Artículos de revistas sobre el tema "Horror literature - literary criticism"
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Tolbert, Jeffrey A. y Dawn Keetley. "Folk horror: An introduction". Horror Studies 14, n.º 2 (1 de octubre de 2023): 159–72. http://dx.doi.org/10.1386/host_00067_2.
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Our introduction to this Special Issue is premised on the fact that the rich critical work on folk horror has far from exhausted what can be (and needs to be) said about folk horror. There is a particular need for scholarship that extends its reach beyond Britain and for that which self-consciously interrogates, expands and complicates initial theoretical formulations of folk horror. There is a need, in short, for a ‘second wave’ of folk horror criticism that develops the first – that attends more specifically, for instance, to modes within folk horror (and folk horror as a mode), to the ways in which folk horror productions are rooted in particular places and regional lore, and to the ways in which those productions deploy literary, narrative, aesthetic, visual and acoustic strategies. There is also a need to identify and interrogate (in specific contexts) the key (defining) concepts of folk horror, especially the ‘folk’, folklore and horror – all three of which this introduction explores before it introduces the six essays in this Special Issue.
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Frolova, M. V. "Indonesian Yusuf and Zulaikha: Short Story “The Apple and the Knife” by Intan Paramaditha (2008)". Orientalistica 3, n.º 1 (29 de marzo de 2020): 247–62. http://dx.doi.org/10.31696/2618-7043-2020-3-1-247-262.
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The short story “Apple and Knife” (2008) by Indonesian writer Intan Paramaditha (born in 1979) is analysed within the comparative-typological framework of the Biblical and Quranic narrative about Yusuf and Zulaikha. The continuity of the motif transposition is traced from the literatures of the Middle East to that of the peoples of Nusantara who embraced Islam later. The intermediary was the Javanese Serat Yusup, which dates back to the 17th century. The literary skills and methods by Intan Paramaditha’s find their place somewhere in between the feminist literary criticism and horror stories. The deconstruction of some elements of the traditional narrative about Yusuf (e.g. the episode with the noble Egyptian women) makes the popular story to sound more meaningful to the readers of the modern Indonesian literature. In its turn, it sheds some light on the political and social developments of the “re-Islamized” island state of Indonesia.The author declares that there is no conflict of interest.
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Robbins, Bruce. "Not So Well Attached". PMLA/Publications of the Modern Language Association of America 132, n.º 2 (marzo de 2017): 371–76. http://dx.doi.org/10.1632/pmla.2017.132.2.371.
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Faultfinding is the fault that Rita Felski's The Limits of Critique attributes to literary criticism. Faultfinding is also, of course, what Felski's book spends most of its time doing. Had it not abandoned itself so completely to faultfinding, its central insight might have led it to do more interesting things. (The fact that these more interesting things are already being done by much socially engaged criticism is one obvious weakness of her argument, which puffs itself up by expanding its range of targets so as to take in nearly the whole profession and then, sensing a challenge, steps back in mock horror so as to suggest, “No, of course, I didn't mean that!”) As an example of these alternative, nonfaultfinding versions of critique, the book might have tried to explore the reasons the humanities are as susceptible as they are to the holier-than-thou self-righteousness that Felski both accuses and, however reluctantly, also personifies.
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Luboń, Arkadiusz. "Scalanie uniwersum. Krytyka translatorska pośród kontekstów recepcji przekładowej poezji H.P. Lovecrafta w Polsce". Krytyka przekładu i okolice, n.º 42 (29 de diciembre de 2021): 92–115. http://dx.doi.org/10.4467/16891864pc.21.019.14330.
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Consolidating the Universe. Translation Criticism among Contexts of Translational Reception of H.P. Lovecraft’s Poetry in Poland The article discusses the influence of translator’s criticism and other extra-textual factors on the translations of poetry by Howard Phillips Lovecraft. Since the very first renditions of his Fungi from Yuggoth sonnets by Jerzy Płudowski and Leszek Lachowiecki included in two anthologies of horror poetry, Polish versions of Lovecraft’s verses have always been modified in the process of interlinguistic transfer according to either sole preferences of the publishing houses and evaluations proposed by critics of the English originals or the translators’ reception of the previous Polish variants. In most cases these modifications resulted from more or less stereotypical visions of the American writer held by the translators and were aimed at establishing links to his other works already published in Poland (short stories, essays, letters). Thus effects of the semantic shifts, detectable also in the latest variants by Krzysztof Azarewicz and Mateusz Kopacz, can be referred to as consolidating the universe of the writer’s biographical legend and literary works which is more coherent in the Polish target texts than in the originals.
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Aygun, Ahmet Anil. "The Genealogy of Bram Stoker's Dracula". Technium Social Sciences Journal 9 (16 de junio de 2020): 651–60. http://dx.doi.org/10.47577/tssj.v9i1.961.
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British author of Irish origin, Bram Stoker’s gothic horror novel, Dracula is the most reputed and popular example of the vampire literature that first emerged in seventeenth-century poetry. The first of the two key concepts that this thesis analyzes is the concept of “meme”, which was coined by the British evolutionary biologist Richard Dawkins, that can be defined as a thought, symbol or application transmitted from one individual to another via oral, written and visual methods and means of communication within a culture, replicates itself, transforms, responds to selective pressures, and the second concept is the memetic evolution of the vampire into the character, Dracula by Bram Stoker in Romantic ballads and Victorian horror narratives within the context of Evolutionary Literary Criticism which was theorized by Professor Joseph Carroll. In this regard, the qualities of the vampire phenotype that the Dracula meme inherited some qualities from its antecedent works of vampire fiction through memetic heredity, setting and plot are examined, and the evolutionary process that literary vampire predecessor had undergone towards the Transylvanian, aristocratic, seductive, stereotypical vampire. Finally, in the appendix, the prequels, sequels, and spin-offs of Dracula to demonstrate that the Dracula meme has survived and thrived notwithstanding over a century after its first publication and the selective pressures, and subsist by copying itself.
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Goodrum, Michael y Philip Smith. "‘This is the end of the road for science’: The mad doctor in Cold War horror comics". Horror Studies 14, n.º 1 (1 de abril de 2023): 61–85. http://dx.doi.org/10.1386/host_00062_1.
