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Thematische Bibliographien / Grotesque World

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Auswahl der wissenschaftlichen Literatur zum Thema „Grotesque World“

Autor: Grafiati

Veröffentlicht am 7. Juni 2025

Zuletzt aktualisiert am 2. August 2025

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Zeitschriftenartikel zum Thema "Grotesque World"

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Stoicescu, Alexa. "Een labyrint voor onze tijd. Het metaverhaal van de metropool in Paul van Ostaijens grotesken." Neerlandica Wratislaviensia 28 (June 26, 2019): 203–17. http://dx.doi.org/10.19195/0860-0716.28.15.

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A labyrinth for our time: The meta-story of the metropolis in Paul van Ostaijen’s grotesques Apart from poetry, Paul van Ostaijen also wrote grotesque prose. The grotesque shows an inverted world that is equally logical as the real world but governed by different norms and an upside-down morality. It is alienating and familiar at the same time. The grotesque texts reflect on the grand narratives of modernism. In this article, I focus on the image of the metropolis in three stories: De kudde van Claire, De gehouden hotelsleutel and De verloren huissleutel. Firstly, I define the concept of the g

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Minaeva, Olga. "Writings from the Grotesque World: «Julio Jurenito» by Ilya Ehrenburg and «The Naked Year» by Boris Pilnyak." Izvestia of Smolensk State University, no. 4 (56) (January 26, 2022): 39–47. http://dx.doi.org/10.35785/2072-9464-2021-56-4-39-47.

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In the article we focus on grotesque nature of Ilya Ehrenburg’s and Boris Pilnyak’s creative prose, viz. «Julio Jurenito» and «The Naked Year». These nov- els were written almost at the same time. They share commonality in issues and style. We compare these novels to trace how the both writers use grotesques in their works about Russian Revolution. Despite both Ehrenburg and Pilnyak sharing one technique, they realize it in a quite different manner. Ilya Ehrenburg finds grotesque in every human being. Thus, the world, where people live, act and communi

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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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Remy-Handfield, Gabriel. "The Aesthetic of Grotesque in Lu Yang’s Delusional Mandala and Delusional World." Screen Bodies 7, no. 1 (2022): 111–27. http://dx.doi.org/10.3167/screen.2022.070107.

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This article explores the aesthetic of the grotesque in Lu Yang’s recent work Delusional Mandala (2015) and Delusional World (2020). I argue that the aesthetic of the grotesque envisioned in these two works becomes a radical tool for the artist’s deconstruction and dismantling of the socially and culturally sanctioned boundaries of corporeality and normativity. My approach to Lu Yang’s aesthetic of the grotesque is based on Sara Cohen Shabot’s theorization of grotesque philosophy and the grotesque body as well on the concept of faciality proposed by Deleuze and Guattari in A Thousand Plateaus

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Starnawski, Bartłomiej. "Grotesque Possible Worlds." Tekstualia 1, no. 1 (2013): 325–39. http://dx.doi.org/10.5604/01.3001.0013.6154.

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The author of the articles shows that the grotesque is one of the most interesting ways of diagnosing changes and crisis in the anthroposphere (as a continuation of thinking about the subject from the middle of the seventeenth century through to postmodernity). According to Thomas Mann, the grotesque is one the most active notions in contemporary art. Its productivity results from the subject’s tendency to self-fulﬁlment, self-cognition, and self-deﬁnition; it is an independent vision and position in the “me – the world”, “me – community” relations. The grotesque is a strongly philosophical pr

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Sokół, Lech. ""The Shoemakers", a Totally Grotesque World." Dialectics and Humanism 12, no. 2 (1985): 101–16. https://doi.org/10.5840/dialecticshumanism198512210.

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Yu, Xiang. "Excess of Sensuality: Poetics of Grotesque in Plays of Nina Sadur." Nauchnyi dialog 13, no. 10 (2024): 292–309. https://doi.org/10.24224/2227-1295-2024-13-10-292-309.

