Bibliografías temáticas / Tales of the grotesque and arabesque

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Literatura académica sobre el tema "Tales of the grotesque and arabesque"

Autor: Grafiati

Publicado: 13 de marzo de 2024

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Artículos de revistas sobre el tema "Tales of the grotesque and arabesque"

Armiento, Amy Branam. "Literary Politics, Partisanship, and Poe's Tales of the Grotesque and Arabesque". Poe Studies 51, n.º 1 (2018): 90–109. http://dx.doi.org/10.1353/poe.2018.a723574.

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ABSTRACT: This essay examines how Poe's Tales of the Grotesque and Arabesque demonstrates the ways in which he accrued different types of capital in order to leverage his position within the US literary market. Transposing Leon Jackson's analysis of Thomas White's success as the proprietor of the Southern Literary Messenger to Poe's first book-length publication, I explain how the Advertisements section prefacing the second volume reflects his methodical strategy for soliciting and collecting positive reviews from influential literary figures for use at a later, favorable time.

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Lopes Lourenço Hanes, Vanessa. "Notas sobre Clarice Lispector e a tradução da literatura gótica anglófona". Revista da Anpoll 51, esp (10 de diciembre de 2020): 95–102. http://dx.doi.org/10.18309/anp.v51iesp.1517.

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Este texto analisa três traduções brasileiras de obras literárias góticas anglófonas feitas pela aclamada autora Clarice Lispector. Traduções de Tales of the Grotesque and Arabesque, de Edgar Allan Poe, The picture of Dorian Gray, escrito por Oscar Wilde, e Interview with the vampire, de autoria de Anne Rice, foram comparadas e contrastadas em busca de regularidades na abordagem de Lispector para a literatura gótica. Os achados demonstram que Lispector utilizou um registro alto em suas três traduções, uma abordagem que, surpreendentemente, pode refletir o cuidadoso uso de língua daquela autora na tradução de diferentes tipos de texto.

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Rigal-Aragón, Margarita y Fernando González-Moreno. "“A man must laugh, or die”: Visual Interpretations of Poe’s Comical and Parodical Tales". Edgar Allan Poe Review 22, n.º 1 (1 de junio de 2021): 30–58. http://dx.doi.org/10.5325/edgallpoerev.22.1.30.

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Abstract A brief overview of Poe’s most iconic illustrated editions shows that the humorous and satirical features of his texts have called the attention of fewer editors and artists than the aspects of the beautiful, the sublime, the arabesque, the grotesque, the macabre, and so forth. Here we review many of the freshest and liveliest interpretations in which parody is put forward, using as a reference some exceptional visual renderings that also display the likes of times and places. The early interpretations provided by artists such as Church (1884), Sterner (1894–95), or Coburn (1902); later on by Servolini (1929), Rackham (1935), Bofa (1941), Eichenberg (1944), or Dubout (1948); in the second part of the twentieth century by Calsina (1971); and very recently by Grimly (2004, 2009) prove that the parodical side of Poe’s oeuvre mattered and still matters.

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Dykstal, Andrew. "The Voyeur in the Confessional: Reader, Hoax, and Unity of Effect in Poe's Short Fiction". Poe Studies 51, n.º 1 (2018): 3–21. http://dx.doi.org/10.1353/poe.2018.a723583.

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ABSTRACT: Poe's short fiction tends toward extremes—toward the grotesque and arabesque. This crowd-pleasing (or crowd-horrifying) content plays within carefully designed formal structures that complicate the act of reading and draw attention to "the reader," a figure of some interest to Poe's critical essays. I argue that the play between content and form in Poe, coupled with his ideas of readership, exposes a series of traps within many of his tales. Poe's stories draw the reader into an active role responsive to moral problems before shifting ground and rendering a moral response difficult, impossible, or paradoxical. Through the confessional mode in particular, Poe guides readers into positions that extend the work of the tale beyond the fictional realm, transmuting his stories into practical jokes or complex moral problems. The visibility of these jokes and problems, however, and their deliberate layering into so many of Poe's works, suggest an author working to prepare his audience for a specific flavor of hoax. By blurring the boundaries of the short story, and perhaps even finding ways to undermine its shortness, Poe opens a relationship between himself, his "reader," and whatever human being happens to actually be holding a copy of his tales. Poe's famous "unity of effect" unfolds through the creation of a predictable, synthetic commonality between author, reader, and audience.

