Journal articles: 'Supernatural in literature'

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Harjito, Harjito. "Supernatural Women Modernity in Indonesian Literature." Asian Social Science 13, no. 10 (September 27, 2017): 65. http://dx.doi.org/10.5539/ass.v13n10p65.

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In Indonesia, people who have supernatural powers are not strange today and the past and in literary texts around daily life. They are called human supernatural man. In Javaarea, parts of Indonesia, the spirit and the magics that are spiritual are more superior and respectful than body and physicality. Those are indicated by the presence many pilgrims visiting the tomb. Supernatural man comes to protect their families, small communities, and environment. As a patron family, women who have supernatural power keep the family unity. As a protector of the people that is in lower social classes, she beats humans with cruel, angry, wicked, conceited, and arrogant personality and turned it into a noble human character as a humble, quiet, patient, forgiving, and polite. In addition, supernatural women are presented as a form of resistance to modernity and economic development in a various things that are physical, ignoring the religious-spiritual; get rid of lower social class, andenvironmental destrcution.

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Łuksza, Agata. "Boy Melodrama: Genre Negotiations and Gender-Bending in the Supernatural Series." Text Matters, no. 6 (November 23, 2016): 177–94. http://dx.doi.org/10.1515/texmat-2016-0011.

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For years Supernatural (CW, 2005–) has gained the status of a cult series as well as one of the most passionate and devoted fandoms that has ever emerged. Even though the main concept of the series indicates that Supernatural should appeal predominantly to young male viewers, in fact, the fandom is dominated by young women who are the target audience of the CW network. My research is couched in fan studies and audience studies methodological perspectives as it is impossible to understand the phenomenon of Supernatural without referring to its fandom and fan practices. However, it focuses on the series’ structure in order to explain how this structure enables Supernatural’s viewers to challenge and revise prevailing gender roles. Supernatural combines elements of divergent TV genres, traditionally associated with either male or female audiences. It opens up to gender hybridity through genre hybridity: by interweaving melodrama with horror and other “masculine” genres the show provides a fascinating example of Gothic television which questions any simplistic gender identifications.

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Smajic, S. "Supernatural Realism." Novel: A Forum on Fiction 42, no. 1 (March 1, 2009): 1–22. http://dx.doi.org/10.1215/00295132-2008-001.

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Riddle, Amy. "Nature and the supernatural in African literature." African Identities 18, no. 1-2 (April 2, 2020): 80–94. http://dx.doi.org/10.1080/14725843.2020.1773238.

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Engel, Amir. "Literature as Magic." Journal of Avant-Garde Studies 3, no. 1-2 (December 18, 2023): 122–41. http://dx.doi.org/10.1163/25896377-00301003.

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Abstract Magic and literature are mostly understood as mutually exclusive domains. Magic is taken to be part of religious life, an aspect of the human desire to overcome the order of things and strive for the supernatural. Literature, on the other hand, is commonly described as an artistic endeavor and thus associated with secular art and culture. For this reason, it is possible to read about magic in literature, but it is very rare to read literature as magic. This article aims to reverse that trend. It entails a contextual and critical discussion of Carl Einstein’s 1912 novel Bebuquin oder die Dilettanten des Wunders, suggesting that this novel is best understood as magic, that is, as a sincere and radical attempt to reach the supernatural and transform the present. The article also suggests that the avant-garde is precisely the context for a renewed appreciation of literature and religion.

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Evans, Arthur B. "Dorothy Scarborough. Supernatural Science." Science Fiction Studies 48, no. 2 (2021): 193–217. http://dx.doi.org/10.1353/sfs.2021.0043.

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Sommer, Joseph, Julien Musolino, and Pernille Hemmer. "The Memorability of Supernatural Concepts: Some Puzzles and New Theoretical Directions." Journal of Cognition and Culture 22, no. 1-2 (March 11, 2022): 90–135. http://dx.doi.org/10.1163/15685373-12340126.

