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Готові списки джерел за темами / Tales of the grotesque and arabesque / Статті в журналах

Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Tales of the grotesque and arabesque.

Статті в журналах з теми "Tales of the grotesque and arabesque"

Автор: Grafiati

Опубліковано: 13 березня 2024

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1

Armiento, Amy Branam. "Literary Politics, Partisanship, and Poe's Tales of the Grotesque and Arabesque." Poe Studies 51, no. 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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2

Lopes Lourenço Hanes, Vanessa. "Notas sobre Clarice Lispector e a tradução da literatura gótica anglófona." Revista da Anpoll 51, esp (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

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3

Rigal-Aragón, Margarita, and Fernando González-Moreno. "“A man must laugh, or die”: Visual Interpretations of Poe’s Comical and Parodical Tales." Edgar Allan Poe Review 22, no. 1 (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); lat

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4

Dykstal, Andrew. "The Voyeur in the Confessional: Reader, Hoax, and Unity of Effect in Poe's Short Fiction." Poe Studies 51, no. 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,

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5

Koroleva, Vera V. ""Hoffmann’s complex" in Edgar Allan Poe’s story "Loss of Breath"." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 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

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6

Santos Silva, Karin Hallana, and Elida Paulina Ferreira. "Edgar Poe em português." Domínios de Lingu@gem 5, no. 3 (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

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7

Garcia, Elizabeth, and Otavio Leonídio. "Arabesco e Grotesco na arquitetura de Peter Eisenman." Revista Prumo 5, no. 8 (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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8

Gammel, I., and J. Wrighton. ""Arabesque Grotesque": Toward a Theory of Dada Ecopoetics." Interdisciplinary Studies in Literature and Environment 20, no. 4 (2013): 795–816. http://dx.doi.org/10.1093/isle/ist085.

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9

Hughes, Sandra S. "Edogā-aran-pō and Edogawa Rampo: Repetition, Reversal, and Rewriting of Poe in Rampo." Edgar Allan Poe Review 23, no. 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 contempor

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10

Youngjoo Kim. "Grotesque Body and Grotesque Laughter in Angela Carter’s Rewriting of Fairy Tales." Feminist Studies in English Literature 18, no. 1 (2010): 29–56. http://dx.doi.org/10.15796/fsel.2010.18.1.002.

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11

Marić, Antonela, Marko Dragić, and Ana Plavša. "THE GROTESQUE AND MYTH IN GIAMBATTISTA BASILE’S IL PENTAMERONE." Folia linguistica et litteraria XII, no. 36 (2021): 141–58. http://dx.doi.org/10.31902/fll.36.2021.9.

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This paper, besides a short introduction concerning general information on themes and the structure present in the short story collection Lo cunto de li cunti overo lo trattenemiento de’ peccerille, written by the Italian Baroque author Giambattista Basile, whose masterpiece enjoyed great fame abroad much earlier than in Italy, is concerned with the analysis of fantastic and grotesque elements which generally characterise oral tradition, fairy tales and myths. The above-mentioned elements were identified in the fifty short stories which Basile wrote and included in his collection. Various sour

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12

Hajo, Suhair Fuaad. "GROTESQUE COMPONENTS IN CHARLES DICKENS’ TO BE TAKEN WITH A GRAIN OF SALT AND MARY ELIZABETH BRADDON’S EVELINE’S VISITANT." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 7, no. 1 (2023): 61–71. http://dx.doi.org/10.30743/ll.v7i1.6941.

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This paper attempts to define the grotesque and its primary literary features before examining the grotesque components in two Victorian authors' works with the goal of separating their approaches to the grotesque based on gender. The most well-known novelist of the Victorian era, Charles Dickens will be one of the authors covered in this paper through his story To be Taken with a Grain of Salt, and the other one is Mary Elizabeth Braddon’s story Eveline’s Visitant. Dickens and Braddon particularly make use of the grotesque elements to convey their ideas and ideals through satire, comedy, trag

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13

Erdoğan, Necmi. "The Vicissitudes of Folk Narratives in Republican Turkey." Archiv orientální 83, no. 1 (2015): 31–51. http://dx.doi.org/10.47979/aror.j.83.1.31-51.

