Auswahl der wissenschaftlichen Literatur zum Thema „Monstruos – novela“
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Zeitschriftenartikel zum Thema "Monstruos – novela"
Ríos-Quesada, Verónica. „De monstruos, presas de cacería y presos en la novela Trágame tierra de Lizandro Chávez“. Revista de Filología y Lingüística de la Universidad de Costa Rica 42 (07.10.2016): 193. http://dx.doi.org/10.15517/rfl.v42i0.26502.
Der volle Inhalt der QuelleIvorra Pérez, María. „Del monstruo fantástico al lector empático: una aproximación neurohermenéutica a la narrativa de Cecilia Eudave“. Brumal. Revista de investigación sobre lo Fantástico 10, Nr. 2 (16.01.2023): 165–86. http://dx.doi.org/10.5565/rev/brumal.915.
Der volle Inhalt der QuelleChen-Sham, Jorge. „Esos "monstruos de codicia y aun de lujuria": El cura y el alcalde, seguimiento a una crítica del poder en la literatura latinoamericana en Aves sin nido y Huasipungo“. Revista de Filología y Lingüística de la Universidad de Costa Rica 42 (07.10.2016): 63. http://dx.doi.org/10.15517/rfl.v42i0.26465.
Der volle Inhalt der QuelleGarnica-Brocos, Helen. „madre monstruosa: figuraciones de la casa y de la maternidad en Mandíbula de Mónica Ojeda“. Revista stultifera 6, Nr. 2 (24.07.2023): 261–86. http://dx.doi.org/10.4206/rev.stultifera.2023.v6n2-10.
Der volle Inhalt der QuelleRotger, Patricia. „Monstruos: invención y política“. Estudios digital, Nr. 34 (12.02.2016): 259–71. http://dx.doi.org/10.31050/re.v0i34.13346.
Der volle Inhalt der QuelleMartínez-Pinzón, Felipe. „Una nación sin blancos: gótico y mestizaje en Dolores de Soledad Acosta de Samper“. Revista Canadiense de Estudios Hispánicos 39, Nr. 2 (10.01.2015): 391–414. http://dx.doi.org/10.18192/rceh.v39i2.1621.
Der volle Inhalt der QuelleCamacho Delgado, José Manuel. „Pandemia y violencia política en «Allá afuera hay monstruos», de Edmundo Paz Soldán“. Esferas Literarias, Nr. 4 (01.12.2021): 73–92. http://dx.doi.org/10.21071/elrl.vi4.13585.
Der volle Inhalt der QuelleMackey, Allison. „Aguas ambiguas: encarnando una conciencia antropocénica a través del ecogótico rioplatense“. Revista CS, Nr. 36 (30.03.2022): 247–87. http://dx.doi.org/10.18046/recs.i36.4773.
Der volle Inhalt der QuelleNoyaret, Natalie. „monstruo en la obra de José María Merino“. Pasavento. Revista de Estudios Hispánicos 1, Nr. 1 (01.03.2013): 61–74. http://dx.doi.org/10.37536/preh.2013.1.1.620.
Der volle Inhalt der QuelleAmaro, Lorena. „Infancias monstruosas: Debimos ser felices, de Rafaela Lahore, y Mugre rosa, de Fernanda Trías“. Mistral | Journal of Latin American Women's Intellectual & Cultural History 1, Nr. 2 (25.11.2021): 20–34. http://dx.doi.org/10.21827/mistral.2.38026.
Der volle Inhalt der QuelleDissertationen zum Thema "Monstruos – novela"
Vargas, Vargas Joaquín. „Del monstruo a lo monstruoso: una pieza de viaje en la novela chilena“. Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/137881.
Der volle Inhalt der QuelleKibaris, Anna-Maria. „Mary Shelley's monstrous patchwork : textual "grafting" and the novel“. Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23337.
Der volle Inhalt der QuelleReyes, Cortés Rossana. „Cuerpos monstruosos y escrituras abyectas, una revisión de la narrativa de Mariana Enríquez y Samanta Schweblin“. Tesis, Universidad de Chile, 2018. http://repositorio.uchile.cl/handle/2250/147295.
Der volle Inhalt der QuelleNewsome, Sally. „Seductive and monstrous fictions : discourses of the orient in Walter Scott's Waverley novels“. Thesis, University of Aberdeen, 2010. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=158410.
