Journal articles on the topic 'Horror tales'
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الخنجي, نورة محمد. "Horror themes in Qatari tales." مجلة دراسات الخليج والجزيرة العربية 49, no. 188 (January 1, 2023): 383–416. http://dx.doi.org/10.34120/jgaps.v49i188.289.
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الأهداف: تحديد ثيمات الرعب في السرد الشعبي القطري من خلال دراسة أربعة نماذج حكائية. المنهج: تحليل أربع حكايات تحليلاً نصياً، واستقرائياً. النتائج: حددت الدراسة ثيمات الرعب في الحكاية الشعبية القطرية، وهي: أكل لحوم البشر (الكانيبالية)، ومص الدماء، والجن والعفاريت، والقتل، والموت السحري، وحديث الأموات. وقد حضرت هذه الثيمات بوصفها عناصر مركزية في النص، وحضرت أحياناً على درجات أقل وذلك بأفعال الشخصيات أو في صورة عناصر دافعة للأحداث أو مؤثثة للمكان، وقد تقاطعت هذه الثيمات مع نظائر لها في الثقافة الشعبية العربية من جهة، كما أن البحث فيها يكشف عن حضورها في الحكايات الشعبية العالمية من جهة أخرى. إن أكل لحوم البشر قد ظهر في الحكاية الواقعية وفي العجائبية؛ أي إنه فعل أسند إلى البشر وإلى الجن على حد سواء، بخلاف مص الدماء الذي أسند إلى الجن فقط. واستحضار الجن يشكل، في حد ذاته، ثيمة رعب؛ لكونه من الغيبيات، أما القتل، فيحضر في الحكاية الواقعية على نحو صادم. ونرى الموت السحري يتأتى من كونه مرتبطاً بالكلمات. الخاتمة: بينت الدراسة أن الرعب قد شكل عنصراً مهماً في بناء الحكايات الأربع، وذلك من خلال ست ثيمات: أكل لحوم البشر (الكانيبالية)، ومص الدماء، والجن والعفاريت، والقتل، والموت السحري، وحديث الأموات. وقد توصلت الدراسة إلى هذه الثيمات من خلال عقد مقارنات بين تشكلاتها في هذه الحكايات، وعلاقاتها بالمكونات السردية الأخرى؛ كالشخصيات والأحداث والزمان والمكان، ودرجة مركزيتها في البناء السردي العام.
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Tosi, Laura, and Alessandro Cabiati. "Introduction: Fairy Tales and Other Horrors." Literature 4, no. 1 (December 25, 2023): 22–30. http://dx.doi.org/10.3390/literature4010002.
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In a Christmas 2017 interview with the British magazine Fortean Times, the celebrated Mexican filmmaker Guillermo del Toro described ‘Hansel and Gretel’, ‘the original Cinderella’, and ‘Little Red Riding Hood’ as ‘a horror story’, before affirming that ‘horror and the fairy tale walk hand in hand’ (del Toro 2017, p [...]
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Liu, Yuchen. "The Horror Writing of Strange Tales from Liaozhai." Communications in Humanities Research 3, no. 1 (May 17, 2023): 563–68. http://dx.doi.org/10.54254/2753-7064/3/20220505.
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Strange Tales from Liaozhai is a representative work of the Zhiguai Chuanqi of Chinese classical literature, and the writing of horror stories is one of its most essential parts, which contains adequate meaning, showing its rich details and vivid writing characteristics, which also reflects a certain extent of the author, Pu Songling's unique aesthetic and value orientation. This paper analyzes the setting of the time and space environment of the original text, the use of the third-person limited angle of view in the narrative, and the selection of horror images, respectively, from the scene of the incident, the subject of experience and the object of experience in the horror story. This paper analyzes the original texts of Strange Tales from Liaozhai by summarizing writing techniques of horror stories in work to explore the process of creating the sense of horror in Strange Tales from Liaozhai and how the author uses the original source of human fear to create a horror story. It reveals the alienation and abnormality of time and space, the immersive sense of subjective, limited perspective, and the deadly threat behind horrific imagery. While appreciating the artistic beauty and realizing the diversity of stories types of this work, its implicit humanistic concern is not ignored.
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Patra, Indrajit. "Exploring the intersection of Lovecraftian monstrosity and techno-body horror in selected works of Neal Asher: an examination of (post-)humanity." Multidisciplinary Reviews 6, no. 1 (July 2, 2023): 2023009. http://dx.doi.org/10.31893/multirev.2023009.
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This scholarly investigation aims to meticulously examine the various mechanisms employed by British science fiction writer Neal Asher in his works, including the Transformation trilogy (2015–17), Lockdown Tales (2020), and Lockdown Tales 2 (2023), to convey the erosion of humanity following profound physiological and cognitive changes. This research highlights how Asher skillfully combines elements of Lovecraftian grotesqueness with intricate portrayals of physical horror, thereby challenging conventional categorizations. These narratives feature a diverse ensemble of human and non-human protagonists, each subjected to transformative biotechnological, computational, and psychological enhancements. These processes raise questions about the feasibility of preserving even a semblance of humanity in an overwhelmingly advanced, distinctly post-human cosmological environment. While both biotechnological and Lovecraftian modes of horror explore humanity’s insignificance within a vast, indifferent, and often malevolent universe, Asher’s body of work consistently delves into the theme of how humans can retain their inherent humanity in the face of monstrous metamorphosis. Additionally, this investigation elucidates how such transformations give rise to the emergence of the “other” within oneself and the monstrous “Other” that takes center stage in the narrative. By exploring these themes, this study contributes to the scholarly discourse on the intersection of horror, transformation, and the preservation of humanity in science fiction literature.
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Ketelaar, Timothy. "Lions, tigers, and bears, oh God!: How the ancient problem of predator detection may lie beneath the modern link between religion and horror." Behavioral and Brain Sciences 27, no. 6 (December 2004): 740–41. http://dx.doi.org/10.1017/s0140525x04320170.
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Atran & Norenzyan (A&N) claim that an appreciation of the evolved inferential machinery underlying supernatural beliefs can greatly aid us in understanding regularities in culturally shared conceptions of religion. I explore how their model provides insight into why culturally shared tales of horror (e.g., horror movies) often combine religious and predatory content.
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Lewin, David. "Between horror and boredom: fairy tales and moral education." Ethics and Education 15, no. 2 (February 17, 2020): 213–31. http://dx.doi.org/10.1080/17449642.2020.1731107.
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Clifton, Diane. "How tax law creates fairy tales and horror stories." Journal of Corporate Accounting & Finance 1, no. 4 (1990): 367–77. http://dx.doi.org/10.1002/jcaf.3970010408.