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Koroleva, Vera V. ""Hoffmann’s complex" in Edgar Allan Poe’s story "Loss of Breath"". Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, n.º 82 (2023): 288–302. http://dx.doi.org/10.17223/19986645/82/13.

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In the article, based on the theory of intertextuality (Roland Barth, Julia Kristeva), the question of the influence of E. T. A. Hoffmann on the formation of the satirical style of Edgar Allan Poe in the cycle of stories Grotesques and Arabesques (Tales of the Grotesque and Arabesque (1839)). The author argues that Hoffmann’s recognizable plots (“The Sandman”, “Princess Brambilla”, “Elixirs of Satan”, etc.), which were popular during this period in Europe, as well as the relevance of the problems of his works and the original style, could become a source of not only satire (the story “Loss of Breath” is written as a parody of works from Blackwood’s Edinburgh Magazine, where Hoffmann was also published during this period), but also samples for the early works of Poe. The hypothesis of the article is the statement about the possibility of applying in American literature, on the example of Poe’s story “Loss of Breath”, the previously developed methodology of “Hoffmann’s complex” (characterized by the integrity of the reproduced content, the unity of issues, images and stylistic techniques), which allows highlighting the traditions of the German romantic in Poe’s works, where they are not obvious. The features of Hoffmann’s poetics are considered in Poe’s “Loss of Breath” (1832) in the form of “Hoffmann’s complex”, which includes the following components. Firstly, it is the transformation of the romantic plot (Hoffmann’s “Adventure on New Year’s Eve”), which Poe reinterprets ironically, depriving it of an infernal context. He rethinks the idea of a two-world and mixes the real-life and theatrical narrative planes by combining the puppet element with the human one, by characters’ behaving theatrically, by acting out the roles that are imposed by society (a corpse, a criminal), by replacing household details with theatrical attributes (a false jaw, two buslles, a false eye). Secondly, it is the actualization of the problem of mechanization of life and man, which is realized in the opposition of the living – the inanimate (“The Sandman”, “Princess Brambilla’) and is aimed at criticizing society, which devalues a person and turns him into a “living” corpse, a doll. In contrast, objects come to life, and abstract concepts (breath) become materialized. Another manifestation of the problem of mechanization of life and man is the comparison of a man with an animal, and an animal with a man. Thirdly, it is the use of stylistic techniques characteristic of Hoffmann (“The Golden Pot”, “Little Zaches Called Cinnabar”, “Princess Brambilla”, etc.): hyperbole, self-explanatory names, romantic irony and grotesque, which are characterized by a sharp change of the serious and the frivolous, a combination of the objective and the subjective, a continuous parody, as well as the use of alogism – reasoning that violates the laws of logic, when something terrible (execution, autopsy of the body) is described as funny, etc.

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Santos Silva, Karin Hallana y Elida Paulina Ferreira. "Edgar Poe em português". Domínios de Lingu@gem 5, n.º 3 (9 de abril de 2012): 20–37. http://dx.doi.org/10.14393/dl11-v5n3a2011-3.

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Nesse artigo discutimos os limites entre tradução e adaptação, tomando o contexto de publicação de duas traduções para o português da obra Tales of the Grotesque and Arabesque, de Edgar Allan Poe. Tratou-se do estudo da publicação de Histórias Extraordinárias (1978; 2003) com tradução de Breno Silveira e de tradução e adaptação, com o mesmo título, de Clarice Lispector. Observamos que o conjunto de contos da obra original diferiu do conteúdo dos volumes produzidos em português, o qual apresenta título bem diverso do original. Por meio de uma análise comparativa, envolvendo o original e as duas traduções, investigamos o que nesse contexto foi considerado o original. Além disso, um dos volumes em português já se coloca como adaptação, o que, do ponto de vista investigativo levantou outra questão a ser estudada: se a própria tradução não reproduz o original, então qual seria o limite entre tradução e adaptação? Procuramos responder a essa questão tomando a idéia de que todo texto traduzido já é uma reescrita e transforma o original (Lefevere 1992, Amorim 2006). A reflexão sobre o limite entre tradução e adaptação na contemporaneidade traz para o debate o questionamento sobre o próprio conceito de original e de tradução (Paz 1990; Derrida 1982, Ferreira 2006 e 2007) e sobre os condicionantes da constituição de imagens nas culturas alvo (Rodrigues 2001, Amorim 2006); conceitos em que nos concentramos para responder a questão aqui proposta.

