Bibliografias temáticas / Medieval Horror

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Literatura científica selecionada sobre o tema "Medieval Horror"

Autor: Grafiati

Publicado: 29 de julho de 2024

Última modificação: 30 de julho de 2024

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Artigos de revistas sobre o assunto "Medieval Horror"

Pirotti Pereira, Gabriela. "To Take On the Nature of Wild Animals: Elements of Biological Horror in the Fourth Branch of the Mabinogi". Revista da Anpoll 51, n.º 3 (31 de dezembro de 2020): 74–83. http://dx.doi.org/10.18309/anp.v51i3.1456.

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Jason Colavito (2007) descreve “horror corporal” como uma seção na ficção de horror que se ocupa das “inquietações relacionadas ao corpo físico e seu relacionamento com o mundo natural” (p. 113). Tais narrativas frequentemente emergem durante períodos nos quais há ansiedades sociais conectadas à expansão científica e algum desafio aos valores morais. O presente artigo propõe uma leitura da história “Math, son of Mathonwy” explorando a possibilidade de que esta narrativa apresenta aspectos de horror corporal. Olhando para o contexto histórico e social do manuscrito medieval Y Mabinogi (O Mabinogi), este estudo revisa os debates científicos que ocorreram na Grã-Bretanha durante o século XII, e os relaciona com as transformações corporais e punição física apresentadas no quarto ramo do Mabinogi. Esta análise foca principalmente na metamorfose da personagem Blodeuwedd, cujo corpo é permanentemente alterado como parte de um julgamento por suas ações morais. Por fim, a natureza fluida dos corpos nesta narrativa demonstra alguma semelhança com o horror corporal, por se aproximar de alguns dos debates e questionamentos introduzidos pelos estudos monásticos durante a Idade Média.

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Field, Teresa. "Biblical Influences on the Medieval and Early Modern English Law of Sanctuary". Ecclesiastical Law Journal 2, n.º 9 (julho de 1991): 222–25. http://dx.doi.org/10.1017/s0956618x0000123x.

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In Act Three of Shakespeare's King Richard III the Duke of Buckingham asks Cardinal Bourchier to try and persuade Elizabeth Woodville to release the young Duke of York from sanctuary at Westminster. In the event of such tactics failing, Buckingham wishes Lord Hastings to accompany the Cardinal to Westminster and ‘… from her jealous arms pluck him perforce.’ The Cardinal's initial reaction is one of horror:‘…if she be obdurateTo mild enteraties god in heaven forbidWe should infringe the holy privilgeOf blessed sanctuary not for all this landWould I be guilty of so deep a sin.’

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Buchan, Bruce. "Sight Unseen: Our Neoliberal Vision of Insecurity". Cultural Studies Review 24, n.º 2 (2 de maio de 2018): 130–49. http://dx.doi.org/10.5130/csr.v24i2.6051.

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Is security seen? Is security seen in images of peace and safety, or is it perceived in the troubled images of the horrors of violence and suffering? Vision has played a crucial role in shaping the modern Western preoccupation with, and prioritisation of security. Historically, security has been visually represented in a variety of ways, typically involving the depiction of its absence. In Medieval and Early Modern Europe especially, security and insecurity were presented as coterminous insofar as each represented separate conditions – their shared boundary envisioned in representations of the temporal threshold separating human mortality from divine salvation. This ocular demonstration of thresholds has been heightened by the ‘war on terror’ conducted by neo-liberal states since 2003. Neoliberalism operates as a discourse of constant global circulations (of money, goods and people) premised on a perpetual anticipation and pre-emption of insecurity. In the neoliberal scheme, security and insecurity are no longer coterminous, but mutually sustaining in perpetuity. In that sense, neoliberal security is ‘sight unseen’ - an uncanny presence that is not there. In the reiterated troubled images of horror amplified by the seemingly endless 'war on terror', neoliberal security operates as a terrifying visual reflex: we cannot see it but in new horrors.

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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 (maio 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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Fergusson, David A. S. "Predestination: A Scottish Perspective". Scottish Journal of Theology 46, n.º 4 (novembro de 1993): 457–78. http://dx.doi.org/10.1017/s0036930600045245.