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Doherty, Ryan Atticus. "The Devil’s Marriage: Folk Horror and the Merveilleux Louisianais." Literature 4, no. 1 (December 22, 2023): 1–21. http://dx.doi.org/10.3390/literature4010001.
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At the beginning of his Creole opus The Grandissimes, George Washington Cable refers to Louisiana as “A land hung in mourning, darkened by gigantic cypresses, submerged; a land of reptiles, silence, shadow, decay”. This anti-pastoral view of Louisiana as an ecosystem of horrific nature and the very human melancholy it breeds is one that has persisted in popular American culture to the present day. However, the literature of Louisiana itself is marked by its creativity in blending elements of folktales, fairy tales, and local color. This paper proposes to examine the transhuman, or the transcendence of the natural by means of supernatural transformation, in folk horror tales of Louisiana. As the locus where the fairy tale meets the burgeoning Southern Gothic, these tales revolve around a reworking of what Vladimir Propp refers to as transfiguration, the physical and metaphysical alteration of the human into something beyond the human. The focus of this paper will be on three recurring figures in Louisiana folk horror: yellow fever, voodoo, and the Devil. Drawing upon works including Alcée Fortier’s collection of Creole folktales Louisiana Folktales (1895), Dr. Alfred Mercier’s “1878”, and various newspaper tales of voodoo ceremonies from the ante- and post-bellum periods, this article brings together theorizations about the fairy tale from Vladimir Propp and Jack Zipes and historiological approaches to the Southern Gothic genre to demonstrate that Louisiana, in its multilingual literary traditions, serves as a nexus where both genres blend uncannily together to create tales that are both geographically specific and yet exist outside of the historical time of non-fantastic fiction. Each of these figures, yellow fever, voodoo, and the Devil, challenges the expectations of what limits the human. Thus, this paper seeks to examine what will be termed the “Louisiana gothic”, a particular blend of fairy-tale timelessness, local color, and the transfiguration of the human. Ultimately, the Louisiana gothic, as expressed in French, English, and Creole, tends toward a view of society in decay, mobilizing these elements of horror and of fairy tales to comment on a society that, after the revolution in Saint-Domingue, the Louisiana Purchase, and the Civil War, was seen as falling into inevitable decline. This commentary on societal decay, expressed through elements of folk horror, sets apart Louisiana gothic as a distinct subgenre that challenges conventions about the structures and functions of the fairy tale.
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Cooper, B. Lee. "Shadow Knows: 34 Scary Tales from the Vaults of Horror." Popular Music and Society 42, no. 4 (March 25, 2019): 508–9. http://dx.doi.org/10.1080/03007766.2019.1581325.
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Ballon, Bruce, and Molyn Leszcz. "Horror Films: Tales to Master Terror or Shapers of Trauma?" American Journal of Psychotherapy 61, no. 2 (April 2007): 211–30. http://dx.doi.org/10.1176/appi.psychotherapy.2007.61.2.211.
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HALAICHUK, Oksana. "HORROR AND AMORRALITY IN «TALES OF POKUTTIA» BY OSCAR KOLBERG." Ethnology Notebooks 149, no. 5 (October 22, 2019): 1268–73. http://dx.doi.org/10.15407/nz2019.05.1268.
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Torres-Scott, Andrés. "Borges a la sombra de Lovecraft: There are More Things." Latinoamérica. Revista de Estudios Latinoamericanos, no. 71 (September 3, 2020): 37. http://dx.doi.org/10.22201/cialc.24486914e.2020.71.57187.
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Resumen:Este ensayo estudia el cuento “There are More Things” (TMT) como un pastiche en homenaje a Lovecraft. El análisis identifica cómo Borges construyó TMT al incluir una por una todas las características de la weird tale que explica Lovecraft en Introduction to Supernatural Horror in Literature, así como otros elementos de los cuentos de Lovecraft que probablemente leyó Borges. Como resultado, el cuento TMT de Borges no solo emula el estilo del horror cósmico de Lovecraft, sino que también incluye los ocho elementos que Lovecraft consideró indispensables en este género. This paper studies Borges’ short story “There are More Things” (TMT) as a pastiche in homage to Lovecraft. The analysis identifies how Borges built TMT by including one by one all the characteristics of the weird tale as explained by Lovecraft in his Introduction to Supernatural Horror in Literature as well as other elements from his tales that Borges probably read. As a result, Borges’ TMT is a tale that does not only emulates Lovecraft’s cosmic horror style, but also includes all the elements Lovecraft deemed indispensable in this genre. Palabras clave:Keywords: Borges, Lovecraft, weird tale, supernatural, cosmic horror, atmosphere.
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Vuohelainen, Minna. "Traveller's Tales: Rudyard Kipling's Gothic Short Fiction." Gothic Studies 23, no. 2 (July 2021): 181–200. http://dx.doi.org/10.3366/gothic.2021.0093.
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Between 1884 and 1936, Rudyard Kipling wrote over 300 short stories, most of which were first published in colonial and cosmopolitan periodicals before being reissued in short-story collections. This corpus contains a number of critically neglected Gothic stories that fall into four groups: stories that belong to the ghost-story tradition; stories that represent the colonial encounter through gothic tropes of horror and the uncanny but do not necessarily include any supernatural elements; stories that develop an elegiac and elliptical Gothic Modernism; and stories that make use of the First World War and its aftermath as a gothic environment. This essay evaluates Kipling's contribution to the critically neglected genre of the Gothic short story, with a focus on the stories' persistent preoccupation with spatial tropes of travel, disorientation and displacement.
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Daniel, Carolyn. "Hairy on the Inside: From Cannibals to Paedophiles." Papers: Explorations into Children's Literature 13, no. 3 (December 1, 2003): 5–21. http://dx.doi.org/10.21153/pecl2003vol13no3art1282.
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Cannibalism and its uses as a trope in colonial literature, contemporary fantasy, colonial writing, horror fiction, and fairy tales are considered. Episodes of cannibalism and metaphorical allusions to perverse forms of ingestion assume different forms and perform functions inflected by historical and cultural contexts, but they are apt to construct distinctions between self and others.
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Frolova, Marina V. "Indonesian Horror Story by Intan Paramaditha." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 3 (2020): 368–79. http://dx.doi.org/10.21638/spbu13.2020.304.