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Garcia, Elizabeth y Otavio Leonídio. "Arabesco e Grotesco na arquitetura de Peter Eisenman". Revista Prumo 5, n.º 8 (23 de abril de 2020): 82–95. http://dx.doi.org/10.24168/revistaprumo.v0i8.1265.

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This paper intends to highlight the effectiveness of the concepts of Arabesque and Grotesque in the architecture “between” of Peter Eisenman, evoking a whole system of concepts and methodologies that synchronously led his work.

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Gammel, I. y J. Wrighton. ""Arabesque Grotesque": Toward a Theory of Dada Ecopoetics". Interdisciplinary Studies in Literature and Environment 20, n.º 4 (25 de noviembre de 2013): 795–816. http://dx.doi.org/10.1093/isle/ist085.

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Hughes, Sandra S. "Edogā-aran-pō and Edogawa Rampo: Repetition, Reversal, and Rewriting of Poe in Rampo". Edgar Allan Poe Review 23, n.º 2 (2022): 147–62. http://dx.doi.org/10.5325/edgallpoerev.23.2.0147.

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Abstract Japanese modernist writer Taro Hirai (1894–1965) admired Poe so much that he crafted a pseudonym, Edogawa Rampo, based on Poe’s name. I contend that Rampo’s reimaginings of “The Masque of the Red Death” in “The Red Chamber” and of “The Man That Was Used Up” in “The Caterpillar” correspond closely with the aesthetic principles of 1920s and ’30s Japan. One might say that by the age of modernism in Japan, Poe’s grotesque and arabesque had (d)evolved into erotic grotesque nonsense. What Rampo’s deliberate misreadings and his inventive rewritings teach us is that Poe is endlessly contemporary. The relationship between the two writers is not so much a one-way influence as a reverberation or an oscillation between Poe and Rampo. Rampo’s work offers a creative retelling that is modern and Japanese and maybe even changes the way we look at Poe.

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Youngjoo Kim. "Grotesque Body and Grotesque Laughter in Angela Carter’s Rewriting of Fairy Tales". Feminist Studies in English Literature 18, n.º 1 (junio de 2010): 29–56. http://dx.doi.org/10.15796/fsel.2010.18.1.002.

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Tesis sobre el tema "Tales of the grotesque and arabesque"

Crebs, Francie. "Tracés de l'arabesque avec Edgar Allan Poe. Histoires à contretemps". Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL122.

