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Journal articles on the topic 'Folk Horror'
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Andres, Alberto. "Ghosts of Britain: a hauntological approach to the 21st century folk horror revival." REDEN. Revista Española de Estudios Norteamericanos 3, no. 1 (November 11, 2021): 79–93. http://dx.doi.org/10.37536/reden.2021.3.1428.
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This article aims at investigating the emergence of the American folk horror revival of the 2010s, focusing on texts such as Ari Aster’s Midsommar (2019) or Robert Eggers’s The VVitch (2015). This survey of the folk horror revival will inevitably lead us to the genre’s past, particularly to the so-called Unholy Trinity, comprised by three films released in Great Britain during the late 1960s and early 1970s. This temporal and geographical dislocation will be situated against a larger background of cultural production, arguing that the appearance of the folk horror revival sheds some light on the debate on nostalgia and pastiche as the predominant artistic modes under late capitalism. The notion of hauntology, as explored by Jacques Derrida, Mark Fisher, or Katy Shaw, will be used throughout the essay in order to provide a form theoretical ground on which this debate can take place.
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Tuttle, Joshua B. "Folk Horror: Hours Dreadful and Things Strange. By Adam Scovell." Gothic Studies 22, no. 3 (November 2020): 344–46. http://dx.doi.org/10.3366/gothic.2020.0066.
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Kulikova, Daria L. "MYTHOPOETICS OF THE CEMETERY SPACE IN HORROR FICTION (Based on the Material of Modern Russian Literature)." Вестник Пермского университета. Российская и зарубежная филология 13, no. 3 (2021): 86–93. http://dx.doi.org/10.17072/2073-6681-2021-3-86-93.
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This article deals with the locus of the cemetery in modern Russian horror. We examine approaches to the depiction of scary spaces in literature, describe the cemetery as a locus of horror, study the motives associated with the cemetery in horror, detect intermedial connections, provide interpretation of folklore and literary references. The cemetery is one of the key loci of folk culture, presented in folklore as a space of contact with the otherworldly (with the world of the dead), which explains the interest of horror authors in these ‘scary’ places. The modern literature of horror offers modifications of the image of the cemetery, their main characteristics, intertextual interaction with Russian and foreign traditions, which allow us to speak of this image as a unit of the genre canon of horror. The paper examines how exactly the image of the cemetery is presented by modern Russian authors: A. Ivanov, A. Ateev, M. Romanova, K. Alekseev, I. Lesev. We have established that various clichés of folklore and horror literature are used in connection with the locus of the cemetery. These include the motive of a ‘bad place’, the motive of reviving the dead, the motive of crossing the borders, violation of a ban/taboo. The cemetery can be viewed in a literary work as a source of supernatural horror (and even, as in Alekseev’s work, may turn into a thinking creature) or, as in Ivanov’s novels, represent a false source of danger. We conclude that the cemetery in horror becomes a place where not only worlds but also eras are connected, which reveals the important function of horror – the comprehension of the past of an individual and society. The portrayal of the cemetery in horror draws on a rich literary and folkloric tradition.
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Izharuddin, Alicia. "The laugh of the pontianak: darkness and feminism in Malay folk horror." Feminist Media Studies 20, no. 7 (October 25, 2019): 999–1012. http://dx.doi.org/10.1080/14680777.2019.1681488.
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Chambers, Jamie. "Troubling Folk Horror: Exoticism, Metonymy, and Solipsism in the "Unholy Trinity" and Beyond." JCMS: Journal of Cinema and Media Studies 61, no. 2 (2022): 9–34. http://dx.doi.org/10.1353/cj.2022.0014.
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Kosonen, Heidi. "Rituaalikuolema ja perhetragedia." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 2-3 (September 8, 2021): 23–41. http://dx.doi.org/10.23994/lk.111159.