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Analysis and interpretation of the short stories by Indonesian female writer Intan Paramaditha (Intan Paramaditha, born in 1979) make it possible to understand that her writing occupies a special niche in the modern Indonesian literary paradigm. Paramaditha’s feminist texts are disguised as horror stories with settings in contemporary Indonesia. The article examines five short stories (“Spinner of Darkness” (Pemintal Kegelapan), “Vampire” (Vampir), “Polaroid’s Mystery” (Misteri Polaroid), “The Blind Woman without a Toe” (Perempuan Buta tanpa Ibu Jari), and “The Obsessive Twist” (Goyang Penasaran)). Using the intertextual method, it was possible to prove the gothic poetics of these literary works. The short stories contain the mosaic of folklore-mythological motives from the Malay Archipelago, Biblical and Quranic narratives, as well as European fairy tales and allusions to American horror fiction and horror films. Her prose is built upon some borrowed European literary forms for expression of authentic Indonesian content. The social themes are intertwined with feminist criticism that is presented as a Kitsch of the Indonesian mass culture. In “The Obsessive Twist” the main conflict is focused on the heated debates on sexuality, politics, violence, and religion. The feminist agenda of her prose is contrasted with the turn of contemporary Indonesia towards a Muslim patriarchal society. Paramaditha’s works represent a unique product of West-East-synthesis aimed not only at the Indonesian, but also the global audience.
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Jones, Peter. "69 Exhibition Road: Twelve True-Life Tales from the Fag End of Punk, Porn & Performance, Dorothy Max Prior (2022)." Punk & Post-Punk 12, no. 2 (June 1, 2023): 254–56. http://dx.doi.org/10.1386/punk_00200_5.
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Review of: 69 Exhibition Road: Twelve True-Life Tales from the Fag End of Punk, Porn & Performance, Dorothy Max Prior (2022) London: Strange Attractor Press, 328 pp., ISBN 978-1-91368-963-6, p/bk, £18.99 The Horror Show! A Twisted Tale of Modern Britain, Faye Dowling (Ed.) (2022) London: Somerset House Trust, 128 pp., ISBN 987-1-99961-549-9, p/bk, £16.50
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Poncarová, Petra Johana. "Spatial and Sonic Monstrosities in William Hope Hodgson’s “The Whistling Room”." AUC PHILOLOGICA 2022, no. 2 (March 16, 2023): 67–77. http://dx.doi.org/10.14712/24646830.2022.38.
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The article focuses on the corpus of tales featuring “Carnacki, the Ghost-Finder” by the British author William Hope Hodgson, an influential figure in the history of horror, fantastic literature, and speculative fiction. Drawing both on classical works of criticism by Tzvetan Todorov and Dorothy Scarborough and on the rather scarce corpus of scholarship devoted to Hodgson himself, the essay analyses the employment of space and sound in “The Whistling Room”.
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Jorgensen, Jeana. "The Thorns of Trauma: Torture, Aftermath, and Healing in Contemporary Fairy-Tale Literature." Humanities 10, no. 1 (March 11, 2021): 47. http://dx.doi.org/10.3390/h10010047.
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While classical fairy tales do not portray much depth of suffering, many contemporary fairy-tale retellings explore trauma and its aftermath in great detail. This article analyzes depictions of trauma in fairy tales, utilizing as a primary case study the “Beauty and the Beast” retelling A Court of Thorns and Roses by Sarah J. Maas, arguing that this text provides a scientifically accurate representation of trauma and its aftermath, thereby articulating the real in fairy tales. Further, this article classifies that work as not simply a “dark” fairy tale (a contentious term that invites rethinking) but rather as fairy-tale torture porn, in a nod to the horror genre that foregrounds torture, surveillance, and the disruption of bodily boundaries and safety. However, the text’s optimistic account of healing is uniquely relevant in a time of widespread trauma due to a global pandemic, thereby demonstrating that fairy tales remain germane in contemporary contexts.
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López Arriaga, Elsa. "Un «silencio perfecto»: El horror blanco en Mandíbula de Mónica Ojeda." América sin Nombre, no. 29 (May 19, 2023): 89–105. http://dx.doi.org/10.14198/amesn.22667.
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Mónica Ojeda (Guayaquil, 1988) se posiciona ya como una de las más valoradas autoras de la narrativa contemporánea de ficción. Su expresión literaria se codifica en el lenguaje poético y cuidadoso, y en un ímpetu artístico por articular la belleza con lo indecible, el dolor, el miedo y lo atemorizante. En este trabajo analizo su novela Mandíbula (2018), donde la autora renueva tabúes y horrores atávicos de un mundo tan conocido como perturbador y terrible. Me detengo en los distintos desplazamientos de las figuraciones y los agentes del horror gestados a partir de las potencialidades aterradoras de la adolescencia como momento intersticial. Parto de la propuesta que se hace en la novela respecto al «horror blanco» en vínculo con lo amenazante de una realidad imposible de conocer y comprender, para explicar la manera en que la autora actualiza los códigos, imaginarios y motivos clásicos del horror, tales como lo extraño o anormal y sus manifestaciones, el miedo, la atmósfera, el espacio y el efecto producido, lo cual permite a Ojeda movilizar nuevas formas de pensar las relaciones y significaciones de los motivos del género en función de la realidad contemporánea representada.
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Wieliczko-Paluch, Karolina. "The post-apocalypse, fairy tales and horror in "Roadside Picnic" by the Strugatsky brothers." Annales Universitatis Mariae Curie-Sklodowska, sectio FF, Philologia 34, no. 2 (January 9, 2017): 149. http://dx.doi.org/10.17951/ff.2016.34.149.
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Wieliczko-Paluch, Karolina. "The post-apocalypse, fairy tales and horror in "Roadside Picnic" by the Strugatsky brothers." Annales Universitatis Mariae Curie-Sklodowska, sectio FF, Philologia 34, no. 2 (January 9, 2017): 149. http://dx.doi.org/10.17951/ff.2016.34.2.149.
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Round, Julia. "‘little gothics’: Misty and the ‘Strange Stories’ of British Girls’ Comics." Gothic Studies 23, no. 2 (July 2021): 163–80. http://dx.doi.org/10.3366/gothic.2021.0092.
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This article uses a critical framework that draws on the Gothic carnival, children’s Gothic, and Female Gothic to analyse the understudied spooky stories of British comics. It begins by surveying the emergence of short-form horror in American and British comics from the 1950s onwards, which evolved into a particular type of girls’ weekly tale: the ‘Strange Story.’ It then examines the way that the British mystery title Misty (IPC, 1978–80) developed this template in its single stories. This focuses on four key attributes: the directive role of a host character, an oral tone, content that includes two-dimensional characters and an ironic or unexpected plot reversal, and a narrative structure that drives exclusively towards this final point. The article argues that the repetition of this formula and the tales’ short format draw attention to their combination of subversion/conservatism and horror/humour: foregrounding a central paradox of Gothic.
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Nguyen, Khanh. "The Slow versus the Spectacular:." Crossings: A Journal of English Studies 11 (March 1, 2020): 67–81. http://dx.doi.org/10.59817/cjes.v11i.70.