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Abstract We evaluate the literature on the memorability of supernatural concepts (e.g., gods, ghosts, souls), itself part of a growing body of work in the emerging cognitive science of religion (Barrett, 2007). Specifically, we focus on Boyer’s (1994a, 2000, 2001) Minimally Counterintuitive (MCI) hypothesis according to which supernatural concepts tap a cognitively privileged memory-enhancing mechanism linked to violations of default intuitive inferences. Our assessment reveals that the literature on the MCI hypothesis is mired in empirical contradictions and methodological shortcomings which makes it difficult to assess the validity of competing theoretical models, including the MCI hypothesis itself. In light of this fractured picture, we make the case for an account of the MCI effect which dispenses with a memory mechanism specific to supernatural concepts. This account has several desirable properties. First, it preserves Boyer’s pioneering insights regarding the ontological status of supernatural concepts and the cognitive mechanisms that give rise to their cultural prevalence. Second, our account is based on independently-motivated mechanisms that are well-established in the literature. Third, this account offers a principled resolution of the tension in the extant literature between studies that do replicate the MCI effect and those that seemingly fail to do so. Finally, because the proposed mechanisms are not specific to supernatural concepts, the scope of the MCI effect may be extended to account for a broader range of highly transmissible concepts than those it was originally intended to explain. We conclude with a set of theoretical and methodological prescriptions designed to guide future research on the memorability of supernatural concepts.

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Accad, Evelyne, Ghada Samman, and Issa J. Boullata. "The Square Moon: Supernatural Tales." World Literature Today 73, no. 4 (1999): 811. http://dx.doi.org/10.2307/40155267.

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Cameron, Ed. "Psychopathology and the Gothic Supernatural." Gothic Studies 5, no. 1 (May 2003): 11–42. http://dx.doi.org/10.7227/gs.5.1.2.

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Hughes, William. "The Haunted Mind: The Supernatural in Victorian Literature (review)." Victorian Studies 44, no. 1 (2001): 131–33. http://dx.doi.org/10.1353/vic.2001.0139.

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Finley, James. "The Victorian Supernatural (review)." Victorian Periodicals Review 38, no. 1 (2005): 108–10. http://dx.doi.org/10.1353/vpr.2005.0004.

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Rahmani, Gulrahman, and Sayed Mojtaba Nayel. "Magic Realism and Fantastic in Contemporary Literature." International Journal of Middle Eastern Research 3, no. 1 (January 6, 2024): 01–03. http://dx.doi.org/10.32996/ijmer.2024.3.1.1.

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Magical Realism and Fantastic are two widely used concepts in contemporary literature. Fantastic is such fiction that blends the realities of our physical world with the supernatural in an indistinguishable manner, with the aim of leading minds of varying abilities on different trails. Both are used in combination to complete the novel. The reader is amazed by the inability to differentiate between real life and the world of fantasy. In Magical Realism, as the name implies, magic, history, fiction and myths are employed. The characters often possess supernatural abilities. It is often mistaken for imaginary realism. The main difference between the two is that in Fantastic, the characters feel shocked and horrified by the happenings, as in Harry Potter’s series, where the sudden disappearance of ‘the mirror’ causes shock. By contrast, in magical realism, the characters tend to react to the occurrence of magic. Another important point is the relation of both to scientific fiction, where events are analyzed on the basis of facts and scientific development in order to enable humans to face life intelligently.

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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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Thamizhazhagan, D., and D. Deviga. "An Exploration on Poetic and Supernatural Element in the Bride of Lammermoor By Walter Scott." Shanlax International Journal of English 8, no. 3 (June 2, 2020): 65–67. http://dx.doi.org/10.34293/english.v8i3.3194.

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This research article investigates the poetic and supernatural representation in the literature of Walter Scott. His teaching, and antiquarian skills into his investigation of the possibilities of the survival, of the supernatural elements. The ballads and an unlettered legends tradition that appear to confirm his position as a believer in superstitious and irrational practices. This article will argue that Hogg possesses a shrewd and sophisticated understanding of the authority of the supernatural. This is visible in his hard literary work to evidence and looks into various types of uncanny evidence when compared with those of Scott.

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Nesterik, Ella V., and Maiya A. Kazbekova. "Supernatural Horror in English Literature and Means of it Realization." European Researcher 86, no. 11-1 (November 10, 2014): 1944–49. http://dx.doi.org/10.13187/er.2014.86.1944.

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Franklin, J. Jeffrey. "The Merging of Spiritualities: Jane Eyre as Missionary of Love." Nineteenth-Century Literature 49, no. 4 (March 1, 1995): 456–82. http://dx.doi.org/10.2307/2933729.