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This article explores the poetics of the grotesque in the works of Nina Sadur, focusing on her dramatic collections “Chudnaya Baba” [Strange Woman] and “Obmorok” [Fainting], alongside a series of interviews and her writings on creativity. It is noted that the poetics of the grotesque aligns with the writer’s creative objective — stimulating individual sensuality and enhancing the aesthetic capacity to perceive the world and life through dramatic art. The analysis delves into rich grotesque imagery that disrupts cognitive inertia and reveals the hidden existence of multiple worlds. The symbolic

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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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Liu, Huimin. "The Grotesque World in The Heart is a Lonely Hunter." English Language and Literature Studies 12, no. 1 (2022): 49. http://dx.doi.org/10.5539/ells.v12n1p49.

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This article is going to explore the reasons leading the figures grotesque and the way out of such world, with the help of Bakhtin&rsquo;s theory of grotesque realism, via linking the duality of physical part with the grotesque to analyze the three main characters&rsquo; physical characteristics, social relationships and mental world. Singer, Mick and Biff are the distinct characters in Carson McCullers&rsquo;s novel The Heart is a Lonely Hunter. Their lives are shot through with frustration and discouragement and the intense privacy of their inner lives gives the reader the impres

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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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Dissertationen zum Thema "Grotesque World"

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Harries, Rebecca Virginia. "The monstrous world and its shadow, the grotesque aesthetic and the apocalyptic in German Expressionist drama and film." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ49873.pdf.

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List, Jeff. ""From hidden to (over-)exposed" the grotesque and performing bodies of World War II Nazi concentration camp prisoners /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1191601326.

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Jeff, List. "“From Hidden to (Over-)Exposed”: The Grotesque and Performing Bodies of World War II Nazi Concentration Camp Prisoners." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1191601326.

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Ingbrant, Renata. "From Her Point of View : Woman's Anti-World in the Poetry of Anna Świrszczyńska." Doctoral thesis, Stockholms universitet, Slaviska institutionen, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6966.

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This book is a monograph about Anna Świrszczyńska’s poetry. It may be described as one woman’s attempt to read another woman’s literary work by taking into account established canons as well as the tools of feminist literary analysis. Part One begins with a discussion of Świrszczyńska’s biography (Chapter One). It then moves on to an overview of critical (mainly male) reactions to Świrszczyńska’s work (Chapter Two), with special regard to Czesław Miłosz’s contribution to its interpretation and popularization (Chapter Three). In Part Two there are three principal discussions: 1) of Anna Świrszc

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MATTOS, Carlos Eduardo de. "DEIXAI TODA ESPERANÇA VÓS QUE ENTRAIS: o Inferno na tradição dos apócrifos e sua recepção em textos medievais e contemporâneos." Universidade Metodista de Sao Paulo, 2017. http://tede.metodista.br/jspui/handle/tede/1651.

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Submitted by Noeme Timbo (noeme.timbo@metodista.br) on 2017-06-14T19:33:34Z No. of bitstreams: 1 Carlos Eduardo.pdf: 931719 bytes, checksum: c8685a26426d27f1d8bac31a50d52878 (MD5)<br>Made available in DSpace on 2017-06-14T19:33:34Z (GMT). No. of bitstreams: 1 Carlos Eduardo.pdf: 931719 bytes, checksum: c8685a26426d27f1d8bac31a50d52878 (MD5) Previous issue date: 2017-03-21<br>Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq<br>The research that follows seeks to present a mapping of a tradition developed over many centuries in the apocalyptic writings of Christia

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Millon-Hazo, Louise. "« Quelles bestes sont ce là ? » L’humanisme rabelaisien à l’épreuve de ses bestiaires." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA171/document.

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Cette thèse propose une étude globale des bestiaires rabelaisiens à partir de l’exploration de ses sources antiques et médiévales. La focale critique se concentre d’abord sur les torsions qu’impose Rabelais aux genres littéraires rattachés à des figures animales prototypiques : l’inversion des paradigmes épiques du cheval et du porc ; le brouillage et la démultiplication des bêtes charivariques et farcesques ; la mise en crise des animaux exemplaires de la fable. Elle s’ouvre ensuite aux jeux du célèbre humaniste avec les figures animales des écrits savants et sérieux : encyclopédies, littérat

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Moraes, Fabrício Tavares de. "A morte do romance? Espaço e tempo como recursos de renovação estética em António Lobo Antunes." Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/4885.