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“Polynia” and “Covehithe” are two short stories from China Miéville’s 2015collection Three Moments of an Explosion. Present in both is an “ecosystem” ofspectacular violence that the author builds through, first, the graphic descriptionof violence, second, the encapsulation of eye-witnessed violence in visual objectsthat resemble what the Marxist philosopher Guy Debord terms “spectacles” and,third, the manipulation of textual spectatorship. To construct a chilling and eerieatmosphere for his narratives, Miéville can be said to have drawn heavily on HPLovecraft’s weird tales. Nonetheless, behind the spectacles of violence representedin “Polynia” and “Covehithe” is not the cosmic horror typical of Lovecraft buta different kind of horror, heavily anchored in our reality, possessing new andincreasing urgency: the horror of global warming and environmental degradation,or, as in the words of Rob Nixon, of “slow violence.” Consequently, there happensin “Polynia” and “Covehithe” what is similar to an act of translation, of the slowinto the spectacular. I argue that this translation provides a potential answer toNixon’s pressing question about how to surmount the representational challengescreated by slow violence in order to render it more urgent and engaging. Thisargument is furthermore related to broader discussions about the relationshipbetween literature and the media, fiction’s engagement with the environmentalcrisis, as well as the differences between Old Weird and New Weird.
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COULARDEAU, Jacques. "FREE-FALLING DESCENT INTO EPIPHANY OR APOCALYPSE STEPHEN KING – A FAIRY TALE." International Journal of Theology, Philosophy and Science 6, no. 11 (November 27, 2022): 5–29. http://dx.doi.org/10.26520/ijtps.2022.6.11.5-29.
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Stephen King has published more than 70 books, many of them adapted to the cinema and television, some original series with no published scenario, except Storm of the Century in 1999. His reach is a lot wider than plain horror. He systematically mixes the various genres of horror, fantasy, suspense, mystery, science fiction, etc. I will only consider his latest stand-alone novel with no co-author, and not part of a series like Gwendy’s Final Task, also published in 2022, co-authored with Richard Chizmar. I will show the style uses some patterns to build the architecture of the story, in this case, ternary structures at all levels of story and style. This ternary pattern is borrowed from the Bible and many fairy tales collected by the Grimm Brothers. The ending brings up a problem: it locks up the two deep and deeper levels with a concrete slab, thus breaking the ternary topography. Is it meaningful about Stephen King’s fiction, or is it only suspending the situation in order to produce a sequel by reopening the passage under the concrete slab, or when Gogmagog manages to escape the deeper level and to invade the human world? That’s Stephen King’s mystery. His fiction is so popular and has been so much exploited on the various screens that we wonder if this multifarious fiction will survive the author, even with his two sons to promote and prolong the fame of his fiction when it becomes necessary.
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Baker, Timothy C. "‘A Different World’: Dorothy K. Haynes's Domestic Horror." Gothic Studies 24, no. 1 (March 2022): 70–83. http://dx.doi.org/10.3366/gothic.2022.0122.
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Throughout Dorothy K. Haynes's work Scotland is presented as uniquely infused with the supernatural and tied to the ballad tradition. Although Haynes published widely in the middle decades of the twentieth century, and her work was republished in two ‘best of’ collections in 1981 and 1996, her stories remain underexamined. At her best, Haynes might be thought of as Scotland's answer to Shirley Jackson; her work is characterised by a prevailing sardonic humour and matter-of-fact approach to supernatural events. Haynes, however, approaches her Scottish setting in two very distinct ways. In her historical stories, often centring on witch trials, the physical landscape is richly described, and at times appears to have a haunting agency of its own. Her stories with contemporary settings, on the contrary, focus primarily on domestic interiors. In many of these stories, such as ‘Double Summer Time’, ‘The Nest’, and ‘The Wink’, the natural world is an intrusive, disruptive force. Examining such stories alongside more famous tales of the everyday supernatural, including ‘The Peculiar Case of Mrs Grimmond’, reveals the complexity of Haynes's approach to the supernatural, which challenges oppositions between familiar and unfamiliar, natural and supernatural and interior and exterior. Haynes's work reshapes the Scottish environment to show the instability of modern life, and the prevalence of older forms of storytelling and enmeshment in the natural world.
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Trotter, Dorothea. "Facing Your Fears: Navigating Social Anxieties and Difference in Contemporary Fairy Tales." Literature 3, no. 3 (September 4, 2023): 342–56. http://dx.doi.org/10.3390/literature3030023.
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In the 20th and 21st centuries, the rise of audio-visual media, particularly cinema and television, brought about new visual techniques and storytelling conventions that have transformed the way fairy tales are adapted for the screen. Initially adapted for a younger audience, newer adaptations often return to the darker and more horrific elements of the source texts; this includes body horror and an emphasis on physiological differences. This article employs structural, cultural, and folkloric interpretive lenses for the analysis of three contemporary, audio-visual fairy tales to discuss the way contemporary fairy tales include disability and difference as social constructs that are shaped by cultural attitudes and anxieties. The stories’ plots are driven by the protagonists’ “otherness”, and these texts feature transformations that provide clues to understanding current standards of beauty and normality. I argue that newer adaptations place an emphasis on finding resolutions to difference that challenge the traditional idea that if one has a face or body that strays from the standard of the norm, one must die, relegate oneself to the margins, or join others like oneself.
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Sweeney, Susan Elizabeth. "Echoes of Ventriloquism in Poe's Tales." Poe Studies 54, no. 1 (2021): 127–55. http://dx.doi.org/10.1353/poe.2021.a825744.
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ABSTRACT : Distant-voice ventriloquism was a wildly popular entertainment in the 1830s and 40s, featuring performers who staged conversations with invisible speakers or imitated the noises of unseen animals and objects. Poe knew about voice-throwing from reading Charles Brockden Brown's Wieland , Henry Cockton's Life and Adventures of Valentine Vox, the Ventriloquist , and David Brewster's Letters on Natural Magic ; he probably also attended ventriloquists' shows; and he frequently mentioned Signor Blitz, a performer in Philadelphia. Poe's stories were profoundly influenced by ventriloquial techniques and effects. Sometimes he referred explicitly to characters' mimicry of sounds. More often, he constructed his tales around the kinds of auditory illusions that appeared in ventriloquists' acts. To demonstrate how ventriloquism shaped Poe's storytelling, I cite over a dozen tales, particularly "The Murders in the Rue Morgue" and "The Fall of the House of Usher." In these tales, Poe adapted techniques that his antebellum audience would have recognized—controlling the breath; employing different parts of the vocal apparatus to create guttural, resonant, wheezy, hollow, or shrill tones; using mechanical devices to facilitate speech; uttering words without moving the lips; orchestrating various noises, sometimes in concert; and placing sounds in hidden or enclosed spaces—all to guide readers toward the final effect he had in mind. Such techniques shaped Poe's construction of tales in every genre: horror, detective fiction, hoax, and humor. Ventriloquism let him represent, in a tale's plot, narration, imagery, or theme, the very process of using sounds to create an effect. It also enabled him to explore unsettling connections between the voice and identity, imposture, masculine power, and death. But even as he alluded to distant-voice ventriloquism, Poe surpassed it by depicting noises that readers never actually hear: each tale hints that no matter where a sound seems to come from, its ultimate source is the audience's imagination.