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This essay analyzes the discourses of spirituality represented in Jane Eyre within the context of the Evangelical upheaval in the Britain of Charlotte Brontë's childhood and the mixing of supernatural with Christian elements in the "popular religion" of early-nineteenth-century British rural society. In addition to a dominant Christian spiritualism and a supernatural spiritualism, however, a third discrete discourse is identified in the text-the discourse of spiritual love. The novel stages a contest between these three competing discourses. Christianity is itself conflictually represented, being torn between the repressive, masculine Evangelicalism of Mr. Brocklehurst and the healing communion (among women) represented by Helen Burns and the figure of "sympathy." The supernatural is equally conflicted: it is shown to empower Jane and to be a necessary vehicle for bringing Christian discourse in contact with the discourse of spiritual love, but then it is denied and left, like the madwoman in the attic, as the excluded term. Finally, spiritual love is offered by the text as that which solves these contradictions, revising and merging Christianity and the supernatural to produce a rejuvenated spirituality, one that fosters what is conceived of as the "whole" person, her need for mutual human relationship, her spiritual needs, and her desire.

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Walker, Pierre A. "Book review: The Supernatural and English Fiction." Henry James Review 18, no. 2 (1997): 204–6. http://dx.doi.org/10.1353/hjr.1997.0014.

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Caputo, John D. "The Theopoetic Reduction: Suspending the Supernatural Signified." Literature and Theology 33, no. 3 (September 1, 2019): 248–54. http://dx.doi.org/10.1093/litthe/frz018.

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Abstract Theopoetics represents a reinterpretation of theology which relieves it of its supernaturalism and thereby allows theology to adopt its proper discursive mode and find its proper truth. In theopoetics, the classical distinction between the natural light of reason and the supernatural light of revelation is reinterpreted as a distinction between a prosaic discourse and a poetic one. In the language of phenomenology, a theopoetics is made possible by an epoche which suspends the supernatural attitude in order to allow us to adopt the theopoetic attitude, by a reduction of the supernaturalism in theology which leads us back (reducere) to the matter itself (die Sache selbst) of theology, which is the poetics. The poetics is an alternate discourse which brings to words the lived experience of the call by which we are addressed in the narratives and songs, the figures and the forms of theology’s founding texts. The reduction releases these texts from the grip of supernatural assumptions by which they are mystified and distorted. It releases the proper power of these images and narratives, which is not magical or supernatural, but strictly, rigourously theopoetic.

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Brickey, Russell. "Poe’s Dark Sublime and the Supernatural." English Studies 100, no. 7 (October 3, 2019): 785–804. http://dx.doi.org/10.1080/0013838x.2019.1672448.

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Cahyani, Irni. "Unsur Supranatural Dalam Teks Lamut �Kerajaan Palinggam�." Jurnal Hadratul Madaniyah 5, no. 2 (December 4, 2018): 13–30. http://dx.doi.org/10.33084/jhm.v5i2.884.

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Supernatural is above natural things, where supernatural is more aimed at natural phenomenon and is kebatinan culture / world. While the lamut is an oral literature performed by a single player (palanutan). The single player brings a certain story through the speech which in certain parts of his speech accompanied by a wasp of tarbanglamut. In this study, researchers examined the supernatural element in the text of the lamut "Palinggam Kingdom." This analysis yields the conclusion that the characters in the lamut text "Palinggam Kingdom" have supernatural powers, among others: 1) can transform themselves into birds, white walut, snakes, parents, mountains, beetles, and children; 2) can fly; 3) can make a very large boat of Balimbur Dragon; 4) can turn hair into arrows; 5) can stop the winds; 6) can make the god fall in the palm of the hand; 7) may disappear; 8) can rule the eagle; 9) can fight dragons, and 10) can kill giants.

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Alcatena, María Eugenia. "«Lo sobrenatural como impronta monástico-clerical en el Poema de Fernán González»." Revista de Literatura Medieval 29 (December 21, 2018): 43–58. http://dx.doi.org/10.37536/rpm.2017.29.0.69390.

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Resumen: Tomando la definición escolástica de lo sobrenatural como marco conceptual, el presente trabajo plantea un recorrido por los elementos sobrenaturales, o liminares con lo sobrenatural, presentes en el Poema de Fernán González. Se examinan, pues: las apariciones celestiales, los milagros en el campo bélico, las plegarias y las respuestas que estas reciben, los prodigios oscuros, la serpiente mágica, la partición del altar, la intervención de Dios y el diablo en la historia. Se considera especialmente su función y su sentido en el contexto general del relato, con la hipótesis de que estos elementos cumplen un rol fundamental en la reorientación monástico-clerical de la materia tradicional que se efectúa en el poema en cuaderna vía.Palabras clave: Sobrenatural, milagro, prodigio, magia, clerecía.Abstract: Adopting the scholastic definition of the supernatural as a conceptual framework, this paper proposes an analysis of the supernatural, or liminal with the supernatural, elements in the Poema de Fernán González. Therefore, the analysis comprises: the heavenly apparitions, the miracles in the war field, the prayers and the answers they receive, the dark prodigies, the magic serpent, the partition of the altar, the intervention of God and the devil in history. Their function and meaning in the overall context of the story is specially regarded, with the hypothesis that these elements play a fundamental role in the monastic-clerical reorientation of the traditional materials performed by the poem in cuaderna vía.Keywords: Supernatural, miracle, prodigy, magic, clergy.