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This article concerns the representation of scientists, doctors and other agents of reason in Cold War horror comics. Such figures, we demonstrate, are typically represented as misguided, blind to the dangers of their creations or knowingly malevolent. The manifestation of this trend in the 1950s can be understood as a facet of the larger programme of post-Second World War social criticism found in the genre. When horror comics returned after the revision of the Code in 1971, some aligned with the anti-psychiatry movement. These comics portray scenarios in which the discovery of things man was not meant to know extends beyond weapons of war to the human psyche and where psychology as a discipline serves as a repressive apparatus interested primarily in the preservation of social norms rather than the emotional health of patients.
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Correoso-Rodenas, José Manuel. "Poe's Academic Editions in Spain within the First Fifteen Years of the Twenty-First Century". Edgar Allan Poe Review 17, n.º 2 (1 de noviembre de 2016): 161–77. http://dx.doi.org/10.5325/edgallpoerev.17.2.161.
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Abstract The purpose of this article is to show how the academic studies on Poe have been developed during the first fifteen years of the twenty-first century in Spain. To achieve this goal, the critical editions of Poe's works published from 2000 on, along with the works of literary criticism composed around Poe's life and works, will be analyzed. The year 2009, with the celebration of Poe's two-hundredth anniversary, was a turning point where many works were produced and many scholars focused on the works of Poe. Many books, articles, and new editions were produced in every research field; but they were not the only ones who made this effort of paying attention to Poe: Spanish students also got involved in some of the activities that took place during this year. Short stories, poems, Poe's life and travels, his influence in later authors on both sides of the Atlantic, and many other aspects were explored. This article will try to offer an overview of all these new publications and how they were received by the Spanish audience, being acquainted the idea that Poe was (and he is still) unknown for most Spaniards, who only have heard of him as an author of horror stories.
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Hantke, Steffen. "Academic Film Criticism, the Rhetoric of Crisis, and the Current State of American Horror Cinema: Thoughts on Canonicity and Academic Anxiety". College Literature 34, n.º 4 (2007): 191–202. http://dx.doi.org/10.1353/lit.2007.0045.
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Serravalle de Sá, Daniel. "Gótico brasileño: el cine de Walter Hugo Khouri y José Mojica Marins". Catedral Tomada. Revista de crítica literaria latinoamericana 9, n.º 17 (10 de enero de 2022): 177–96. http://dx.doi.org/10.5195/ct/2021.516.
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This paper seeks to connect the concepts of “terror” and “horror” proposed by Gothic novelist Ann Radcliffe to films by Brazilian directors Walter Hugo Khouri and José Mojica Marins. It will be discussed here how such concepts manifest themselves in the national context and in which senses, trapped somewhere between repetition and difference, Khouri and Mojica’s films can be deemed expressions of a Brazilian Gothic. Stemming from elements derived from Anglo-American criticism, but, highlighting the different meanings that these elements gain in Brazil. To interpret Brazilian films in the light of the Gothic means addressing the issue of “construction of meaning” in national history, as the Gothic has the potential to revive old traumas and generate discussions about specific social contexts.
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Malykh, Viacheslav Sergeyevich. "HYBRID SPECULATIVE FICTION AS A GENRE PHENOMENON IN MODERN LITERATURE OF THE U.S. AND RUSSIA". Russian Journal of Multilingualism and Education 14 (28 de diciembre de 2022): 79–85. http://dx.doi.org/10.35634/2500-0748-2022-14-79-85.
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The article is devoted to theoretical exploration of modern hybrid speculative fiction. This term comprises a huge body of creative works which are written at the intersection of genres related to speculative prose. On the one hand, hybrid speculative fiction is rooted in post-modern epoch, on the other hand, it returns to the principles of hybrid genre genesis, which flourished at the beginning of the 20th century. The tendency to genre eclecticism is a common feature of a great number of modern creative works and seems to be an efficient way out of conceptual crisis emerged in speculative fiction at the close of the 20th century, that is why the future development of speculative fiction is expected to be closely connected with the expansion of hybrid genre forms. The overall goal of the article is to scientifically comprehend hybrid genres in modern speculative fiction of the United States and Russia. The investigation of hybrid speculative fiction as a genre and cultural phenomenon leads to setting three goals. Firstly, it is necessary to determine genre taxonomy of such genres of traditional speculative fiction as science fiction, fantasy, and horror. Secondly, it is necessary to investigate genre-forming models, which underlie modern hybrid works. Thirdly, it is important to understand common features of the works of hybrid speculative fiction. The study of the genre interaction in modern speculative fiction is based on the descriptive and functional methods. The comparison of Russian and American works involves the use of comparative, typological and cultural-historical methods. Using the genre blocks common for both literary criticism, readers’ expectations and publishing practice, it is possible to identify such genre-forming models of hybrid speculative fiction, as: science fiction+fantasy; science fiction+horror; fantasy+historical novel; fantasy+postmodernist novel. It is also possible to sum up such common features of the works of hybrid speculative fiction, as: irrational world outlook; distortion of the very structural basis of traditional science fiction; shift of sociocultural model of world outlook; polyphonic principle of narration and potentially an endless unravelling of the plot without a pronounced climax; postclassical narrative model; the complexity of storyline. To conclude, modern hybrid speculative fiction can be treated as a separate literary and sociocultural phenomenon in the literature of the U.S. and Russia. It destroys inner canons of traditional science fiction, it is deeply influenced by post-modern cultural paradigm, and could be described as a significant cultural movement, which is aligned with demands and values of modern society.
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Лисанець, Юлія Валеріївна, Олена Миколаївна Бєляєва y Інеса Віталіївна Роженко. "МОТИВИ ЕПІДЕМІЇ ТА ПАНДЕМІЇ В ЛІТЕРАТУРНО-МЕДИЧНОМУ ДИСКУРСІ ПРОЗИ США". Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 1, n.º 99 (2022): 69–84. http://dx.doi.org/10.34142/2312-1076.2022.1.99.05.
