Browsing by Author "Lopes, Elisabete"
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- Aplicação de técnicas pedagógicas ativas em cursos da área de Ciências de Engenharia e Tecnologias ministrados no Ensino Superior PolitécnicoPublication . Caeiro, Luisa; Lopes, Elisabete; Miranda, P.; Justino, Júlia; Macedo, Patricia; Rafael, Silviano
- Edgar Allan Poe’s Gothic Revisited in André Øvredal’s The Autopsy of Jane DoePublication . Lopes, ElisabeteThe Autopsy of Jane Doe (2016), directed by André Øvredal, is a horror film that was widely acclaimed by the critics and audiences alike, due to the originality with which it tackled horror and manipulated both its Gothic features and the supernatural. The plot is quite simple, but its underlying implications are far more complex. Two men, father and son, both coroners, are asked to examine the body of a young woman whose origins are unknown. The corpse, named Jane Doe (because its origins are unknown), is supposedly connected with a crime, since it was found partially unearthed in the cellar of a house whose owners appear to have been brutally murdered. What contributes to render Øvredal´s cinematic narrative interesting, is the mise-en-scène of certain tropes and references that tie in with the American Gothic tradition. Eerie ambiances, psyches on the verge of disintegration, latent family tension, doppelgängers, and the house itself seem to carry echoes of Edgar Allan Poe’s tales, such as “The Fall of the House of Usher”, “Ligeia” or “The Black Cat”. Moreover, we must not forget that at the centre of this visual narrative, lies the inert body of a young woman, recently unburied, an image that is quite recurrent in Poe’s literary works. Within this suggestive framework, the purpose of this paper is to underscore the Gothic influence of Poe’s fiction upon Øvredal’s film, highlighting the relevance of the feminine presence (connoted with a female monster) as a crucial engine that propels the visual narrative forward, eventually turning a medical act, an autopsy, into a horror tale.
- Edgar Allan Poe’s Gothic Revisited in André Øvredal’s The Autopsy of Jane Doe (2016)Publication . Lopes, Elisabete
- Fostering transversal skills: a pedagogical experience in higher educational programs of technologyPublication . Rafael, Silviano; da Rocha Vilaverde Justino, Júlia Maria; Camilo, Fernando; Lopes, Elisabete; Rafael, Silviano; Justino, Julia; Camilo, Fernando; Santos, Paulo J.; Lopes, Elisabete; Ramos, CláudiaThe short-cycle higher educational programs called CTeSP, with a strong practical and technological focus, designed to meet labour market demands, were introduced in Portugal by 2014. This paper explores the challenges faced both by the Smart Grids and Domotics CTeSP and by the Electric Vehicles CTeSP taught at Instituto Politécnico de Setúbal. The reorganization strategy applied, tailored to the characteristics of Generation Z, who prefer dynamic and engaging learning approaches, is presented. This strategy consisted of restructuring the organizational and pedagogical framework of the programs to motivate students and address the high dropout and failure rates of these CTeSP by incorporating active methodologies while fostering transversal skills like focus, adaptability, and critical thinking. These skills are essential for employability, contributing to improve the students’ academic performance. The results achieved by the implementation of this pedagogical experience are also presented and analyzed.
- From Calvinism to Consumerism: The Persistence of Patriarchy in Robert Eggers’s The Witch (2015) and Anna Biller’s The Love Witch (2016)Publication . Booker, M. Keith; Lopes, Elisabete
- Growing under your skin: a mãe monstruosa em The BabadookPublication . Lopes, Elisabete
- Highway to Hell: Hunting Evil Creatures with the Winchester BoysPublication . Lopes, ElisabeteSupernatural is a contemporary TV series that is rife with gothic undertones. The main characters, the Winchester boys, do not correspond to the usual hero prototype, who generally displays some type of super power. Actually, they are two brothers who ride in their black Impala (their true home) and believe to be on a mission to save people’s lives and do away with the monsters afflicting them. The only thing they carry in the boot of the Impala is a suitcase with holy water, salt, stakes and fake IDs. Sam and Dean (the Winchester brothers) did not have an ordinary childhood: from a young age they were introduced by their father to the hunter’s lifestyle. Moreover, their mother died at the hands of some mysterious yellow-eyed demon. In fact, Supernatural shows us that monsters abound in contemporary landscape: werewolves, ghosts, vampires, witches, and demons. In truth, all of these evil creatures can be said to mirror, to a certain extent, the fears tied in with the global crisis that the world is undergoing these days. In this light, we can say that the Winchester boys have some serious challenges ahead, since Supernatural showcases this crisis as a sign of an impending apocalypse. In addition, the brothers find out that one of them is doomed to be the vessel for the devil. Given the sinister omens that Supernatural hints at, it is then important to raise some questions: What kind of hero is liable to emerge in a dystopian world? What kind of metaphors do monsters embody? What challenges must these brothers ultimately face in order to stay alive in a predatory environment? These are some of the questions that this paper aims at addressing, in keeping with the idea that the gothic still works as a mirror for our daily fears and anxieties.
- Horror, Terror and Fear in a “New Age”Publication . Lopes, Elisabete
- Lovecraftian landscapes and cosmic horror in HBO’s True Detective (2014)Publication . Lopes, Elisabete
- Stranger than Ficition: Thomas Ligotti's Deceptive Realities in Horror FictionPublication . Lopes, ElisabeteThomas Ligotti é hoje considerado um escritor de culto no âmbito da chamada weird fiction, sendo o horror o seu terreno literário privilegiado. Levando o Gótico e a escuridão cósmica de H.P. Lovecraft mais longe, os temas de Ligotti envolvem quase sempre a desconstrução da realidade tal como a conhecemos. Esta é-nos apresentada como uma espécie de máscara aceitável que cobre a verdadeira realidade que, segundo as premissas da ficção do autor, se assume como algo de sinistro e hostil face ao ser humano. Nas narrativas de Thomas Ligotti, a realidade das personagens é desestabilizada e as suas crenças e e valores desmoronam-se, dando lugar à dúvida, ao caos,ao desespero e ao pânico. Neste universo pautado pelo horror, as personagens experimentam uma sensação de estranhamento oriunda de uma escuridão cósmica, habitada por criaturas maléficas, cuja função primordial consiste em desacreditar o ser humano, fragilizar as suas crenças e estilhaçar a sua perceção de identidade. Este confronto entre o humano e o Outro modifica completamente a natureza das personagens, trazendo no seu encalço consequências irremediáveis. De uma forma implacável, Ligotti introduz o Real Lacaniano no universo do simbólico, ameaçando aniquilar a sua coerência e fazendo vacilar as suas estruturas, deixando as personagens perdidas num mundo que já não sentem como seu, à beira de um precipício que se projeta sobre uma vastidão cósmica onde o Inferno tem o seu berço.