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Elokuvissa ja erityisesti angloamerikkalaisissa elokuvissa kuvataan itsemurhaa usein. Niiden representaatiot heijastelevat kulttuurisia käsityksiä itsemurhasta, mutta myös itsenäisesti vaikuttavat käsitysten syntymiseen. Tässä artikkelissa tarkastelen Ari Asterin folk-kauhugenreä edustavaa elokuvaa Midsommar – loputon yö (2019). Elokuvassa sisarensa tekemää murha-itsemurhaa sureva Dani matkustaa Yhdysvalloista Ruotsiin fiktiiviseen Hårga-kommuuniin poikaystävänsä ja tämän ystävien kanssa. Hårgalainen juhannusrituaali paljastaa eroja amerikkalaisen ja hårgalaisen kulttuurin välillä muun muassa kuolemasuhteeseen, tunteiden ilmaisuun ja perheeseen liittyen.Keskityn artikkelissa yhtäältä itsemurhaan tai omaehtoiseen kuolemaan tabuluonteisena kuolemana, johon liittyvää samanaikaisen näkymättömyyden ja hypernäkyvyyden dynamiikkaa elokuva mielenkiintoisella tavalla käsittelee. Midsommarin tarinankaaressa itsemurha näyttäytyy vaiettuna traumana ja oikeuttamattomana surun lähteenä, jonka käsittelyä Danin lähipiiri ei tue. Samalla elokuva heijastelee itsemurhan välineellistymistä ja pornoistumista angloamerikkalaisessa viihteessä.Toisaalta keskityn omaehtoisen kuoleman määrittelyn kysymyksiin tarkastelemalla elokuvan esittämää kulttuurista törmäyspistettä, jossa vastakkain asettuvat kahdenlaisten selitysmallien alle asettuvat itsemurhat. Näitä kuolemia voidaan määritellä egoistiseksi ja altruistiseksi viitaten durkheimilaiseen typologiaan, jossa itsemurha esiintyy aina suhteessa yhteiskuntaan. Toisaalta Midsommarin tarinamaailmassa itsemurhat redusoituvat ”diagnostisiksi” ja ”kultistisiksi” marginalisoiduiksi kuolemiksi ja siten heijastelevat normatiivisen biovallan selitysmallien valtaa itsemurhan määrittelyn kysymyksiin.Avainsanat: tabu, kuolema, itsemurha, folk-kauhu, biovaltaRitual Death and Family Tragedy: On Suicide’s Definition and Taboo in Folk Horror Film MidsommarFilms, especially Anglo-American ones, frequently depict suicide. Their representations reflect cultural understandings of suicide, but also independently influence how self-willed death is perceived. In this article I study how suicide is depicted in Ari Aster’s folk horror film Midsommar (2019). In the film, the protagonist Dani, who is mourning her sister’s murder-suicide, travels from the US to a Swedish commune, Hårga, with her boyfriend and his friends. The Hårgan midsummer ritual reveals differences in the two cultures’ relationships to death, emotional expression, and family.One the one hand, I focus on the way the film reflects suicide’s nature as a taboo, as something simultaneously hidden and hypervisible. In the diegesis, suicide appears as a silenced trauma, as a source of disenfranchised grief, and as a death the protagonist is not allowed to mourn. Simultaneously the film reflects suicide’s instrumentalization and pornification in Anglo-American entertainment.On the other hand, I focus on questions related to the definition of suicide or self-willed death. The film depicts conflicts between two cultures, where different explanation models of self-willed death are juxtaposed with one another. On display are two types of suicides that can be referred to as “egoistic” and “altruistic” by reference to Durkheim’s typology, which takes into account suicide’s relationship to society. Yet in Midsommar’s diegesis, these deaths appear as psychologized and culturally marginalized “diagnostic” and “cultist” suicides, and thus reflect the power of normative biopower over how self-willed death is understood and made sense of in the west.Keywords: taboo, death, suicide, folk-horror, biopower
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Beadle, Joseph J. L. "Of Horror Games and Temples: Religious Gamification in Contemporary Taiwan." British Journal of Chinese Studies 12, no. 2 (August 6, 2022): 11–45. http://dx.doi.org/10.51661/bjocs.v12i2.189.