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The aim of this research is to examine the narrative representation of epidemics in the 20th century U.S. literature, using the methods of narratological analysis and receptive aesthetics. The study relies on the corpus of the 20th century U.S. novels: Scarlet Plague (1912) by Jack London, Earth Abides (1949) by George R. Stewart, I am Legend (1954) by Richard Matheson, The Stand (1978) by Stephen King, Contagion (1996) by Robin Cook, and Darwin’s Radio (1999) by Greg Bear. The aspects of epidemic representation in fiction have been studied using modern literary criticism research in the areas of narratology and receptive aesthetics, which determines the relevance of the present paper. The motif is rooted in the 19th-century Romantic literature (E.A. Poe’s fiction); it acquires further extensive development in the 20th century science fiction, horror, post-apocalyptic (dystopian) and contemporary medical thriller genres. In the second half of the 20th century, by using the motifs of epidemic and pandemic, the writers contemplate upon the issues of science, its capacities, limitations and potential hazards. In the frame of examined novels, the pandemic topos serves as a tool for «reloading» the human population on earth, «resetting» humanity and bringing it back ad fonts. It also acts as a reminder about the dangers of negligence and misuse of research advances. In such a manner, the authors caution the readers against the potential dangers of the 20th-century advances. In the light of COVID-19 pandemic, the study of the literary depiction of this motif in national literatures and different historical periods becomes especially relevant, because it allows us to re-consider this phenomenon and thus to try to help the mankind to learn one's lesson and perhaps avoid similar calamities in the future.
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Dockray-Miller, Mary. "Afrisc Meowle: Exploring Race in the Old English Exodus". PMLA/Publications of the Modern Language Association of America 137, n.º 3 (mayo de 2022): 458–71. http://dx.doi.org/10.1632/s0030812922000281.
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AbstractAn Afrisc meowle (“African woman”) appears at the end of the Old English Exodus, a poem ostensibly celebrating religious freedom, migration, and divine justice. Amid the Hebrews’ final celebration, the explicit inclusion of the Afrisc meowle's racial difference from the Israelites exposes the horror and violence of the aftermath of war; a focus on her also invites questions about the poem's early medieval audience and how that audience could have understood her, especially since she does not appear in the source text of the Hebrew Bible. The scant critical analysis of this remarkable figure tends to provide a brief exegetical explanation before moving into more secure critical territory. My analysis of the Afrisc meowle reveals the limitations of source study and exegetical criticism for Exodus and for the field of medieval studies; she thus serves as a case study for this deeper theoretical problem in the field.
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Manizza Roszak, Suzanne. "Laughing at Vampire Novels: Gothic Horror, Teen Girl Agency, and the Old and New Northanger Abbey". Anglia 141, n.º 4 (28 de noviembre de 2023): 604–23. http://dx.doi.org/10.1515/ang-2023-0035.
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Abstract Although casual readers of Northanger Abbey often still interpret the novel as a straightforward parody of the Gothic, a range of critics have pinpointed the realistically Gothic horrors that do reside in Austen’s narrative. This essay applies a similar lens to crime novelist Val McDermid’s understudied and underappreciated retelling of Northanger Abbey, arguing that the new version of Austen’s text employs the form of Gothic writing in which the most horrifying types of violence are gendered everyday injuries: experiences of gaslighting and denials of physical and verbal agency. Responding to reviewer criticism that has painted the new Northanger Abbey as pointlessly derivative, I also argue that McDermid innovates on Austen’s original narrative by refiguring the novel’s conclusion, giving her version of Catherine Morland an assertive voice with which to resist Gothic psychological violence. In this reimagined ending, the figure of General Tilney becomes defined by his anti-queer bigotry, highlighting the gothicism of pathological heteronormativity and the importance of intersectional approaches to feminist resistance. Grasping how McDermid’s Gothic approach both echoes and innovates on the rich complexities of Austen’s novel is key to recuperating this contemporary text.
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Osminina, E. A. "Solovyov’s China and its influence on his contemporaries". Solov’evskie issledovaniya, n.º 2 (30 de junio de 2020): 23–42. http://dx.doi.org/10.17588/2076-9210.2020.2.023-042.
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The article examines the influence of V.S. Solovyov on the writers and poets of the Silver age. On the material of the works of Solovyov, related to the «сhinese theme»: the articles «Russia and Europe», «China and Europe», «Japan», «The enemy from the East»; the review of the first volume of works by E.E. Ukhtomsky; the poems «Panmongolizm» and «Dragon»;the tractate «The three conversations about war, progress and the end of world history»; the letter «About the recent events», – is evaluated his influence on D.S. Merezhkovsky's articles: «Yellow-faced positivists», «The coming ham», V.I. Ivanov's articles «Russia, England and Asia», «Inspiration of horror», V.M. Doroshevich's story «Goddess», V.V. Veresaev's story «Under the cedars»; «Chinese poems» and the articles of V.J. Bryusov. The political context of the works, the tradition of depicting China in Russian literature, literary and sinological works on this topic are taken into account. The comparative analysis of texts, the coincidence of a number of theoretical positions, and separate definitions and epithets are revealed. The numbers of Solovyov's positions are revealed, which are reflected in the works of Merezhkovsky and Ivanov: materialism and positivism of the Chinese, the «emptiness» of their philosophy, the denial of life and progress, the «yellow danger», the need for the Christianization of China (the last position in Merezhkovsky is not). Doroshevich's story, written at the height of the ikhetuan rebellion («boxer rebellion»), was influenced by the philosopher's eschatological prophecies. The negative image of China in the poetry of V.J. Bryusov is the textual confirmation of the influence of Solovyov, noted by modern literary criticism.
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Kolchanov, Vladimir V. y Svetlana A. Kosyakova. "To the sources of the motive of mass psychosis in M.A. Bulgakov’s novel “The Master and Margarita”". Neophilology, n.º 2 (2022): 312–23. http://dx.doi.org/10.20310/2587-6953-2022-8-2-312-323.
