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Thematische Bibliographien / Grotesque Character / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „Grotesque Character“

Autor: Grafiati

Veröffentlicht am 7. Juni 2025

Zuletzt aktualisiert am 2. August 2025

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1

Fakhrunnisa. "Grotesque Character as A Criticism to Racism in Flannery O' Connor's "The Geranium"." NOBEL: Journal of Literature and Language Teaching 11, no. 2 (2020): 137–48. http://dx.doi.org/10.15642/nobel.2020.11.2.137-148.

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Grotesque character commonly refers to Southern Black or Black character who represents “misfit” and “freak” and bad things. Grotesque character is often used in Flannery O’Connor’s short stories to criticize the issues in society. In the short story “The Geranium,” she criticizes the Black racial issue in White society at that time. This paper aims at showing how a White character, Old Dudley, who is considered as having high status, is placed as a grotesque character in the form of a “freak” person with dislocations and hallucination. This paper also intends to show how O’Connor represents S

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Khoury, Samah. "Grotesque in The Vey Short stories of Palestinian Female Writers." International Journal of Language and Literary Studies 2, no. 3 (2021): 121–34. http://dx.doi.org/10.36892/ijlls.v2i3.551.

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This research aims to study the application of the Grotesque technique on the characters of the very short story written by Palestinian female writers. The study includes three examples of very short stories by Palestinian female writers from different sectors: Israel, West Bank and Gaza Strip, and the diaspora. It attempts to find the connection between the grotesque reality that emerged after the war in 1948 and its effects and changes in society, politics and economics. Therefore, we will monitor the topics written by Palestinian female writers in the very short story because of the prefere

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Setayesh, Sara, and Alireza Anushiravani. "An Exploration of Some Aspects of the Modern Grotesque in Kane's Drama." LiBRI. Linguistic and Literary Broad Research and Innovation 8, no. 1 (2025): 45–55. https://doi.org/10.5281/zenodo.14959581.

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AbstractSarah Kane’s drama demonstrates modern fascination with the grotesque. In this study some aspects of the modern grotesque in Kane’s drama are discussed using some of Bakhtin’s, Kayser’s and McElroy’s findings to depict how modern grotesque represents the world as monstrous since although some critics have stressed the grotesque’s playful side, the moderns invested dread and fear into the concept of the grotesque. So the aim is to localize representative examples of the prime characteristics of the modern grotesque world and characters in Kane’s

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Tomberg, Olga V., and Anna A. Kosareva. "Harlequinade Grotesque in the Works of Isak Dinesen (Based on the Novellas «The Poet» and «Carnival»)." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 30, no. 3 (2024): 74–84. http://dx.doi.org/10.15826/izv1.2024.30.3.049.

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The article is devoted to the study of the harlequinade grotesque in the novellas by the Danish writer Isak Dinesen (Karen Blixen) «The Poet» and «Carnival». The study proves relevant due to the following factors: 1) the current revival in foreign literary criticism of interest in the aesthetics of commedia dell’arte, as well as the role it played in the art of the 20th century; 2) growing interest in Dinesen’s work in Russian literary criticism. This article is the first to highlight both the presence of the harlequinade grotesque in Dinesen’s work and its originality. The authors of the arti

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Windriani, Dian. "Purifying the 1920s Southern American Society: The Grotesque in Flannery O�Connor�s �A Good Man is Hard to Find�." Indonesian Journal of English Language Studies (IJELS) 4, no. 1 (2018): 50–54. http://dx.doi.org/10.24071/ijels.v4i1.1634.

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Flannery OConnors A Good Man is Hard to Find (1953) criticizes the experience of humans isolation, vanity, and disillusionment in Southern America under political instability, dictatorial regime, hypocrisy of the church and high number of poverty that can lead to the crisis of faith and humanity in peoples life. By presenting the violence, horror, and emotional freak in the story, OConnor wishes that the characters can come to their self-realization upon their faith and humanity. This paper finds out that the portrayal of grotesque character in A Good Man is Hard to Find can be seen as a mecha

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Turysheva, Olga Naumovna. "THE READER AS A CHARACTER OF A GROTESQUE PLOT." Ural Philological Herald. Series Russian Literature of XX-XXI centures: Directions and Trends, no. 1 (2020): 74–90. http://dx.doi.org/10.26170/ufv20-01-05.

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Ирсалиева, Мадина Анварбек қизи. "CLASSIFICATION OF ARTISTIC IMAGE IN UZBEK LITERATURE." EURASIAN JOURNAL OF SOCIAL SCIENCES, PHILOSOPHY AND CULTURE 3, no. 3 (2023): 205–8. https://doi.org/10.5281/zenodo.7790660.

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In literary studies, artistic images are classified in different ways, that is, they are divided into types based on the characteristics of certain characters. In particular, positive and negative images can be distinguished according to the relationship between the creator and the aesthetic ideal, realistic, romantic, surrealistic according to the creative method, fantastic, grotesque according to the method of creation, tragic, satirical, humorous according to the character and aesthetic sign.