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Gentile, Kathy Justice. "Sublime Drag: Supernatural Masculinity in Gothic Fiction." Gothic Studies 11, no. 1 (May 2009): 16–31. http://dx.doi.org/10.7227/gs.11.1.4.

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ATEŞ, Meryem, and Selcen ÇİFCİ. "EXTRAORDINARY MOTIF IN HAMZA-NAME VOLUMES (EXAMPLE OF VOLUME 53)." SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, no. 40 (November 15, 2023): 53–66. http://dx.doi.org/10.31567/ssd.1047.

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The aim of this study is to identify the motifs of phenomenality in Hamza-nāmes. The study is limited to volume 53. Hamza-nâmes, after the martyrdom of Hz. Hamza, were formed by the epicisation of the events describing his heroism among the Arabs. In the following years, the work moved from Arabic literature to Persian literature and moved away from the menâkıbnâme feature with the addition of extraordinary events. It was transferred to Turkish literature through Persian literature and became very popular among Turks. It is thought to have been transcribed during the transition period from the epic period, including the Old Anatolian Turkish period, to folk storytelling. This work, which comes from an oral tradition, is written in a simple and understandable language. While determining the extraordinary motifs in Hamza-nâmed, the criteria of the extraordinary item in Thompson's "Folk Literature Motif Index" were used. Thompson's "Motif Index of Folk Literature" is a comprehensive catalogue of motifs found in folk tales, myths and legends. This index provides a standard system for classifying various motifs and enables researchers to compare and analyse supernatural elements across different stories and cultural contexts. As a result of the study, a large number of supernatural elements were found in Hamza-nāme volume 53. The most striking one is the supernatural people. However, it has an important place for original works. These phenomena in the text are carried from cultural fields such as literature, theatre, museum, etc. to the nation and even to the world and constitute an important source of data.

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Pugliese. "What Does a House Want? Exploring Sentient Houses in Supernatural Literature." Preternature: Critical and Historical Studies on the Preternatural 9, no. 2 (2020): 299. http://dx.doi.org/10.5325/preternature.9.2.0299.

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Roazzi, Maira Monteiro, Carl N. Johnson, Melanie Nyhof, Silvia Helena Koller, and Antonio Roazzi. "Vital Energy and Afterlife: Implications for Cognitive Science of Religion." Paidéia (Ribeirão Preto) 25, no. 61 (August 2015): 145–52. http://dx.doi.org/10.1590/1982-43272561201502.

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Literature investigating people’s concepts of supernatural agency (such as ghosts and deities) points to an intuitive theory of mind underlying such ideas, however, recent studies suggest that intuitive ideas over vital energy could also be involved. The present paper focuses on examining the culture and development of people’s conceptions on vital energy. A search was made using the keyword vital energy targeting literature from Anthropology, Psychology and Cognitive Science. A literature review over this topic was made yielding reflections over the development of vital energy concepts. Results suggest that an intuitive biology, grounded on ideas of biological energy (vital energy), may underlie an understanding of soul, spirit, and supernatural energy. Future empirical studies should target the development of vital energy intuitive theories with different age ranges and cultures.

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Pulham, Patricia. "THE CASTRATO AND THE CRY IN VERNON LEE’S WICKED VOICES." Victorian Literature and Culture 30, no. 2 (August 27, 2002): 421–37. http://dx.doi.org/10.1017/s1060150302302031h.

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FOR MANY YEARS “VERNON LEE” (Violet Paget 1856–1935) has received scant critical attention. More recently, however, her eclectic oeuvre, and her literary stature amongst contemporaries such as Walter Pater, Henry James, and Edith Wharton have attracted increasing interest. Despite this, Lee’s collections of supernatural short stories remain relatively unexplored. With the notable exceptions of Carlo Caballero, Jane Hotchkiss, and Catherine Maxwell, who have used the richness of Lee’s language to examine the fascinating tensions that underlie these tales, little has been done to investigate the central importance of the aesthetic object in Lee’s fantasies and its wider implications in the context of the supernatural space. This essay intends to highlight the role played by the art object (in this case the operatic voice), and the significance of the supernatural in the development of Lee’s professional and private subjectivity.