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The aim of the work is to analyze the motive of mass psychosis in the novel “Master and Margarita” by M.A. Bulgakov. It is relevant nowadays, when the tendency of close study of madness motive in the writer's works as a particular case of madness motive in Russian literature is outlined in literary criticism. The subject of the research is the consideration of this motive as a technique of parody, creating a unique satirical palette of the sociopolitical life of the country in the era of 1920–1930. Therefore, the methodology of the article includes, along with traditional historical, cultural and mythopoetic approaches, a psychographic commentary. As a result, sources from various humanitarian spheres of human activity are involved in the analysis: fiction, historiography, cultural studies, religion, and psychiatry. Among them: a methodological guide to organizing mass singing “Mass Feasts” (1927) by E.F. Ryumin, , the history of burials in the Vagankovo Cemetery “Men of the Forties” (1869), the novel by A.F. Pisemsky and the related ideology of early twentieth-century literary movements (Symbolism and Proletkult), I.S. Lukash’s emigrant novel “Devil” (1922), a journal version of N. Ognev’s (M. G. Rozanov) novel “Diary of Kostya Ryabtsev” (1926–1928), work by English religion historian D. Robertson “Primordial Christianity” (Russian translation 1930), and N. Kalashnikov’s essay “The Count Cagliostro, the Sorcerer of the Last Century” (1893). Particular emphasis is placed on the psychiatric practice of subduing violent patients. It is concluded that to recreate the motive of mass hysteria Bulgakov’s parody goes from high to low, from laughter to a stamp of horror on the face.
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Solis, Luis. "Three Voices in the Wake of an Earthquake". University of Bucharest Review. Literary and Cultural Studies Series 9, n.º 2 (19 de noviembre de 2020): 34–43. http://dx.doi.org/10.31178/ubr.9.2.4.
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Like practically every single country, Mexico has had its fair share of pain and trauma. Bloodshed and utter devastation are rife in Mexico’s modern history. To civil wars and —in recent years— drug-related violence, one has to add the destruction and horror caused by earthquakes. The seism that devastated Mexico City on the 19th of September was the most destructive and painful in living memory. As an uncanny coincidence, also on the 19th of September, but in 2017, another earthquake hit the capital. Perhaps not surprisingly, Mexican novelists and poets have written profusely about their country’s long history of seismic destruction. Poet and journalist Manuel Gutiérrez Nájera —who ushered Mexican letters into Modernism— chronicled the earthquake of the 2nd of November 1894. For his part, Juan Rulfo — arguably Mexico’s most important fiction writer of the twentieth century— penned the “The Day of the Earthquake”, included in his collection of short stories The Plain in Flames, published in 1953. Rulfo uses a natural disaster and its toll as a metaphor for the unbridgeable gap between the political elites and the dispossessed. Finally, José Emilio Pacheco published a series of poems on the 1985 earthquake, the aftermath of which was felt not only in terms of human suffering, but also as a watershed event that ultimately resulted in social and political upheaval. An idiosyncratic brand of humour, trenchant criticism, and a sense of the ineffable before the enormity of utter devastation are some of the ways three of Mexico’s best poets and writers have found to cope with catastrophe and trauma.
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Glouberman, Mark. "Middleman: Homer's Philosophical Rhapsody". Philosophy and Literature 47, n.º 2 (octubre de 2023): 407–20. http://dx.doi.org/10.1353/phl.2023.a913814.
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Abstract: Although the Iliad is typically approached as a version of, say, Catch-22 , the epic is not about armed conflict and its horrors. The war at Troy serves the poet as a metaphor for life. Advanced in the hexameters is an account of the genesis, and a defense, of the humanist view that men and women occupy an autonomous place midway between clods and gods. Plato's harsh criticism of Homer's work comes into focus once Achilles's transformation is interpreted along these philosophical lines. Homer is rejecting what Plato, who flattens human reality and calls it justice, endorses.
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Katsouli Pantzidou, Lydia. "Jekyll, Hyde and the Victorian Construction of Criminal Working-Class Masculinities". ATHENS JOURNAL OF LAW 7, n.º 2 (31 de marzo de 2021): 233–52. http://dx.doi.org/10.30958/ajl.7-2-6.
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Violent crime has long been associated with ideas of insane and/or intrinsically dangerous masculinities in the global north. Victorian Gothic literature, generated during a period when positivist discourse around dangerousness, madness and crime was gaining in authority and coherence, provides particularly useful insights into the narratives underpinning these associations. This paper focuses on the Strange Case of Dr Jekyll and Mr Hyde (1886), which, being a work of cautionary horror written during an era of powerful cultural fascination with violent urban crime is particularly rich in such discourse. A range of methodological tools borrowed from literary criticism, legal studies and discourse analysis turn Stevenson's novella into a penetrative lens to examine the anxieties of 19th century medico-legal thinking. The many layers of the Jekyll-Hyde binary are analysed along a series of other relevant binaries that characterise many Victorian narratives around crime: reason against insanity, normativity against deviance, and respectable bourgeois masculinities against uncontrollable working-class masculinities, whose savage sexuality poses a threat to social order. Contextualised historically as part of the wider fin de siècle preoccupation with degeneration theory, as well as legally, having followed a long series of legislative and policing moves to control the disconcerting underclasses amassing in urban spaces, the Strange Case of Dr Jekyll and Mr Hyde arises as a uniquely informative testament of the profound contradictions of a terrified post-Industrial Revolution Europe – what Moretti (1982) would call a dialectic of fear. Narratives such as the ones unfurling in the Strange Case are not, however, taken as mere reflections of the activities and anxieties of the Victorian medico-legal apparatus. Rather, this paper finds that the tensions permeating the novella constitute elements of a wider narrative construct whose main achievement was the validation and naturalisation of a deeply rigid social taxonomy, justifying the exertion of social and legal control upon populations inscribed as monstrous and Other. Keywords: Law and Literature, Criminology, Victorian Studies, Masculinities, Legal Psychiatry
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Anastasova, Maria. "THE IDEA OF THE BAD PLACE IN EDGAR ALLAN POE’S “THE FALL OF THE HOUSE OF USHER” AND IN STEPHEN KING’S “THE SHINING”". Ezikov Svyat volume 18 issue 2, ezs.swu.v18i2 (30 de junio de 2020): 85–89. http://dx.doi.org/10.37708/ezs.swu.bg.v18i2.11.