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Unsriana, Linda. "Perbedaan Kelas Sosial sebagai Penyebab Ijime dalam Novel Grotesque." Humaniora 3, no. 2 (2012): 523. http://dx.doi.org/10.21512/humaniora.v3i2.3359.

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Ijime or bullying is a common problem in Japanese schools, and even, ijime actions sometimes result in the victims or the victims commit to suicide. Ijime is also depicted in the Grotesqe novel on a character, Kazue Sato. Kazue Sato is a girl who desperately wants to enroll an elite girl school, Q school. The school is for students from high social class. Nevertheless, by passing the strict exams, intelligent students from different social classes can go to this school. Article elaborates the relationship between social class differences in the actions of ijime, using a corpus of works Natsuo

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Kosareva, A. A. "Harlequinade Grotesque in D. H. Lawrence’s Novel ‘Lady Chatterley’s Lover’." Nauchnyi dialog 12, no. 6 (2023): 228–44. http://dx.doi.org/10.24224/2227-1295-2023-12-6-228-244.

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The article is devoted to the interpretation of D. H. Lawrence’s novel ‘Lady Chatterley’s Lover’. The basis for reading the novel in a carnival key is provided by both the facts of Lawrence’s biography and the presence of carnival interpretations in his other works in recent decades. The study of the harlequinade imagery in the novel makes it possible to characterize the ‘Lawrentinian’ harlequinade grotesque and its role in reflecting the writer’s worldview. Through the analysis of the characters, the author establishes similarities between Mellors, Connie, and Clifford with Harlequin, Columbi

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Korolyova, Vera V. ""E. T. A. Hoffmann’s complex" in the cycle of stories and drama scenes "Earth Axis" by Valery Bryusov (1901-1907)." Vestnik of Kostroma State University, no. 3 (2019): 113–19. http://dx.doi.org/10.34216/1998-0817-2019-25-3-113-119.

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In this article we explore "E. T. A. Hoffmann’s complex", which includes real and imaginary worlds, the problem of the mechanisation of life and society, the duality, the romantic irony and grotesque in the series of short stories "Earth Axis" by Valery Bryusov. Following E. T. A. Hoffmann’s tradition, Velery Bryusov creates a special type of romantic the dual world based on the principle of mirror reflection of the real world. The dominance of the unreal world leads to the absorption of the main character. The problem of mechanisation of a life and a man in the series is manifested in the ten

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Saddik, Annette J. "Exploring the Line between Creation and Creator in Mabou Mines’s Glass Guignol: The Brother and Sister Play." Journal of Contemporary Drama in English 11, no. 2 (2023): 298–307. http://dx.doi.org/10.1515/jcde-2023-0024.

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Abstract During the last ten years of his life, Lee Breuer, who passed away in 2021, had been interested in framing Tennessee Williams’s canon, particularly the late plays, through the perspective of the grotesque and the Grand Guignol. Mabou Mines’s Glass Guignol: The Brother and Sister Play (2017), directed by Breuer and conceived by Breuer and Maude Mitchell, views Williams’s work alongside Mary Shelley’s Frankenstein (1818) in order to expose the grotesque truth of the messy and complex creative process. On one level, Glass Guignol is a multilayered exploration of the relationship between

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Miranda Dos Santos, Clédson Luciano. "Women on the verge. The carnivalization, the grotesque and the construction of the female characters in Almodóvar’s movies." Estudios del Discurso 2, no. 2 (2016): 43–63. http://dx.doi.org/10.30973/esdi/2016/2/2.3.

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This study focuses on the work of Spanish filmmaker Pedro Almodóvar in the context of Mikhail Bakhtin’s dialogical analysis. The objective is to discuss the presence of this analysis in the construction of Almodovarian characters who transgressively break with manichaeism, characteristic of Hollywood style, thus creating a more complex character.

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Voitenko, L. I., and M. O. Kniazian. "TRADITIONS OF THE FRENCH THEATER OF ABSURD IN VICTOR SOLODCHUK’S PLAY “WHERE WE WERE EIGHT YEARS”." Writings in Romance-Germanic Philology, no. 1(50) (October 13, 2023): 29–42. http://dx.doi.org/10.18524/2307-4604.2023.1(50).285548.

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The article analyzes Solodchuk’s play «Where We Were Eight Years,» which was included in the electronic version of Anthology-24, published this year. The play is analyzed from the perspective of the French theater of the absurd, through the identification of common features in the play and in the plays written by S. Beckett and Ionesco, namely: a similar worldview, which is influenced by specific historical events, loss of the meaning of life, life without purpose and faith. The kaleidoscopic form of narrative organization, the absurdity and paradox of events, and the grotesque characters whos

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Tomberg, O. V., and A. A. Kosareva. "Harlequinade Grotesque in Raymond Queneau’s Novel “My Friend Pierrot” (1942)." Nauchnyi dialog 13, no. 9 (2024): 288–302. http://dx.doi.org/10.24224/2227-1295-2024-13-9-288-302.