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Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-06-08T11:28:37Z No. of bitstreams: 1 fabriciotavaresdemoraes.pdf: 1568484 bytes, checksum: 71f1476e7dca06d1545406f259aa51b5 (MD5)<br>Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-06-24T13:47:52Z (GMT) No. of bitstreams: 1 fabriciotavaresdemoraes.pdf: 1568484 bytes, checksum: 71f1476e7dca06d1545406f259aa51b5 (MD5)<br>Made available in DSpace on 2017-06-24T13:47:52Z (GMT). No. of bitstreams: 1 fabriciotavaresdemoraes.pdf: 1568484 bytes, checksum: 71f1476e7dca06d1545406f259aa51b5 (MD5) Pr

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Reus, Morro Jaume. "Evasió i exili interior en l'obra de Joan Miró: 1939-1945." Doctoral thesis, Universitat de les Illes Balears, 2004. http://hdl.handle.net/10803/37403.

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L’interès d’aquesta investigació s’ha centrat en dos aspectes complementaris de l’obra de Joan Miró, del període de 1939 a 1945. Un és la producció artística i l’altre és el procés auto reflexiu. El període de la trajectòria vital i professional objecte d’anàlisi, el de major tensió emocional per a l’artista i la seva família, està marcat per inflexions significatives, però també per continuïtats. Miró fou capaç de superar l’opressió d’un ambient hostil gràcies a una severa auto disciplina en el treball, una recapitulació sobre el propi llenguatge artístic i un inèdit procés d’auto reflexió

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Larsen, Håkon Karlsen. ""the awful darkness inside the world" - En lesning av Cormac McCarthys Blood Meridian, or the evening redness in the west med hensyn til det groteske, det gotiske og det sublime." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for nordistikk og litteraturvitenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-16661.

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Larivière, Lisanne. "L’inscription du corps sourd dans le texte : mondes et langages chez Emmanuelle Laborit et Carson McCullers." Thèse, 2015. http://hdl.handle.net/1866/18344.

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La question abordée dans ce mémoire concerne le problème de la représentation que pose l’inscription du corps sourd et de la surdité dans l’écriture. Les exemples choisis et comparés sont l’autobiographie Le Cri de la mouette d’Emmanuelle Laborit et The Heart is a Lonely Hunter de Carson McCullers. Dans son roman, cette dernière met en scène, sous l’esthétique grotesque, un Sourd gestuel recelant un monde potentiel et autre de par son dire utopique, empreint de matérialité. Emmanuelle Laborit est Sourde et conséquemment, son écriture est soumise à de nombreuses contraintes, dont l’une est cell

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Bücher zum Thema "Grotesque World"

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Chinery, Mary C. Carnival in the novels of Willa Cather: When the world becomes grotesque. Edwin Mellen Press, 2011.

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(Russia), Gosudarstvennyĭ Ėrmitazh. Volshebnyĭ mir groteska: Groteski v prikladnom iskusstve Zapadnoĭ Evropy XVI-XVII vekov iz sobranii︠a︡ Ėrmitazha : katalog vystavki = The magic world of the grotesque : 16th- and 17th-century grotesques in the applied art of Western Europe from the Hermitage collection : catalogue. Slavii︠a︡, 2000.

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Chera, Nicholas, Jenelle Dhing, Allison Van Houte, Hankyul Sharon Lee, and Jacqueline Fisher. Chasing the Peacock: Millennials Explore the Grotesque World of Flannery OConnor. Unknown Publisher, 2018.

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Otto Dix and the First World War: Grotesque Humor, Camaraderie and Remembrance. Lang AG International Academic Publishers, Peter, 2019.

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Mackenzie, Michael. Otto Dix and the First World War: Grotesque Humor, Camaraderie and Remembrance. Lang AG International Academic Publishers, Peter, 2019.

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Mackenzie, Michael. Otto Dix and the First World War: Grotesque Humor, Camaraderie and Remembrance. Lang AG International Academic Publishers, Peter, 2019.

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Mackenzie, Michael. Otto Dix and the First World War: Grotesque Humor, Camaraderie and Remembrance. Lang AG International Academic Publishers, Peter, 2019.

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(Editor), Rebecca Harris-Warrick, and Bruce Alan Brown (Editor), eds. The Grotesque Dancer on the Eighteenth-Century Stage: Gennaro Magri and His World. University of Wisconsin Press, 2005.