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The article deals with the idea of the bad place as a characteristic feature of the horror genre. Its aim is to explore the function of two buildings that epitomize this idea in two literary works from different periods of American literature: the Usher mansion from Edgar Allan Poe’s The Fall of the House of Usher (1839) and the Overlook Hotel from Stephen King’s The Shining (1977). The two architectural structures reveal various undercurrent meanings that lead to the conclusion that the haunted place in the gothic genre may serve purposes rather different than creating horrific atmosphere and triggering emotions like fear and suspense. By binding their characters to a specific building the two authors not only trap them and put them in isolation, but they also reveal certain psychological states or criticize the society. In Poe’s short story the crumbling mansion is obviously a reflection of the unstable mind of the narrator as the author employs his usual method of using architecture to speak about psychology. In The Shining the hotel unleashes evil powers because of its sinful history. Thus a critical look at the society is provided. In both cases the architectural structures are destroyed in the end. However, although the two buildings can be taken as symbols of evil, their identical fates may be interpreted differently in each context.
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Borzova, Mariia. ""IN A TANGLED MORASS OF DEFINITIONS AND PERMUTATIONS THAT GROWS AS RELENTLESSLY AS THE FUNGUS IN «THE HOUSE OF USHER»": ATTRIBUTIVE FEATURES OF THE HORROR GENRE". Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, n.º 33 (2022): 16–23. http://dx.doi.org/10.17721/1728-2659.2023.33.03.
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The theorizing of literary horror is characterized by constant change, and as it evolves it provides more insightful models of interpretation. As David Hartwell, one of the key theorists in the field, states in "The Dark Descent: The Evolution of Horror" (2001), horror has reached that point of development where we can finally appreciate its achievements. In literary criticism, scholarships devoted to the horror genre began to appear as early as the 1920s. Since then critical thought has been dealing with disagreements regarding its definition. In particular, the theory of horror operates such terms as "dark fantasy", "mystery story", "horror story", "gothic story", "story about the supernatural" and others, and they are often used as synonyms. Consequently, there is a need to clarify the definition of horror and its collocations, at least in those studies which have a theoretical component as a key one. While the definition of horror is still a matter of discussion, there is a consensus view on the genre’s key distinctive feature: creating a certain mood throughout the textual tissue. Particularly, a famous literary scholar John Cuddon claims that horror "shocks", "frightens", "induces a feeling of repulsion or loathing" (The Penguin Dictionary of Literary Terms and Literary Theory, 2014). Douglas E. Winter concurs with this statement while affirming in his introduction to the anthology "Prime Evil" (1989) that horror is not only a genre but an emotion. Hence, it is critical to identify the ways in which the emotion of horror is constructed in composition, plot mechanics and characterization, as well as outline specific linguistic and stylistic features of horror texts. This paper deals with the theoretical aspects of horror as it aims to refine its attributive features within the interest of literary criticism. We analyzed a variety of definitions of horror across various disciplines, in diachrony and synchrony, and proposed a definition that can be appropriated in literary horror studies.
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Eremin, Vladimir. "Reviewers of “The Edinburgh Review” in the First Third of the 19th Century: Touches to a Collective Portrait". ISTORIYA 14, n.º 12-2 (134) (2023): 0. http://dx.doi.org/10.18254/s207987840028916-6.
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In 1802, the first issue of the literary and critical magazine “The Edinburgh Review” was published. Detailed anonymous reviews quickly gained popularity among the reading public and provoked the appearance of similar reviews. At the same time, statesmen, scientists, writers and publicists were behind the publications. The founders of the new magazine were young Edinburgh lawyers F. Jeffrey, F. Horner, H. Brougham and the Anglican priest S. Smith. Most of the reviewers were Scots who studied at local universities, where their teachers were often prominent representatives of the Scottish Enlightenment. They attended scientific societies and clubs, sympathized with the Whigs, and pursued careers in law, politics, universities, and literature. Many were well acquainted with representatives of the political establishment, and some, like S. Smith, even had family ties with them. The reviewers were united by the bonds of long-term friendship, often common views on socio-political processes, as well as participation in various joint ventures in addition to book criticism. Although this did not cancel out possible disagreements, which, however, did not make the critics sworn enemies. These circumstances make it possible to see in the group of authors a kind of community, which is based on similar ideas and numerous social connections, in addition to the formal writing of reviews. The common features in the biographies of the founders of the review and its authors allow us to take a broader look at the social, political and cultural processes in Great Britain at the end of the 18th — first third of the 19th centuries.
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Inomovna, Mirzaeva Zulkhumor. "Literary-social Interpretations of the ‘Stagnation’ Period in 20th Century Uzbek Literature". International Journal of Linguistics, Literature and Translation 7, n.º 4 (1 de abril de 2024): 01–09. http://dx.doi.org/10.32996/ijllt.2024.7.4.1.
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The period from the 1960s to the 1980s under Brezhnev is stamped in history, both Soviet and Uzbek, as “stagnation.” Particularly for Uzbekistan, this period is known for such stigmatized events as the “cotton” or “Uzbek” scandal – the investigation into Uzbek First Party Secretary Sharaf Rashidov (1917-1983) for misrepresenting cotton harvest results during his twenty-four-year tenure – and the Afghan war (1979-1989). The experience of striving to save the nation from the aggressive system and stereotypes of society, from the "values" of slavery and subordination, is reflected in some examples of 20th-century Uzbek literature. The most prominent figures in XX Century’s Uzbek literary history, Said Ahmad (1920-2007) in his novel Silence (Jimjitlik, 1988) and O‘tkir Hoshimov (1941-2013) in Lives Passed in Dream (Tushda kechgan umrlar, 1992) fell apart from the literature written as the Soviet Union describes the events of this period through a prism of moral monikers. Their understanding of their place in the world has always been through their connection to the nation. Social anxiety for them is inextricably linked to artistic anxiety and vice versa. Writers took it upon themselves to unmask the sins associated with this period, such as “two-facedness” (qiyofasizlik), bribery, fraud, cruelty, and bloodthirstiness (in reference to the Afghan war). The novels focusing on the “stagnation” period played an important role in transforming these moral criticisms of Soviet rule into criticisms of Soviet rule as colonial exploitation and serve as an attempt to unmask the horrors and misdeeds behind Soviet officialdom that have long gone unnoticed. In this paper, I will examine some of those moral constructions and how they framed the period in the minds of post-Soviet Uzbeks. The literary interpretations of the problems in stagnation will be analyzed in the historical, cultural, political and literary context. I hope this paper contributes to the research carried out on Central Asian studies, including Uzbek Literature Literary history, which is known very little worldwide.
