Journal articles: 'Machen, Arthur'

1

Freeman, N. "Arthur Machen: Ecstasy and Epiphany." Literature and Theology 24, no. 3 (June 25, 2010): 242–55. http://dx.doi.org/10.1093/litthe/frq032.

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Hassler, Donald M. "Arthur Machen and Genre: Filial and Fannish Alternatives." Extrapolation 33, no. 2 (July 1992): 115–27. http://dx.doi.org/10.3828/extr.1992.33.2.115.

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Worth, Aaron. "Arthur Machen: Critical Essays ed. by Antonio Sanna." Studies in the Novel 54, no. 2 (June 2022): 257–59. http://dx.doi.org/10.1353/sdn.2022.0020.

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Worth, Aaron. "ARTHUR MACHEN AND THE HORRORS OF DEEP HISTORY." Victorian Literature and Culture 40, no. 1 (March 2012): 215–27. http://dx.doi.org/10.1017/s1060150311000325.

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In what is surely his best-known “shocker” of the 1890s, Arthur Machen has one of his ubiquitous bachelor heroes (Clarke by name) try to warn another off his pursuit of the truth about a preternaturally dangerous femme fatale figure, a woman responsible for the hideous deaths of a number of English gentlemen. “I am,” he writes to his friend, “like a traveller who has peered over an abyss, and has drawn back in terror. What I know is strange enough and horrible enough, but beyond my knowledge there are depths and horrors more frightful still” (“Pan” 89). But to what “depths,” exactly, does the fearful Clarke refer? What “horrors”? And why, here as elsewhere in this text, do depth and horror seem so intimately interconnected? The tale in question, “The Great God Pan” (1890), bristles with multifarious horrors, to be sure. In the novella's opening episode, a mad scientist figure performs experimental brain surgery on a young woman (“a slight lesion in the grey matter, that is all,” he says to an over-scrupulous chum), causing her to “see the god Pan,” and reducing her to idiocy and death (“Pan” 62, 68). The bulk of the subsequent narrative concerns a sequence of seemingly unrelated tragedies – the mysterious death of one gentleman in London, a rash of particularly horrid suicides by a number of others, the demise of an English artist in Buenos Aires – which prove all to be connected to a single figure of monstrous evil, a woman who goes by the name of Helen Vaughn (among others). She is, it turns out, the offspring of the subject of the surgical experiment and Pan himself, and her own (forced) suicide at the end of the story leads to a gruesome tableau of bodily dissolution reminiscent of Poe's M. Valdemar (or, to update the reference, the gooey, B-movie slime Slavoj Žižek seems to have claimed in the name of the Lacanian Real).

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Jackson, Kimberly. "NON-EVOLUTIONARY DEGENERATION IN ARTHUR MACHEN'S SUPERNATURAL TALES." Victorian Literature and Culture 41, no. 1 (March 2013): 125–35. http://dx.doi.org/10.1017/s1060150312000253.

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Welsh author Arthur Machen (1863–1947) wrote his most popular supernatural tales between 1890 and 1900, a period in which European culture felt itself to be on the decline and in which “decadent” art and literature rose up both as a reflection of and a contribution to this perceived cultural deterioration. While Machen's works have received little critical attention, a recent revival of interest in fin-de-siècle decadence has brought his supernatural tales into the literary limelight. Noteworthy examples of this interest include Julian North's treatment of The Great God Pan in Michael St. John's Romancing Decay: Ideas of Decadence in European Culture and Christine Ferguson's analysis of the same work in her PMLA article “Decadence as Scientific Fulfillment.” Indeed, Machen's supernatural tales could enhance and complicate any exposition of decadent literature and culture; they offer a unique vision of descent into the primordial that differs from the moral and psychological treatment of decadence in other popular works of the time, such as Wilde's The Picture of Dorian Gray and Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde. Like Stevenson and Wilde, Machen employs themes of transgression and metamorphosis to illustrate his characters’ deviations from human nature. However, the forces at work in Machen's tales do not arise from the recesses of the human mind in its modern conception, nor do his protagonists sin primarily against society and the arbitrary nature of its morals and values. Instead, Machen locates mythic forces at work within his contemporary society to highlight a much older form of transgression and to challenge notions of degeneration that held currency at the end of the nineteenth century.