Der volle Inhalt der QuelleBurneo, Raul Antonio. „Lo monstruoso en dos novelas contemporáneas una indagación de la modernidad en latinoamérica /“. Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/461290450/viewonline.
Der volle Inhalt der QuelleGilliam, Bethany Marie. „The Monstrous Guide to Madrid: The Grotesque Mode in the Novels of the Villa y Corte (1599-1657)“. The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1410857954.
Der volle Inhalt der QuelleMartín, Alegre Sara. „More human than human: aspects of monstrosity in the films and novels in english of the 1980s and 1990s“. Doctoral thesis, Universitat Autònoma de Barcelona, 1996. http://hdl.handle.net/10803/4915.
Der volle Inhalt der QuelleAquesta tesi es proposa començar a omplir aquest buit, començant per qüestionar la idea que la monstruositat es limita a les criatures repulsives del cinema de terror i, en segon lloc, mirant el monstre des d'un punt de vista més ampli que inclogui els dos mitjans més populars de la ficció actual: la novel·la i el cinema. Pel que fa a la monstruositat en si, aquesta tesi deixa de banda una taxonomia tradicional que la limitaria a les llistes d'exemples per obrir un nou territori per l'anàlisi dins els Estudis Culturals en anglès en examinar el conjunt total de les representacions de la monstruositat a la ficció per categories com monstre humà i no-humà, estètic i moral, mític i polític. S'estudia el monstre, doncs, en el context de grans línies narratives que expressen les principals tensions culturals del nostre temps i que justifiquen la divisió en capítols. El monstre de ficció és un símptoma d'aquestes tensions però també part de les estratègies usades per la psicologia humana per guarir-nos de les ferides en la nostra auto-estima causades per la monstruosa realitat de la conducta humana. Els títols originals dels capítols són (la tesi està redactada en anglès): 1 Fascinating Bodies: The New Iconography of Monstrosity; 2 Old Monsters, New Monsters: Vision and Re-Vision From Screen Adaptation to Novelization; 3 Nostalgia for the Monster: Mythical Monsters and Freaks; 4 Evil and Monstrosity: The Moral Monster, 5 The Politics of Monstrosity: The Monsters of Power; 6: Frankenstein's Capitalist Heirs: The Uses of Making Monsters; 7 Gendered Monstrosity: The Monstrous-Feminine and the New Woman Saviour and 8 Little Monsters?: Children and Monsters. Aquesta tesi inclou també una àmplia llista de fonts primàries (novel·les i pel·lícules).
La función crucial del monstruo como figura de la Otredad humana ha hallado expresión cultural desde los inicios de la civilización, de modo que los monstruos a menudo han ocupado una posición central en los diversos períodos culturales del pasado. Al final del s. XX, la presencia ubicua del monstruo se manifiesta como uno de los rasgos más prominentes de la cultura Occidental, en un sentido amplio. Los monstruos abundan sobre todo en las novelas y las películas en inglés de los 80s y 90s. Pese a ello, se ha debatido la monstruosidad dentro de los Estudios Culturales en inglés básicamente en relación a la ficción de terror, sobre todo el cine. Investigadores como Andrew Tudor en Monsters and Mad Scientists (1989), Noël Carroll en The Philosophy of Horror (1990), David Skal en The Monster Show (1993) y Barbara Creed en The Monstrous-Feminine (1993) han escrito análisis muy perceptivos del monstruo en este género. No hay, sin embargo, un discurso sobre la monstruosidad misma, definida como compleja construcción cultural que recoge los diversos tipos de monstruos y que está presente en la mayoría de manifestaciones culturales más allá del cine de terror.
Esta tesis se propone iniciar el llenado de este vacío, empezando por cuestionar la idea de que la monstruosidad se limita a las criaturas repulsivas del cine de terror y, en segundo lugar, observando al monstruo desde un punto de vista más amplio que incluya los dos medios más populares de la ficción actual: la novela y el cine. Sobre la monstruosidad en sí, esta tesis no entra en una taxonomía tradicional, que la limitaría a las listas de ejemplos, para abrir un nuevo territorio de análisis dentro de los Estudios Culturales en inglés al examinar el conjunto total de les representaciones de la monstruosidad en la ficción per categorías tales como monstruo humano i no-humano, estético y moral, mítico y político. Se estudia al monstruo, pues, en el contexto de grandes líneas narrativas que expresan las principales tensiones culturales de nuestro tiempo y que justifican la división en capítulos. El monstruo de ficción es un síntoma de estas tensiones pero también parte de las estrategias usadas por la psicología humana para curarnos las heridas en nuestra auto-estima causadas por la monstruosa realidad de la conducta humana.