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This article explores some of the most enigmatic aspects of Raymond Queneau’s novel “My Friend Pierrot” (1942), focusing on the unnamed crime that shapes the narrative structure as a detective story; the essence of the “Golden Age,” which serves as an object of nostalgia for the characters; the reason why Pierrot emerges as the protagonist; and the significance of the novel’s title. It is established that the “crime” refers to the arson of the Uni-Park — a metaphorical parallel to the Occupation of France from 1940 to 1944—while the “Golden Age” encompasses both the Belle Époque that preceded

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Babenko, Irina Andreevna. "Grotesque ambiguity of conflict in the drama of L. N. Lunts." Philology. Theory & Practice 18, no. 3 (2025): 1053–58. https://doi.org/10.30853/phil20250152.

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The article is devoted to studying the complication of conflict in the drama of L. N. Lunts. The aim of the research is to determine the methods and forms of transformation of the traditional tragic conflict as a means of embodying the playwright’s grotesque artistic thinking. The article analyzes the plays of L. N. Lunts, as a result of which it was established that the grotesque ambiguity of the conflict is achieved in different ways. First, there is the constant change of opposing sides, characteristic of all the plays, with a change of views and opinions occurring almost instantly and some

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Davis, Christian R. "Protestant Missionaries in Literature." Renascence 72, no. 3 (2020): 125–46. http://dx.doi.org/10.5840/renascence202072310.

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Protestant cross-cultural missionaries have appeared as characters in literary narratives for some two hundred years. These narratives use three patterns. The first, showing godly missionaries supported by divine interventions, includes nonfiction accounts of missionaries like Hudson Taylor, Jim Elliot, and Don Richardson. The second pattern, showing missionaries as orthodox fanatics, includes Brontë’s Jane Eyre, Maugham’s “Rain,” and Kingsolver’s The Poisonwood Bible. The third pattern, common in postcolonial novels, portrays missionaries with ambivalence and humor and includes elements of Ba

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Franković, Sanja. "Postsocialist and Gothic Elements in the novel Cathedral by Ivo Brešan." Croatica et Slavica Iadertina 17, no. 2 (2022): 663–91. http://dx.doi.org/10.15291/csi.3551.

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This paper analyses the Gothic elements in the novel Cathedral (2007) by Ivo Brešan. The frame story, which thematises the narrator’s life and the Croatian War of Independence in the 1990s, is intertwined with the story he writes about St. James Cathedral in Šibenik. After he was forced to leave the University of Zagreb due to his communist past, he worked in the museum of Šibenik, where he translated Latin historical documents. He appreciated the originality of past geniuses and despised contemporary spiritual and architectural uniformity. However, in romanticising modern culture, he used the

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Pais, Ana Carolina. "A linguagem carnavalesca enquanto discurso contracultural: reflexões sobre a obra de Mikhail Bakhtin." Linha D'Água 38, no. 1 (2025): 161–81. https://doi.org/10.11606/issn.2236-4242.v38i1p161-181.

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The aim of this article is to reexamine the work A Cultura Popular na Idade Média e no Renascimento: O contexto de François Rabelais (1987[1965]) by studying the relationship between the symbolism of popular culture in the Middle Ages and the Renaissance, especially the concepts of carnivalization and grotesque realism along with counter-cultural discourse. Our goal is to deepen the understanding of these Bakhtinian concepts, rereading them and integrating them into the contemporary context in which we live. We explore the concepts of culture, carnivalization and grotesque realism within Bakht

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Ngaziz, Malik, and Budi Mulyadi. "Analisis Makna konotatif dan Budaya Jepang: “Iblis” dalam Kanji Ber-Bushu Oni." KIRYOKU 9, no. 2 (2025): 358–71. https://doi.org/10.14710/kiryoku.v9i2.358-371.

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This study examines four kanji characters containing the bushu oni (鬼) that do not lexically mean "demon," yet carry connotative meanings associated with demonic traits. The research aims to reveal these connotations through semantic and semiotic approaches within the context of Japanese culture. A descriptive qualitative method was employed, based on literature review. The structural analysis of the kanji was conducted using the Rikusho theory to determine character formation types, while Roland Barthes’ semiotic theory was applied to interpret the cultural symbolism embedded in each characte

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Jeftimijević-Mihajlović, Marija. "Humor and satire in the modern pictorial novel the bodyguard by Radivoje Bojičić: From ethnopsychological anecdote to social criticism." Zbornik radova Filozofskog fakulteta u Pristini 54, no. 1 (2024): 155–64. http://dx.doi.org/10.5937/zrffp54-47207.

