Thèses sur le sujet « Fantastico e Horror »

Il presente studio mira a constatare lo stretto collegamento tra la figura femminile e il cinema thriller e horror italiano, qui denominato genericamente “fantastico” in un’ accezione estensiva, a evidenziarne caratteristiche comuni relative a entrambi i generi. La periodizzazione della ricerca va dagli anni sessanta agli anni ottanta ed il primo obiettivo è stato quello di valutare secondo un approccio culturalista l’interdipendenza donna-horror, spesso sfociata in un approccio misogino al genere. I risultati sono stati spesso discordanti rispetto alle premesse di partenza: le donne sono raffigurate solo come vittime, il gradimento del pubblico è esclusivamente maschile. La messa in discussione di questa tesi si è resa possibile attraverso una ricerca empirico-applicativa di un campione di film e una disamina di scritti più recenti che mirano in qualche caso a rovesciare il paradigma di partenza. Il secondo obiettivo ha rilevato differenze tra rappresentazione femminile nel cinema italiano e americano, muovendo dal presupposto che le teorie su cui ci si è basati provengono dagli stati uniti e hanno previsto un campione per lo più di film non italiani. quindi l’ intento dello studio è stato anche quello di misurare l’applicabilità di alcuni paradigmi teorici al caso italiano. lo svolgimento della ricerca ha previsto un’indagine di tipo quantitativo (rilevazione del corpus estensivo di film) e intensivo-qualitativo (analisi di alcuni principali stereotipi femminili, tratti dalla letteratura e dal cinema: damsel in distress, belle dame sans merci, final girl), per giungere poi alla conclusione che il genere fantastico italiano ha risentito forse più di ogni altro di una conflittualità permanente, tra bisogno di emancipazione e resistenza conservatrice.
This current study aims to ascertain the close connection between female figure and Italian horror/thriller, cinema, here called "fantastico" in an extensive meaning, in order to highlight common features related to both genres. The periodization of research goes from 60s to 80s and the first purpose was to evaluate, according to a culturalist approach, the woman-horror interdependence, often focused in a mysoginic approach to the genre. The results have often been conflicting with respect to the starting presuppositions: the women are represented only as victims, the audience’s satisfaction is exclusively male. The discussion of this thesis was possible through an empirical and applicative research of a film sample and a careful investigation of latest writings that aim in different cases to reverse the paradigm of the starting point. The second objective detected differences between female representation in the Italian and American cinema, moving from the assumption that the theories which we are based on, come from united states and have provided a sample of more American films than Italian ones. Therefore the intent of this essay was testing the applicability of some historical theoric paradigms to the Italian case. the research’ s method involved a quantitative cataloging of extensive film corpus and an intensive one, which analyzes the main female stereotypes drawn from literature and cinema (damsel in distress, belle dame sans merci, final girl ). the conclusions show that the Italian fantastic genre has resisted more than other ones of a permanent conflict between emancipation and conservative resistance.