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Freitas, Gustavo Araújo de. "Horror e humor no canto IX da Odisseia: uma leitura do episódio do Ciclope proposta por Demétrio no Tratado sobre o Estilo". Nuntius Antiquus 8, n.º 1 (30 de junio de 2012): 104–28. http://dx.doi.org/10.17851/1983-3636.8.1.104-128.
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Abstract: A brief analysis of the entries made by Demetrius in the treatise On Style, in the Cyclop episode, in the book IX of the Odyssey reveals, beyond a remarkable interest in the passage of the work of Homer, peculiar features of an accurate literary criticism. In this criticism, as it should be, we emphasize the horror of Polyphemus character, his monstrous appearance and actions. However, references to the famous speech of the Cyclops, in verses 369 and 370, reveal more than that: they emphasize the comical nature of the passage. Going forward, this character is not only examined from a perspective of horror but also presented as an element that intensifies it, within an approach that has no parallel in any other treatise of Antiquity.
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Davis, Adam C. "Horror Manga: An Evolutionary Literary Perspective". Evolutionary Studies in Imaginative Culture 6, n.º 2 (1 de diciembre de 2022): 1–20. http://dx.doi.org/10.26613/esic.6.2.296.
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Abstract This article provides support for the argument that horror media “works” by activating evolved cognitive and affective systems that are flexibly tailored to local socio-ecological contexts. Guided by previous work using evolutionary theory to study horror literature (e.g., Clasen 2012, 2018, 2019), I investigate horror manga’s popularity and international market, which indicate a cross-cultural preoccupation with horror transmedia that is explicable in terms of the form’s ability to target evolved psychological systems. Specifically, these multimodal texts elicit the evolved emotions of anxiety, fear, and disgust in response to culturally specific and evolutionarily relevant narratives, characters, antagonists, and environments. Thus, horror manga reflects the myths, folklore, and religious traditions of Japanese society in addition to salient ubiquitous evolutionary threats such as predators, antisocial conspecifics, and infectious diseases.
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N. A. Dhivya. "FEMINIST LITERARY CRITICISM". WORLD WOMEN STUDIES JOURNAL 1, n.º 1 (1 de julio de 2016): 1–13. http://dx.doi.org/10.46291/wwsj.v1i1.1.
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Feminist literary criticism arose thirty years ago, and became widespread in Western Europe and the United States. Today, there is practically no large American university where there would be no courses on female / feminist literature and criticism, as well as gender aspects of literary work. In this study the general concept of criticism over literature by feminism outlined.
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Kulikova, Daria L. "MYTHOPOETICS OF THE CEMETERY SPACE IN HORROR FICTION (Based on the Material of Modern Russian Literature)". Вестник Пермского университета. Российская и зарубежная филология 13, n.º 3 (2021): 86–93. http://dx.doi.org/10.17072/2073-6681-2021-3-86-93.
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This article deals with the locus of the cemetery in modern Russian horror. We examine approaches to the depiction of scary spaces in literature, describe the cemetery as a locus of horror, study the motives associated with the cemetery in horror, detect intermedial connections, provide interpretation of folklore and literary references. The cemetery is one of the key loci of folk culture, presented in folklore as a space of contact with the otherworldly (with the world of the dead), which explains the interest of horror authors in these ‘scary’ places. The modern literature of horror offers modifications of the image of the cemetery, their main characteristics, intertextual interaction with Russian and foreign traditions, which allow us to speak of this image as a unit of the genre canon of horror. The paper examines how exactly the image of the cemetery is presented by modern Russian authors: A. Ivanov, A. Ateev, M. Romanova, K. Alekseev, I. Lesev. We have established that various clichés of folklore and horror literature are used in connection with the locus of the cemetery. These include the motive of a ‘bad place’, the motive of reviving the dead, the motive of crossing the borders, violation of a ban/taboo. The cemetery can be viewed in a literary work as a source of supernatural horror (and even, as in Alekseev’s work, may turn into a thinking creature) or, as in Ivanov’s novels, represent a false source of danger. We conclude that the cemetery in horror becomes a place where not only worlds but also eras are connected, which reveals the important function of horror – the comprehension of the past of an individual and society. The portrayal of the cemetery in horror draws on a rich literary and folkloric tradition.
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Hurley, Kelly. "Trauma and Horror". English Language Notes 59, n.º 2 (1 de octubre de 2021): 1–8. http://dx.doi.org/10.1215/00138282-9277216.
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McNaughton, James. "“Choose Your Horror”". Samuel Beckett Today / Aujourd’hui 31, n.º 2 (24 de octubre de 2019): 183–99. http://dx.doi.org/10.1163/18757405-03102001.
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Simonetti, Marcelo. "Contar el horror". Anales de Literatura Chilena, n.º 39 (14 de junio de 2023): 273–77. http://dx.doi.org/10.7764/analeslitchi.39.21.
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Ampuero, María Fernanda y Daniel Simon. "Kitsch and Horror". World Literature Today 97, n.º 3 (mayo de 2023): 29. http://dx.doi.org/10.1353/wlt.2023.0114.
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JINWAN, XUAN y QI JING. "STRANGE STORIES FROM CHINESE STUDIOS AND GOTHIC LITERATURE". INTERNATIONAL JOURNAL OF RESEARCH IN EDUCATION HUMANITIES AND COMMERCE 04, n.º 04 (2023): 10–16. http://dx.doi.org/10.37602/ijrehc.2023.4402.
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The ancient Chinese horror novel Strange Stories from Chinese Strange Studio vividly shows Chinese horror in front of the readers, which is a typical representative of Chinese horror literature. Gothic literature is a crucial literary genre of Western literature. Western research on Gothic literature is rich and detailed, and Gothic literature significantly impacts British and American literature. By studying their social and historical backgrounds, this paper will analyze their similarities and differences in scenes, characters, and writing characteristics and their development and influence on the Chinese and English academic circles.