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Starting from Northrop Frye's claim that one of the main characteristics of satire is the element of humor based on the feeling of the grotesque or absurd, but that satire is a critical presentation of social, political and other situations, this paper discusses the elements of humor and satire in the novel The Bodyguard by Radivoje Bojičić, which is already defined in the title as a "pictorial novel". Although pictorial novels in Serbian literature do not have a long and solid tradition, Bojićič's novel about a bodyguard, who as a kind of anti-hero tells about his life's vocation full of temp

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Georgievska-Shine, Aneta. "‘Man carries all animals within himself’." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 71, no. 1 (2022): 216–47. http://dx.doi.org/10.1163/22145966-07101009.

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This article addresses Rubens’s perspective on the human-animal by focusing on the satyr as one of his favourite mythological characters. This profoundly liminal being appears in a variety of roles throughout his oeuvre, including several paintings that remained in his private collection. In some of them, the satyr is primarily a figure for unbridled lustfulness and sensuality. In many others, however, this hybrid creature appears to hold the key to some of the mysteries of nature itself. Another facet of this analysis concerns the long-standing connection between this mythological character a

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Harputlu Shah, Zeynep. "Reading the Body in Dickens’s Bleak House and Our Mutual Friend." Complutense Journal of English Studies 27 (October 4, 2019): 275–92. http://dx.doi.org/10.5209/cjes.61471.

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This article examines the ways in which the Victorian body and identity were being transformed in the mid-nineteenth century and identifies three distinctive ways the biological and normative boundaries of the body were violated as represented in Dickens’s fiction: the grotesque body, the vulnerable body and the dead body. In this sense, Dickens’s Bleak House (1851-53) and Our Mutual Friend (1864-65) present creative and challenging literary responses to the Victorian body abjected through deprivation, physical vulnerability and death. In the novels, the grotesque body challenges the abject vi

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Rybina, Polina Yu. "Stanley Kowalski’s T-shirt, Metatheater, Intermediality, and Grotesque: Monographs on Tennessee Williams." Literature of the Americas, no. 16 (2024): 412–24. http://dx.doi.org/10.22455/2541-7894-2024-116-412-424.

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Published in 2021, both monographs on Tennessee Williams — Stanley Gontarski’s Tennessee Williams, T-shirt Modernism and the Refashionings of Theater and Laura Michiels’ The Metatheater of Tennessee Williams: Tracing the Artistic Process Through Seven Plays perform the dual task of offering new perspectives on the playwright’s wellstudied plays and elaborating on the lesser-known material with its non-obvious cultural functions. Researchers show the complexity of Williams’ late oeuvre, demonstrating how his plays of the 1960s and early 1980s continue theatrical experiments of the second half o

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Kellerová, Nina, and Eva Reid. "Motifs of homosexuality in Virginia Woolf’s Orlando." Ars Aeterna 13, no. 2 (2021): 75–93. http://dx.doi.org/10.2478/aa-2021-0012.

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Abstract To avoid the stigma of societal dissaproval, love for somebody of the same sex has often been hidden from the declinatory views of the public; however, it has also been secretively transcribed into a broad spectrum of art. Virginia Woolf embroidered her homosexuality into the grotesque lines of Orlando. At the time, Woolf was engaged in an intense lesbian relationship with author Vita Sackville-West, who served as a model for the work’s main character. Woolf proclaimed her masterpiece “A Biography”, mirroring the duality of her own and Vita’s character, the perpetual beauty of the boo

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Козорог, О. В., та Л. В. Константінова. "«ПРИКЛЮЧЕНИЯ ПИНОККИО» КАРЛО КОЛЛОДИ И ИТАЛЬЯНСКАЯ КОМЕДИЯ ДЕЛЬ АРТЕ. В ПОМОЩЬ УЧИТЕЛЮ НАЧАЛЬНЫХ КЛАССОВ". Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 3, № 93 (2019): 92–101. http://dx.doi.org/10.34142/2312-1076.2019.3.93.08.

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The article explores the world-famous work of the Italian writer Carlo Collodi The Adventure of Pinocchio. Despite the fact that the book of Carlo Collodi is addressed to a children's audience, it contains features of satire on Italian reality. The book The Adventures of Pinocchio by Carlo Collodi throws us back to folk laughter culture (term of M. Bakhtin), which is inseparably linked with the traditions of the Italian comedy dell’arte. Just in it Collodi draws the plot for his work. In the book about the adventures of Pinocchio, there is a lot from the carnival laughter culture and from the

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Poster-Su, Tobi. "A grotesque act of ventriloquism: Raising and objectifying the dead on stage." Applied Theatre Research 8, no. 1 (2020): 45–56. http://dx.doi.org/10.1386/atr_00025_1.