Il presente studio mira a constatare lo stretto collegamento tra la figura femminile e il cinema thriller e horror italiano, qui denominato genericamente “fantastico” in un’ accezione estensiva, a evidenziarne caratteristiche comuni relative a entrambi i generi. La periodizzazione della ricerca va dagli anni sessanta agli anni ottanta ed il primo obiettivo è stato quello di valutare secondo un approccio culturalista l’interdipendenza donna-horror, spesso sfociata in un approccio misogino al genere. I risultati sono stati spesso discordanti rispetto alle premesse di partenza: le donne sono raffigurate solo come vittime, il gradimento del pubblico è esclusivamente maschile. La messa in discussione di questa tesi si è resa possibile attraverso una ricerca empirico-applicativa di un campione di film e una disamina di scritti più recenti che mirano in qualche caso a rovesciare il paradigma di partenza. Il secondo obiettivo ha rilevato differenze tra rappresentazione femminile nel cinema italiano e americano, muovendo dal presupposto che le teorie su cui ci si è basati provengono dagli stati uniti e hanno previsto un campione per lo più di film non italiani. quindi l’ intento dello studio è stato anche quello di misurare l’applicabilità di alcuni paradigmi teorici al caso italiano. lo svolgimento della ricerca ha previsto un’indagine di tipo quantitativo (rilevazione del corpus estensivo di film) e intensivo-qualitativo (analisi di alcuni principali stereotipi femminili, tratti dalla letteratura e dal cinema: damsel in distress, belle dame sans merci, final girl), per giungere poi alla conclusione che il genere fantastico italiano ha risentito forse più di ogni altro di una conflittualità permanente, tra bisogno di emancipazione e resistenza conservatrice.
This current study aims to ascertain the close connection between female figure and Italian horror/thriller, cinema, here called "fantastico" in an extensive meaning, in order to highlight common features related to both genres. The periodization of research goes from 60s to 80s and the first purpose was to evaluate, according to a culturalist approach, the woman-horror interdependence, often focused in a mysoginic approach to the genre. The results have often been conflicting with respect to the starting presuppositions: the women are represented only as victims, the audience’s satisfaction is exclusively male. The discussion of this thesis was possible through an empirical and applicative research of a film sample and a careful investigation of latest writings that aim in different cases to reverse the paradigm of the starting point. The second objective detected differences between female representation in the Italian and American cinema, moving from the assumption that the theories which we are based on, come from united states and have provided a sample of more American films than Italian ones. Therefore the intent of this essay was testing the applicability of some historical theoric paradigms to the Italian case. the research’ s method involved a quantitative cataloging of extensive film corpus and an intensive one, which analyzes the main female stereotypes drawn from literature and cinema (damsel in distress, belle dame sans merci, final girl ). the conclusions show that the Italian fantastic genre has resisted more than other ones of a permanent conflict between emancipation and conservative resistance.

2006/2007
Per quanto riguarda il primo Novecento italiano, sulla scorta di quanto affermato da Calvino, la critica letteraria si è solitamente limitata ad esaminare una produzione fantastica di stampo «intellettuale», anziché «emozionale». In realtà, per il nostro paese, è proprio la nascita di svariate riviste di taglio popolare (e dalle larghe tirature) a contribuire alla diffusione d’un racconto fantastico finalizzato alla meraviglia o al raccapriccio del lettore. “La Domenica del Corriere”, oltre ad essere la più venduta, offre un perfetto esempio di come questo tipo di narrativa acquisti sempre più spazio, contribuendo alla creazione di una scuola di autori prolifici, seppur ai limiti del dilettantismo, e proponendo – spesso per la prima volta – le traduzioni a puntate dei romanzi esteri polizieschi, fantastici o semplicemente avventurosi più noti all’epoca. La citazione nel titolo riprende la risposta, all’interno dell’anonima rubrica “Piccola Posta”, fornita a un lettore che aveva inviato un racconto giudicato dalla redazione «troppo semplice». Il "sale", le "droghe", gli "eccitanti" su cui viene posto l’accento, ben esemplificano il favore accordato dalla testata alla narrativa di genere. È in questi anni che, all’interno dei giornali, il fantastico nostrano diviene una specifica e organizzata espressione della cultura di massa, e non una curiosa e occasionale presenza, e “La Domenica del Corriere” ne rappresenta senz’altro il modello più riuscito.
XX Ciclo
1980