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Forsyth, Neil. "Shakespeare and Méliès: Magic, Dream and the Supernatural." Études anglaises 55, no. 2 (2002): 167. http://dx.doi.org/10.3917/etan.552.0167.

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Knutson, Elizabeth M. "The Natural and the Supernatural in Zola'sThérèse Raquin." Symposium: A Quarterly Journal in Modern Literatures 55, no. 3 (January 2001): 140–54. http://dx.doi.org/10.1080/00397700109598538.

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Brennan, Zoe, Emma Liggins, and Gina Wisker. "Introduction: Spiritualism and the Supernatural, 1870–1925." Women's Writing 29, no. 2 (April 3, 2022): 153–60. http://dx.doi.org/10.1080/09699082.2022.2050504.

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Dhakal, Lekha Nath. "Fantasy in Literature: A Symbiotic Relation to the Real." Pravaha 26, no. 1 (June 1, 2020): 119–23. http://dx.doi.org/10.3126/pravaha.v26i1.41866.

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This article attempts to explore the use of fantasy in literature and how it has attained the position of a literary category in the twentieth century. This work also concerns how as the form literature, it functions between wonderful and imitative to combine the elements of both. The article reveals that wonderful represents supernatural atmospheres and events. The story-telling is unrealistic which represents impossibility as it creates a wonderland. In the imitative or the realistic mode, the narrative imitates external reality. In it, the characters and situations are ordinary and real. Fantasy in literature does not escape the reality. It occurs in an interdependent relation to the real. In other words, the fantastic cannot exist independently of the real world that limits it. The use of fantastic mode in literature interrupts the conventional artistic representation and reproduction of perceivable reality. It embodies the reality and transgresses the standards of literary forming. It normally includes a variety of fictional works which use the supernatural and actually natural as well. The developers of fantasy fiction are fairy tales, science fiction about future wars and future world. A major instinct of fantastic fiction is the violence threatened by capitalist violation of personality that is spreading universally.

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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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Chajes, J. H. "Re-envisioning the Evil Eye: Magic, Optical Theory, and Modern Supernaturalism in Jewish Thought." European Journal of Jewish Studies 15, no. 1 (November 19, 2020): 30–59. http://dx.doi.org/10.1163/1872471x-11411098.

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Abstract This essay is a case study in the modern emergence of the “supernatural.” I argue that pre-modern understandings of the evil eye were predominantly naturalistic, based on extramissionist, haptic concepts of vision. The need to believe in the evil eye first arises when sight becomes universally understood as the result of light entering rather than emerging from the eyes. In the Jewish context, rabbis then begin to develop alternative explanations for its existence and efficacy. These novel etiologies were, for the first time, supernatural. Furthermore, an under-appreciated consequence of the emergence of the modern category of the supernatural is here revealed: rather than signifying the opprobrium of rejected knowledge, for certain religious communities, its embrace has come to represent spiritual conviction.

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Butrvicha, Pittayaphol, Homhuan Buarabha, Niyom Wongphongkham, and Ratree Srivilai Bongsithiporn. "Worldview, Morality, and Rasa in Sithon Manora Literature." International Journal of Religion 5, no. 10 (June 1, 2024): 325–36. http://dx.doi.org/10.61707/e0qecd02.

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The study of Sithon Manora literature consisted of the following objectives: 1) to study the worldview in Sithon Manora Literature, 2) to study the morality in Sithon Manora Literature, and 3) to study the Rasa (emotive aesthetics) in Sithon Manora Literature. The research is qualitative with the following research tools, surveys, structured and non-structured interviews, and the Sithon Manora Literature (Major Version) by Phra Ariyanuwat Khemacharee. The data was analyzed based on the research objectives using Folklore Theory and presented through descriptive analysis. The research result shows that 1) three worldviews were found in Sithon Manora literature. Firstly, the worldview of people on people, emphasizing parents, teachers, spouses, friends, brahmins, and servants. It was believed that the reason people met one another in this life was because of their past karmas. Secondly, the worldview of people on nature. Nature is beauty, and the Isaan society relies on nature and Isaan people depend their livelihood on nature. Lastly, the worldview of people on the supernatural. Isaan people believe that supernatural beings impact people’s livelihoods. 2) The morality found in Sithon Manora literature consists of the Five Precepts, a set of teachings for people to do good deeds. It is used as an anchor for people’s actions and includes retributions for violating the precepts. And 3) Regarding the Rasa, in all the 68 episodes of the literature, four Rasas were perceived, including Saovarojanee (admiration), Nareepramot (love), Pirotvatung (anger), and Sallapungkapisai (sadness).