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Jets, Kairi. "How is Fear Constructed? A Narrative Approach to Social Dread in Literature." Interlitteraria 23, no. 2 (January 3, 2019): 427–41. http://dx.doi.org/10.12697/il.2018.23.2.16.
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Fear-inducing narratives can be divided into two subtypes of horror and dread. While horror stories concentrate on a concrete visible object such as a monster, in dread narratives the object of fear is abstract or absent altogether. Pure forms of either are rare and most narratives mix both types, usually with dominant in one or the other. An interesting subtype of dread narratives is the narrative of social dread, where the fear is social in nature.
One of the few narratologists to study construction of fear in arts, Yvonne Leffler suggests a variety of narrative techniques often used in horror fiction. Adjusting Leffler’s list of techniques for tales of dread instead of horror helps analysing the nature and amount of dread present in a range of different narratives from light reading and literary fiction to non-fiction. A narrative approach helps to reveal how non-fiction texts use similar techniques, and sometimes more extensively than fictional texts. Lionel Shriver’s We Need to Talk About Kevin (2003) is an excellent example of social dread in fiction, where societal failures are a big part of the fears induced, and the questions raised in the narrative are denied definite answers. Kanae Minato’s Confessions (2008) is closer to a thriller, because despite raising issues of societal failure, the work gives conclusive answers to all of the questions raised during the narrative. Although Haruki Murakami’s Underground (1997–98) is a nonfiction compiled from interviews of terror attack survivors, it nevertheless has the hallmarks of a social dread narrative, such as question-answer structure and abstractness of the source of fear. More importantly, Murakami’s work alternates between identifying and anticipatory readings, gives no definitive answers to the questions it poses, and the fear it conveys is social in nature.
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Farrar, Aileen Miyuki. "Gothic Fairy-Tale Feminism: The Rise of Eyre/‘Error’." Literature 3, no. 4 (October 31, 2023): 430–45. http://dx.doi.org/10.3390/literature3040029.
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The ways Gothic fairy tales and fairy-tale feminism interact are not always clear. An undercurrent of feminist studies of fairy tales is fueled by the 1970s Lurie-Lieberman debate, which focused on the question of whether fairy tales liberate or repress women. Meanwhile, critics such as Lorna Piatti-Farnell and Lucie Armitt have offered studies of the interplay between Gothic horror and fairy tales. However, these studies have limits, often emphasizing the violence, self-mutilation, and cannibalism of women, like those in Jacob and Wilhelm Grimm’s versions of “Cinderella” and “Snow White”. This paper argues that “Rapunzel” (1812) is key for understanding the Gothic and feminist discourses of Charlotte Brontë’s Jane Eyre (1847). Firstly, this paper argues that a self-reflexive and self-productive relationship between subjectivity and desire shapes and disrupts the Gothic, fairy-tale, and feminist discourses of Jane Eyre, resulting in a specular feminine-I that has inspired pluralistic readings of the text. Secondly, an analysis of the Rapunzelian metaphors of ‘wicked’ hunger and ideological towers unmasks the double consciousness that not only fetters feminine subjectivity but delimits the domestic structures of marriage and home. Multiplying the ways nineteenth-century Gothicism, fairy tales, and feminism may interact, Brontë’s specular study of feminine desire makes way for a productive and agential feminine speaking-I.
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Fernández Sarasola, Ignacio. "Gaines vs. Wertham. La campaña anticómic en las sátiras de EC Comics." CuCo, Cuadernos de cómic, no. 12 (June 30, 2019): 52–70. http://dx.doi.org/10.37536/cuco.2019.12.1217.
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EC (Entertainment Comics) fue una de las editoriales más criticadas durante la campaña anticómic que se extendió por Estados Unidos entre 1940 y 1955. Sus comics de horror y satíricos fueron cuestionados duramente a lo largo de toda esa campaña. Pero el editor de EC, Bill Gaines, reaccionó contra tales ataques usando para ello tanto las sesiones senatoriales en las que se debatió sobre la conexión entre cómics y delincuencia (en las que decidió comparecer para hablar a favor de la industria del cómic), como a través de sus publicaciones satíricas, en las que ridiculizó los argumentos de la campaña.
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IMMERWAHR, DANIEL. "THE THIRTY YEARS’ CRISIS: ANXIETY AND FEAR IN THE MID-CENTURY UNITED STATES." Modern Intellectual History 13, no. 1 (July 31, 2015): 287–98. http://dx.doi.org/10.1017/s1479244315000256.
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In 1952, Bill Gaines, the entrepreneurial comic book publisher, embarked on a new venture. He had already made a name for himself by introducing the “horror” comics (Tales from the Crypt, The Vault of Terror) that had rapidly acquired an eager readership. Those titles summoned up repressed aspects of postwar culture, reveling in sadism, sexual infidelity, and grisly torture. But the id knows many pathways, and in 1952 Gaines launched a humor magazine called Mad. The title was a celebration of unreason. As its icon, Mad boasted Alfred E. Neuman, a grinning half-wit who lived by the mantra, “What, me worry?”
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Vorissis, Peter. "Fairy Tale Sources and Rural Settings in Dario Argento’s Supernatural Horror." Literature 3, no. 4 (November 28, 2023): 457–72. http://dx.doi.org/10.3390/literature3040031.
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This article examines three of Dario Argento’s supernatural horror films (Suspiria, Phenomena, and Dark Glasses) and their use of fairy tale imagery and narratives, which distinguishes them from murder-mystery-oriented giallo films. In them, Argento locates his characters, rather than in urban environments, in rural spaces (forests, fields, mountains) where the supernatural elements of their stories blossom. Suspiria represents a primarily aesthetic exploration of parallels between fairy tales and contemporary horror, while Phenomena uses these two modes to examine the conflict between the rational and irrational, the natural and the supernatural. Dark Glasses initially appears to be one of his more traditional gialli, but it abandons these tropes with a simplified plot evoking the story of “Little Red Riding Hood”; this shift is accomplished by moving the action of the film out of Rome and into the dark forests of the countryside. Dark Glasses, I argue, therefore represents a self-conscious move to unite in a single film the two major strands of Argento’s filmography and to expose some fundamental elements of his general cinematic approach—namely, the unique capacity of stylized aesthetics and irrational elements to convey the experience of very real, human terror and evil.