Orientador: Suzi Frankl Sperber
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-05T13:08:06Z (GMT). No. of bitstreams: 1 Miguel_AlcebiadesDiniz_M.pdf: 7463751 bytes, checksum: 83ea4d9e3c61ddc864ad448512443693 (MD5) Previous issue date: 2006
Resumo: O horror ficcional é uma das constantes na produção cultural do século XX, como um reflexo que acompanha o horror político. Esse horror culturalmente produzido, que é estético, podemos vislumbrar em vasta produção da indústria cultural ¿ que cobre as mais diversas mídias e formas de representação ¿, tendo seu momento inicial na ficção fantástica dos séculos XVIII-XIX. Na década de 1920-30, o escritor norte-americano Howard Phillips Lovecraft retomaria essa tradição do fantástico, acrescentando novos significados, formas, usos e estratégias. Neste trabalho, nossa meta foi realizar um panorama da ficção de horror abordando analiticamente elementos das narrativas de seu criador, H. P. Lovecraft
Abstract: An persistent principle in the contemporary cultural productions, as a reflection and a shadow of certains aspects of the reality, are the fictional horror. These horror, a cultural product as well, esthetical in its essence, can be discerned at wide areas of mass culture ¿ including several medias and representations ¿ and its start point are the fantastic fictions on the 18-19th centuries. Howard Phillips Lovecraft, in the first decades of the 20th century, retrivied this tradiction of the fantastic fictions, adding new meanings, forms, usages and strategies. In our work, the goal are made something like a panorama of the horror fiction through the analisys of H. P. Lovecraft fiction key-elements
Mestrado
Literatura em Lingua Inglesa
Mestre em Linguística

In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is “unreal” texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of “real world” epistemology. I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.

In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is 'unreal' texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of 'real world' epistemology. I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.

In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is 'unreal' texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of 'real world' epistemology. I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.

"It Follows" (2014), written and directed by David Robert Mitchell, premiered at the Cannes Film Festival in 2014. It chronicles the story of Jay, a college student who contracts a curse through sexual intercourse. The curse manifests itself as a human whom only the infected persons can see, always following at a walking pace, and determined to kill if it catches up. This thesis demonstrates the score's crucial role in establishing affect, setting, and character in a film with sparse dialogue and a silent monster. Moreover, the score creates a sense of the uncanny by complicating the binary between music and sound effect and fulfills the need to create dread without resorting to the loud or sudden sounds traditionally heard in horror films. The score's composer, Richard Vreeland, achieves this effect by drawing on both classical film scoring techniques as well as more modern horror scoring styles. It is this interaction between styles that enhances the viewers' experience of dread and horror in the film. This thesis analyzes how Vreeland's score for "It Follows" exploits the poetics of the fantastical gap, of the uncanny, and of musical semiosis. I primarily focus on the "Heels" theme and use of drones in "It Follows," tracing how these musical features blur the distinction between what is score and what is sound effect. I also examine the use of melodic themes in a primarily non-melodic score. By analyzing these elements, I show how Richard Vreeland uses both classical and modern scoring techniques to answer his own question: "Why is this scary? What could push that emotion even further?"

Although widely viewed in the West, Japanese films are often misunderstood, as they are built on cultural, theatrical, and aesthetic traditions entirely foreign to Western audiences. Particularly in regards to Japan's "fantastic" cinema - including giant monster pictures, ghost stories, and "J-Horror" films - what is often perceived as "cheap" or "cheesy" is merely an expression of these unique cultural roots. By observing and exploring such cultural artifacts as kabuki, noh, and bunraku - the traditional theatrical forms of Japan - long-standing literary traditions, deeply embedded philosophical beliefs, and even more recent developments such as the controversial dance form butoh, these films, including Gojira (1954), Daimajin (1966), Kwaidan (1964), Onibaba (1964), Testuo the Iron Man (1989), and Ju-On (2002), can be placed in their proper perspective, leading to a reevaluation of their worth not merely as commercial products, but as uniquely Japanese expressions of that society's unique place in world culture.