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This article examines the intersection of Taiwanese horror videogame Devotion (2019) and folk religious ritual guanluoyin 觀落陰 (descent into the netherworld) as a new window into the symbiotic evolution of religion and gaming technology. It traces the curious trend whereby Taiwanese gamers, after encountering guanluoyin while playing Devotion, went to offline, physical guanluoyin temples to ‘play’ the ritual for themselves, and playfully invoked Devotion’s intra-game religious narrative in their extra-game lives. Devotion thus activated a dynamic community of gamers who, hungry for horror, produced novel forms of engagement with the world(s) beyond their consoles. This anthropological study reconfigures the popular framework in existing scholarship of ‘gaming as a religious experience’, instead investigating ‘religion as a gaming experience’, and proposes the concept of ‘religious gamification’ to capture religion’s re-imagination, marketing, and operation as a gaming experience by a surprising ensemble of social actors and institutions. By drawing on ethnographic fieldwork, interviews, and analyses of game design, temple advertisements, gaming chatrooms, a television show, songs, viral videos, and social media trends, this article explores the unexpected convergence and mutual articulation of Taiwan’s gaming and religious cultures, and the wider implications thereof for understanding religion in our rapidly gaming-mediated world.
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Malvestio, Marco. "En la corte del Dios Blanco: folclore digital y gótico global en Mandíbula." Brumal. Revista de investigación sobre lo Fantástico 10, no. 1 (June 22, 2022): 99–118. http://dx.doi.org/10.5565/rev/brumal.844.
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Este artículo cuestiona la posible presencia del folclore local en una época de folclore globalizado. A partir de las categorías críticas aportadas por los estudios góticos y los recientes debates sobre el folk horror, este artículo estudia el uso de los creepypasta (relatos de terror producidos y difundidos en internet que constituyen un ejemplo de folclore digital) en la novela Mandíbula (2018) de Mónica Ojeda. Al analizar la novela de Ojeda, pretendo demostrar cómo la adopción masiva de referencias folclóricas digitales sirve para desafiar las ansias de globalización y la desterritorialización que alimentan el texto e impregnan su narración de la adolescencia.
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Riley, John A. "Folk Horror: Hours Dreadful and Things Strange. Edited by AdamScovell. Auteur (Columbia UP), 2017. 215 pp. $25.00 paperback." Journal of Popular Culture 51, no. 4 (August 2018): 1080–82. http://dx.doi.org/10.1111/jpcu.12695.
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Darby, Paul, and Niall Finneran. "Spectral Nation: Characterizing British Haunted Landscapes through the Lens of the 1970s ‘Ghost Gazetteer’ and a Folk Horror Perspective." Folklore 133, no. 3 (July 3, 2022): 311–33. http://dx.doi.org/10.1080/0015587x.2021.2000174.
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Prorok, Katarzyna. ""Wziął braciszek strzelbiczkę, trafił myśliweczka w główeczkę…" O (nie)konwencjonalnych użyciach zdrobnień w polskich pieśniach ludowych." LingVaria 13, no. 25 (May 30, 2018): 163–78. http://dx.doi.org/10.12797/lv.13.2017.25.12.
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Wziął braciszek strzelbiczkę, trafił myśliweczka w główeczkę… On (Un)conventional Uses of Diminutives in Polish Folk SongsThe paper attempts to specify the function of diminutives in folk songs, and to find to what degree they can be considered a reliable source in the reconstruction of the linguistic image of the world. The starting point are the findings of Jerzy Bartmiński who distinguished five main functions of diminutives in folk songs: intellectual (communicating smallness), emotional (communicating endearment), rhythm-creating, rhyme-creating, and structural-poetic (signalling the style of the folk song: affectionate, tender, and noble). An analysis of lyrics where diminutives appear frequently and, unusually for them, in contexts of pejorative nature (e.g. in the wife’s description of how she killed her husband: zabiłam go drewienkiem w komórce pod okienkiem), allows the author to formulate a hypothesis that the structural-poetic function of diminutives is not only to establish a “tender and gentle” style in order to evoke positive emotions (create a positive image of the world), but also to evoke negative emotions (and create a negative image of the world). In pejorative texts, partially desemantized diminutives with their conventional tenderness and gentleness, can either soften the evil and the horror of the depicted world, neutralize negative emotions, or they can create such a sharp contrast with the “heartless” story which is being told, that the evil and dread of the world are intensified together with negative emotions. But this diversity of functions that diminutives can play in folk songs, ther partial desemantization and conventionality, render them particularly difficult to analyze, and a reasearcher of the linguistic image of the world should approach them with caution.