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Freitag, Gina, and André Loiselle. "Tales of Terror in Québec Popular Cinema: The Rise of the French Language Horror Film since 2000." American Review of Canadian Studies 43, no. 2 (June 2013): 190–203. http://dx.doi.org/10.1080/02722011.2013.795025.
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Diffrient, David Scott. "Some ‘R’ points: Repression, repulsion, revelation and redemption in South Korean horror films." Horror Studies 11, no. 2 (October 1, 2020): 221–42. http://dx.doi.org/10.1386/host_00020_1.
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This article examines some of the formal properties, stylistic motifs and thematic preoccupations of classic and contemporary South Korean horror films. As a genre that has enormous box-office appeal and crossover potential for western audiences, horror might seem to be little more than a commercial platform for young filmmakers to exploit popular tastes and cash in on derivative stories offering scant insight into the social conditions faced by modern-day Koreans. However, even the most cliché-ridden, shock-filled slasher films and ghost tales reveal the often-contradictory cultural attitudes of a populace that, over the past three generations, has weathered literally divisive transformations at the national and ideological levels. As such, the genre deserves scrutiny as a repository of previously pent-up, suddenly unleashed libidinal energies, consumerist desires and historical traumas, as well as a barometer of public opinion about such issues as class warfare, gender inequality and sexual identity. Specifically, I explore some of the most salient features of Korean horror cinema, including filmmakers’ tendency to adopt narrative analepsis – typically rendered as flashbacks – in the course of plotting out scenarios that, though far-fetched, are rooted in unsettled (and unsettling) real-world problems. Historical return, I argue, truly is a horrifying prospect, especially for anyone old enough to remember, or to have experienced firsthand, the brutality of a military dictatorship or an ongoing abuse of presidential power resulting in severe rights violations (e.g. the Park Chung-hee [1961–79]) and Chun Doo-hwan [1980–88] administrations). But historical return simply must be dramatized as part of the regurgitative ‘purging’ for which the genre has been singled out by theorists who recognize horror’s socially productive function.
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LĂPĂDAT, Laviniu Costinel. "From Folklore to Literature: Utilising Bram Stoker’s Dracula as a Teaching Resource for Romanian Cultural Education." ANALELE UNIVERSITĂȚII DIN CRAIOVA SERIA ȘTIINȚE FILOLOGICE LIMBI STRĂINE APLICATE 2024, no. 1 (July 19, 2024): 310–24. http://dx.doi.org/10.52744/aucsflsa.2024.01.34.
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Stoker's „Dracula” is not merely a tale of horror but a intricate interweaving of historical fact and Romanian folklore. The strigoi and nosferatu, while possibly perceived as mere relics of bygone superstitions, are integral facets of Romanian cultural identity. Their tales, replete with the wisdom and anxieties of a civilization, invite us to engage deeply with the narratives that have shaped and continue to influence a nation's collective psyche. It is this intricate dance between the real and the imagined, the living and the undead, that renders the study of Stoker’s Dracula and its Romanian origins a compelling academic endeavor. For educators, the myths of the strigoi and nosferatu, when juxtaposed against Stoker’s Dracula, offer a treasure trove of opportunities. They unveil a society's deep-seated beliefs, fears, and aspirations. Analyzing these tales provides insights into Romania's cultural, religious, and social mores, making them invaluable tools for cultural education. By deconstructing the origins and evolutions of these myths, students can be introduced to broader themes of life, death, societal values, and the interplay of indigenous and external religious influences.
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Tsai-Yi Chu / Janet Chu. "Influence of Blair on Poe's Gothicism: The Style of Terror and Horror in Poe's Early Woman-Centered Tales." Edgar Allan Poe Review 19, no. 2 (2018): 177. http://dx.doi.org/10.5325/edgallpoerev.19.2.0177.
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Hogan, Stephen P. "Toy stories, horror stories and fairy tales: the role of the media in highlighting issues of corporate responsibility." Young Consumers 8, no. 2 (June 19, 2007): 94–100. http://dx.doi.org/10.1108/17473610710757446.
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Somacarrera-Íñigo, Pilar. "Bodily and Spiritual Borders in the Parsi Males of Rohinton Mistry’s Tales from Firozsha Baag." Anglia 138, no. 1 (March 4, 2020): 80–97. http://dx.doi.org/10.1515/ang-2020-0004.
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AbstractIn this essay, I am going to read the bodies of the Parsi male characters in Rohinton Mistry’s Tales from Firozsha Baag (1987) through the lens of Julia Kristeva’s theories of the abject. According to Kristeva, the abject refers to the human reaction (horror, vomit) to a threatened breakdown in meaning caused by the loss of the distinction between subject and object or between self and other, a reaction elicited by bodily fluids such as excrement, blood or even semen. The bodies of the Parsi males in Tales of Firozsha Baag are a site of awareness in which the “bodily borders” (Moreno-Álvarez 2014: 39) explode. In the first section of the essay, I will discuss the stories “One Sunday”, “The Collectors” and “Exercisers”. In the second section, I will delve into Mistry’s Canadian trilogy — ”Squatter”, “Lend Me Your Light” and “Swimming Lessons” — whose main subject is the young Parsi male striving for happiness and individual liberation (moksha) through emigration to North America. I will conclude that these Parsi men have difficulties integrating themselves in their Indian and North American contexts because the realms of the corporeal and the spiritual are, quoting Frantz Fanon’s phrase, “zones of occult instability” (Fanon 1967: 21).
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Buday, Maroš. "From One Master of Horror to Another: Tracing Poe’s Influence in Stephen King’s The Shining." Prague Journal of English Studies 4, no. 1 (July 1, 2015): 47–59. http://dx.doi.org/10.1515/pjes-2015-0003.
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Abstract This article deals with the work of two of the most prominent horror fiction writers in American history, namely Edgar Allan Poe and Stephen King. The focus of this study is put on the comparative approach while tracing the influence of Poe’s several chosen narratives in King’s novel called The Shining (1977). The chosen approach has uncovered that King’s novel embodies numerous characteristics, tendencies, and other signs of inspiration by Poe’s narratives. The Shining encompasses Poe’s tales such as “The Masque of the Red Death”, “The Fall of the House of Usher”, and “The Black Cat” which are shown to be pivotal aspects of King’s novel. The analysis has shown that the aforementioned King’s novel exhibits Shakespearean elements intertwined with Poe’s “Masque of the Red Death”, the Overlook Hotel to be a composite consisting of various Poesque references, and that The Shining’s protagonist is a reflection of autobiographical references to specific aspects of the lives of Poe and King themselves.
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Roy, Dr Hareshwar. "Chekhov’s Death of a Clerk: A Critical Appreciation." SMART MOVES JOURNAL IJELLH 8, no. 3 (March 28, 2020): 8. http://dx.doi.org/10.24113/ijellh.v8i3.10462.