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As a real-life figure who was extensively written about in medical journals after his death, but whose voice is entirely absent from the historical record, the character of Tarrare presents the theatre-maker with a number of ethical and artistic considerations. In documenting Tarrare’s life through puppetry and opera, Wattle and Daub engaged in both a literal and a metaphorical act of ventriloquism, wherein we put our own words into the mouths of the dead. Drawing on Levinas’s ethics of the ‘other’ and Salverson’s reflections on the ethics of documentary theatre, this article interrogates The

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Nubert, Roxana, and Ana-Maria Dascălu-Romiţan. "Der Schriftsteller Franz Xaver Kappus als Vertreter der literarischen Moderne im Banat." Germanistische Beiträge 48, no. 1 (2022): 84–113. http://dx.doi.org/10.2478/gb-2022-0005.

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Abstract In comparison to the Transsylvanian-Saxon or to the German-speaking Bukowina literature the modernists exerted a more reduced influence on the literature of the Banat Swabians. Franz Xaver Kappus (1883-1966) influenced the literary modernists in the Western part of Romania especially through his expressionistic texts. He became famous thanks to his correspondence with Rainer Maria Rilke. The masterpiece Die lebenden Vierzehn (The Fourteeen SURVIVORS) (1918) is swayed by a collective catastrophe and represents a certain kind of utopia, which anticipates the end of the world. A dread ca

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Guo, Jingzhen. "Ethical Analysis of Hulga and the Family Relationships in Good Country People." Frontiers in Humanities and Social Sciences 3, no. 11 (2023): 92–97. http://dx.doi.org/10.54691/fhss.v3i11.5750.

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Good Country People is one of the representative works of Flannery O 'Connor. The heroine in the story, Hulga or Joy, is a distinct image created by the author. The adult-baby’s disability, rebellion, intertextuality, together with her self-conceit contributes to the sharpening of the special grotesque character of Hulga.This paper will explore the characteristics of Hulga, the ethical dilemma of the family relations and the ethical choice of the protagonists in the story from five aspects: the first part is an introduction; the second part briefly introduces the creation background, author ba

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Smirnov, Kirill V. "On the artistic singularity of the play by A.N. Ostrovsky “The Snow Maiden” in the context of the mythopoetic worldview." Neophilology, no. 26 (2021): 297–307. http://dx.doi.org/10.20310/2587-6953-2021-7-26-297-307.

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The work is devoted to the character and contextual levels analysis of A.N. Ostrovsky’s play “The Snow Maiden”. The Berendey country as the embodiment of the pagan world is not only a place for the major events development, but it also symbolizes a special era in Russian history: the contact of two mutually exclusive principles – monotheism and polytheism. Evidences of these principles are the gospel parallels presented by A.N. Ostrovsky through a love sense, which the in-habitants of the Berendey country interpret in a pagan, but not in the Orthodox aspect. Using syn-thesis and analogy, which

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Alhashmi, Rawad. "The Grotesque in Frankenstein in Baghdad: Between Humanity and Monstrosity." International Journal of Language and Literary Studies 2, no. 1 (2020): 90–106. http://dx.doi.org/10.36892/ijlls.v2i1.120.

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This paper analyzes Ahmed Saadawi’s Frankenstein in Baghdad (2018) with a special emphasis on the grotesque bodily images of the monster, the novel’s exploration of justice, and the question of violence. I draw on the theoretical framework of the Russian philosopher and literary critic Mikhail Bakhtin (1895–1975), the ethics philosopher Emmanuel Levinas (1906–1995), and the German-American philosopher and political thinker Hannah Arendt (1906–1975). Saadawi’s unnamed monster, “The Whatsitsname,” comes into being via an accidental if honorably intentioned act, when the main character, Hadi, com

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Komel, Mirt. "Touch in the town of Goga: Touch and repetition in Slavko Grum’s An Event in the Town of Goga." Maska 33, no. 191 (2018): 70–77. http://dx.doi.org/10.1386/maska.33.191-192.70_1.

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The article discusses An Event in the Town of Goga (1927), an expressionistic grotesque by Slavko Grum, through the optics of touch understood in three ways. A fetishistic touch changes an object into a being and a being into an object, with a traumatic experience of the touch possibly developing on the side of the touched. In addition to fetishistic touch and traumatic touch, the author also points out metaphorical touch, also expressly present in the play, in the character of the flautist Klikot: metaphorical touch is actually a non-touch, a touch that does not take place but nevertheless to

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A.A., Kosareva. "Harlequinade grotesque in Anglo-American espionage prose of the XX century." Вестник гуманитарного образования, no. 3(35) (October 24, 2024): 156–64. http://dx.doi.org/10.25730/vsu.2070.24.050.