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The article examines the attempts to modernize folk narratives in Turkey, with a special emphasis on the ones characterized by grotesque imagery, including shadow theatre and Keloğlan tales. During the 1930s, the early Republican regime launched a project aimed at employing folk narratives in the service of its Kemalist national pedagogy. This study argues that the transposition of humorous folk narratives was bound to fail because of the incongruity between the “cheerful folk word” and the “dismal official word.” The study also analyzes the later adaptations of Keloğlan tales and transfigurat

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14

Knudsen, James, and Joyce Carol Oates. "The Collector of Hearts: New Tales of the Grotesque." World Literature Today 73, no. 3 (1999): 527. http://dx.doi.org/10.2307/40154935.

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15

Oyler, Elizabeth. "Ambiguous Bodies: Reading the Grotesque in Japanese Setsuwa Tales." Harvard Journal of Asiatic Studies 71, no. 1 (2011): 182–89. http://dx.doi.org/10.1353/jas.2011.0007.

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16

Bøggild, Jacob. "Hovering Stasis: Arabesque and Allegory in Hans Christian Andersen’s Fairy Tales and Stories." Romantik: Journal for the Study of Romanticisms 2, no. 1 (2013): 127. http://dx.doi.org/10.7146/rom.v2i1.20197.

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17

Vorova, T. P. "Peculiarities of the Structure and Distinctive Features of the Interpretation in “Motley Tales with Witticisms” by V. F. Odoyevsky." International Letters of Social and Humanistic Sciences 67 (March 2016): 18–26. http://dx.doi.org/10.18052/www.scipress.com/ilshs.67.18.

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Prince V.F. Odoyevsky (1803-1869) was the Russian writer, philosopher, musicologist and subtle musical critic, public figure, founder of «Society of philosophy-lovers» and author of «Motley Tales with Witticisms», fascinating monument of native culture; the book was published only once during the life of the writer and afterwards was not republished as the cycle. In literary criticism «Motley Tales» as the unified and important cycle by V.F. Odoyevsky were given scant coverage, although this literary work marked the beginning of new period in the writer’s oeuvre; an image of narrator Homoseyko

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18

Rajyashree Pandey. "Ambiguous Bodies: Reading the Grotesque in Japanese Setsuwa Tales (review)." Monumenta Nipponica 64, no. 2 (2009): 387–90. http://dx.doi.org/10.1353/mni.0.0097.

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19

Bathgate, Michael. "Ambiguous Bodies: Reading the Grotesque in Japanese Setsuwa Tales (review)." Comparatist 36, no. 1 (2012): 319–21. http://dx.doi.org/10.1353/com.2012.0002.

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20

Mushtaque, Munawwar, Mohd Rizwanullah, Muneer Alam, and Dr Shagufta Anjum. "A Critical Discourse on Exploring Washington Irving’s Motive in the Representation of Arabesque Tradition." Scholars International Journal of Linguistics and Literature 5, no. 12 (2022): 470–73. http://dx.doi.org/10.36348/sijll.2022.v05i12.009.

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Washington Irving was the first American to gain international recognition for his remarkable creation, Rip Van Winkle, and is the best known and best loved of American folklore characters. Washington Ring was not only a brilliant historian, but he was also a superb biographer. During his first three and a half years in Spain, he spent a lot of time reading extensively. The majority of his time was spent at the library, and the subjects of his research notes were Arabs and Arab culture. In this study, we will investigate the personal and cultural factors that led Washington Irving to write abo

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21

Buffet, Thomas. "Dominique PEYRACHE-LEBORGNE, Grotesque et arabesque dans le récit romantique, de Jean Paul à Victor Hugo , Paris, Champion, « Bibliothèque de Littérature Générale et Comparée », 2012, 832 pages." Revue de littérature comparée 353, no. 1 (2015): IX. http://dx.doi.org/10.3917/rlc.353.0091i.

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22

Cortellete, Letícia. "Fantastic Femininities: Metamorphosis and Resistance in the Fiction of Marie Darrieussecq and Armonía Somers." Forum for Modern Language Studies 57, no. 4 (2021): 438–58. http://dx.doi.org/10.1093/fmls/cqab046.