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Ford, Jane. "Decadent and Occult Works by Arthur Machen by Dennis Denisoff." Modern Language Review 115, no. 3 (2020): 712–13. http://dx.doi.org/10.1353/mlr.2020.0211.

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Carreira, Shirley De Souza Gomes. "NOS MEANDROS DO FANTÁSTICO: A ERA VITORIANA SEGUNDO ARTHUR MACHEN." Organon 33, no. 65 (December 14, 2018): 12. http://dx.doi.org/10.22456/2238-8915.86263.

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Este artigo visa a demonstrar como Arthur Machen, autor da segunda metade do século XIX, considerado um mestre da literatura de horror, incorpora à ficção temas e tropos da Era Vitoriana, utilizando elementos fantásticos como uma forma de desafio às crenças e valores da época. Em O grande deus Pã, ele cria uma ficção em que é possível o contato entre dois mundos, visível e invisível. Por meio de uma personagem híbrida e metamórfica, que é o fio condutor da narrativa, Machen promove transgressões que se concretizam no espaço-tempo da ficção e espelham outras que se dão, secretamente, no mundo empírico. A recepção negativa da novela por parte da crítica refletiu o impacto que ela exerceu na sociedade inglesa do fin-de-siècle, pois expôs as entranhas de uma sociedade em que o erotismo era temido, o lar cultuado e a paixão era tabu.PALAVRAS-CHAVE: Era vitoriana; Fantástico; O grande deus Pã.

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Carreira, Shirley De Souza Gomes. "Entre humanos e bestas: o insólito ficcional em The Great God Pan e Shame." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 70, no. 1 (January 27, 2017): 91. http://dx.doi.org/10.5007/2175-8026.2017v70n1p91.

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http://dx.doi.org/10.5007/2175-8026.2017v70n1p91O objetivo deste trabalho é analisar duas obras ficcionais, a novela The Great God Pan, de Arthur Machen, e o romance Shame, de Salman Rushdie, que contêm situações e eventos insólitos, examinando-as de modo a discutir como os elementos fantásticos presentes em ambos os textos relacionam-se ao contexto de produção das obras, ou seja, respectivamente, o século XIX e a segunda metade do século XX. Machen promoveu uma ruptura em relação à tradição das histórias de horror, então em voga, e Rushdie introduziu na literatura pós-colonial indiana características do Realismo Mágico. Temporalmente distantes, as duas obras recorrem a um mesmo artifício, típico da ficção fantástica, a metamorfose de personagens, e, por meio dela, os autores constroem uma crítica subliminar ao sistema político e social dominante em seu tempo.

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Hext, Kate. "Ben Hecht's Hard-Boiled Decadence: The Flaneur as Reporter." Modernist Cultures 13, no. 2 (May 2018): 235–54. http://dx.doi.org/10.3366/mod.2018.0207.

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This essay illustrates how Ben Hecht's short stories in The Little Review and the Chicago Daily News crucially expand the scope of burgeoning research into post-Wildean, American Decadence. These works (written between 1915 and 1921) have been over-shadowed by Hecht's later Hollywood career to the point where they have all-but eluded scholarly commentary. However, attention to these vignettes of sensual experience in downtown Chicago reveals that they develop Decadence in a unique direction, which fuses the backstreet Decadence of Arthur Machen and Arthur Symons with the pulp fiction published by Hecht's mentor, H. L. Mencken, in The Black Mask. The result, I argue, is that Hecht's short stories create a hard-boiled Decadence: a new form which uses Decadent language to explore the continuity of Decadent sensuality in the unlikely setting downtown Chicago, at the same time as it uses the emerging tropes of hard-boiled fiction to define the impediments to having a Decadent sensibility in such circumstances.