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In contemporary Scottish culture the subject of predestination is guaranteed to evoke a variety of reactions ranging from horror and disgust on the one hand to laughter and ridicule on the other. It is viewed by some as a nightmare scenario devised by Christian theologians in their worst moments, while for odiers it is a ludicrous aberration of the medieval and Reformation mind. It is perceived frequently as the trademark of a theological mindset which is marked by harshness, legalism and a fatalistic attitude towards life. A clear example of this is Edwin Muir's biography of Knox which writes vitriolically of the oppression and tyranny of the predestinarian religion that was imported from Calvin's Geneva.

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Minaya Gómez, Francisco Javier. "The Lexical Domains of Ugliness and Aesthetic Horror in the Old English Formulaic Style". Atlantis. Journal of the Spanish Association for Anglo-American Studies 45, n.º 1 (29 de junho de 2023): 147–67. http://dx.doi.org/10.28914/atlantis-2023-45.1.09.

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Even though as of late there has been a renewed interest in the aesthetic ideals in early Medieval England, the conceptualisation and experience of ugliness in Old English sources has been largely neglected. Drawing on the recent research carried out on aesthetic emotions and folk aesthetics, and despite the lack of academic materials on artistic and literary canons of ugliness, the purpose of this paper is to look into the terms that rendered the experience of ugliness and its closest emotional response, aesthetic horror, in order to examine how these are employed in poetic texts. The findings from this study evidence a lack of use of terms for negative aesthetic experience in Old English poetry that suggests that the lexical domain of ugliness and related emotional responses were not fundamental constituents of the Old English formulaic style, while the lexical domain of beauty and its responses were. Additionally, this study highlights the fundamentally moral character of the idea of ugliness.

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White, David Gordon. "Dracula's Family Tree: Demonology, Taxonomy, and Orientalist Influences in Bram Stoker's Iconic Novel". Gothic Studies 23, n.º 3 (novembro de 2021): 297–315. http://dx.doi.org/10.3366/gothic.2021.0106.

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Prior to Bram Stoker's Dracula, vampires were never represented in literature as reanimated or ‘undead’ humans capable of transforming into bats. The source of Stoker's innovation may be traced to his personal acquaintance Sir Richard Francis Burton, who in his adaptation of a South Asian anthology of ‘Gothic’ tales of horror and adventure had identified its hero's antagonist, called a vetāla in Sanskrit, as both a male vampire and a giant bat. This article surveys a number of ancient, medieval, and early modern Asian and European precursors of Stoker's vampire lore, noting that unlike Stoker's shape-shifting Transylvanian Count, predatory ‘vampires’ were most often female in gender in these traditions, and their victims male; and reviews the shifting interface between the taxonomical and cultural categories of ‘vampire’ and ‘bat’ in Europe, Asia, and the Americas.

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Classen, Albrecht. "Absurdity in Medieval Literature? Der Stricker’s Pfaffe Amîs as a Transgressive Literary Enterprise Long before Modernity". Humanities 13, n.º 3 (24 de maio de 2024): 80. http://dx.doi.org/10.3390/h13030080.

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Although the concept of the Absurd seems to be characteristic only of modernity, especially since WWII, we face the intriguing opportunity to investigate its likely first emergence in the early thirteenth century in Der Stricker’s Pfaffe Amîs (ca. 1220). While the narrative framework insinuates that meaning and relevance continue to be the key components of the priest’s life, especially because he constantly seeks new sources of income for his own generosity and hospitality, his various victims increasingly face absurd situations and are abandoned even to the threat of insanity and death. The analysis of the verse narrative suggests that the protagonist begins to embrace crime and violence as the norm for his operations as a fake merchant. Thus, in some of the episodes of this famous Schwankbuch, elements of the absurd become visible, creating considerable irritation and frustration, if not horror and desperation, among the priest’s innocent victims.

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Mcdougall, Ian. "Serious entertainments: an examination of a peculiar type of Viking atrocity". Anglo-Saxon England 22 (dezembro de 1993): 201–25. http://dx.doi.org/10.1017/s0263675100004385.