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Abstract This article seeks to examine the construction of female embodied identities via metamorphosis in two works of Uruguayan and French literature: Armonía Somers’s La mujer desnuda (1950) and Marie Darrieussecq’s Truismes (1996). The internal and external transformations of these heroines are a result of bodies that refuse to be disciplined into silence and passivity, and, instead, make a spectacle of themselves, symbolically voicing their right to take up space and delight in the unacceptable – the grotesque, nudity, lust. Hence, it is not surprising that both novels, in foreshadowing n

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23

Murashko, Andrei. "Laughter, carnival and religion in ancient Egypt." European Journal of Humour Research 9, no. 2 (2021): 26–35. http://dx.doi.org/10.7592/ejhr2021.9.2.437.

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The article highlights the problem of interaction of the ancient Egypt laughter culture with the category of sacred. A person is confronted with the fact that the examples in question can often be phenomena of a different order, and the use of terms such as “carnival” or even “religion”, “temple” or “priest” in relation to ancient Egypt requires an additional explanation. We find “funny” images on the walls of tombs and in the temples, where the Egyptians practiced their cult. In the Ramesside period (1292-1069 BC) a huge layer of the culture of laughter penetrated a written tradition in a way

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24

Vechkanova, Marina Il’inichna. "VIOLENCE AS AN INTEGRAL ELEMENT OF REALITY (BASED ON THE COLLECTION “HAUNTED: TALES OF THE GROTESQUE” BY JOYCE CAROL OATES)." Philological Sciences. Issues of Theory and Practice, no. 2 (February 2019): 372–76. http://dx.doi.org/10.30853/filnauki.2019.2.79.

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25

Kolchanov, Vladimir Viktorovich. "“Aleksandr Semenovich Rokk”: chief commander of The Workers' and Peasants' Red Army S.S. Kamenev and his surroundings in the novel by M.A. Bulgakov “The Fatal Eggs”." Neophilology 4, no. 15 (2018): 39–53. http://dx.doi.org/10.20310/2587-6953-2018-4-15-39-53.

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The historical and political prototypes are the material for the creation of bright and memorable images in the novel by M.A. Bulgakov “Fatal eggs” are described: A.S. Rokk (chief commander of the Workers' And Peasants' Red Army S.S. Kamenev), Polaitis (Marshal M.N. Tukhachevsky), Shchukin (A.I. Egorov), “red-moustached driver” (a talented scientist-inventor, engineer of III rank P.K. Oshchepkov). We determine theatrical and genre sources that influenced the creation of images: mystery, farce, buffo, pantomime. The text satirical and grotesque nature the is investigated. In the framework of th

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26

Kolchanov, Vladimir Viktorovich. "“ALEKSANDR SEMENOVICH ROKK”: CHIEF COMMANDER OF THE WORKERS’ AND PEASANTS’ RED ARMY S.S. KAMENEV AND HIS SURROUNDINGS IN THE NOVEL BY M. BULGAKOV “THE FATAL EGGS”." Neophilology, no. 16 (2018): 65–72. http://dx.doi.org/10.20310/2587-6953-2018-4-16-65-72.

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The historical and political prototypes are the material for the creation of bright and memorable images in the novel by M.A. Bulgakov “Fatal eggs” are described: A.S. Rokk (chief commander of the Workers' And Peasants' Red Army S.S. Kamenev), Polaitis (Marshal M.N. Tukhachevsky), Shchukin (A.I. Egorov), “red-moustached driver” (a talented scientist-inventor, engineer of III rank P.K. Oshchepkov). We determine theatrical and genre sources that influenced the creation of images: mystery, farce, buffo, pantomime. The text satirical and grotesque nature the is investigated. In the framework of th

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27

MacWilliams, Mark. "Ambiguous Bodies: Reading the Grotesque in Japanese Setsuwa Tales. By Michelle Osterfeld Li. Stanford, CA: Stanford University Press, 2009. Pp. ix + 305. $60.00." Religious Studies Review 38, no. 3 (2012): 195–96. http://dx.doi.org/10.1111/j.1748-0922.2012.01633.x.

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28

Mikulich, M. U. "“From the depths of the native land...” (Unknown poems by the West Belarusian poet Janka Malanka)." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 66, no. 3 (2021): 343–48. http://dx.doi.org/10.29235/2524-2369-2021-66-3-343-348.