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GARCIA, KIER. "Filipino-Ness in Anna Felicia Sanchez’s “Martinés”." International Journal of Language and Literary Studies 4, no. 1 (March 27, 2022): 225–38. http://dx.doi.org/10.36892/ijlls.v4i1.825.

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Filipino-ness in cultural beliefs, cultural practices, personality traits, cultural values, and perception of mythical creatures and supernatural phenomena were the main concepts of the study. The research aimed to extract and analyze Filipino-ness in the story “Martinés” by Anna Felicia Sanchez. Content analysis, extraction of passages in the story through frame of references such as; characters, settings, conflict, and sensory imagery were used in the analysis of the story “Martinés”. Filipino-ness in cultural beliefs signifies that Filipinos are superstitious people for they tend to give attention and importance to some supernatural forces. Filipino ness in cultural practices reveals that Filipinos are traditional practitioners of offerings in the form of ritual activities. Filipinos are also practicing “Bayanihan”, especially during crucial times in their lives. Filipino-ness in personality traits shows that the Filipinos despite the problems are experiencing, still are determined and optimistic to surpass all hardships. Filipino ness in cultural values exemplifies the hospitality of the Filipinos to their visitors. Filipino-ness in the perception of mythical creatures and supernatural phenomena displays how Filipinos perceived supernatural forces and entities as an influence of their culture. The portrayal of the Filipinos as strong believers in superstitions is dominant in the story “Martinés”. This suggests that there are still Filipinos who give value to superstitions in this present time. Thus, the story “Martinés” is a vital reference in teaching aspects of Filipino culture in a literature class, which can be also a way to promote and preserve Filipino culture and literature.

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Bering, Jesse, and Dominic Johnson. ""O Lord… You Perceive my Thoughts from Afar": Recursiveness and the Evolution of Supernatural Agency." Journal of Cognition and Culture 5, no. 1-2 (2005): 118–42. http://dx.doi.org/10.1163/1568537054068679.

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AbstractAcross religious belief systems, some supernatural agents are nearly always granted privileged epistemic access into the self's thoughts. In addition, the ethnographic literature supports the claim that, across cultures, supernatural agents are envisioned as (1) incapable of being deceived through overt behaviors; (2) preoccupied with behavior in the moral domain; (3) punitive agents who cause general misfortune to those who transgress and; (4) committed to an implicit social contract with believers that is dependent on the rules of reciprocal altruism. The present article examines the possibility that these factors comprise a developmentally based, adaptive information-processing system that increased the net genetic fitness of ancestral human beings living within complex social groups. In particular, the authors argue that fear of supernatural punishment, whether in this life or in the hereafter, encouraged the inhibition of selfish actions that were associated with "real" punishment (and thus real selective impairments) by actual group members.

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Zalomkina, Galina V. "GOTHIC COMPONENTS OF SCIENCE FICTION’S GENEALOGY." VESTNIK IKBFU PHILOLOGY PEDAGOGY AND PSYCHOLOGY, no. 2 (2023): 43–59. http://dx.doi.org/10.5922/pikbfu-2023-2-5.

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Science fiction can be defined as the literature about cognizable unusual phenomena which represents hypothetical scientific, technical and social products of their rational exploration. Before the genre emerged, the subject of exploring the unusual was developed mainly in the field of mythological fiction, which became the basic element of Gothic literature. In Gothic, the features of science fiction began to form: in M. Shelley’s novel “Frankenstein, or the Modern Prometheus”, the motives of the supernatural are rationalized through the use of scientific and technical issues. The goal of the presented research is detecting the nature, methods and specifics of the transformations of the Gothic plot that led to the formation of the science fiction genre. It is achieved by the use of comparative, historical-genetic, hermeneutic, mythopoetic methods. Gothic literature reacted to the growing interest in scientific and technological progress by attempting to rationalize the elements of the supernatural plot: demons, werewolves, the living dead could be presented either as a result of experimentation or as an object of scientific exploration. In Russian literature, V. F. Odoevsky made a move from Gothic poetics towards long-term social, scientific and technological forecasting in a fiction text. The role of Gothic in the genesis of science fiction is clearly visible in the artistic world of H. P. Lovecraft who elaborated supernatural horror in the form of nonhuman manifestations of the indifferent Universe. The protagonist scientist is involved into the knowledge of it and, therefore, is put in the situation of a mythological cultural hero, reinterpreted in the coordinates of the plot of scientific research.