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Bien que de nombreux commentateurs de Poe se soient penchés sur la question de « l’arabesque », il n’existe pas de consensus sur ce que ce terme voulait dire pour lui, et le mot reste énigmatique, surtout dans la préface des Tales of the Grotesque and Arabesque, où Poe établit un lien entre arabesque et « espèce d’écriture ». Cette thèse tente de lire l’arabesque chez Poe par le biais de cette expression. Pour ce faire, la première partie passe en revue certaines traditions décoratives de l’arabesque (européenne, « orientale » et américaine), et examine également la tentative, chez Friedrich Schlegel, de transposer ces traditions sur le récit. En particulier, Schlegel établit un lien particulièrement suggestif entre arabesque et parabase, terme emprunté à la comédie attique, où il désigne un moment où le coryphée transgresse l’espace de la scène pour s’adresser directement au public. Les parties II, III, et IV sont consacrées à la pratique de l’écriture chez Poe, avec une focalisation toujours plus rapprochée sur ce que peut être l’« espèce d’écriture » qui serait « arabesque » et quelles en seraient les conséquences pour une histoire de l’écriture. La partie II analyse les pratiques de cadrage chez Poe, et la transgression de ces cadres. La partie III examine les effets qu’ont ces transgressions sur la temporalité chez Poe. Enfin, la partie IV étudie comment la parabase prend place au cœur de l’écriture elle-même dans certains textes de Poe, révélant ainsi une espèce d’écriture qui est entièrement arabesque. Au fil de ces analyses, il devient de plus en plus clair qu’il y a une temporalité propre à l’écriture, une temporalité qui appelle une autre histoire, une histoire propre à l’écriture
Although Poe scholarship has paid significant attention to his use of the term “arabesque,” there is no consensus on exactly what he means by it, and it remains enigmatic in his writings, especially in the preface to the Tales of the Grotesque and Arabesque, where it is linked to a “species of writing.” This dissertation aims to read the arabesque in Poe through the lens of expression from the preface. To do so, the first part of my dissertation provides an overview of the decorative traditions of the arabesque (European, “Oriental” and American), as well as of the attempt in Friedrich Schlegel to transpose these traditions onto narrative, an attempt which gives us clues as to what Poe suggests at with his “species of writing.” In particular, the link Schlegel establishes between arabesque and parabasis (a notion appropriated from Athenian comedy, which designates moments when the coryphaeus transgresses the space of the stage and speaks directly to the audience) is identified as particularly useful. Parts II, III and IV are devoted to Poe’s writing practice, zeroing in ever more closely on what might be the “species of writing” that is “arabesque,” and what it might imply for the history of writing. Part two examines practices of framing in Poe, and the transgression of theses frames. Part III examines the effects these transgressions have on temporality in Poe. Part IV, finally, studies how parabasis occurs at the heart of writing itself in certain Poe texts, thus revealing a species of writing that is arabesque through and through. These studies reveal ever more clearly a temporality that is proper to writing, a temporality that also calls for an other history, a history proper to writing

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Klerks, Suzanne (Suzanne Elizabeth) Carleton University Dissertation English. "The Making of a monster; the female grotesque in Chaucer's Canterbury Tales". Ottawa, 1992.

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Kisawadkorn, Kriengsak. "American Grotesque from Nineteenth Century to Modernism: the Latter's Acceptance of the Exceptional". Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278030/.

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This dissertation explores a history of the grotesque and its meaning in art and literature along with those of its related term, the arabesque, since their co-existence, specifically in literature, is later treated by a well-known nineteenth-century American writer in Tales of the Grotesque and Arabesque- Theories or views of the grotesque (used in literature), both in Europe and America, belong to twelve theorists of different eras, ranging from the sixteenth century to the present period, especially Modernism (approximately from 1910 to 1945)--Rabelais, Hegel, Scott, Wright, Hugo, Symonds, Ruskin, Santayana, Kayser, Bakhtin, (William Van) O'Connor, and Spiegel. My study examines the grotesque in American literature, as treated by both nineteenth-century writers--Irving, Poe, Hawthorne, and, significantly, by modernist writers--Anderson, West, and Steinbeck in Northern (or non-Southern) literature; Faulkner, McCullers, and (Flannery) O'Connor in Southern literature. I survey several novels and short stories of these American writers for their grotesqueries in characterization and episodes. The grotesque, as treated by these earlier American writers is often despised, feared, or mistrusted by other characters, but is the opposite in modernist fiction.

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Biscaia, Maria Sofia Pimentel. "Tales of the grotesque and the carnivalesque: the fiction of Angela Carter and Salman Rushdie". Master's thesis, Universidade de Aveiro, 1999. http://hdl.handle.net/10773/18437.

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Yakubov, Katya. "The Monstrous Self: Negotiating the Boundary of the Abject". VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4815.

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Through the lens of the horror film and the fairy tale, this thesis explores the notion of the grotesque as a boundary phenomenon—a negotiation of what is self and what is other. As such, it locates the function that the monstrous and the grotesque have in the formation of a personal and social identity. In asking why we take pleasure in the perverse, I explore how permutations of guilt, victimhood, and desire can be actively rewritten, in order to construct a stable sense of self.

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Vogtman, Jacqueline. "The Preservation of Objects Lost at Sea". Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1268930284.

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Drost, Christian [Verfasser]. "Illuminating Poe : the reflection of Edgar Allan Poe's pictorialism in the illustrations for the 'Tales of the grotesque and arabesque' / vorgelegt von Christian Drost". 2007. http://d-nb.info/984610901/34.