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10

Ferguson, Christine. "'The More Subtle Inquisitor:' Arthur Machen as Early Reviewer of Dubliners for Grant Richards." Dublin James Joyce Journal 9, no. 1 (2016): 122–34. http://dx.doi.org/10.1353/djj.2016.0007.

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11

O'Donnell, Molly C. "Mirrors, Masks, and Masculinity: The Homosocial Legacy from Dickens to Machen." Victoriographies 6, no. 3 (November 2016): 256–75. http://dx.doi.org/10.3366/vic.2016.0241.

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All the narrators and characters in J. Sheridan Le Fanu's In a Glass Darkly are unreliable impostors. As the title suggests, this is also the case with Arthur Machen's The Three Impostors, which similarly presents a virtual matryoshka of unreliability through a series of impostors. Both texts effect this systematic insistence on social constructedness by using and undermining the specific context of the male homosocial world. What served as the cure-all in the world of Pickwick – the homosocial bond – has here been exported, exposed, and proven flawed. The gothic is out in the open now, and the feared ghost resides without and within the group. The inability of anyone to interpret its signs, communicate its meaning, and rely on one's friends to talk one through it is the horror that cannot be overcome. Part of a larger project on the nineteenth-century ‘tales novel’ that treats the more heterogeneric and less heteronormative Victorian novel, this article examines how In a Glass Darkly and The Three Impostors blur the clear-cut gender division articulated in prior masculine presentations like The Pickwick Papers and feminine reinterpretations such as Cranford. These later texts challenge binaries of sex, speech, genre, and mode in enacting the previously articulated masculine and feminine simultaneously.

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12

Poller, J. "The Transmutations of Arthur Machen: Alchemy in 'The Great God Pan' and The Three Impostors." Literature and Theology 29, no. 1 (December 19, 2013): 18–32. http://dx.doi.org/10.1093/litthe/frt045.

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13

Ferguson, Christine. "Reading with the Occultists: Arthur Machen, A. E. Waite, and the Ecstasies of Popular Fiction." Journal of Victorian Culture 21, no. 1 (January 2, 2016): 40–55. http://dx.doi.org/10.1080/13555502.2015.1123170.

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14

Mantrant, Sophie. "Essai et fiction : à propos de Hieroglyphics, a Note upon Ecstasy in Literature (Arthur Machen, 1902)." Cahiers victoriens et édouardiens, no. 71 Printemps (June 18, 2010): 507–18. http://dx.doi.org/10.4000/cve.3107.

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15

Grenander, M. E., and S. T. Joshi. "The Weird Tale: Arthur Machen, Lord Dunsany, Algernon Blackwood, M. R. James, Ambrose Bierce, H. P. Lovecraft." American Literature 63, no. 1 (March 1991): 134. http://dx.doi.org/10.2307/2926576.

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16

Creasy, Matthew. "Arthur Machen: Decadent and Occult Works. Ed. by Dennis DenisoffArthur Machen: The Great God Pan and Other Horror Stories. Ed. by Aaron WorthMachin, James. Weird Fiction in Britain 1880–1939." Forum for Modern Language Studies 56, no. 1 (January 1, 2020): 112–13. http://dx.doi.org/10.1093/fmls/cqz063.

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17

Willis, Martin T. "Scientific Portraits in Magical Frames: The Construction of Preternatural Narrative in the Work of E. T. A. Hoffmann and Arthur Machen." Extrapolation 35, no. 3 (October 1994): 186–200. http://dx.doi.org/10.3828/extr.1994.35.3.186.

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18

Weinstock, Jeffrey Andrew. "Dead is not better: The multiple resurrections of Stephen King’s Revival." Horror Studies 12, no. 2 (October 1, 2021): 189–203. http://dx.doi.org/10.1386/host_00037_1.