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In a letter written to King Æthelred of Northumbria in or soon after 793, Alcuin bewails the appalling aftermath of the Viking attack on Lindisfarne. He writes, ‘vineam electam vulpes depredarunt, hereditas Domini data est populo non suo. Et ubi laus Domini, ibi ludus gentium. Festivitas sancta versa est in luctum.’1 Alcuin's horror at Viking merriment is shared by a great many other medieval historians in their accounts of the depredations of the Norsemen. Adam of Bremen, for instance, laments the Vikings' assault upon the Franks in 882, in which they made so bold as to attack King Charles III himself, and generally ‘made sport of our people‘.2 Florence of Worcester similarly deplores the brutality of Sveinn Forkbeard's men, who invaded East Mercia in 1013, all the while ‘revelling in acts of savagery‘.3 William of Malmesbury remarks on the ungentle sense of humour of Cnut the Great, who, after inviting Earl Uhtred of Northumbria to surrender himself into his custody, promptly had his hostage put to death, as William puts it, ‘with inhuman levity‘.4 In short, it is not unusual to find medieval chroniclers expressing their distaste for the evident pleasure invading Scandinavians occasionally derived from committing acts of atrocity.

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Allen, Richard. "Toward a Philosophy of Melodrama". Projections 17, n.º 3 (1 de dezembro de 2023): 1–24. http://dx.doi.org/10.3167/proj.2023.170301.

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Abstract This article proposes a philosophy of melodrama, following the example of Noël Carroll in The Philosophy of Horror (1990). Melodrama is defined by a distinctive mode of address in which morality is dramatized through an appeal to our emotions. More narrowly conceived as the “tearjerker,” it is designed to solicit tears through the orchestration of pathos. While melodrama is associated above all with a genre of nineteenth- century theater, it is considered here as a mode that persists from at least the medieval period into the present, encompassing discrete art forms, such as theater, opera, and film. Furthermore, as it evolves historically, it develops more complex idioms. Classical melodrama, or the melodrama of good versus evil, which dwells on the pathos of suffering innocence, is contrasted with romantic melodrama or the melodrama of moral antinomy (Singer), which explores the pathos of sacrifice. A series of distinctions are drawn between sympathy, pathos, empathy, and identification, and the relationship of each to the other and to our moral responses are briefly delineated. The article contests Murray Smith's theory of empathy as central or personal imagination and defends a distinctive concept of identification, based upon its roots in the medieval French “identifier,” to “regard as the same.” It concludes with a brief defense of melodrama against the charge that is emotionally contrived and exploits our moral sentiments for meretricious ends.

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Teses / dissertações sobre o assunto "Medieval Horror"

Bruen, Beverley Anne. "The making of monsters : has the medieval monster been reassembled as the unbounded body of medical science and environmental horror?" Phd thesis, 2011. http://hdl.handle.net/1885/147152.

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This investigation examines perceptions of the monster as an unbounded body. Bodily containment is clearly disregarded in the fearsome physical abnormality of the medieval monster. Their hybrid physiologies and the emphasis on bodily orifices are reminiscent of those horrors described in Julia Kristeva's Powers of Horror: An Essay on Abjection. My research argues that the monster continues to retain its impact as a metaphor for fear and horror of unforeseen dangers in contemporary secular circumstances. My studio practice addresses the unbounded body of the monster as a metaphor for environmental horror. An accompanying exegesis documents the methodology, experimentation and ideas that drove this practical research. In the resultant works the monster is presented as an elusive entity embedded within abstracted land forms and in small assemblages of found objects. My dissertation provides theoretical and historical links to my studio practice. It clarifies the significance of the tradition of medieval mapmaking in addressing the fears and horrors of the unknown by ordering connections between nature, theology and the workings of the cosmos. More specifically, the dissertation contrasts the shift from the monsters of medieval religion to their reconfiguration as an increasingly scientific/medical phenomenon culminating in the genetically altered bodies of today's biotechnologies. Recollecting the body/earth metaphor of the medieval Hereford mappa mundi, ten digital images record my journey through drought-stricken landscapes where the earth is conceptualised as a fragile body, vulnerable to environmental disaster. The medieval need to confine the monster to its rightful place in the mapped schema of God's 'plan of creation' is also reflected in the series of assemblages of found objects - bones, feathers, fur, mummified frogs, small lizards, cicadas, pig, goat, kangaroo and wombat skulls, metal objects and silk constructions - that are skewered on ancient medical, optical and mathematical instruments. The making or transforming of monsters and the containment of these unbounded bodies is alluded to by safely confining each little assemblage within a miniature glass tower. Grouped together, they recall the eclectic wonderment of the 'cabinet of curiosities' or Kunstkammer and Wunderkammer that encapsulated the emerging ethos of medical and scientific enquiry of Enlightenment Europe. Technically, I contribute to new knowledge in art practice by layering elements of my drawings and scanned found objects in Photoshop to create a painterly abstraction and in the employment of the new technologies of direct digital print to transfer these images onto silk fabric and archival papers. By further embellishing the silk prints with beads and stitching, I demonstrate the interaction of handmaking with digital processes: a multilayered method akin to collage and assemblage. This process of assemblage links the landscape pieces to the small glass towers. My investigations found that, although its appearance may differ from that of the medieval grotesque, the monster is undiminished as a metaphor for the unbounded body of medical science and environmental horror. The resulting body of work is to be exhibited at the ANU School of Art Gallery from 16 March to 1 April, 2011.