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Blanc, Paul Le. "Rosa Luxemburg and the Heart of Darkness." New Formations 94, no. 94 (March 1, 2018): 122–41. http://dx.doi.org/10.3898/newf:94.08.2018.
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'Imperialism', Rosa Luxemburg tells us, 'is the political expression of the process of the accumulation of capital in its competitive struggle over the unspoiled remainder of the noncapitalist world environment'. The realities analysed by this outstanding socialist revolutionary have also found significant reflection in classic writings of such literary icons as Herman Melville, Joseph Conrad, Mark Twain, Rudyard Kipling and George Orwell. Conrad's racist conceptualisation in The Heart of Darkness shows us an idealistic imperialist, Kurtz, whose last words - 'the horror' - can be understood in opposite ways: as an idealism grotesquely corrupted when a 'civilising' white 'goes native' or, more persuasively, as a grotesque violence emanating from 'progressive' capitalist civilisation itself. Dark horrors visited upon innumerable victims in Africa, Asia, Latin America and among indigenous peoples of Australia and North America have been generated, as Luxemburg demonstrates in The Accumulation of Capital, from the very heart of European civilisation, permeated and animated as it is by the capital accumulation process. The eloquent justifications of Kurtz can be found in the glowing prose of - for example Winston Churchill: 'Let it be granted that nations exist and peoples labour to produce armies with which to conquer other nations, and the nation best qualified to do this is of course the most highly civilised and the most deserving of honour.' Yet the actual impacts have been summarised by W. E. B. Du Bois: 'There was no Nazi atrocity - concentration camps, wholesale maiming and murder, defilement of women or ghastly blasphemy of childhood - which the Christian civilization of Europe had not long been practicing against colored folk in all parts of the world in the name of and for the defense of a Superior Race born to rule the world.' Such horrors have afflicted not only vast 'peripheries' but have also defined modern and contemporary history in the civilised 'metropolis'.
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Frolova, Marina V. "Pocong: Contemporary Zombie Stories in Indonesia." Studia Litterarum 6, no. 1 (2021): 354–69. http://dx.doi.org/10.22455/2500-4247-2021-6-1-354-369.
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The paper about the Indonesian “zombie” pocong examines specific features of the ghost stories in Indonesia, tracks the etymology of the words hantu (“ghost,” “undead”) and pocong (“wrapped in shroud”), and includes a translation of a typical ghost story (“Pocong and a Cart Hawker”). It introduces the hitherto understudied material in Russia that counts only a small number of Indonesian and Anglophone works. The aims of this paper include collecting data about this mythological creature from Indonesian sources, studying the image of pocong and contemporary narratives about him, searching his closest parallels in the world folklore, and interpreting the meanings of the character discovered in modern Indonesian culture. For religious people, pocong is a symbol of the frailty of life. Some traditional Muslims in modern Indonesia practice pocong related rituals (“Pocong’s oath,” pesugihan). Nowadays, the image of pocong is demythologized as it circulates in urban flesh-mobs, pranks, and horror films. The typology of this scary image is surprisingly similar not to Muslim genies but to from Chinese hopping vampires. Modern zombie studies shed light on the genealogy of pocong as a walking dead. Todd K. Platts discusses the spectrum of potential underpinnings of the zombie that include racism, terrorism, class inequality, disintegration of a nuclear family, consumer culture etc that may be applied to pocong as well. Pocong symbolizes oppressed common folk and this image is frequently used in mass political protests. Interpretation of pocong as a marginalized figure is relevant for the folklore studies in Indonesia, as well as for the study of horror-discourse in general.