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Stephen King’s 2014 novel, Revival, plays with its title in several respects. It is first a familiar Frankenstein-esque narrative about a mad scientist who seeks to revive the dead. It is also, however, about religious revivals, both in the specific sense of the religious gatherings held by minister and main antagonist Charles Jacobs, and in the more general sense of attempting to find something in which to place one’s faith in a world where accidents can claim the lives of loved ones. Beyond this, Revival plays with its title in two more senses. First, it elaborates on the recurring theme in King of existentialist angst precipitated by the death of a child or loved one, which King uses to question God’s benevolence or existence. In order to ask these questions, King also resurrects the spirit of Mary Shelley, taking from Frankenstein the theme of reanimation of the dead. The narrative’s conclusion, however, offers yet another revival as it transitions us from the horror of Shelley to the weird fiction of Arthur Machen and H. P. Lovecraft. Thus, through these various revivals, King’s novel charts the evolution of twentieth- and twenty-first-century horror from Shelley to Lovecraft and our contemporary ‘weird’ moment.

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19

Johnston, Sarah Iles. "The Great God Pan." Gnosis 1, no. 1-2 (July 11, 2016): 218–33. http://dx.doi.org/10.1163/2451859x-12340012.

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This essay starts from the premise that ghost stories of the late 19th and 20th centuries often engaged the same issues as older ‘gnostic’ treatises did (taking a particular line from Emanuel Swedenborg), but had the advantage of being able to describe encounters between humans and higher entities far more vividly than the treatises, and the corollary advantage of suggesting new ramifications of such encounters. It focuses on how such stories explore the possibility that, through encounters with higher entities who emerge as negative, protagonists discover that the divine world is either corrupt and ill-intended or (worse) completely meaningless. The first case, Arthur Machen’s The Great God Pan (1890), is contextualized not only within contemporary reactions to Darwin’s theories of evolution (developing Adrian Eckersley’s study) but also contemporary conceptualizations of the debt that modern civilization owed to ancient Greece and Rome. The second examines how H.P. Lovecraft developed Machen’s ideas in ‘The Dunwich Horror’ (1929), where mastery of ancient languages unleashes horror. The third case, Peter Straub’s Ghost Story (1979)—an homage to Lovecraft and Machen—delivers an even darker ‘gnostic’ message: entities whom we assume to have purposes (even if dark purposes) have none at all; only the well-skilled narrative can bring them into order and save himself from perdition.

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20

COGMAN, P. W. M. "Review. OEuvres diverses: Le Carnet de M. du Paur. Notes de litterature. Suivi de 'Le Grand Dieu Pan' par Arthur Machen. Introduction par Hubert Juin." French Studies 42, no. 1 (January 1, 1988): 104. http://dx.doi.org/10.1093/fs/42.1.104.

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Dohrn, Maike F., Sigurd Kessler, and Manuel Dafotakis. "Die Rolle der diabetischen Neuropathie bei der Genese des Charcot-Fußes." Klinische Neurophysiologie 51, no. 02 (April 28, 2020): 67–72. http://dx.doi.org/10.1055/a-1134-2547.

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ZusammenfassungDie neuropathische Osteo(arthro-)pathie, auch Charcot-Fuß genannt, ist eine progressive, nicht-infektiöse Schwellung mit Überwärmung und Demineralisierung, gefolgt von Knochendestruktion und Deformierung, die in ca. 75% unilateral auftritt und in einer Defektheilung zum Stillstand kommt. Resultierende Fehlstellungen können zu neuropathischen Ulzera führen, die sich infizieren und Amputationen erforderlich machen können. Die häufigste, aber nicht einzige Ursache ist der Diabetes mellitus. Etwa 2% aller Diabetiker entwickeln einen Charcot-Fuß. Der pathophysiologische „Charcot-Prozess“ ist komplex, scheint aber untrennbar mit der vorausgehenden Neuropathie verbunden zu sein. Die C- und Aδ- Fasern sind im Rahmen der diabetischen Neuropathie früh und häufig geschädigt, was ein Ungleichgewicht an CGRP, VIP, Substanz P und weiteren Transmittern erklärt. Störungen der Knocheninnervation verschieben das Verhältnis von Knochenan- und -abbau, von OPG und RANKL zugunsten des Abbaus. Demnach stellt die Fehlregulation nozizeptiver Nervenfasern auf molekularer Ebene eine pathophysiologische Brücke zwischen Diabetes mellitus und neurogener Inflammation dar.