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André, Carolina Limas Soares. "Pecados de mulheres : a cosmovisão medieval : das constituições sinodais e livros de penitenciais ao Horto do esposo e contos populares e lendas, coligidos por José Leite de Vasconcellos". Master's thesis, 2009. http://hdl.handle.net/10400.2/1450.

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Dissertação de Mestrado em Estudos Portugueses Multidisciplinares apresentada à Universidade Aberta
A dissertação «Pecados de Mulheres - a Cosmovisão Medieval: das Constituições Sinodais e Livros de Penitenciais ao Horto do Esposo e Contos Populares e Lendas, Coligidos por José Leite de Vasconcellos», procede à análise comparativa de textos normativos, (dos séculos XIII ao XV), com a obra Horto do Esposo (séculos XIV- XV) e com Contos Populares e Lendas, compilados por José Leite de Vasconcellos (dos finais do século XIX ao início do século XX), no que diz respeito a pecados de mulheres. Numa primeira fase, foram estudadas constituições enunciadas em sínodos de Lisboa, Porto e Braga e também apresentadas no Tratado de Confissom e no Libro de las Confesiones, de Martín Pérez, onde identificámos diversos pecados da carne e os do espírito cometidos por mulheres. Num segundo momento, foram examinados pecados de mulheres existentes em exempla no Horto do Esposo e relacionados com os pecados encontrados nos textos normativos. Graças a esta comparação, foi possível encontrar, no Horto do Esposo indícios de uma visão pessoal e subjectiva sobre a mulher e seus pecados. Finalmente, a análise dos Contos Populares e Lendas permitiu verificar que os pecados da carne e do espírito analisados em textos normativos e no Horto ainda permaneciam no universo imaginário popular. Independentemente desta base comum, ressalta, nos textos tradicionais, a valorização da esperteza da mulher que, impunemente, dissimulava os pecados da carne e manipulava o marido conseguindo manter o seu casamento. Frequentemente, a mulher que cometia pecados do espírito, também consegue obviar eventuais castigos. Estas constatações sugerem a minimização dos pecados em estudo no quadro da tradição popular. A este nível, os textos medievais e tradicionais diferem consideravelmente. Para tal concorrerá, além da distância temporal e de alguma consequente suavização de costumes, a diferença básica de ponto de vista que separa textos normativos produzidos em ambiente clerical de textos populares onde a vertente satírica e anti-clerical se faz notar.
The study called «Pecados de Mulheres - a Cosmovisão Medieval: das Constituições Sinodais e Livros de Penitenciais ao Horto do Esposo e Contos Populares e Lendas, Coligidos por José Leite de Vasconcellos», aims to compare normative texts from the 13th century to others from the 15th century with the work called Horto do Esposo (14th-15th century) and also with Contos Populares e Lendas, collected by José Leite de Vasconcellos (from the end of the19th century to the beginning of the 20th century) as far as women’s sins are concerned. At a first stage, constitutions from synods of Lisboa, Porto and Braga and also from Tratado de Confissom and Libro de las Confesiones, from Martín Pérez, were studied, and different sins of the flesh and of the spirit committed by women were recognized. At a second moment, sins committed by women were examined in exempla in the work Horto do Esposo and related to the sins found in the normative texts. Thanks to this comparison, it was possible to find in the Horto do Esposo signs of a personal and subjective point of view about women and their sins. Finally, the study of Contos Populares e Lendas allowed us to verify that the sins of the flesh and spirit analysed in normative texts and in the Horto still remained in the imaginary popular universe. Regardeless this common base, it pointed out the valorisation of woman’s sagacity /craft in the traditional texts, who therefore, managed to hide the sins of the flesh and manipulated her husband in order to continue with her marriage. Frequently, the woman that committed the sins of the spirit, also managed to avoid possible punishments. These conclusions suggest that the sins studied are minimized as far as the popular tradition is concerned. Therefore, medieval and traditional texts differ substantially. Besides the time distance and the smoothing of customs/behaviours, it is also important to consider the different point of view that separates normative texts written in a clerical environment from popular texts, where a satiric and anti-clerical point of view is noticed.