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The purpose of this article is to identify the features of the harlequinade grotesque in Anglo– American spy prose of the XX century. The relevance of the article is due to the stable interest in foreign literary studies in the influence of the aesthetics of the Italian comedy of masks on European and American literature. The object of the study is the works of Anglo–American espionage prose (the stories "Somewhere in France" by Davis, "Bruce-Partington Drawings" by Doyle and the novel "Spy, Get Out" by Le Carré), and the subject is the peculiarity of the harlequinade grotesque in them. The re

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Siatkowska-Callebat, Kinga. "Characters in the Prose Works of Stanisław Ignacy Witkiewicz, Bruno Schulz, and Witold Gombrowicz." Tekstualia 1, no. 2 (2014): 199–216. http://dx.doi.org/10.5604/01.3001.0013.6120.

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Literary characters in the works of Stanisław Ignacy Witkiewicz, Bruno Schulz, and Witold Gombrowicz lets us discern several typical features of their writing. Most importantly, we may observe a pioneering approach to character. It differs from the reading habits of the inter-war period. This is confirmed by the reviewers who invariably criticized the constructions of characters and interpreted them as a sign of writer’s block or the writers’ inclination towards sickness and weirdness. The ﬁ rst readers of these texts rarely considered such construction of characters to be a deliberate choice.

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Bokshan, Halyna. "Ivan Vahylevych’s mystified biography in Yurii Vynnychuk’s novel “Liutetsiia”." LITERARY PROCESS: methodology, names, trends, no. 15 (2020): 6–11. http://dx.doi.org/10.28925/2412-2475.2020.15.1.

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The study examines the features of the strategies of mythologization and mystification used by Yurii Vynnychuk in creating his literary version of Ivan Vahylevych’s biography in the novel “Liutetsiia”. First of all the paper emphasizes the writer’s inclination to play with historic material characteristic of postmodernism, manifesting itself in most of his works and in the novel under study, in particular. The research pays special attention to the original interaction of mythological and cultural-historical aspects in the fictionalized biography of the renowned public figure of the 19th centu

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Pereira Neto, Antônio Joaquim. "The Comic in the Republic of Machado de Assis." International Linguistics Research 2, no. 2 (2019): p1. http://dx.doi.org/10.30560/ilr.v2n2p1.

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This article analyzes the tale “A Sereníssima República” (The Most Serene Republic), by Machado de Assis, approaching the rhetorical artifices of this narrative as constitutive of the conventions of the comic genre. Understanding that this genre consists in a textual unit formalized by images that subvert the common places of realistic enunciation, it points out to the presence of wonder, the fantastic in this fiction, whose conventions amplify the comic and grotesque character of the enunciation. Formed by oxymorons, paradoxical sentences and ingenious metaphors, this narrative satirizes, tak

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Barbagallo, Antonio. "Sancho no es, se hace." Cervantes 15, no. 1 (1995): 46–59. http://dx.doi.org/10.3138/cervantes.15.1.046.

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The character Sancho is constructed gradually by means of action, that is, by means of that series of “physical” acts in space and time, and those statements, proverbs, parables, thoughts, tears, and lies which are fabricated in the mind and emanate from the person who bears the name Sancho. We know almost nothing about him until his personality develops and even changes before our eyes. The purpose of this essay is to demonstrate that Sancho has been misunderstood because his life, in this great adventure, develops alongside that of a passionate, idealistic hidalgo. His personality is “constr

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Fomin, Dmitry V. "Book Graphics by Nikolay Pavlovich Akimov. To the 120th Birth Anniversary of the Artist." Bibliotekovedenie [Russian Journal of Library Science] 70, no. 2 (2021): 149–62. http://dx.doi.org/10.25281/0869-608x-2021-70-2-149-162.

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The article is devoted to the art work of the outstanding Russian artist, stage director, theatre figure Nikolay Pavlovich Akimov. Using bibliological, art history and source study methods, the author analyzes the least known works of the master in the field of book graphics and posters, which have been overlooked by most researchers. The article traces the relationship between the stage director’s graphic experiments and his theatrical work. The author disputes the statement that most of Akimov’s covers of the 1920s belong to the “illustrative type”, which is often found in the bibliological

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Einat-Nov, Idit. "Uncertainty as a Poetic Principle: A Reading of the Opening Scene in Joseph Ben Zabara’s The Book of Delight." European Journal of Jewish Studies 15, no. 1 (2020): 153–68. http://dx.doi.org/10.1163/1872471x-bja10018.

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Abstract This article proposes a new reading of the opening scene of Joseph Ben Meir Ibn Zabara’s twelfth century (at the latest: 1209) The Book of Delight. This reading derives from the hypothesis that this art of storytelling is based on a poetic principle of uncertainty, and is therefore associated with the various forms of the ambiguous and the ambivalent (the grotesque, the uncanny, the ironic, etc.). As I have argued elsewhere about other rhymed Hebrew stories, this approach is appropriate, in my view, to the character of some of the most fascinating rhymed stories produced in medieval H

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Robb, David. "The LIEDERTHEATER OF WENZEL & MENSCHING: A CREATIVE USE OF THE AGITPROP TRADITION IN THE GDR." Theatre Survey 52, no. 2 (2011): 225–49. http://dx.doi.org/10.1017/s0040557411000378.