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The article analyzes the unknown poems of the West Belarusian poet, prose writer, publicist and artist Yanka Malanka (1895 – 1938). Considering the characteristic features of the creative personality of Ya. Malanka, the author notes the richness of the problem-thematic content, as well as the variety of genre-structural forms of the poet’s works, who wrote not only poetry, but also sketches, stories, fairy tales, jokes, feuilletons, political ditties, etc. others. Sincerity and warmth presupposed in them a characteristic internal mobilization and tension were supplemented by an oﬀensive logic

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29

Childs, Margaret H. "Ambiguous Bodies: Reading the Grotesque in Japanese Setsuwa Tales. By Michelle Osterfield Li. Stanford, CA: Stanford University Press, 2009. xii, 319 pp. $60.00 (cloth)." Journal of Asian Studies 71, no. 2 (2012): 550–51. http://dx.doi.org/10.1017/s002191181200040x.

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30

Pacholski, Jan. "Pruskie Karkonosze — kilka słów o ideologizacji najwyższych gór Śląska w dobie rozkwitu turystyki masowej." Góry, Literatura, Kultura 10 (May 25, 2017): 39–54. http://dx.doi.org/10.19195/2084-4107.10.4.

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The Prussian Giant Mountains — some remarks about the ideologisation of Silesia’s highest mountains during the flourishing of mass tourismThe author of the article examines the beginnings of the national or, more broadly, state ideologisation of the mountains, using as an example Karkonosze or the Giant Mountains, which undoubtedly come to the fore in the case of the popularisation of mountain tourism. Already in the second half of the 18th century a chapel dedicated to St. Lawrence was built on the summit of Śnieżka, becoming straight away a pilgrimage destination and launching tourism in thi

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31

Emerson, Caryl. "Leo Tolstoy on Peace and War." PMLA/Publications of the Modern Language Association of America 124, no. 5 (2009): 1855–58. http://dx.doi.org/10.1632/pmla.2009.124.5.1855.

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“War always interested me,” wrote the twenty-three-year-old Leo Tolstoy in “the raid” (1853), an early story inspired by his personal experience of a brutal border skirmish in the Caucasus. “Not war in the sense of maneuvers devised by great generals … but the reality of war, the actual killing” (1). The focus of Tolstoy's interest here remained absolute throughout his long and brilliantly inconsistent life. As a second lieutenant during the Crimean War in 1854–55, he wrote three “Sevastopol Stories” about that city under siege, which were so cannily constructed and voiced that the new tsar, A

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32

Retsu, Koda. "Yokai as the Edge of The World." GLOBAL PERSPECTIVES ON JAPAN, no. 4 (March 31, 2021): 122–40. http://dx.doi.org/10.62231/gp4.160001a05.

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Today in Japan, people continue to show considerable interest in yōkai. In the past, a yōkai craze centering on MIZUKI Shigeru’s work GeGeGe no kitarō, had swept the country. However, more recently in 2014 the role-playing game Yōkai Watch (launched by Level-5 Inc. in 2013) was turned into a television anime and is boasting explosive popularity. In addition, while kaidan (yōkai stories) used to be transmitted orally, now they have appeared on the internet, and unique tales continue to be spun. In this way, by continuing to encounter yōkai in some form or another, fixed images of them have been

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33

Soofastaei, Elaheh, and Sayyed Ali Mirenayat. "THE SATIRIC GROTESQUE IN POE’S TALES OF THE GROTESQUE AND ARABESQUE." Research Result. Theoretical and Applied Linguistics Series 1, no. 4 (2015). http://dx.doi.org/10.18413/2313-8912-2015-1-3-100-103.

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"Ambiguous bodies: reading the grotesque in Japanese setsuwa tales." Choice Reviews Online 47, no. 02 (2009): 47–0698. http://dx.doi.org/10.5860/choice.47-0698.

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35

Van der Walt, Dineke. "The Greedy Hippo and Red Riding Hood: The grotesque in fairy tales." Literator 33, no. 1 (2012). http://dx.doi.org/10.4102/lit.v33i1.22.