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Ambler, Richard P., and Kenneth Murray. "Martin Rivers Pollock. 10 December 1914 – 21 December 1999." Biographical Memoirs of Fellows of the Royal Society 48 (January 2002): 357–73. http://dx.doi.org/10.1098/rsbm.2002.0021.

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Martin Rivers Pollock was born in Liverpool on 10 December 1914. He came from an old legal family, being the great-great-grandson of Sir Jonathan Frederick Pollock, Bt. (1783–1870), a Fellow of Trinity College, Cambridge, barrister, MP for Huntingdon, Attorney General in Peel's first administration and Chief Baron of the Exchequer from 1844 to 1866. His father, Hamilton Rivers Pollock, also went to Trinity College, qualified as a barrister but never practised, and in 1914 was with the Cunard Steam Ship Company, before spending World War I with the Liverpool Regiment and the Royal Air Force. His mother was Eveline Morton Bell, daughter of Thomas Bell, of Newcastle-upon-Tyne. After the war his father inherited a fortune from an uncle, and the family moved to Wessex, where they lived first at splendid Anderson Manor, Dorset, and then Urchfont Manor, Wiltshire, his father living as a country squire and JP. Pollock had a conventional upper-class education, beginning with a nanny, followed by West Downs School (1923–28) and then Winchester College (1928–33). His first scientific enthusiasm was for astronomy, but he decided he was insufficiently mathematical to pursue it further (his mathematics master was Clement Durrell, author of some famous texts including Advanced algebra), so he then decided to study medicine. His Wessex schooldays were influenced by the nearby Powys brothers, the youngest (Llewelyn1) having been a Cambridge friend and contemporary of his father. Through Sylvia Townsend Warner2 he met her cousin Janet, daughter of Arthur Llewelyn Machen3, who eventually, in 1979, became his second wife. He went up to Trinity College, Cambridge, in 1933, having done his first MB and the first part of his second MB while still at school, and opting to do the two new half-subjects (Pathology and Biochemistry) that had just been instituted—he remembered thinking at the time that biochemistry was going to be the key subject for medicine in the future. Already while at school he had become a theoretical Communist, and as an undergraduate worked very hard, both at his medical studies and in political activity (such as selling the Daily Worker) for the Party—and knew most of the soon-to-be notorious Cambridge Communists of the time, including Guy Burgess4 and Donald Maclean5. He was now a Senior Scholar, and graduated BA first class in 1936; he started to spend a fourth year reading Part II Biochemistry. He decided in April 1937 that he had spent too long at Cambridge, so moved on to his clinical studies at University College Hospital. He also felt he should try to become qualified before what he saw as the inevitable war started, although he was nearly distracted into joining the International Brigade and going off to Spain—he had been a friend of John Cornford6, who did go to Spain and wrote and died there, and of Norman John (but widely known as James) Klugmann.

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23

Kakabadze, Misha. "Talking to the Gods: Occultism in the Work of W.B. Yeats, Arthur Machen, Algernon Blackwood, and Dion Fortune, by Susan Johnston Graf." International Journal for the Study of New Religions 11, no. 2 (March 23, 2022). http://dx.doi.org/10.1558/ijsnr.22349.

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Talking to the Gods: Occultism in the Work of W.B. Yeats, Arthur Machen, Algernon Blackwood, and Dion Fortune, by Susan Johnston Graf. State University of New York Press, 2015. 178pp., pb., $31.95, ISBN-13: 9781438455563; Hb. 95.00, ISBN-13: 9781438455556.