Los títulos originales de los capítulos son (la tesis está redactada en inglés): 1 Fascinating Bodies: The New Iconography of Monstrosity; 2 Old Monsters, New Monsters: Vision and Re-Vision From Screen Adaptation to Novelization; 3 Nostalgia for the Monster: Mythical Monsters and Freaks; 4 Evil and Monstrosity: The Moral Monster, 5 The Politics of Monstrosity: The Monsters of Power; 6: Frankenstein's Capitalist Heirs: The Uses of Making Monsters; 7 Gendered Monstrosity: The Monstrous-Feminine and the New Woman Saviour and 8 Little Monsters?: Children and Monsters. Esta tesis incluye una amplia lista de fuentes primarias (novelas y películas).
The crucial function of the monster as mankind's Other has always found an expression in culture since the dawn of civilisation and, so, monstrosity has frequently occupied a central position in the diverse cultural periods of the past. By the end of the twentieth century, the ubiquitous presence of the monster appears to be one of the most conspicuous features of contemporary Western culture in its widest sense. The monster thrives in particular in the novels and films in English of the 1980s and 1990s. Nevertheless, monstrosity has been only discussed within English Cultural Studies mostly in work dealing with horror fiction, especially with the horror film. Researchers such as Andrew Tudor in Monsters and Mad Scientists (1989), Noël Carroll in The Philosophy of Horror (1990), David Skal in The Monster Show (1993) and Barbara Creed in The Monstrous-Feminine (1993) have written perceptive analyses of the monster in that genre. Yet, there is no available discourse on monstrosity itself, understood as a complex cultural construction that gathers together the widely different types of monster and that is present in most contemporary cultural manifestations beyond the domain of horror films.
It is the aim of this dissertation to start filling this gap, beginning first by questioning the idea that monstrosity is represented essentially by the repulsive creatures that can be found in horror films and second, by looking at the monster from a more comprehensive point of view which includes the two most popular vehicles for fiction today: films and novels. Regarding monstrosity itself, this dissertation disregards a traditional classificatory standpoint that would limit analysis to drawing lists of examples. Instead, this dissertation opens new ground for cultural analysis within Cultural Studies by considering together the representations of fictional monstrosity: human and non-human, aesthetic and moral, mythical and political. The monster is, thus, studied within the context of master narratives that express the main cultural tensions in our time and that justify the division into chapters of my dissertation. The fictional monster is a symptom of these tensions but it is also part of the strategies used by the human psyche to heal the wounds inflicted on its self-esteem by the monstrous reality of human behaviour.
The chapters are: 1 Fascinating Bodies: The New Iconography of Monstrosity; 2 Old Monsters, New Monsters: Vision and Re-Vision From Screen Adaptation to Novelization; 3 Nostalgia for the Monster: Mythical Monsters and Freaks; 4 Evil and Monstrosity: The Moral Monster, 5 The Politics of Monstrosity: The Monsters of Power; 6: Frankenstein's Capitalist Heirs: The Uses of Making Monsters; 7 Gendered Monstrosity: The Monstrous-Feminine and the New Woman Saviour and 8 Little Monsters?: Children and Monsters. The dissertation also include an extensive list of primary sources (novels and films).
Girval, Edith. „L'art de la fiction chez Aphra Behn (1640-1689) : une esthétique de la curiosité“. Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030047.
