SOARES, F. J. S.; http://lattes.cnpq.br/5923664989248470; SOARES, Francisca Júlia da Silva.
Resumen:
Álvares de Azevedo's 1855 dramatic text Macário presents the story of the troubled
relationship between Macário and an unknown figure, revealed to be Satan. Throughout the
story, the behaviors and situations in which Satan participates, highlights the satanism in the
work. The image of the supernatural is formed in an everyday space presenting what is
sublime to the real, escaping from logic and coherence. From the theoretical strands of
fantastic literature and the marvelous, elaborated by critics and authors who have dedicated
themselves to the genres, it is possible to build an interpretation of the formation of
Satanism in the work. By analyzing the evidence in the narrative, the work presents the
questioning of how the fantastic and the marvelous genres are aesthetically combined
through the presence of Satanism in the work. The main objective of this work is to analyze
and interpret the fantastic and the marvelous, in the face of Satanism in Macario. As well
as, discuss the theoretical approaches between the fantastic and the marvelous, critically
discuss the presence of Satanism as an aesthetic tendency in Romanticism and analyze the
presence and functioning of the fantastic and marvelous in Macario. Satanism composes a
fantastic side, by the dread created by the presence of Satan, but also the marvelous,
because the diabolical figure is recognized in the world, social and religious knowledge. In
this way, the work has the hypothesis of possessing both genres, fantastic and marvelous.
As a methodology, the work is bibliographic in nature, by means of theoretical texts,
qualitative, text analysis, and applied, from the application of the concepts discussed in the
analyzed work. Through the bibliographical research, the theoretical foundation is based on
the theories developed by Tzvetan Todorov (1970), David Roas (2014) and other theorists
that help in the process of analyzing the work.