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The East German poet-clowns Hans-Eckardt Wenzel and Steffen Mensching rose to prominence during the GDR's (German Democratic Republic; Deutsche Demokratische Republik, DDR) Peaceful Revolution of autumn 1989 with their cabaret production Letztes aus der Da Da eR. A film adaptation of the production was made by Jörg Foth in 1990, which was finally released on DVD with English subtitles in the United Kingdom and North America in 2009 (Latest from the Da-Da-R). In light of this long-overdue interest in Wenzel & Mensching, this article will attempt to put the work of the duo in historical and

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Loveday, Leo John. "The sarcastic implicatures of an ambivalent villain: Dahl’s Willy Wonka." Language and Literature: International Journal of Stylistics 27, no. 2 (2018): 86–102. http://dx.doi.org/10.1177/0963947018766453.

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This study investigates the impoliteness of Willy Wonka, a leading character in the children’s fantasy novella Charlie and the Chocolate Factory, and probes into the workings of his sadistic innuendo. While the menacing undertones of Wonka’s verbal aggression simultaneously thrill and horrify, they also deserve an explanation that goes beyond their trite dismissal as the embodiment of schoolboy humour. This research applies a Gricean framework to Wonka’s sarcastic discourse to reveal his grotesque violation of the social conventions of conversation. It scrutinises his covert verbal abuse with

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Umano, Anaïs. "Of post-modern pre-performances: Williams´s late characters and "plastic acting"." Dramaturgia em foco 7, no. 2 (2025): 112–39. https://doi.org/10.5281/zenodo.14870845.

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In the “Production notes” of <em>The g</em><em>lass </em><em>m</em><em>enagerie</em> Tennessee Williams calls for a “plastic” theater that would use all theatrical means to make it a visual and total performative art. However, the theatrical productions that contributed to make Williams one of the greatest American playwrights staged the plays in a realistic style which also appears in the actors’ style of acting. Most of the actors, indeed, were trained in a modern and realistic American technique. The tradition of realistic acting invites actors to build their c

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Fang, Xiaoran. "Features of the manifestation of the carnival principle in N.V. Gogol's novella "Nevsky Prospekt"." Litera, no. 6 (June 2024): 108–17. http://dx.doi.org/10.25136/2409-8698.2024.6.70966.

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This article is devoted to the study of the phenomenon of carnivalization in N.V. Gogol's novella "Nevsky Prospekt". The paper analyzes the key manifestations of carnivalization in the story, such as the creation of a game atmosphere, blurring the boundaries between the real and the fantastic, the metamorphoses of the characters, the use of the grotesque and the combination of the comic with the tragic. Special attention is paid to the image of Nevsky Prospekt as a carnivalized space where various social strata, masks and roles are mixed. The article also examines the parallel storylines of Li

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Weber, Stephanie. "Peace, Isolation, Purity. Salvation and its Antithesis in Katherine Dunn's Geek Love." Comparative Critical Studies 14, no. 2-3 (2017): 347–69. http://dx.doi.org/10.3366/ccs.2017.0243.

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This paper investigates how salvage and its antithesis are linked to the promise of salvation in Katherine Dunn's novel Geek Love by looking at the dynamics of social interaction forming normative as well as non-normative identities in the sideshow setting of the novel. The consent to give up and eradicate the Self when faced with internal dilemma and the promise of salvation, as it is depicted in Geek Love, rewrites Freudian and Jungian notions of group psychology, theology, and cult experiences. The processes which lead to the freak being treated as the ‘holy grotesque’ and the ‘Secret Self’

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MARCHEDON, Rebeca-Rahela. "EXTERNAL DETERMINATIONS AND INFLUENCES OF PSYCHOGENIC MODES IN THE TRAUMA LITERATURE (KENZABURŌ ŌE, IOANA NICOLAIE)." Incursions into the imaginary 14, no. 1 (2023): 177–93. http://dx.doi.org/10.29302/inimag.2023.14.9.

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The ideational framework underlying the proposed study is based on the influences that migrate from the fact to the fiction. In the light of this decryption, reality is rebuilt inside literature, and the character becomes a prototype of the person, of the real being. Therefore, the phenomenon is explained by referring the author to the cultural (spatial) and temporal (historical) determinations. The re-discussion of representative prose for distinct continental topos (Kenzaburō Ōe, Stârpiți răul de la rădăcină, împușcați copiii – Japan/Asia; Ioana Nicolaie, Pelinul negru – Romania/Europe), thr

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Fuioagă, Anastasia. "Monstrous Gender Queerness: Codifying Feminisation in 20th Century Romanian Prose." Metacritic Journal for Comparative Studies and Theory 10, no. 2 (2024): 4–31. https://doi.org/10.24193/mjcst.2024.18.01.