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Kim, Yong-sun. "Reflection on Aspects of ‘Bridegroom Approval’ in Folk Tale of 〈Banjjogi〉 －with focus on sides of ‘horror-anxiety-terror’ in respective stories." East Asian Ancient Studies 56 (December 31, 2019): 287–312. http://dx.doi.org/10.17070/aeaas.2019.12.56.287.
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Titley, Alan. "Middle Earth: Poetry in Irish at Mid Century." Irish University Review 42, no. 1 (May 2012): 72–85. http://dx.doi.org/10.3366/iur.2012.0009.
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This essay looks at the development of Irish poetry from the depleted folk forms of the nineteenth century to the beginnings of modernism from the start of the twentieth and into the middle of that century. It concentrates, in particular, on three major figures, Máirtín Ó Direáin, Seán Ó Ríordáin, and Máire Mhac an tSaoi, who exemplify the struggle towards modernity. Although sharing a time and a language, they never really shared an imagination. While steeped in tradition, they had no real difficulty in establishing a personal voice. Ó Direáin developed his own out of the normal speech of his own people in Aran, largely and unexpectedly ignoring the easy embrace of the folk tradition. His is a romantic Aran, but one which accords with the genuine simplicity and happiness of his own youth. The city is, for him, a place of horror and inauthenticity, and to his credit he wrestles a fine body of work from this tired cliché. Ó Ríordáin, on the other hand, is wracked by questions of religion and of authority, questions he takes to the verge of delirium. He is saved by a dark humour, while his poetry slides towards normality. Máire Mhac an tSaoi marries the glories of tradition with the passion of youth, of middle age, and beyond. There are others, but these mark a middle Ireland, as real as now.
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Spracklen, Karl. "From The Wicker Man (1973) to Atlantean Kodex: Extreme music, alternative identities and the invention of paganism." Metal Music Studies 6, no. 1 (March 1, 2020): 71–86. http://dx.doi.org/10.1386/mms_00005_1.
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The German epic heavy/doom metal band Atlantean Kodex has written two concept albums based on the folklore and paganism of old Europe and the West: The Golden Bough and The White Goddess. The two albums owe their titles to two books that have influenced the rise of modern paganism, though they remain deeply problematical. In this article, I explore possibly the most important influence on Atlantean Kodex, which is also one of the most important influences on modern paganism: the 1973 horror film The Wicker Man. I discuss the ways in which the film uses the speculative folklore of Frazer and Graves to construct a set of invented traditions about paganism and its alternative, counter-Christian nature, which have made paganism appealing to extreme metal musicians and fans. In this discussion, I use examples from other metal bands and fans who have name-checked the themes and the traditions of the film. In discussing the folklore of the Wicker Man, I also explore the folk music used in the soundtrack, which has also contributed to the invention of modern paganism and extreme folk music. I conclude by suggesting that, although many pagans have adopted this extreme music and myth into their world-views, the myth of the Wicker Man is also used as a playful rejection of Christianity and its authority by those of a secular or humanist persuasion.
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Addei, Cecilia. "“Walahé!”; “You should have seen it”: Validating the Truth of Wartime Absurdities in Ahmadou Kourouma’s Allah is Not Obliged." Gragoatá 23, no. 45 (April 30, 2018): 24–44. http://dx.doi.org/10.22409/gragoata.v23i45.33563.
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Ahmadou Kourouma’s Allah is Not Obliged is a fiction based on the civil wars in the West African countries of Liberia and Sierra Leone as a result of the breakdown of democracy. It employs the point of view of a child narrator, Birahima, a literalist picaro, to narrate wartime atrocities. The novel, mainly a satire, employs the devices of irony and humour that allow Birahima to present his world, which is turned upside down, and morality, reversed, in a way that makes the reader laugh in spite of the horror. The reality of Birahima’s wartime experience, which has left him in a kind of developmental “limbo”, is difficult to believe to be true. However, he makes every effort in his use of language to prove the truthfulness of the absurdity he narrates. This paper considers how the protagonist/narrator Birahima’s entry into war leaves him in an absurd, cyclical limbo while he resorts in frustration to validate his absurd experience through appealing to God, folk wisdom and dictionaries.---Original in English.---DOI: http://dx.doi.org/10.22409/gragoata.2018n45a1097.