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Sousa, Camila de Abreu Lopes Seixas e. "O basilisco: dos bestiários ao Orto do Esposo". Master's thesis, 2021. http://hdl.handle.net/10451/49290.

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O propósito último deste trabalho consiste na análise da figura do basilisco, enquanto serpente, em quatro bestiários ingleses — Bestiário de Aberdeen, Bestiário de Cambridge, MS. Ashmole 1511, e MS. Bodley 764, todos estes do século XIII — e na obra portuguesa Orto do Esposo, obra de finais do século XIV ou de inícios do século XV. De forma a levar a cabo esta análise, é feito um breve estudo da origem e evolução do Bestiário, bem como da sua estrutura e conteúdo. Atentamos seguidamente nos quatro livros que constituem o Orto do Esposo, fazendo depois uma análise da figura da serpente e da sua carga simbólica. Por último, é feita uma leitura comparativa da figura do basilisco nas nossas diversas fontes. Destacamos, enquanto importantes matrizes teóricas, a filosofia neoplatónica e a imagética bíblica, estando estas presentes ao longo de todo o nosso estudo.
The ultimate purpose of this study is the analysis of the basilisk in four English bestiaries — the Aberdeen Bestiary, the Cambridge Bestiary, MS. Ashmole 1511, and MS. Bodley 764, all of them from the 12th century, and the Portuguese manuscript Orto do Esposo, which belongs to the late 13th century or the early 14th century. To accomplish this analysis, a brief study of the origin and evolution of the Bestiary is made, as well as of its structure and content. The study of the four books that form the Orto do Esposo is followed by an analysis of the serpent and its symbolic meaning. Lastly, a comparative reading of the basilisk is made, based on our diverse sources. We give emphasis to neoplatonic philosophy and biblical imagery, as important reference points which are present across our study.

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Livros sobre o assunto "Medieval Horror"

Lamberg, Marko. Päätön ritari: Kauhutarinoita keskiajalta. Helsinki: Suomalaisen Kirjallisuuden Seura, 2012.

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Fichtner, Christoph. Das Horber Stadtrecht im Mittelalter. Warendorf: Fahlbusch, 1990.

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1850-1894, Stevenson Robert Louis, ed. The strange case of Dr. Jekyll and Mr. Hyde: And, The dynamiter. Naples, Fla: Trident Press International, 2001.

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Robert Louis Stevenson. L' étrange cas du Dr Jekyll et de Mr Hyde. [Paris]: Marabout, 2010.

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Mitsu, Yamamoto, e Pablo Marcos Studio, eds. Dr. Jekyll and Mr. Hyde. Edina, Minn: ABDO Pub., 2002.

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1878-1938, Varlet Théo, e Grinfas-Tulinieri Josiane, eds. Le cas étrange du Dr Jekyll et de M. Hyde. Paris: Magnard, 2001.

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V, Qualls Barry, e Wolfson Susan J. 1948-, eds. The strange case of Dr. Jekyll and Mr. Hyde. New York: Washington Square Press, 1995.

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Powell, Martin. The strange case of Dr. Jekyll and Mr. Hyde. Mankato, Minn: Stone Arch Books, 2009.

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Gerard, Gibson, ed. Dr Jekyll and Mr Hyde: And, The bodysnatchers. London: Purnell, 1988.

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Robert Louis Stevenson. The strange case of Dr. Jekyll and Mr. Hyde. New York: Dover Publications, 1991.

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Capítulos de livros sobre o assunto "Medieval Horror"

Romero, Loreto. "Rapture and horror". In The Routledge Hispanic Studies Companion to Medieval Iberia, 491–507. London; New York, NY: Routledge/Taylor & Francis Group, 2021. |: Routledge, 2021. http://dx.doi.org/10.4324/9781315210483-37.