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This article presents a comparative reading of two folktales that are also characterised as children’s stories (one from Venda folklore and the other a popular European narrative) in order to explore a number of similarities between these stories. These similarities include the grotesque activity of eating human flesh, the way that overly trusting people are tricked by means of a masquerade and other ‘unethical’ and ‘immoral’ activities that occur in both narratives. In The Greedy Hippo (Hippopotamus throws his weight around), the monster for instance mimics the voice of a little boy in order

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36

"A Good Man is Easy to Find: Flannery O’Connor’s Theology of Death." University of Chitral Journal of Linguistics and Literature, 2018. http://dx.doi.org/10.33195/jll.v2i1.69.

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The aim of this paper is to describe Flannery O’Connor’s stories as the repetition of a pattern that consists of, through sickness, changing good country people into good men. Therefore, sickness, in O’Connor’s oeuvre, has to be described as a blessing, an idea that the writer herself would gladly approve of. To prove it, this paper takes into consideration the way O’Connor described the debilitating disease that would end up killing her. The usual portrait critics make of O’Connor’s work consists of randomly applying catchwords like South, Catholic, or Grotesque. Contrarily to these critics’

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"A Good Man is Easy to Find: Flannery O’Connor’s Theology of Death." University of Chitral Journal of Linguistics and Literature, December 31, 2018, 23–28. http://dx.doi.org/10.33195/jll.v2ii.157.

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The aim of this paper is to describe Flannery O’Connor’s stories as the repetition of a pattern that consists in, through sickness, changing good country people into good men. Therefore, sickness, in O’Connor’s oeuvre, has to be described as a blessing, an idea that the writer herself would gladly approve of. To prove it, this paper takes into consideration the way O’Connor described the debilitating disease that would end up by killing her. The usual portrait critics make of O’Connor’s work consists in randomly applying catchwords like South, Catholic or Grotesque. Contrarily to these critics

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Vidauskytè, Lina. "Transformation of the feast of fools: from carnival laughter to Mickey mouse's experience." RAPHISA REVISTA DE ANTROPOLOGÍA Y FILOSOFÍA DE LO SAGRADO 2, no. 2 (2019). http://dx.doi.org/10.24310/raphisa.2018.v0i4.7386.

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The aim of the paper is a critical evaluation of Mikhail Bakhtin’s carnival laughter’s theory, and along the analysis of Walter Benjamin’s notion of laughter, and its relation to modernity. While Bakhtin concentrates his attention on a few medieval festivities, this paper focuses on the “feast of fools” (festa stultorum) as a metaphor for carnival laughter. For Bakhtin, clown, joker, etc. represents Medieval and Renaissance carnival spirit, while an animated Mickey Mouse, alongside with Charlie Chaplin’s movie character, appears in Benjamin’s texts as a figure of modernity. Carnival laughter c

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"A Good Man is Easy to Find: Flannery O’Connor’s Theology of Death." University of Chitral Journal of Linguistics and Literature, 2018. http://dx.doi.org/10.33195/jll.v2i1.69.

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The aim of this paper is to describe Flannery O’Connor’s stories as the repetition of a pattern that consists of, through sickness, changing good country people into good men. Therefore, sickness, in O’Connor’s oeuvre, has to be described as a blessing, an idea that the writer herself would gladly approve of. To prove it, this paper takes into consideration the way O’Connor described the debilitating disease that would end up killing her. The usual portrait critics make of O’Connor’s work consists of randomly applying catchwords like South, Catholic, or Grotesque. Contrarily to these critics’

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40

"A Good Man is Easy to Find: Flannery O’Connor’s Theology of Death." University of Chitral Journal of Linguistics and Literature 2, no. 1 (2018): 23–28. http://dx.doi.org/10.33195/uochjll/2/1/3/2018.

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Анотація:

The aim of this paper is to describe Flannery O’Connor’s stories as the repetition of a pattern that consists of, through sickness, changing good country people into good men. Therefore, sickness, in O’Connor’s oeuvre, has to be described as a blessing, an idea that the writer herself would gladly approve of. To prove it, this paper takes into consideration the way O’Connor described the debilitating disease that would end up killing her. The usual portrait critics make of O’Connor’s work consists of randomly applying catchwords like South, Catholic, or Grotesque. Contrarily to these critics’

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Hand, Richard J. "Dissecting the Gash." M/C Journal 7, no. 4 (2004). http://dx.doi.org/10.5204/mcj.2389.