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Frolova, Marina V. "Indonesian Horror Story by Intan Paramaditha". Vestnik of Saint Petersburg University. Asian and African Studies 12, n.º 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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Trofymenko, Anastasiya. "Immanent components of the horror genre in Ukrainian literature". Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 15, n.º 26-27 (2022): 187–93. http://dx.doi.org/10.34079/2226-3055-2022-15-26-27-187-193.
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The genesis and genre system of Ukrainian horror literature have been analyzed in the present article. Studying the origins of the horror genre in literature, one can find the combination of mysticism, a specific emotional tonality (mysteriousness, fear of the unknown) and mythological images, which acquire new features in the course of literary development. The dynamics of changes in the genre system of horror literature has been examined; the typological development of Ukrainian horror has been analyzed; the transformations of the established artistic matrix of horror literature and the mechanisms of preservation of genre memory have been traced. It has been proved that the presence of common genetic and typological genre features in different national literatures can be explained by the process of migration of plots, motifs and their variants. The genesis of the horror genre in the genre group of horror literature has been briefly presented; an attempt was made to systematize genre-forming elements. The peculiarity of horror as an artistic phenomenon that evolves from a stylistic technique to a genre has been demonstrated. The nature of the complex polysemantic construct of the horror genre has been revealed. The set of analyses such as descriptive, typological, hermeneutic, cultural-historical, mythopoetic, psychoanalytical, bibliographical, comparative, philological, structuralist, and intertextual has been used for the interpretation of the horror genre. The process of the creation of the latter is described as a gradual crystallisation of a relatively stable artistic structure, which evolves throughout the interplay of stable (a particular kind of chronotype, stable functions of characters) and dynamic elements.
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Jones, Karis, Alex Corbitt y Scott Storm. "Humanizing Horror: Rereading Monstrosity in Popular Literature". English Journal 112, n.º 2 (1 de noviembre de 2022): 85–92. http://dx.doi.org/10.58680/ej202232173.
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Syofyan, Donny. "Literary Criticism In The Post-Truth Era". Andalas International Journal of Socio-Humanities 1, n.º 1 (27 de junio de 2019): 25–36. http://dx.doi.org/10.25077/aijosh.1.1.25-36.2019.
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Post truth relates to circumstances whereby objective facts are less influential in shaping the opinion of the public, rather appealing to personal belief and emotion. Post truth era is bordering a blurry line between lies and truths, dishonesty and honesty, nonfiction and fiction. The entire phenomenon of post truth is about an individual’s opinion being worth more than the facts. As such, the present paper seeks to understand new insights or perspectives in literary criticism in the post truth era. The criticism of the literature was always based on broad schools of thoughts/theories, which were employed for many centuries. Some of the traditional approaches the paper highlights include: formalistic criticism, biographical criticism, historical criticism, gender criticism, psychological criticism, sociological criticism, mythological criticism, reader-response criticism, and deconstructionist criticism. Equally, the paper extensively analyzes some of the new perspectives or insights to literary criticism in the post truth era: reflective approach, didactic approach, partisan approach, and religious approach. In reflective approach to literature criticism in the post truth era, the meaning in the literature is reflected by the outside of its own being. On the other hand, in didactic approach to literature criticism, truth and meaning is taught in the literature. Moreover, in partisan approach to literature criticism, there is the truthful meaning that is already known and can be found in the literature. Lastly, in the religious approach to literature criticism in post truth era, the meaning and truth is the literature itself, while the outside world has nothing to do with it.
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Syofyan, Donny. "Literary Criticism In The Post-Truth Era". Andalas International Journal of Socio-Humanities 1, n.º 1 (27 de julio de 2019): 25–36. http://dx.doi.org/10.25077/aijosh.v1i1.6.
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Post truth relates to circumstances whereby objective facts are less influential in shaping the opinion of the public, rather appealing to personal belief and emotion. Post truth era is bordering a blurry line between lies and truths, dishonesty and honesty, nonfiction and fiction. The entire phenomenon of post truth is about an individual’s opinion being worth more than the facts. As such, the present paper seeks to understand new insights or perspectives in literary criticism in the post truth era. The criticism of the literature was always based on broad schools of thoughts/theories, which were employed for many centuries. Some of the traditional approaches the paper highlights include: formalistic criticism, biographical criticism, historical criticism, gender criticism, psychological criticism, sociological criticism, mythological criticism, reader-response criticism, and deconstructionist criticism. Equally, the paper extensively analyzes some of the new perspectives or insights to literary criticism in the post truth era: reflective approach, didactic approach, partisan approach, and religious approach. In reflective approach to literature criticism in the post truth era, the meaning in the literature is reflected by the outside of its own being. On the other hand, in didactic approach to literature criticism, truth and meaning is taught in the literature. Moreover, in partisan approach to literature criticism, there is the truthful meaning that is already known and can be found in the literature. Lastly, in the religious approach to literature criticism in post truth era, the meaning and truth is the literature itself, while the outside world has nothing to do with it.
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Syofyan, Donny. "Literary Criticism In The Post-Truth Era". Andalas International Journal of Socio-Humanities 1, n.º 1 (27 de julio de 2019): 25–36. http://dx.doi.org/10.25077/aijosh.v1i1.6.
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Post truth relates to circumstances whereby objective facts are less influential in shaping the opinion of the public, rather appealing to personal belief and emotion. Post truth era is bordering a blurry line between lies and truths, dishonesty and honesty, nonfiction and fiction. The entire phenomenon of post truth is about an individual’s opinion being worth more than the facts. As such, the present paper seeks to understand new insights or perspectives in literary criticism in the post truth era. The criticism of the literature was always based on broad schools of thoughts/theories, which were employed for many centuries. Some of the traditional approaches the paper highlights include: formalistic criticism, biographical criticism, historical criticism, gender criticism, psychological criticism, sociological criticism, mythological criticism, reader-response criticism, and deconstructionist criticism. Equally, the paper extensively analyzes some of the new perspectives or insights to literary criticism in the post truth era: reflective approach, didactic approach, partisan approach, and religious approach. In reflective approach to literature criticism in the post truth era, the meaning in the literature is reflected by the outside of its own being. On the other hand, in didactic approach to literature criticism, truth and meaning is taught in the literature. Moreover, in partisan approach to literature criticism, there is the truthful meaning that is already known and can be found in the literature. Lastly, in the religious approach to literature criticism in post truth era, the meaning and truth is the literature itself, while the outside world has nothing to do with it.