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The present paper proposes to undertake a deep study of the Death of a Clerk. This beautiful short story has been written by Anton Chekhov, a prominent story teller of Russia. This story has been translated into English from Russian by Ivy Litvinov. This translation of Ivy Litvinov has been made the basis of the present study. The period of 1880-1885 is a very important period in the career of Anton Chekhov. During this period, he wrote hundreds of humorous tales. They show a keen sense of the social scene and of the incongruities of life. These tales reveal a deep feeling for human injustice and suffering. In these stories Anton Chekhov attempted to see things as they were and to deal with them as he saw them. According to him a reasoned life without a clear-cut point of view is not a life, but a burden and a horror. This was a strange idea for that day but it played a significant role in his works. Chekhov’s Death of a Clerk is one of them. It beautifully presents the picture of the life of a society based on tyranny and servility.
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White, David Gordon. "Dracula's Family Tree: Demonology, Taxonomy, and Orientalist Influences in Bram Stoker's Iconic Novel." Gothic Studies 23, no. 3 (November 2021): 297–315. http://dx.doi.org/10.3366/gothic.2021.0106.
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Prior to Bram Stoker's Dracula, vampires were never represented in literature as reanimated or ‘undead’ humans capable of transforming into bats. The source of Stoker's innovation may be traced to his personal acquaintance Sir Richard Francis Burton, who in his adaptation of a South Asian anthology of ‘Gothic’ tales of horror and adventure had identified its hero's antagonist, called a vetāla in Sanskrit, as both a male vampire and a giant bat. This article surveys a number of ancient, medieval, and early modern Asian and European precursors of Stoker's vampire lore, noting that unlike Stoker's shape-shifting Transylvanian Count, predatory ‘vampires’ were most often female in gender in these traditions, and their victims male; and reviews the shifting interface between the taxonomical and cultural categories of ‘vampire’ and ‘bat’ in Europe, Asia, and the Americas.
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Thomas, Rosalind. "Ethnography, proof and argument in Herodotus' Histories." Proceedings of the Cambridge Philological Society 43 (1998): 128–48. http://dx.doi.org/10.1017/s0068673500002170.
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One of the most arresting of Herodotus' ethnographic tales is the famous story of Darius' anthropological investigations in which he asked certain Greeks and Indians how they treated the corpses of their parents when they died (3.38). The Greeks burned their dead parents, the Indians ate them. The Persian king asked each group how much money it would take to get them to treat the parental remains as the other group treated theirs. Each group expressed pious horror at the others' customs, each was convinced that their own practice was the proper one, the other outrageous. So, Herodotus concludes, this shows, as Pindar said, that nomos is king of all; if you were to ask any people which customs were the best (τοὺς ϰαλλίστους) of all nomoi, they would certainly choose their own.
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Malykh, V. S. "TRANSFORMATION OF A FAIRY TALE IN «HYBRID» SCIENCE FICTION (BASED ON AMERICAN AND RUSSIAN PROSE OF THE XXth CENTURY)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 99–109. http://dx.doi.org/10.35634/2500-0748-2020-12-99-109.
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The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this research can be considered as pioneering. We use E. M. Neyolov’s typology that describes the connection between a fairy tale and «hard» science fiction. Basing on this typology, we analyse «hybrid» fiction, in which science fiction scenery was replaced by the anti-rational principle. The research methodology involves a combination of structural, typological and comparative methods. As a material for the study, we use the works of such Russian and American authors as D. Glukhovsky, S. Lukyanenko, G. R. R. Martin, S. King, C. McCarthy, H. P. Lovecraft and others. The purpose of the article is to identify and describe the transformation of fairytale discourse in the works of these authors that leads to the genre transition from science fiction to horror fiction. The texts are being analysed from three points of view: system of characters, the structure of space and the direction of time. It is concluded that in «hybrid» science fiction the typological model of the fairy tale was distorted, reconsidered or destroyed, and it is the aberration of the fairytale motif that opens the gate for the genre transformation from «hard» science fiction to horror fiction. For example, the struggle of the superhero with the supervillain is traditional both for fairy tales and for science fiction, but it is replaced by psychologization of the hero and the extreme complication of the metaphysics of the Good and the Evil in «hybrid» science fiction . Besides that, the well-organized space of fairytale and science fiction as well as a close-cut separation of «ours» and «aliens», and also the mythologem of «threshold» are mixed in «hybrid» fiction and lose their symbolical unambiguity. Finally, science fiction and fairytale time in «hybrid» fiction ceases to exist and gives way to the tragic timelessness of chaos and nightmare. Thus, «hybrid» fiction destroys both the canons of «hard» science fiction and the constructs of the fairy tale genre.
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Malykh, V. S. "TRANSFORMATION OF A FAIRY TALE IN «HYBRID» SCIENCE FICTION (BASED ON AMERICAN AND RUSSIAN PROSE OF THE XXth CENTURY)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 99–109. http://dx.doi.org/10.35634/2500-0748-2020-12-99-109.
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The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this research can be considered as pioneering. We use E. M. Neyolov’s typology that describes the connection between a fairy tale and «hard» science fiction. Basing on this typology, we analyse «hybrid» fiction, in which science fiction scenery was replaced by the anti-rational principle. The research methodology involves a combination of structural, typological and comparative methods. As a material for the study, we use the works of such Russian and American authors as D. Glukhovsky, S. Lukyanenko, G. R. R. Martin, S. King, C. McCarthy, H. P. Lovecraft and others. The purpose of the article is to identify and describe the transformation of fairytale discourse in the works of these authors that leads to the genre transition from science fiction to horror fiction. The texts are being analysed from three points of view: system of characters, the structure of space and the direction of time. It is concluded that in «hybrid» science fiction the typological model of the fairy tale was distorted, reconsidered or destroyed, and it is the aberration of the fairytale motif that opens the gate for the genre transformation from «hard» science fiction to horror fiction. For example, the struggle of the superhero with the supervillain is traditional both for fairy tales and for science fiction, but it is replaced by psychologization of the hero and the extreme complication of the metaphysics of the Good and the Evil in «hybrid» science fiction . Besides that, the well-organized space of fairytale and science fiction as well as a close-cut separation of «ours» and «aliens», and also the mythologem of «threshold» are mixed in «hybrid» fiction and lose their symbolical unambiguity. Finally, science fiction and fairytale time in «hybrid» fiction ceases to exist and gives way to the tragic timelessness of chaos and nightmare. Thus, «hybrid» fiction destroys both the canons of «hard» science fiction and the constructs of the fairy tale genre.
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Kryssova, Evgeniya. "‘Tales of Wonder and Horror’: Subject of Insanity in the Leeds Newspaper Press Miscellanies During the Late Georgian Era." Northern History 57, no. 2 (July 2, 2020): 215–28. http://dx.doi.org/10.1080/0078172x.2020.1802550.