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Power, Andrew J. "Horror and Damnation in Medieval Literature". In The Palgrave Handbook to Horror Literature, 113–26. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97406-4_9.

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Jakobsson, Ármann. "Horror in the Medieval North: The Troll". In The Palgrave Handbook to Horror Literature, 33–43. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97406-4_3.

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Scheuer, Hans Jürgen. "Arthurian Myth and Cinematic Horror: M. Night Shyamalan’s The Sixth Sense". In The Medieval Motion Picture, 171–91. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137074249_9.

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Pugh, Tison. "Queering the Medieval Dead: History, Horror, and Masculinity in Sam Raimi’s Evil Dead Trilogy". In Race, Class, and Gender in "Medieval" Cinema, 123–36. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230603561_9.

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Cassidy-Welch, Megan. "‘A Place of Horror and Vast Solitude’: Medieval Monasticism and the Australian Landscape". In Medievalism and the Gothic in Australian Culture, 189–204. Turnhout: Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.mmages-eb.4.000032.

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Orchard, Andy. "Fresh Terror, New Horror: Fear and the Unfamiliar in the Old English Exodus". In Fear in the Medical and Literary Imagination, Medieval to Modern, 131–56. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-55948-7_7.

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"Medieval Genealogies of Manga and Anime Horror". In Japanese Visual Culture, 231–48. Routledge, 2014. http://dx.doi.org/10.4324/9781315703152-17.

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Brooks, Francesca. "‘He’ll latin-runes tellan in his horror-coat standing’". In Poet of the Medieval Modern, 170–208. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198860136.003.0005.

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Chapter 4 focuses on the area across the east coast of Britain first thought to have been settled by post-Roman migrants, that of the East Anglian and Lincolnshire fenland, and the exploration of this contested space in ‘Angle-Land’. In the part of ‘Angle-Land’ focused on the fen Jones engages in a poetic search for the lost Britons of the early medieval fen by reading the eighth-century Anglo-Latin Vita Sancti Guthlaci Auctore Felice alongside recent archaeological finds from Caistor-by-Norwich. This chapter proposes that this search ultimately questions the extent of the foreignness of the Welsh in this supposedly ‘Anglo-Saxon’ space, allowing Jones to reimagine Guthlac as an Anglo-Welsh saint and to create a new macaronic language for twentieth-century Britain.

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Haynes, Lloyd. "The Influence and Legacy of The Evil Dead". In The Evil Dead, 91–110. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859340.003.0007.

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The final chapter examines the film’s two sequels, EVIL DEAD II and ARMY OF DARKNESS, and it’s revival on television with ASH VS. EVIL DEAD. EVIL DEAD II is a bigger budgeted, gleefully outrageous exercise in black humour and flesh-crawling horror, as much a remake as a sequel; ARMY OF DARKNESS is markedly different, set in medieval Europe and with an emphasis on action rather than gore. Also considered are the later films which have been influenced by THE EVIL DEAD, from the neo-noir BLOOD SIMPLE to the body horror CABIN FEVER and the clever CABIN IN THE WOODS. There is also the official remake, EVIL DEAD, which replaces the dynamic attitude of the original with standard horror theatrics.

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Trabalhos de conferências sobre o assunto "Medieval Horror"

Arapu, Valentin. "Th e world of lepers in conditions of marginalization and mercy: habitat, legislation, restrictions and prejudices (historical, sanitary-epidemiological and ethnocultural interferences)". In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.27.

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In the historical past, lepers were organized into separate communities, living poorly in leprosariums. In society, lepers were treated diff erently, being tolerated and marginalized. Tolerance of lepers included Christian perception and multiple biblical postulates in which the lepers were miraculously healed; Jesus was received in the home of Simeon the Leper. At the same time, people’s fear of leprosy, amplifi ed by the ignorance of the causes of the disease, made lepers undesirable in the medieval society. Multiple restrictions were imposed on lepers; marriages were dissolved when the husband or wife had leprosy. In more serious cases, marked by the phobias of the time, leprosy patients were killed, being blamed for a series of horrors, born more against the background of phobias that dominated the collective imagination of the people. Th e imposed lepers lived in a separate world of their own, a world that existed in the suburbs of the city, a world that lived by its rules and regulations, imposed for the most part from the outside.

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