Der volle Inhalt der QuelleRecent research on Aphra Behn has shown the link between the scientific prose of the period and Behn’s narrative fiction, while other scholars have underscored the importance of bodily and moral deformity in her works. Drawing on these apparently heterogeneous studies, this project aims at providing a global aesthetic framework for Behn’s fiction. The epistemological context of the late seventeenth century offers a stimulating insight in Behn’s fiction, especially through the notion of “curiosity”. This notion is at the centre of both the scientific and literary concerns of the period; the growing interest in natural philosophy progressively rehabilitates curiosity – which had been an object of scorn in the Augustinian tradition – first by valuing curiosity as the ideal attitude of the “scientist”, and by having curiosities as its major object of study – the rare, new, and unusual objects of the Wunderkammern replacing the “universal” objects of study of the Medieval and Renaissance science. At exactly the same time, in the literary field, the notion of curiosity undergoes a redefinition, in a somewhat similar fashion to that which occurs in the scientific field, shifting from the “generalities” of idealized romance to a new conception of curiosity in the emerging genre of the novel. Behn advocates for a radical mimesis of truth and extraordinary curiosities. At the time when Aphra Behn writes her fictional texts, curiosity is therefore a polysemic notion, whose unity can nonetheless be found in a set of specificities: curiosity is concerned, both in science and in literature, with the emotions/reactions of the “curious” scientist or reader; it is what leads us to experiment, and it comes from a desire for knowledge. But curiosity is also a transgressive desire: the distinction between two types of curiosity, a “good” and a “bad” curiosity, is central in Behn’s discourse. The parallel between Behn’s fascination with curiosities and the scientific episteme of her time is obvious in the numerous descriptions of exotica in Oroonoko, as the narrator explicitly compares the objects she shows to those which form part of the Royal Society repository, but the rest of Behn’s fiction is also concerned with this preoccupation with curiosity: in several of her other works, moral irregularities are conjoined with ‘natural’/physical irregularities which belong to the realm of curiosities. The various transgressions depicted in Behn’s fiction can therefore be seen as “curiosities”; Behn’s work can be read as a sort of Wunderkammern, as she herself seems to suggest when she wishes her novels were “esteem’d as Medals in the Cabinets of Men of Wit” – novelists collect and experiment on human nature just as natural philosophers do with nature (and art) in the cabinets of curiosities. But in her fiction Behn actually goes beyond the conventional notion of the cabinet of curiosities, by insisting on moral and physical monstrosity. In underlining the importance of the realm of curiosity in Behn’s fiction, this study aims at showing the specificity of her aesthetics and the originality of her conception of the novel; as she states in the preface to Oroonoko, writers, like painters, are supposed to “erase” defects: by deliberately choosing not to idealize nature, men, or society, and by choosing to systematically depict deformity and exceptions instead (rather than exemplary individuals), Aphra Behn invents her own conception of the novel, a sensationalist aesthetic of the “strange and novel”
Paltrinieri, Fissore Antonella. „Zona monstruosa en la cultura mundializada : art-killers y detectives borderline en tres novelas contemporáneas“. Bachelor's thesis, 2016. http://hdl.handle.net/11086/18666.
Der volle Inhalt der QuelleFil: Paltrinieri Fissore, Antonella. Universidad Nacional de Córdoba. Facultad de Filosofía y Humanidades. Escuela de Letras; Argentina.
Otras Lengua y Literatura
Moreau, Christine. „From the mild to the monstrous : maladies of the mind in the novels of Jane Austen, Charlotte Brontë, and Virginia Woolf“. 1987. http://hdl.handle.net/1993/16559.
Der volle Inhalt der QuelleBücher zum Thema "Monstruos – novela"
Molfino, Miguel Angel. Monstruos perfectos: Novela. Córdoba: Ediciones Recovecos, 2010.
Den vollen Inhalt der Quelle findenBrezina, Thomas. Monstruos invisibles. Madrid: Ediciones SM, 1997.
Den vollen Inhalt der Quelle findenMaurice, Sendak. Donde viven los monstruos. Madrid: Alfaguara, 1986.
Den vollen Inhalt der Quelle findenMaurice, Sendak. Donde viven los monstruos. [New York, N.Y.]: Scholastic, 1999.
Den vollen Inhalt der Quelle findenMaurice, Sendak. Donde viven los monstruos. Miami, FL: Santillana Pub., 1996.
Den vollen Inhalt der Quelle findenRentería, Enrique. La noche del pez. México, D.F: Fabula Tusquets Editores, 2013.
Den vollen Inhalt der Quelle findenRiordan, Rick. El Mar de los monstruos: Percy Jackson y los dioses del Olimpo; libro segundo. Barcelona: Salamandra, 2008.