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Musgamy, Awaliah, Muhammad Rusydi y Kurniati Kurniati. "Gender Mainstreaming in Arabic Literature". Jurnal Al Bayan: Jurnal Jurusan Pendidikan Bahasa Arab 12, n.º 2 (2 de septiembre de 2020): 245–62. http://dx.doi.org/10.24042/albayan.v12i2.6468.
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Arabic literature is a means of gender mainstreaming which is very rich in gender issues. This is based on the social fact that Arab society in its historical footsteps has a stereotype as a community that is very thick with its patriarchal culture. Consequently, the social condition which is less responsive to gender influences the birth of Arabic literary works in various types in which gender issues such as marginalization of women, subordination of women to men, violence, negative stereotypes, and others. This article is qualitative research by using feminist Arabic literary criticism as a perspective, gender mainstreaming in Arabic literature is carried out by tracing the gender issues that exist in Arabic literature in its various forms. Through feminist Arabic literary criticism, various theories of feminist literary criticism consisting of ideological criticism, gynocritical criticism, socialist criticism, psychoanalytic criticism, ethnic criticism, and lesbian criticism, are applied in transforming and reconstructing gender-responsive relations between men and women.
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Kimberly Hall. "The Pleasures of Horror". Science Fiction Studies 38, n.º 3 (2011): 532. http://dx.doi.org/10.5621/sciefictstud.38.3.0532.
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Aizenberg, Mikhail. "Criticism of Criticism". Russian Studies in Literature 32, n.º 2 (abril de 1996): 92–94. http://dx.doi.org/10.2753/rsl1061-1975320292.
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Winiecka, Elżbieta. "Literary Internet: Online Criticism and Literary Communication". Porównania 27, n.º 2 (15 de diciembre de 2020): 289–311. http://dx.doi.org/10.14746/por.2020.2.15.
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This article is devoted to the transformations that literary communication has undergone on the Internet. The author describes how literary criticism and its role in the digital medium has changed, indicates the deep cultural changes resulting from the development of forms of communication in social media, and characterizes how the Internet has transformed literature. New media has given rise to new literary genres; it has also altered literature itself, recasting it in a hybrid form on the border between the literature and audiovisual media. The ongoing changes do not pose a threat to printed literature, but are an expression of the strength of the Internet’s impact on literary communication and its participants. It is necessary to refrain from easy evaluations of the ongoing processes and to focus on accurately describing, analyzing and interpreting them as a new and relatively unknown part of the expanding literary field.
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SIM, STUART. "Recent literary criticism". Critical Quarterly 29, n.º 3 (septiembre de 1987): 108–14. http://dx.doi.org/10.1111/j.1467-8705.1987.tb00098.x.
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Poncarová, Petra Johana. "Spatial and Sonic Monstrosities in William Hope Hodgson’s “The Whistling Room”". AUC PHILOLOGICA 2022, n.º 2 (16 de marzo de 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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Mullins, G. A. "Atrocity, Literature, Criticism". American Literary History 23, n.º 1 (10 de diciembre de 2010): 217–27. http://dx.doi.org/10.1093/alh/ajq084.
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Jennifer Lipka. ""The horror! The horror!": Joseph Conrad's Heart of Darkness as a Gothic Novel". Conradiana 40, n.º 1 (2007): 25–37. http://dx.doi.org/10.1353/cnd.0.0006.
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Renner, Karen J. "Global TV Horror". Comparative Literature Studies 60, n.º 1 (febrero de 2023): 184–87. http://dx.doi.org/10.5325/complitstudies.60.1.0184.
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Bell, R. "Autobiography and Literary Criticism". Modern Language Quarterly 46, n.º 2 (1 de enero de 1985): 191–201. http://dx.doi.org/10.1215/00267929-46-2-191.
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Theado, Matt. "Beat Generation Literary Criticism". Contemporary Literature 45, n.º 4 (2004): 747–61. http://dx.doi.org/10.1353/cli.2005.0010.
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Perry, Leslie Anne y Rebecca P. Butler. "Are Goosebumps Books Real Literature?" Language Arts 74, n.º 6 (1 de octubre de 1997): 454–56. http://dx.doi.org/10.58680/la19973245.
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Argues that, regardless of whether they have literary merit, the "Goosebumps" books (a series of mildly scary horror books for preteens) are getting children hooked on reading, some of whom do not otherwise read. Discusses students’ attitudes toward the series.
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Devitt, Ryan. "Toward a Foucauldian Literary Criticism". Poetics Today 42, n.º 4 (1 de diciembre de 2021): 471–99. http://dx.doi.org/10.1215/03335372-9356809.
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Abstract The article argues for the renewed relevance of Foucault's early essays on literature, written throughout the 1960s, given a return to anthropological reflection in so much literary theory today (especially through affect theory and “new” phenomenologies—both of which rely on older categories supplied by psychoanalysis). On one hand, Foucault reminds us of all the “warped and twisted forms of reflection” that arise from anthropological thought, with its assumptions regarding the “unthought” and the hidden structures of sense and perception. This same Foucault, on the other hand, is deeply engaged with literature; his writings on a range of authors—from Homer and Cervantes, to Friedrich Hölderlin and the Marquis de Sade, to Georges Bataille and Maurice Blanchot—constitute nothing less than an oeuvre. And yet, despite proposals to move beyond Foucauldian critique and its orthodoxy in literary studies today, hardly anything has been thought or said about this body of work in which Foucault, as David Carroll points out, “has the most to say about literature and language.” This lacuna is all the more surprising, since Foucault's early essays offer a rich and fruitful understanding of the being of literature as more than a limpid reflection of the body. In his reading of Bataille and Blanchot in particular, Foucault offers a unique vision of literature that is neither suspicious nor negative but that, in connection with his well-known critique of finitude, culminates in a hopeful call for openness.