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Quintos, Jay Jomar. "Ang “Aswang” at “Tama(w)o” Bilang Sinematikong Kaalamang-Bayan at Diyalektika ng Bansa at Rehiyon." Plaridel 17, no. 2 (2020): 61–97. http://dx.doi.org/10.52518/2020.17.2-04qntos.
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This essay attempts to construct and deconstruct the discourses of “nation” (bayan) and “region” (rehiyon) vis-à-vis “aswang” and “tama(w)o” embedded in the films of Negrense filmmaker Richard Somes – “Lihim ng San Joaquin” from Shake, Rattle, and Roll 2k5 (Monteverde, Monteverde, & Somes, 2005), Yanggaw (Arguelles, Montelibano, Montelibano, & Somes, 2008), “Tamawo” from Shake, Rattle, and Roll 13 (Monteverde, Monteverde, & Somes, 2011), and Corazon: Ang Unang Aswang (Calmerin, Kintanar, Samson-Martinez, & Somes, 2012). Using the horror genre, the four films present the quotidian lives from the nation’s peripheries through the depiction of the antagonized “indigenous belief systems,” imagined backward-ness of the bucolic landscape, and oppressive hacienda systems. These spatio-temporal dispositifs are deemed to result in the contested processes of the dichotomy and vicissitudes between rural and urban, margin and center, Self and Other, and nation and region. Finally, by considering Somes’s films as “filmic folklore,” the essay tries to configure and reconfigure the folk creatures “aswang” and “tama(w)o” as cornucopia and articulations of regional and national “history of emotions.”
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Kumar, Keval Joseph. "The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 277–85. http://dx.doi.org/10.31269/triplec.v12i1.511.
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The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.
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Kumar, Keval Joseph. "The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 277–85. http://dx.doi.org/10.31269/vol12iss1pp277-285.
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The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.
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Johnson, Eric A. "Cities Don't Cause Crime: Urban-Rural Differences in Late Nineteenth- and Early Twentieth-Century German Criminality." Social Science History 16, no. 1 (1992): 129–76. http://dx.doi.org/10.1017/s0145553200021404.
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“Good heavens!” I cried. “Who would associate crime with these dear old homesteads?”“They always fill me with a certain horror. It is my belief, Watson, founded upon my experience, that the lowest and vilest alleys in London do not present a more dreadful record of sin than does the smiling and beautiful countryside… But the reason is very obvious. The pressure of public opinion can do in the town what the law cannot accomplish. There is no lane so vile that the scream of a tortured child, or the thud of a drunkard's blow, does not beget sympathy and indignation among the neighbours, and then the whole machinery of justice is ever so close that a word of complaint can set it going, and there is but a step between the crime and the dock. But look at these lonely houses, each in its own fields, filled for the most part with poor ignorant folk who know little of the law. Think of the deeds of hellish cruelty, the hidden wickedness which may go on, year in, year out, in such places, and none the wiser.”—Arthur Conan Doyle, “The Adventure of the Copper Beeches”
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Dhakal, Lekha Nath. "Toni Morrison’s Beloved: A Study on History, Slavery and Love." Pursuits: A Journal of English Studies 6, no. 1 (July 21, 2022): 39–43. http://dx.doi.org/10.3126/pursuits.v6i1.46849.