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Spitzer, Mark. Monster Fishing the World and Back: Toward an Ethics of Angling for the Grotesque. Torrey House Press, LLC, 2023.

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Spitzer, Mark. Monster Fishing the World and Back: Toward an Ethics of Angling for the Grotesque. Torrey House Press, LLC, 2023.

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Buchteile zum Thema "Grotesque World"

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Freda, Isabelle. "Terrorism and Kebab: The Administrative Grotesque and the Egyptian Chaplin––Notes on Humor, Resistance, and Biopolitics." In Cinema of the Arab World. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30081-4_10.

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Þorgeirsdóttir, Brynja. "Grotesque Emotions in Old Norse Literature: Swelling Bodies, Spurting Fluids, Tears of Hail." In Emotional Alterity in the Medieval North Sea World. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33965-3_2.

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Hemmann, Kathryn. "10. Dangerous Women and Dangerous Stories: Gendered Narration in Kirino Natsuo’s Grotesque and Real World." In Rethinking Japanese Feminisms, edited by Julia C. Bullock, Ayako Kano, and James Welker. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824866730-012.

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Spolsky, Ellen. "Category Mismatches and Grotesque Representation: Michelangelo’s Risen Christ and Shakespeare’s Cymbeline." In Word vs Image. Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230598034_5.

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"Maps of the World." In A Grotesque Animal. University of Iowa Press, 2024. http://dx.doi.org/10.2307/jj.12381749.7.

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Edmunds, Susan. "Siren Calls: Consumer Revolution and the Body Beautiful in Nathanael West’s The Day of the Locust." In Grotesque Relations. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195338539.003.0006.

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Abstract As we turn from Tillie Olsen’s Yonnondio to Nathanael West’s The Day of the Locust, the horizon shifts from socialist to consumer revolution: where Olsen planned, in the projected ending of her novel, to draw Mazie and Will Holbrook into a revolutionary struggle touched off by agricultural workers in California’s Imperial Valley, West concludes his 1939 novel with a Hollywood mob scene in which “whole families” (CW 411) of consumers, frustrated by the stars’ delayed arrival at a world premiere, turn their pent-up sexual and murderous energies on one another. Tod Hackett, the modernist

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Moreno-Almeida, Cristina. "The Digital Grotesque." In MEMES, MONSTERS, AND THE DIGITAL GROTESQUE. British AcademyLondon, 2024. http://dx.doi.org/10.5871/bacad/9780197267714.003.0003.

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Abstract This chapters unravels the concept of the digital grotesque. It examines how grotesque aesthetics have been part of the creative process of artists, from sounds to images. The chapter suggests that artists and writers have experimented with ugliness throughout history as a form of political protest as well as affective resonance. The grotesque has been employed by different ideologies. The digital grotesque is presented as a tool for aesthetic disobedience. The chapter then connects monsters to meme culture. While it embraces the dominant understanding of monsters, it adds a character

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Cole, Jean Lee. "The Comic Grotesque." In How the Other Half Laughs. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826527.003.0002.

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A particularly grotesque form of the comic sensibility emerged in the closing years of the nineteenth century in the works of George Luks. Luks was called on to take over Richard Outcault’s phenomenally popular Yellow Kid comic strip at Joseph Pulitzer’s New York World in 1896; he soon made the Yellow Kid his own. As Outcault’s duplicate or twin, Luks capitalized on the grotesque potential of twinning, doubling, and replication to question the social order from below, laying bare—and then savagely mocking—fears of the rapidly growing immigrant and ethnic populations in the United States. In su

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Ugurchieva, Rukiyat Kh. "The Image of Ethnic World in Sh. Akhushkov’s Prose: Grotesque or Reality?" In Literature of the Peoples of the Russian Federation and CIS: Spiritual Bases and Challenges of the Time. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0736-6-438-465.

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The subject of research in this article is the image of ethnic world in the novelettes of Shamil Akhushkov, who is an Ingush writer, publicist and film critic of the 1920s–1930s. Personal touch of the Sh. Akhushkov’s style is that how he sees the ethnic world — through the lens of the grotesque, deliberate othering, grotesque distortion of reality, hyperbolization, protruding of ignorance, savagery and moral ugliness. World in Akhushkov’s prose is a grotesque world, an absurd world, with its own reality, its own laws of being, its own heroes. It’s the world that almost without exceptions does

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Snodgrass, Chris. "The Rhetoric of the Grotesque: monstrous Emblem." In Aubrey Beardsley, Dandy of the Grotesque. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195090628.003.0004.