La thèse propose une approche du cinéma fantastique espagnol des années 1990 et 2000, et plus spécifiquement de la période allant de 1993 à 2005. En effet, on assiste alors à l’arrivée d’une nouvelle génération de réalisateurs qui donne un nouvel élan au genre en se le réappropriant. Nous partons du constat initial qu’au sein des diverses approches du genre présentes dans chacun de ces films, le fantastique espagnol semble privilégier l’apparition de trois incarnations du surnaturel : le fantôme, le slasher et le monstre. Notre étude se penche sur chacune d’entre elles afin de dégager quelles sont les lignes de force qui les structurent. Pour cela, nous nous servons de la notion de figure, qui à partir de l’étude de la représentation cinématographique des corps, permet également de déterminer quels sont les enjeux thématiques qui y sont associés, ainsi que la reconfiguration particulière que chacune d’entre elles opère sur le genre fantastique
This thesis tackles Spanish fantastic cinema from the 1990s and 2000s, and more specifically from 1993 to 2005. Indeed, this period of time corresponds to the rising of a new generation of directors who gave a new impetus to the genre by re-appropriating it. We start off with the initial premise that within the various approaches of the genre present in each of these films, the Spanish fantastic seems to favour the emergence of three types of supernatural : the ghost, the slasher and the monster. Our study focuses on each of these types so as to highlight its structuring driving forces. In that respect, we use the notion of figure which, based on the study of the cinematographic representation of bodies, also allows to determine the thematic stakes related to it, as well as the specific reconfiguration that each of them operates on the fantastic genre

Amparo Davila's writing style is characterized by circumventing the boundaries between the real and the fantastic and between the known and the unknown. The author creates a narrative that evokes horror in the reader by mixing the uncanny of the unknown with the reality of the world. This study proposes that the sinister in Davila's stories are created by abandonment. This abandonment is the peremptory element of Davilian narrative and can be seen and examined throughout the author's literary work. The abandonment wields a mechanism of loneliness, madness, hopelessness and chaos that eventually provokes the sinister. The element of abandonment disturbs the main character of the story and makes him fall into an abyss from which he or she cannot escape. This abandonment is not always obvious, since most of the time the abandonment is veil by a halo of gothic and fantastic elements. The present thesis has the task of breaking down the different types of abandonment that are presented throughout this narrative, its sinister function and the theoretical and historical interpretation of the various abandonments both personal and collective that Amparo Davila presents. The route of abandonment proposed in this thesis is explained in the following three stories: "El desayuno" (1961), "La quinta de las celosías" (1959) and "La señorita Julia" (1959).

Master's thesis presents comparison of motifs and images of fantastic appearance and terror in the novel Frankenstein or the Modern Prometheus by Mary Shelley and its film and theatre adaptations, and studies their changes. It deals not only with theoretical problems of fantastic appearance, terror (horror) and adaptation, but especially the Frankenstein myth and its influence on creating these images in given texts. Thesis describes the development of fantastic and horrific images from the literary text towards visual and performance media. The thesis studies the transformation of these images within three film adaptations made by directors J. Searlse Dawley (1910), James Whale (1931) and Kenneth Branagh (1994), and one play written by Nick Dear and directed by Danny Boyle (2011). Key words: Frankenstein, Frankenstein myth, fantastic appearance, fantastic, terror, horror, adaptation

(in English): The aim of this work is to analyse selected short stories of the Argentinian writer Silvina Ocampo, which combines the element of violence, cruelty and crime. The work is focused on the original elements of fantastic, which are often referred to as "fantastic everyday life" and puts it in connection with the motive of violence and the presence of crime. In the introduction, it summarizes the author's work and outlines the concept of modern fantasy and its difference from the traditional form. It briefly introduces the concepts of violence and cruelty from the perspective of literature, philosophy and psychology. The short stories selected for analysis are based on the short story sets Viaje olvidado, Autobiografía de Irene, La furia and Las invitadas. A detailed analysis of short stories aims to examine the motive for violence in relation to fantasy and childhood elements. It examines child characters, perpetrators and victims of violence, which takes place in a fantastic setting. In the end, it compares the tools of fantasy construction such as metamorphosis, duality or elements of irony.