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Chu, Tsai-yi y 朱彩儀. "The Double of Water in Edgar Allan Poe's Grotesque Tales". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/03342737979796901607.

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碩士
國立東華大學
英美語文學系
99
The American romanticist Edgar Allan Poe is renowned for his imaginative grotesque tales of death. His works—thanks to Baudelaire's enthusiastic effort of translating them into French—came to fame in Europe, and have since then been widely studied by critics, mostly through pure psychoanalytic readings. Though coinciding with some of Poe's biographical facts, such psychoanalytic interpretation nevertheless neglects the aesthetics of the writer's creative imagination, which, in fact, is the core of Edgar Allan Poe's writings. Therefore, this paper aims to study the fantastic imagination of Poe's deathly grotesque tales, with a specific focus upon the topic of the double of the element of water, for it is noticeable that water elements abound in Poe's stories, and unmistakably, they have the special dual nature within. The present thesis is divided into four chapters. Chapter One, as the introduction, makes a brief review of the influential Marie Bonaparte's psychoanalytical reading of Poe's life and works, discloses her methodological problems, and suggests a new interpretation of Poe's tales assisted by Gaston Bachelard's imaginary theories. Chapter Two foregrounds the mirror-image doubles, exploring the German-inspired doppelgängers and the doubles produced by mirror reflections in Poe's grotesque tales. Chapter Three concerns the writer's imagination of dualistic water, namely the transparent/opaque and joyous/melancholy water, which respectively signify life and death in the meaning. Chapter Four features the doubles as a union of two elements—water and air. Combined with air, water is endowed with the verticality of ascending and falling movements, both of which present a kind of phantasmagoric imagination of death.

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Libros sobre el tema "Tales of the grotesque and arabesque"

Allan, Poe Edgar. Tales of the grotesque and arabesque. [Chapel Hill, N.C.]: University of North Carolina at Chapel Hill Libraries, 2006.

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Tales of the grotesque and arabesque: Elio Vittorini e Giorgio Manganelli traduttori di Edgar Allan Poe : un caso traduttologico. Acireale: Bonanno, 2007.

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Allan, Poe Edgar. Tales of the Grotesque and Arabesque. Worth Publishers, Incorporated, 2017.

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Allan, Poe Edgar. Tales of the Grotesque and Arabesque. Independently Published, 2018.

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Allan, Poe Edgar. Tales of the Grotesque and Arabesque. Independently Published, 2021.

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Allan, Poe Edgar. Tales of the Grotesque and Arabesque. Independently Published, 2020.

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Poe, Edgar Allan. Tales of the Grotesque and Arabesque. Independently Published, 2018.

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Poe, Edgar. Tales of the Grotesque and Arabesque. Independently Published, 2019.

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Allan, Poe Edgar. Tales of the Grotesque and Arabesque. Independently Published, 2019.

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Allan, Poe Edgar. Tales of the Grotesque and Arabesque. CreateSpace Independent Publishing Platform, 2018.

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Capítulos de libros sobre el tema "Tales of the grotesque and arabesque"

Cox, Rosemary D. "The Old Southwest: Humor, Tall Tales, and the Grotesque". En A Companion to the Regional Literatures of America, 247–65. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470999080.ch16.

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Doyle, Arthur Conan. "Playing with Fire". En Gothic Tales. Oxford University Press, 2018. http://dx.doi.org/10.1093/owc/9780198734307.003.0025.

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I cannot pretend to say what occurred on the 14th of April last at No. 17, Badderly Gardens. Put down in black and white, my surmise might seem too crude, too grotesque, for serious consideration. And yet that something did occur, and that it...

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"The Gothic-Grotesque of Haunted: Joyce Carol Oates’s Tales of Abjection". En The Abject of Desire, 89–105. Brill | Rodopi, 2007. http://dx.doi.org/10.1163/9789401204897_006.

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Actas de conferencias sobre el tema "Tales of the grotesque and arabesque"

Wu, Guangwei. "A Study on Oates's Gothic Short Stories from the Perspective of Psychological Realism-Haunted: Tales of the Grotesque as an Example". En 2016 International Conference on Humanity, Education and Social Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ichess-16.2016.19.

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