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Majidova, Ilaha Adil. "The conceptual interpretation of S. King`s literary heritage." SCIENTIFIC WORK 62, no. 01 (February 8, 2021): 159–61. http://dx.doi.org/10.36719/2663-4619/62/159-161.

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S.King is a modern American writer of supernatural, horror fiction, science fiction and fantasy. His works are powerful because he integrates his life experiences and observations into idiosyncratic stories. He uses a free style of writing. Generally By the help of supernatural beings, vampire, demon, insubstantial events he mystifies and shocks readers, confuses their minds. The writer’s psycho-emotional situation, inner world rebound his works. This article is devoted to the conceptual interpretation of S.King’s creativity. In his works he tries to show the depth of his imagination. Key words: modern American literature, fantasy, horror fiction, psycho-emotional creativity, mystical elements

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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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Lall, Nimisha. "Supernatural Narratives Entwined with The Subjugated Class- Mahasweta Devi and Charles Dickens." International Journal of English Literature and Social Sciences 8, no. 4 (2023): 125–28. http://dx.doi.org/10.22161/ijels.84.21.

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Supernatural events in narratives have been a part of literature since Shakespeare. There’s a new aspect added to it by the concept of ideology which is now getting interweaved with the subjugated class. People affected by supernatural events are taken for granted in society. In fact, they are marginalized to an extent where no one can help them. Their fate is unpredictable. The research paper takes two short stories completely different in their origin- Bayen by Mahasweta Devi and The Signal-Man by Charles Dickens. Mahasweta Devi’s Bayen illustrates life’s difficulty for those living on society’s margins. They are looked down upon and stripped of the basic tenets of humanity. Dickens molds his narrative where the supernatural elements find their place. Stripped of his name, the signalman is thrown much beneath his level of education. Focussing on the protagonists, the paper would aim to find solutions to free these characters of their plight.

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Obertová, Zuzana. "Slavic Mythology Lost in Fantasy." Narodna umjetnost 59, no. 2 (December 20, 2022): 119–32. http://dx.doi.org/10.15176/vol59no206.

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Slavic myths increasingly survive in people’s consciousness as supernatural elements or as literary characters rather than as real beliefs in their existence. Adult readers in Poland and Slovakia, for example, encounter Slavic supernatural beings in the fantasy literature book series such as Wiedźmin by Andrzej Sapkowski and Černokňažník by Juraj Červenák; however, literature cannot be expected to portray superstitions and demons in the same way as belief legends. Placing Sapkowski’s and Červenák’s works within the context of ethnographically recorded beliefs illuminates various aspects of intercultural and intertextual relationships within the literary setting. This article shows that there are several types of literary adaptation of Slavic myths: adaptation in accordance with folk beliefs, denial of superstitions, incorporating a folk myth in order to create an illusion, and using the name of a demon while also adding characteristics from other sources – especially from popular culture.

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Pedro, Dina. "‘We’re Going to Make You into a Proper Woman’: Postfeminist Gender Performativity and the Supernatural in <i>Penny Dreadful</i> (2014-2016)." Nordic Journal of English Studies 20, no. 1 (May 29, 2021): 194–214. http://dx.doi.org/10.35360/njes.533.

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Neo-Victorian Gothic fiction exploits the supernatural to achieve social and sexual emancipation for women, shaping the narrative into what Esther Saxey defines as the ‘liberation plot’ (2010). John Logan’s Penny Dreadful (2014-2016) explores how female characters transgress heteronormative gender roles with the assistance of supernatural forces. My main aim is to show how the series fails to grant the female protagonists a sense of feminist liberation, punishing them instead for their subversion of socially imposed gender acts. In applying Saxey’s (2010) and other supplementary approaches to gender emancipation, I analyse the female characters’ failed attempt at achieving it by unleashing their supernatural doubles. In doing so, I show that—in spite of Penny Dreadful’s apparent advocacy for female emancipation—its misogynistic vilification of vindictive women can be understood as part of the show’s postfeminist context of production.

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Nordin, Andreas, and Pär Bjälkebring. "The Counterintuitiveness of Supernatural Dreams and Religiosity." Journal of Cognition and Culture 21, no. 3-4 (October 14, 2021): 309–30. http://dx.doi.org/10.1163/15685373-12340114.