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24

Santos, Lais De Medeiros, and Shirley De Souza Gomes Carreira. "OS DETETIVES DE ARTHUR MACHEN - A INVESTIGAÇÃO DO INSÓLITO SOBRENATURAL." Abusões 13, no. 13 (August 31, 2020). http://dx.doi.org/10.12957/abusoes.2020.50854.

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Na última década do século XIX, quando vários gêneros e vertentes literários coexistiram, Arthur Machen apropriou-se da estrutura da história de detetive, misturando-a a eventos insólitos, em algumas de suas narrativas. O presente artigo tem por objetivo mostrar como esses eventos, presentes em quatro textos da fase inicial da carreira do autor, são investigados por personagens que agem como detetives amadores, movidos pela curiosidade e pelo desejo de conhecimento.

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"The weird tale: Arthur Machen, Lord Dunsany, Algernon Blackwood, M.R. James, Ambrose Bierce, H.P. Lovecraft." Choice Reviews Online 28, no. 03 (November 1, 1990): 28–1440. http://dx.doi.org/10.5860/choice.28-1440.

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"Talking to the gods: occultism in the work of W. B. Yeats, Arthur Machen, Algernon Blackwood, and Dion Fortune." Choice Reviews Online 53, no. 04 (November 18, 2015): 53–1666. http://dx.doi.org/10.5860/choice.192703.

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Gomes Carreira, Shirley De Souza. "DIÁLOGO ENTRE H. P. LOVECRAFT E ARTHUR MACHEN: UMA ANÁLISE COMPARATIVA DE THE DUNWICH HORROR E THE GREAT GOD PAN." Abusões 4, no. 4 (June 7, 2017). http://dx.doi.org/10.12957/abusoes.2017.27771.

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Ratto, Zulaima. "„One day we will live in freedom again”." kids+media : Zeitschrift für Kinder- und Jugendmedienforschung 11, no. 1 (March 1, 2021). http://dx.doi.org/10.54717/kidsmedia.11.1.2021.1.

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Die BBC-Produktion Merlin (2008-2012) inszeniert ein Prequel-Setting mit einem adoleszenten, noch unerfahrenen Merlin, der den gleichaltrigen Arthur auf seinem Werdegang zum vorherbestimmten König begleiten und unterstützen soll. Im Verlauf von fünf Staffeln werden der Lernprozess und die Reise eines anfänglich noch ignoranten und egozentrischen Arthurs, der sich des Elends seines zukünftigen Volks noch nicht bewusst ist, und seine Entwicklung zum gerechten Herrscher über ein egalitäres Königreich illustriert. Treu an seiner Seite steht Merlin, der sich angesichts der gesetzlich verordneten Hetzjagd auf die Magie in Camelot davor hüten muss, seine Zauberkräfte einzusetzen. Zudem spielen die Macher*innen der Serie bewusst mit den Erwartungen des Publikums, bestätigen oder untergraben Annahmen bezüglich des Schicksals der allseits bekannten Figuren und kreieren somit eine originelle und erfrischende Adaption. Nichtsdestotrotz verfällt die Serie besonders in späteren Episoden in alte Muster und verwehrt den Figuren eine Loslösung von bisherigen Darstellungen. Indem zeitgenössische soziopolitische Konflikte Grossbritanniens adressiert werden, wie die ethnische, religiöse und sexuelle Vielfalt, verweist BBC auf die Zeitlosigkeit und Aktualität des Artusstoffes. Merlin setzt sich zwar mit der Diskriminierung marginalisierter Gruppen, mit Klassenunterschieden und unfairen Geschlechterverhältnissen auseinander, tut dies allerdings nicht in allzu ausführlicher Manier, da es vordergründing familientaugliche Unterhaltung sein soll. Dennoch entwirft die Serie zumindest den utopischen Traum einer besseren, toleranteren Welt, lässt allerdings die Frage offen, ob Grossbritannien diesen Punkt mittlerweile erreicht hat, oder noch immer auf die Rückkehr des ‚Once and Future King‘ wartet.

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Journal articles on the topic 'Machen, Arthur'

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