This dissertation explores the embodied and sensory dimensions of fantastic film, those elements that are generally held up in contrast to and, often, in excess of, narrative structure. I suggest a departure from the traditional approach to genre study which has been preoccupied with narrative formulas, themes, and iconographies. My goal is not to dispense with those kinds of analyses but to complement them and, importantly, to point to some neglected dimensions of genre pleasure. I propose to transform the presumably excessive pleasures of the fantastic genre into something essential to it. First, I explore the disavowal or avoidance of embodied sensation within popular genre criticism. I then turn to critique existing models of film reception, focusing particularly upon a critique of the ocularcentric or visualist framework. From this critique, I am able to suggest some criteria for an alternative theoretical model based upon embodiment. I propose a theoretical framework based, first, on the phenomenology of Maurice Merleau-Ponty, who demonstrates that human subjects are constituted materially and culturally through their perceptual relations within the world. Second, I rely upon a further interpretation of this phenomenology by the American philosopher Don Ihde. Ihde’s work, configured as “postphenomenology,” draws variously from technoscience studies, the philosophy of science, feminist, and posthumanist theory, and sketches a system for the application of an experimental phenomenology. With this method, I explore various embodied, sensational aspects of fantastic genre films, i.e., spectacle, gore, musical genre conventions. I describe and relate these aspects of fantastic film to other cultural venues, exploring common themes and structures among them. From this, I draw some conclusions as to the nature of these sensational genre pleasures for embodied human individuals. Simultaneously, I consider the possibilities for embodied difference among individuals.
text

Aucune figure, au XXe siècle et aujourd'hui, n'est comparable au zombie. Sa prolifération et sa réitération en font un cas d'étude exceptionnel. Or, une figure est inséparable des discours qui la voient naître. Il existe un subtil et profond arrimage entre la production d'une figure, son interprétation et l'économie de sens qui la voit naître. Ma modeste ambition, dans ce mémoire, s'insère dans une réflexion à caractère épistémologique où les enjeux narratifs et les notions critiques encadrant le phénomène zombie seront interrogés. De même, afin de faire émerger cette économie de sens, les modalités de sens de la métaphore doivent être cernées. Ce mémoire est donc une série de prolégomènes nécessaires à l'intelligence d'un important problème contemporain : l'interprétation d'une figure telle que le zombie. Le premier chapitre est une synthèse des manifestations de la figure et de sa compréhension. Les années 60 opèrent une importante transformation dans le corpus filmique zombie (et d'horreur) qui s'incarne dans Night of the Living Dead, de George Romero. Le second chapitre s'intéresse aux enjeux narratifs et aux notions critiques qui encadrent le phénomène zombie. La distinction entre thématique et esthétisme s'incarne alors dans la séparation stricte entre forme et contenu et se fait sentir dans les interprétations offertes du phénomène de l'horreur et dont les études sur le zombie sont tributaires. Cela fait, je rappellerai la vision de Todorov et d'Ingarden sur la représentation afin de cerner les enjeux véritables d'une interprétation. En définitive, la question sera de savoir si le zombie peut être pris à la lettre. Le troisième chapitre sera le moment d'interroger la métaphore afin qu'émergent les modalités de sens qui lui sont inhérentes. Ce chapitre se divisera en deux parties qui reprennent les moments essentiels de la métaphore : sa production et sa lecture. Pour ce faire, je parcourrai la tradition théorique sur la métaphore afin de saisir la portée de l'affirmation poétique qui établit un rapport métaphorique entre les zombies et les humains. Quelle est la signification de cette affirmation qui assume et guide la mise en récit d'une figure (le zombie), et qui assume et guide une lecture métaphorique de l'être humain? En guise de conclusion, je réfléchirai sur les modalités de la lecture en vue d'une interprétation de la figure du zombie. En ce sens, j'explorerai cette inséparabilité entre la manière, c'est-à-dire la métaphore, et son contenu, c'est-à-dire ses interprétations.
No figure, in the Twentieth Century, and today, is comparable to the zombie. Its proliferation and reiteration make it an exceptional case study. Yet a figure is inseparable from the discourses that give birth to it. There is a profound and subtle correlation between the figure’s productions and interpretation, as well as the economy of meaning generating it. My modest ambition, in this thesis, is anchored in an epistemological reflection in which the narrative stakes and the critical notions framing the zombie phenomenon will be examined. For that economy of sense to emerge, the metaphor’s modalities of meaning must be grasped. Thus, this thesis takes the form of a series of prolegomena necessary for understanding an important contemporary problem: the interpretation of a figure such as that of the zombie. The first chapter presents a synthesis of the figure’s manifestations. The 60s bring an important transformation in the zombie (and horror) corpus that is conveyed in George Romero’s Night of the Living Dead. The second chapter focuses on narrative issues and critical notions framing the zombie phenomenon. The strict separation between form and content shapes the horror discourse and many of its interpretations from which Zombie Studies emerge. Subsequently, I revisit Todorov’s and Ingarden’s thought about representation in order to grasp the fundamental issues of interpretation. Ultimately, the question concerns knowing whether the zombie can be taken à la lettre. The third chapter examines metaphor’s inherent modalities of meaning. This chapter is divided into two sections that represent the essential aspects of metaphor: production and reading. In this connection, I refer to the theoretical tradition on metaphor so as to discern the nature of the poetic affirmation that, through metaphor, links zombies and humans. What does this affirmation signify, as it takes up and guides both the zombie figure’s narrative and the metaphorical reading of the human being? In conclusion, I reflect on the modalities of reading underlying interpretations of the zombie figure. In this sense, I will explore the inextricable link between the mode - that is, the metaphor - and its content or, rather, interpretations.