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Gabriel, Maria Alice Ribeiro. "Edgar Allan Poe: A Source for Miriam Allen Deford." Aletria: Revista de Estudos de Literatura 29, no. 2 (June 28, 2019): 79–99. http://dx.doi.org/10.17851/2317-2096.29.2.79-99.
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The influence of Edgar Allan Poe on North American culture and literature is still a subject of debate in contemporary literary theory. However, Poe’s creative legacy regarding the writings of Miriam Allen Deford remains neglected by the literary critics. Deford’s fiction explored a set of literary genres, such as biography, science fiction, crime and detective short stories. Taking these premises as a point of departure, this article aims to identify similarities between “A Death in the Family” and some of Poe’s works. Drawing on studies by J. T. Irwin, James M. Hutchisson and others, the objective of this paper is to analyze passages from Deford’s tale in comparison with the poetry and fictional prose of Poe. The analysis suggests that Deford’s horror short story “A Death in the Family,” published in 1961, was mostly inspired by Poe’s gothic tales, detective stories, and poems.
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Rakhno, Kostyantyn. "Viy in Nikolai Gogol’s Novella and Related Mythological Creatures in Ukrainian Folklore." Religions 15, no. 1 (December 25, 2023): 33. http://dx.doi.org/10.3390/rel15010033.
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This article examines Ukrainian folkloric parallels to Viy, a character in the horror novella of the same name by Nikolai Gogol. It is a formidable chthonic, demonic creature whose eyelids cover the eyes and need to be lifted, and the gaze sees what is hidden from others. Although the writer claimed that this character, like the entire plot of the story, was taken from Ukrainian folklore, some modern researchers claim that Viy is the author’s own invention. This is contradicted by folkloric data, primarily Ukrainian lore. Demonic characters with different names but with the same appearance and very similar functions as Viy appear in Ukrainian folk tales, legends and beliefs recorded in the 19th and 20th centuries. The plots have various degrees of closeness to the plot of Gogol’s story, showing that Viy is an authentic figure from Ukrainian folklore.
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Polachek, Dora E. "Performing Rape for Laughs: Male Desire and Female Ties Gone Awry." French Forum 47, no. 2-3 (2022): 155–69. http://dx.doi.org/10.1353/frf.2022.a914327.
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Abstract: By focusing on the relatively unexamined Nouvelle 45, I want to continue my exploration of Heptaméron comic tales that focus on rape, and to foreground the role of female alliances in such tales. By female alliances, I am referring to the partnerships that women form, often transcending class divisions, as a means of thwarting aggression. As a corollary, I will explore what is at stake when this female uniting of forces is replaced by succumbing, often unwittingly, to competing allegiances that comprise the patriarchal strictures that characterize the world in which these protagonists circulate. The lack of female bonds characterizes Nouvelle 45, and the consequences, albeit recounted in a comic register, are telling. As for the comic, my goal is to focus primarily on the narrative devices that Marguerite mobilizes that transform a rape story from one that elicits terror and horror (for that, we need to turn to Nouvelle 2) to one that has all the markings of a text designed to spark the reader’s laughter and amusement. My aim is to show that there remain avenues to explore that privilege the ludic dimensions that infuse the Heptaméron’ s complex structure, even when it comes to such freighted topics as the premeditated sexual violation of innocent victims.
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Ługowska, Jolanta. "Fairy Tale Motifs in the Slavic Universe of Marta Krajewska." Literatura Ludowa 67, no. 1-2 (June 30, 2023): 65–76. http://dx.doi.org/10.12775/ll.1.2023.005.
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Marta Krajewska’s series of novels forming the so-called Slavic universe (Idź i czekaj mrozów, 2016, Zaszyj oczy wilkom, 2017 Wezwijcie moje dzieci, 2021) is characterized by noticeable generic syncretism, with fairy tales playing an important role in the construction of the presented world. In her trilogy, the author draws on the most popular, universal fairy tale motifs recorded in international catalogues as well as in Polska bajka ludowa w układzie systematycznym (The Systematic Catalogue of the Polish Folk Tale) by Julian Krzyżanowski, using as the basis of her own story. Krajewska applies the plot patterns of these fairy tales (T. 400A “Urvasi”, T. 333 “Little Red Riding Hood”, T. 425 “The Quest for a Lost Husband”) in the construction of the fates of her protagonists; they also appear by way of folkloric quotes, present, for example, in dialogue replies of the characters. In the narratives of the novels, the writer also devotes a lot of space to the phenomenon of oral transmission of fairy tales, characteristic of folk tradition, and the function of this phenomenon in the life of the local community. However, the numerous references to folk tradition do not mean that Krajewska recreates the logic of selected motifs established in the folk tradition, with their characteristic intentionality and moral messages. The main novelty of the literary approach to traditional tales (especially the story of Little Red Riding Hood) lies in the author’s departure from the fairy tale’s warning role and in her focus on the ambivalence of fascination and horror evoked in the heroine by the figure of the wolf, which in the narrative structure initiates a complex love story with dramatic complications and frequent plot twists, leading, however, towards a happy ending.
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Sipkina, Nina Ya. "Cycle of Poems “Aleshkin’s Thoughts” by R.I. Rozhdestvensky: Development of the Traditions of the Genres of Children’s Folklore." Proceedings of Southern Federal University. Philology 25, no. 3 (September 30, 2021): 131–43. http://dx.doi.org/10.18522/1995-0640-2021-3-131-143.
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In the third decade of the twenty-first century, the bundle of poetic energy left by talented poets as a legacy to the generation of Russian people who stepped into the world of high technologies does not allow them to sleep peacefully. This is evidenced by the endless stream of films and programs about people who managed to melt the block of totalitarianism. We are talking about the poets of the sixties, including R. I. Rozhdestvensky. His work for more than sixty years excites the reader: lyrics (landscape, love, philosophical, civil, confessional) and poems (“Requiem”, “Dedication”, “Before you Come”, “Waiting”, etc.). This article analyzes the cycle of poems “Aleshkin’s Thoughts” by R. I. Rozhdestvensky, which reflects the artistic world of childhood and has autobiographical features. The poet’s childhood associations were embedded in the poems-monologues of the three-yearold lyric character. The influence of children’s folklore on the structure and content of the cycle is traced. The development of genres of children’s folklore (fairy tales, jokes, nursery rhymes, tall tales, shifters, parodies, witticisms, horror stories, teasers, mimicry, mockingbirds, jokes, excuses, etc.) in the poems “Aleshkin’s thoughts” is revealed. It is noted that the continuation of the development of genres of children’s folklore in the work helped to reflect the serious-laughing perception of the author of the cycle on the life events of the baby.