos escritores dos séculos XX e XXI. Em A Casa dos Pesadelos, Marcos DeBrito apresenta uma narrativa passível de interpretação por preceitos psicanalíticos sobre o consciente e o inconsciente humano; Já no âmbito da Psicopatologia, é possível ler O Exorcista, de William Peter Blatty, como uma obra que explora a psicose e é capaz de discutir acerca dos sintomas da esquizofrenia, enquanto Carrie, de Stephen King, é capaz de levantar discussões acerca do que é a ansiedade e a depressão. Quanto à transmissão de psicopatologias, a leitura de Objetos Cortantes, de Gillian Flynn, é interessante para que a transmissão transgeracional seja compreendida por quem procura, na Literatura, elementos psicodinâmicos. Em O Iluminado, Stephen King apresenta ao leitor a família Torrance, composta por Jack (pai/esposo), Wendy (mãe/esposa) e Danny (filho). A análise dessa obra permite ao estudante de Psicanálise perceber como as personagens da ficção não estão apenas sendo atormentados por entidades desconhecidas, mas, na verdade, estão experienciando sintomas próprios de transtornos que vão de neuroses até psicoses como a esquizofrenia. No Gótico contemporâneo, a ideia de “assombração” está conectada à transmissão transgeracional, na qual há um “tabu” que será transmitido entre os membros de uma mesma família e que, por não ser discutido e trabalhado, resultará em momentos de infortúnio e destruição das relações interpessoais. Na obra de King, as psicopatologias da família Torrance estão ligadas à ideia do tabu e de como ele pode ser prejudicial à saúde mental do ser humano, o que é percebido pelo leitor a partir de como é a relação dos Torrance ao decorrer do texto. A análise de O Iluminado prova que o Gótico contemporâneo possui uma parceria com os estudos da Psicanálise e da Psicopatologia, o que propõe uma visão mais complexa desse gênero. Palavras-chave: Gótico. Horror. Literatura. Psicopatologia. Psicanálise. ABSTRACT The Gothic is known for exploring the fear. This type of fiction is marked by the use of gruesome elements (violence, death, gore) and was “officialized” in 1764 with the publishing of The Castle of Otranto, by Horace Walpole. Features that are typical of literary horror were already in texts by Homer and Shakespeare, as the presence of monsters and ghosts in The Odyssey and Macbeth, but they were not associated to a specific genre until the second half of the 18th century. After Walpole’s work there were a group of narratives that focused on the “scary” fantastic, as books by Mary Shelley (Frankenstein) and Bram Stoker (Dracula). Even if the gothic books are seen as a source of an easy-entretainment, it is necessary to observe that the horrendous has always dealt with the social anxieties from where it was produced and, still, kept being faithful to the reverie proposed by the horror. In the 19th century, this is noticeable in Percy Shelley’s poems and Charles Dickens’ works, as in Oliver Twist which, even though it does not present supernatural elements, it can be read through a gothic scope. As the Contemporary Gothic rose after the publishing of “The Uncanny”, by Sigmund Freud, horror texts started to have a great focus on issues studied by Psychoanalysis, as the exploration of psychopathologies and the representation of interpersonal conflicts through supernatural beings. Lots of authors added to their narratives this scope of human psychology, something that became common amongst 20th and 21st century writers. In A Casa dos Pesadelos, Marcos DeBrito presents a novel which can be interpreted through psychoanalytic precepts about the human conscious and unconsciousness; in the Psychopathology field, it is possible to read William Peter Blatty’s The Exorcist as a book that explores psychosis and is able to discuss about the symptoms of schizofrenia, as Stephen King’s Carrie may bring up topics on what anxiety and depression are. On the transmission of psychopathologies, the Reading of Gillian Flynn’s Sharp Objects is interesting so that the transgenerational transmission may be understood by who searches, in Literature, for psychodynamic elements. In The Shining, Stephen King introduces to the reader the Torrance Family, composed by Jack (father/husband), Wendy (mother/wife) and Danny (son). The analysis of this book allows the student of Psychoanalysis to realize how the characters are not just being tormented by unknown entities, but, in fact, they are feeling symptoms that belong to disorders, from neurosis to psychosis as schizophrenia. In Contemporary Gothic, the idea of “haunt” is connected to the transgenerational transmission, in which there is a “tabu” that will be transmited amongst the members of a same Family and, as it is not discussed and treated, it will result in moments of misfortune and destruction of the interpersonal relationships. In King’s work, the psychopathologies of the Torrances are linked to the idea of tabu and how it can be harmful to the human being’s mental health, which is realized by the reader from the way the Torrances relate to each other through the text. The analysis of The Shining proves that the Contemporaty Gothic has a partnership with the Psychoanalysis and Psychopathology studies, and it offers a more complex view of this genre. Keywords: Gothic. Horror. Literature. Psychopathology. Psychoanalysis. SUMÁRIO INTRODUÇÃO ........................................................................................................................ 9 1 O ROMANCE GÓTICO: ORIGEM E PALAVRA .................................................... 14 1.1 O AMBIENTE E O VILÃO GÓTICOS: CONTRASTES ENTRE O GÓTICO CLÁSSICO E CONTEMPORÂNEO ....................................................................................................................... 16 1.1.2 A Era Gótica americana ................................................................................................ 22 1.2 A PRODUÇÃO DO MEDO ................................................................................................
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