Weird fiction criticism has been largely focused on either analyzing texts via the biographies of weird fiction authors, or concentrating on the words on the page to a degree that ignores all outside context. Although these approaches are valuable, more utility is to be found in analyzing weird fictions via their specific historical locations. This dissertation demonstrates the validity of this approach by surveying the works of five American weird fiction authors from the Twentieth Century (Lovecraft, Smith, Howard, Bloch, and Ligotti), and giving new interpretations that are based on an understanding of their placement within specific historical milieus (respectively, anti-WWI sentiment, surrealism and the problem of representation, Southern and Southwestern regionalism, pastiche and publishing culture, and metafiction and genre fiction). This survey supports the need for a new critical approach to weird fiction as described in this dissertation, and furthers our understanding of weird fiction by investigating hitherto unexplored perspectives on weird texts.

West European Impulses of Bulgarian Diabolism (A Look at the Bulgarian Literature of the 1920s) Abstract Keywords: Bulgarian literature, expressionism, avant-garde, diabolism, horror fiction, marvelous, uncanny, Menippean carnival discourse, romanticism, naturalism, individualism Svetoslav Minkov (1902-1966), Vladimir Poljanov (1899-1988), Georgi Rajčev (1882 - 1947), Čavdar Mutafov (1889-1954) Contrary to its generally innovative potential for Bulgarian literature, the phenomenon called Bulgarian diabolism has been a marginal one from the point of view of literary discourse. The interest of postmodern writers and reviewers has given rise to accentuating some of the partial aspects of the works of Svetoslav Minkov, Vladimir Polyanov, Georgi Raychev and Chavdar Mutafov. However, with the exception of Thomas Martin's monograph Der bulgarische Diabolismus. Eine Studie zur bulgarischen Phantastik zwischen 1920 und 1934, published in 1993, works explicating the nature of the phenomenon in Bulgarian literature have been missing. Due to their novelty and impurity, the syncretic writings of Bulgarian diabolists, blending fading individualistic modernist tendencies together with elements of romantic fiction of horror in the generally expressionist roots of their works, were a phenomenon difficult to rank for their...