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This article makes an effort to describe Toni Morrison’s novel, Beloved as a fusion of History, slavery and love. It also reveals that history of Afro-Americans, slave narrative; love and fantasy are the main assets of the novel. In the novel, she focuses on the horror of the past so that Afro-Americans and the Americans all those who involved with slavery would come face to face with grim reality of the past and rise above it. The novel articulates and embodies a history of slavery of African-Americans and their experiences, which has been apparently, accurately and carefully recovered but is actually uncooked. Beloved directly confronts racism which combines lyrical beauty with an assault on the readers’ emotions and conscience. It emphasizes the legacy of slavery using forms resulting from traditional Back Folk aesthetic. It deals with the life and history of Black American women immediately after the emancipation of slaves in the North. Beloved also presents a tragedy involving mother’s moment of choice, and a love story exploring what it means to be beloved. Thus the novel holds the key to the narrative’s unity. The subject matter is stressful to read and it is also confrontational and painful. The form combines historical realism with magic, slavery and love.
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Addei, Cecilia. "“Walahé!”; “You should have seen it”: Validating the Truth of Wartime Absurdities in Ahmadou Kourouma’s Allah is Not Obliged." Gragoatá 23, no. 45 (April 30, 2018): 24. http://dx.doi.org/10.22409/gragoata.2018n45a1097.
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Ahmadou Kourouma’s Allah is Not Obliged is a fiction based on the civil wars in the West African countries of Liberia and Sierra Leone as a result of the breakdown of democracy. It employs the point of view of a child narrator, Birahima, a literalist picaro, to narrate wartime atrocities. The novel, mainly a satire, employs the devices of irony and humour that allow Birahima to present his world, which is turned upside down, and morality, reversed, in a way that makes the reader laugh in spite of the horror. The reality of Birahima’s wartime experience, which has left him in a kind of developmental “limbo”, is difficult to believe to be true. However, he makes every effort in his use of language to prove the truthfulness of the absurdity he narrates. This paper considers how the protagonist/narrator Birahima’s entry into war leaves him in an absurd, cyclical limbo while he resorts in frustration to validate his absurd experience through appealing to God, folk wisdom and dictionaries.------------------------------------------------------------------------------------“WALAHÉ!”; “VOCÊ TINHA QUE TER VISTO”: VALIDANDO A VERDADE DOS ABSURDOS DA GUERRA EM ALLAH IS NOT OBLIGED, DE AHMADOU KOUROUMAAllah is Not Obliged, de Ahmadou Kourouma, é uma obra de ficção baseada nas guerras civis nos países da África Ocidental Libéria e Serra Leoa resultantes do colapso da democracia. Através do ponto de vista de um narrador infantil, Birahima, um pícaro literalista, a obra narra as atrocidades da guerra. O romance, essencialmente uma sátira, emprega os recursos da ironia e do humor para permitir que Birahima apresente seu mundo deturpado e sua moralidade invertida de uma maneira que faz o leitor rir apesar do horror. É difícil aceitar como verdade a realidade que Birahima vivenciou na guerra, que deixou o seu desenvolvimento em uma espécie de limbo. No entanto, ele se utiliza da linguagem ao máximo para provar a veracidade do absurdo que ele narra. Este artigo considera como a entrada do protagonista / narrador Birahima na guerra o deixa em um limbo cíclico e absurdo, enquanto ele se frustra para validar sua experiência absurda apelando a Deus, à sabedoria popular e aos dicionários.---Artigo em inglês.
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Mendes Sousa, Daniele, Danielle Da Silva Rodrigues, and Suellen Cordovil da Silva. "FACES INSÓLITAS DA IARA." Téssera 4, no. 1 (January 16, 2022): 46–60. http://dx.doi.org/10.14393/tes-v4n1-2021-63535.