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The theme of queerness within Romanian literature remains relatively marginal and is often treated as an exotic subject, thus representing a substantial opportunity for literary scholarship. Furthermore, in Romanian cultural discourse, queerness is frequently perceived as deviant, perverse, or scandalous, and conceptually aligned with the monstrous. Employing Susan Stryker’s theory of queer monstrosity, it becomes visible how queerness is often commonly interpreted and represented as a form of monstrosity. Broadly speaking, queer characters are depicted as having grotesque and unintelligible q

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ŞENEL, Elif. "PHILIP GUSTON’UN GEÇ DÖNEM FİGÜRASYONLARINI SANATIN MUHALİF KARAKTERİ ÜZERİNDEN OKUMAK." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 33 (2022): 1–13. http://dx.doi.org/10.31567/ssd.711.

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The purification, purity and limitation imposed by high-art values and modernism have exposed art to a distance from social issues, life and the reality of the world. The fact that art, whose scope has narrowed with the idea of modern art, moves away from the subjects that can have a human and social benefit and is meaningful only through aesthetics of form has brought a formalist understanding of art to the agenda. This understanding was manifested even at the end of the modern art period and found a response especially in American abstract art. The language of the new art, which excludes soc

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Flanagan, Victoria. "Skin Colour, Surveillance and Subjectivity: Deconstructing Race in Jan Mark's Useful Idiots." International Research in Children's Literature 4, no. 2 (2011): 166–79. http://dx.doi.org/10.3366/ircl.2011.0024.

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Although discussions of race in children's literature tend to focus on realist narrative fictions, fantasy has rich potential for critically examining the concept of racial difference. Useful Idiots (2004), a young adult novel by British author Jan Mark, acts as the focus of my analysis because it is a fantasy novel that offers readers a highly innovative and unconventional exploration of the social discourses that construct and perpetuate racial hierarchies. Using David Lyon's theories about modern surveillance, whiteness studies and Bakhtin's concept of grotesque realism as a theoretical fra

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Intan, Tania. "Redefinisi Fungsi Desa dalam Manga Naruto dan Bande Dessinée Astérix: Sebuah Kajian Komparasi Budaya Populer." Metahumaniora 7, no. 3 (2017): 293. http://dx.doi.org/10.24198/metahumaniora.v7i3.18847.

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AbstrakSecara alamiah, manusia membutuhkan sarana untuk mengisi waktu luangnyasetelah bekerja keras. Satu media yang murah, mudah dijangkau, dan digemari oleh semuakalangan di seluruh dunia adalah cerita bergambar atau komik yang merupakan bagiandari budaya populer. Pada umumnya, karya paraliteratur-visual ini memang bersifat fiktifdan hanya merupakan peniruan dari kenyataan yang digambarkan secara berlebihan(grotesque). Namun demikian, di dalam komik, sering ditemukan nilai-nilai kehidupanyang bersifat universal dan abadi sehingga dianggap layak sebagai bahan kajian budaya.Naruto, salah satu

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Intan, Tania. "Redefinisi Fungsi Desa dalam Manga Naruto dan Bande Dessinée Astérix: Sebuah Kajian Komparasi Budaya Populer." Metahumaniora 7, no. 3 (2017): 293. http://dx.doi.org/10.24198/mh.v7i3.18847.

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AbstrakSecara alamiah, manusia membutuhkan sarana untuk mengisi waktu luangnyasetelah bekerja keras. Satu media yang murah, mudah dijangkau, dan digemari oleh semuakalangan di seluruh dunia adalah cerita bergambar atau komik yang merupakan bagiandari budaya populer. Pada umumnya, karya paraliteratur-visual ini memang bersifat fiktifdan hanya merupakan peniruan dari kenyataan yang digambarkan secara berlebihan(grotesque). Namun demikian, di dalam komik, sering ditemukan nilai-nilai kehidupanyang bersifat universal dan abadi sehingga dianggap layak sebagai bahan kajian budaya.Naruto, salah satu

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Demidov, Nikita Mikhailovich. ""Little Man" in the context of the narrative structure of the work: "Overcoat" by N. V. Gogol and "Irrepressible Tambourine" by A.M. Remizov." Litera, no. 3 (March 2024): 124–35. http://dx.doi.org/10.25136/2409-8698.2024.3.70297.

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The subject of the study is the evolution of the "little man" as a literary phenomenon based on the novels "Overcoat" by Gogol and "Irrepressible Tambourine" by Remizov. It is noted that the content of the term under study is not limited to the semantics of the image, which contains a meaningful characteristic of a certain type of literary hero, but depends on the narrative structure of the work. This position of the "little man" in Gogol and Remizov is at the intersection of interrelated factors: details as a carrier of the grotesque in fictional reality and at the level of narrative instance

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