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Abstract THE grotesque is, as Osbert Burdett noted, “the invention of a form that does not exist in nature” (113). It is an artificial, human-animal hybrid that has been used throughout history and in virtually all parts of the world, in both horrific and benign forms, to symbolize the desire to avert the powers of evil and channel the forces of good (Sheridan and Ross 21). It also became Beardsley’s favorite vehicle for representing not only the disparate impulses of his own personality, but also what he took to be the paradoxical nature of life itself. But whereas the satyrs of classical art

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Konferenzberichte zum Thema "Grotesque World"

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Kroča, David, and Hana Svobodová. "Die stilisierte Form der Sprache in den Stücken von Alena Vostrá." In Junge Slavistik im Dialog XII: Beiträge zur XVII. Internationalen Slavistischen Konferenz. Universitätsverlag Kiel | Kiel University Publishing, 2025. https://doi.org/10.38072/2750-9605/p51.

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Alena Vostrá’s plays show above all the paradoxes of human behaviour under the tense conditions of an intensified model situation. The theme of man threatened by the outside world corresponded to the contemporary atmosphere in which the quest for personal freedom, independence and identity was awakening. In the context of Czech literature, Alena Vostrá’s plays belong to a specific series of model plays and grotesques created in the environment of the Činoherní klub.

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Zhang, Chunjing. "Grotesque and Gaudy World of Music, Indispensable Narrative Pen- Study on The Narrative Strategy of Modern Chinese Pop Songs Lyrics." In International Academic Workshop on Social Science (IAW-SC-13). Atlantis Press, 2013. http://dx.doi.org/10.2991/iaw-sc.2013.1.

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Borkina, Anastasia. "THE CHRONOTOPE OF ROAD IN THE WORKS OF JIPPENSHA IKKU (TŌKAIDŌCHŪ HIZAKURIGE) AND OKAMOTO KANOKO (TŌKAIDŌ GOJYŪSANTSUGI)." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.35.

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In the center of the works studied, Tōkaidōchū hizakurige by Jippensha Ikku and Tōkaidō gojyūsantsugi by Okamoto Kanoko, lies a journey of the characters along the Tōkaidō road. Despite the fact that the two works are of different genres and are more than one hundred years apart from each other, the space of the Tōkaidō road is a common element for them, wherein the ways of expression of the chronotope of the road varies for both authors. The Tōkaidō road in Ikku’s work is a specific “anti- world” — a grotesque, carnival dimension, where sensuous pleasures and humor rule. The dimension here is

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Duta, Florica. "I.L.Caragiale, important precursor and creator of the modern theatre concept." In Universitas Europaea: Towards a Knowledge Based Society Through Europeanisation and Globalisation. Free International University of Moldova, 2025. https://doi.org/10.54481/uekbs2024.v2.10.

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Thanks to the content, to the form of his plays and to the technique used, I.L. Caragiale is considered one of the precursors of the absurd theater and one of the creators of the modern concept of theater because he abandoned the traditional romantic forms of a literary theater in favor of a theatrical theater, revising the original constitutive elements of dramatic art: movement, pantomime, mimicry, puppetry, masks, the plastic element, the play of lights and shadows, the theatrical word. Caragiale's comedies, like the later theater of the absurd, suffer from a crisis of action, his theater i

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Abzianidze, Zaza. "Literature as Alternative History (Post-Soviet Conflicts in Georgian Prose)." In XII Congress of the ICLA. Georgian Comparative Literature Association, 2025. https://doi.org/10.62119/icla.3.8940.

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In the new millennium, Georgian prose began consistently shifting moral coordinates, this time on the map of contemporary history. The totality of the works cited here can be considered as an example of– the example, that is, of a fictional narrative assimilating the no man’s land untouched by historiography. The most ethically confrontational is Otar Chiladze’s novel, “Godori” (2002). Otar Chkheidze wrote in the introduction to his pertinent novel “White Bear” (1999). Guram Odisharia (“The Return to Sokhumi” ,1995), and Gela Chkvanava (“Toreadors”, 2006) describe the war inAbkhazia with shock

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