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Abstract One challenge for cognitive, evolutionary and anthropological studies of religion is to offer descriptions and explanatory models of the morphology and functions of supernatural dreaming, and of the religiosity, use of experience, and cultural transmission that are associated with these representations. The anthropological and religious studies literature demonstrates that dreaming, dream experience and narrative are connected with religious ideas and practices in traditional societies. Scholars have even proposed that dreaming is a primary source of religious beliefs and practice (here labelled DPSR theory). Using Barrett’s coding system, we measured a high frequency of minimally counterintuitive dream content among Hindu Nepalese, and we aim to quantify (1) the relation between counterintuitive imagery and reported likelihood to communicate dreams in general and to religious experts, (2) the relation between counterintuitive imagery and reported religiosity, and (3) the proclivity to communicate SA dreams among those who are more or less religious. These aims will then be related to the broader topic of (4) possible explanatory value of DPSR theory, or versions thereof, by framing the issue at the level of cultural transmission, religiosity and credibility of religious dream representations in relation to MCI theory. The article mainly draws upon data from ethnographic research among Hindu Nepalese.

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Dowd, Marion. "Bewitched by an Elf Dart: Fairy Archaeology, Folk Magic and Traditional Medicine in Ireland." Cambridge Archaeological Journal 28, no. 3 (March 13, 2018): 451–73. http://dx.doi.org/10.1017/s0959774318000124.

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In Ireland the supernaturalsí(loosely translated as ‘fairies’) were strongly associated with thousands of archaeological monuments and natural places in the landscape, and many prehistoric artefacts were regarded as material culture of thesí. Such artefacts assumed an important role in popular religious practices, folk medicine and magic, most frequently to invoke cures for farm animals, but also to protect the homestead. Though little discussed in archaeological literature, the interpretation of prehistoric artefacts as potent objects from the supernatural world, and their ability actively to influence the well-being of livestock and the household, illustrates the rich and complex lives many archaeological artefacts assumed several thousand years after their initial manufacture, use and discard. The folk use of such artefacts as active agencies contrasts with the contemporaneous antiquarian collection and display of archaeological material as relics of ancient cultures.

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Bulla, Irene. "Negative Language and Apophatic Knowledge in Nineteenth-Century Fantastic Literature." Genre 56, no. 3 (December 1, 2023): 265–81. http://dx.doi.org/10.1215/00166928-10779291.

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Abstract This article analyzes the rhetoric of nineteenth-century fantastic fiction in order to situate the genre within the intellectual tradition of apophatic, or self-negating, discourse. Through a reading of Fitz-James O'Brien's “What Was It? A Mystery” (1859) and Ambrose Bierce's “The Damned Thing” (1893), two short stories that feature the same kind of supernatural phenomenon (a material ghost), the essay argues that apophasis can be used as a key to understand not only the rhetorical fabric of the fantastic genre but also its tropes and themes and its larger epistemological preoccupations.

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Peckham, Robert W. "Rhetoric and the Supernatural in the Novels of Charles Williams." Renascence 45, no. 4 (1993): 237–46. http://dx.doi.org/10.5840/renascence19934548.

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Chances, Ellen, Amy Mandelker, and Roberta Reeder. "The Supernatural in Slavic and Baltic Literature: Essays in Honor of Victor Terras." Slavic and East European Journal 36, no. 2 (1992): 228. http://dx.doi.org/10.2307/308969.

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Tulinius, Torfi H. "Grettir and Bjartur: Realism and the supernatural in medieval and modern Icelandic literature." Scandinavian-Canadian Studies 20 (December 1, 2011): 14–25. http://dx.doi.org/10.29173/scancan60.

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Masing-Delic, Irene, Amy Mandelker, and Roberta Reeder. "The Supernatural in Slavic and Baltic Literature: Essays in Honor of Victor Terras." Russian Review 49, no. 3 (July 1990): 323. http://dx.doi.org/10.2307/130159.

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Akinlotan, Mayowa. "Yoruba-Irish Literature: Intersection in the Language of Supernatural in Yeats and Soyinka." Crossroads. A Journal of English Studies, no. 23(4) (2018): 4–22. http://dx.doi.org/10.15290/cr.2018.23.4.01.

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May, Jill P. "Mystery in Children's Literature: From the Rational to the Supernatural (review)." Children's Literature Association Quarterly 27, no. 4 (2002): 232–33. http://dx.doi.org/10.1353/chq.0.1365.

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Journal articles on the topic 'Supernatural in literature'

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