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Given that the new advances in technology in the 1980s had a major impact on the carefully constructed myth of authenticity in horror and pornography, ranging from flawless special effects at one extreme to the idea of the handheld voyeur movie at the other, it is rather ironic that the key progenitor to the erotic-grotesque form is a long-established and in some ways basic form: the pen and paper art of manga. This medium can be traced back to pillow books and the illustrated tradition in Japanese culture – a culture where even written language has evolved from drawings rather than alphabetic

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Piatti-Farnell, Lorna, and Gwyneth Peaty. "Monster." M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2851.

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Monsters are everywhere in our popular media narratives. They lurk in the shadows of video games and computer animations, ready to pounce. They haunt the frames of horror films and fantasy televisions shows. They burst out of panels in many comics and graphic novels, bringing with them grotesque forms and nightmarish transformations. They feature recurrently in scary stories for children, echoing the fears of old myths, legends, and fairy tales, and forever drawing attention to our complex views of heroes. They inhabit our nightmares, and challenge our certainties. Monsters are, above all, met

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Scholfield, Simon Astley. "How Funny?" M/C Journal 2, no. 3 (1999). http://dx.doi.org/10.5204/mcj.1753.

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Images of anal flesh have been flashed on Australian television in the popular animated American 'kidult' cartoon series, Ren and Stimpy (1991-95) and South Park (1997-). Ren and Stimpy relates the tales of two male human-voiced animals: Ren, a skinny hyperactive chihuahua, and Stimpy, his stupid fat cat friend. The "Son of Stimpy" and "Blazing Entrails" episodes of the series contain landmark references to the anus which have informed the broader range of representations of the orifice in the South Park series. South Park explores the lives of four pre-pubescent Colorado schoolboys -- Stan, K

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Fahey, Tracy. "A Taste for the Transgressive: Pushing Body Limits in Contemporary Performance Art." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.781.

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Years have come and gone and Bob is still around He’s tied up by his ankles and he’s hanging upside downA lifetime of infection and his lungs all filled with phlegmThe CF would’ve killed him if it weren’t for S&M Supermasochistic Bob has Cystic Fibrosis by Bob Flanagan. Soundtrack from 1997 documentary, Sick: The Life & Death of Bob Flanagan In the 1997 film, Sick: The Life & Death of Bob Flanagan, Supermasochist, artist Bob Flanagan quite literally lays himself bare to the viewer. This is a wrenching documentary which charts the dying Flanagan’s battles with cystic fibrosis (CF),

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Phillips, Maggi. "Diminutive Catastrophe: Clown’s Play." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.606.

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IntroductionClowns can be seen as enacting catastrophe with a small “c.” They are experts in “failing better” who perhaps live on the cusp of turning catastrophe into a metaphorical whirlwind while ameliorating the devastation that lies therein. They also have the propensity to succumb to the devastation, masking their own sense of the void with the gestures of play. In this paper, knowledge about clowns emerges from my experience, working with circus clowns in Circus Knie (Switzerland) and Circo Tihany (South America), observing performances and films about clowns, and reading, primarily in E

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Child, Louise. "Magic and Spells in <em>Buffy the Vampire Slayer</em> (1997-2003)." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.3007.

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Introduction Many examinations of magic and witchcraft in film and television focus on the gender dynamics depicted and what these can reveal about attitudes to women and power in the eras in which they were made. For example, Campbell, in Cheerfully Empowered: The Witch-Wife in Twentieth Century Literature, Television and Film draws from scholarship such as Greene's Bell, Book and Camera, Gibson's Witchcraft Myths in American Culture, and Murphy's The Suburban Gothic in American Popular Culture to suggest connections between witch-wife narratives and societal responses to feminism. Campbell e

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Hill, Wes. "Harmony Korine’s Trash Humpers: From Alternative to Hipster." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1192.

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IntroductionThe 2009 American film Trash Humpers, directed by Harmony Korine, was released at a time when the hipster had become a ubiquitous concept, entering into the common vernacular of numerous cultures throughout the world, and gaining significant press, social media and academic attention (see Žižek; Arsel and Thompson; Greif et al.; Stahl; Ouellette; Reeve; Schiermer; Maly and Varis). Trash Humpers emerged soon after the 2008 Global Financial Crisis triggered Occupy movements in numerous cities, aided by social media platforms, reported on by blogs such as Gawker, and stylized by multi

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