Den vollen Inhalt der Quelle findenGonzález, Ada. Mayte and the bogeyman. Houston, TX: Pinata Books, 2006.
Den vollen Inhalt der Quelle findenDisney Enterprises. Pixar Animation Studios. Monsters, Inc: Me llamo Mike. New York: Random House, 2001.
Den vollen Inhalt der Quelle findenBilal, Enki. El sueño del monstruo. Barcelona: Norma Editorial, 1999.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Monstruos – novela"
Outar, Lisa. „Monstrous Genealogies: Indo-Caribbean Feminist Reckonings with the Violent Past“. In Chronotropics, 233–50. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-32111-5_13.
Der volle Inhalt der QuelleGatti Riccardi, Giuseppe. „Formas de invisibilidad en dos novelas hispanoamericanas de comienzos del nuevo siglo. Transparencias autoelegidas, cyber-monstruos y hologramas corpóreos en Mónica Ojeda y César Aira“. In Хиспанско наслеђе у мултикултуралном свету, 315–42. Београд: Филолошки факултет Универзитета у Београду, 2020. http://dx.doi.org/10.18485/legado_hispanico.2020.ch16.
Der volle Inhalt der QuelleHenderson, Aneeka Ayanna. „Monstrous Marriage“. In Veil and Vow, 117–39. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469651767.003.0005.
Der volle Inhalt der Quelle„The Monstrous Body of the Law: Wollstonecraft vs. Shelley“. In Novel Judgements, 75–98. Routledge-Cavendish, 2011. http://dx.doi.org/10.4324/9780203930861-4.
Der volle Inhalt der QuelleHorton, Ian. „Colonialist Heroes and Monstrous Others“. In Representing Multiculturalism in Comics and Graphic Novels, 130–45. Routledge, 2014. http://dx.doi.org/10.4324/9781315775340-9.
Der volle Inhalt der QuelleAhmed, Maaheen. „Comics Monsters“. In Monstrous Imaginaries, 166–82. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825261.003.0007.
Der volle Inhalt der QuelleBouvet, Françoise. „¿Mito o monstruo?“ In America: il racconto di un continente | América: el relato de un continente. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-319-9/011.
Der volle Inhalt der Quelle„Tracing the Monsters in Ottoman Turkish Novels: Reification in Halid Ziya Uşaklıgil’s Novels“. In Twisted Mirrors: Reflections of Monstrous Humanity, 93–102. BRILL, 2012. http://dx.doi.org/10.1163/9781848881112_011.
Der volle Inhalt der QuelleQuinn, Emelia. „Mary Shelley and the Conception of the Monstrous Vegan“. In Reading Veganism, 31–60. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192843494.003.0002.
Der volle Inhalt der Quelle„Monstrous Modernity of the Global South“. In The Irish Expatriate Novel in Late Capitalist Globalization, 131–69. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108985598.004.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Monstruos – novela"
Hadley, Heidi. „Monstrous Hospitality: Welcoming the Other in Frequently Taught Whole-Class Novels“. In 2023 AERA Annual Meeting. Washington DC: AERA, 2023. http://dx.doi.org/10.3102/2001339.
Der volle Inhalt der QuelleKrotova, D., und Deng Xi. „M. SHISHKIN’S NOVEL «THE LETTER BOOK»: ARTISTIC MODELS OF LIFE PERCEPTION“. In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3693.rus_lit_20-21/52-59.
Der volle Inhalt der QuelleSemeneca, Jelena. „SHIRLEY JACKSON�S �THE HAUNTING OF HILL HOUSE� AS A HORROR NOVEL: THE UNCANNY, THE MONSTROUS, THE SUDDEN“. In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s27.071.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Monstruos – novela"
Ander, Kjell. An abdominal stridulation organ in Cyphoderris (Prophalangopsidae) and concerning the systematic classification of the Ensifera (Saltatoria). MacEwan University Library, Januar 2021. http://dx.doi.org/10.31542/r.gm:2687.
Der volle Inhalt der QuelleAnder, Kjell. An abdominal stridulation organ in Cyphoderris (Prophalangopsidae) and concerning the systematic classification of the Ensifera (Saltatoria). MacEwan University Library, Januar 2021. http://dx.doi.org/10.31542/r.gm:2687.
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