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Este artigo tem como objetivo analisar a personagem Iara no conto “A Iara do Rio Santana”, no livro “Visagens, Assombrações e Encantamentos da Amazônia” (2019), de Walcyr Monteiro (1940-2019). A Iara é uma lenda que faz parte do folclore brasileiro; sendo assim, estudaremos sob uma perspectiva do gótico, insólito ficcional e o fantástico como modo. Além disso, buscamos embasamento nos estudos de Flávio Garcia (2012), que descreve o insólito como uma categoria ficcional comum a variados gêneros literários. Já para Marisa Gama-Khalil (2019) apud Furtado (2011), o fantástico é entendido como um modo que agrega textos e gêneros heterogêneos por meio de um aspecto em comum: o sobrenatural, integrando o conto de fadas, o gótico, o maravilhoso, o estranho, a ficção científica e outras modalidades. Para complementar nossa base teórica, serão abordadas as ideias de Noël Carroll, especialmente a obra “The philosophy of horror” (1990). Também serão contempladas as obras “Folk-lore Brésilien” (1889), de Frederico José de Santa-Anna Nery e “Lendas Brasileiras” (2015) e “Geografia dos Mitos Brasileiros” (2012), de Câmara Cascudo. Dessa forma, pretendemos explorar a pluralidade que envolve as narrativas dessa personagem pelo viés gótico. Iara é um ser insólito que habita os rios amazônicos, carregando uma assustadora maldição: seu canto hipnotizante e sua beleza mortal a transformam em uma ceifadora de homens, atraindo-os para o fundo das águas.
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Fedorova, Aitalina Rodionovna. "On the emergence of the Yakut scare story as the genre of modern folklore." Genesis: исторические исследования, no. 9 (September 2021): 1–12. http://dx.doi.org/10.25136/2409-868x.2021.9.36403.
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This article examines the emergence and essence of the Yakut scare story. The modern Yakut scare story takes roots from the traditional culture, but in its genre form represents the modern urban legend. The goal of this research lies in tracing the process of synthesis from the perspective of anthropology. The author analyzes the differences between the Yakut, Soviet and Russian scary motifs, as well as determines the key traditional sources of the emergence of the Yakut scare story. The author aims to examine scare story as an important part of modern ethnic culture that retained traditional images, as a result of transition from the traditional life to an industrial society, rather analyzing separate stories through the prism of folklore studies. This defines the scientific novelty of this paper, as this topic has not previously become a separate subject of research in the scientific literature. The sources for this article employ the theoretical works about the Yakut culture, folklore overall, as well as Russian and Soviet horror stories; field materials acquired by the author, such as excerpts from interviews and sociological survey. The conclusion is made that the modern Yakut scare story has emerged in 1970s on the basis of traditional folklore, which obtains the features of the Soviet scare story and forms the new genre of modern folk art.
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Simsone, Bārbala. "THE IMAGE OF THE VAMPIRE IN WORLD AND LATVIAN LITERATURE." Culture Crossroads 7 (November 14, 2022): 241–48. http://dx.doi.org/10.55877/cc.vol7.244.
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The theme of the article is evolution of the popular folklore image of the vampire in world literature. From the monster of folk narrative the image of the vampire entered literary culture at the beginning of the 19th century when writers of the age of Romanticism sought material for their work in folk tales. The novel “Dracula” written by the Irish writer Bram Stoker set a large part of attributes for the image of the vampire in readers’ consciousness. It became a turning point in the evolution of the vampire. In the following years the vampire was a popular symbol in the 20th century literary experiments; however, it gained a considerable fame with a more rapid spreading of the cinema. Later, until the second half of the 20th century the image of the vampire was degraded to the level of a cheap horror monster. In the 1970s it was revived by the American writer Anne Rice in her series of novels “The Vampire Chronicles”. For the time being the latest tendency in the evolution of the vampire is represented by the novels of paranormal romance subgenre intended for young adults. In these novels the vampire has assumed the aura of a romantic character. In comparison with world literature vampire has not won a massive popularity in the novels of Latvian writers; however, some authors have occasionally used this image in their works. The image of the vampire appears in Latvian literature as a classical blood sucking monster, as a political symbol and also as a romantic hero in fantasy and adventure novels for young people. As we can see, the presence of the image of the vampire in Latvian writing reflects the same tendencies that have dominated world literature on a smaller scale. For this reason Latvian literature can be considered to be an interesting testimony of literary connections in the world.
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Mukherjee, Dhrubaa. "Singing-in-between spaces: Bhooter Bhabisyat and the music transcending class conflict." Studies in South Asian Film & Media 12, no. 1 (February 1, 2021): 3–17. http://dx.doi.org/10.1386/safm_00034_1.
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This article analyses Bhooter Bhabisyat, a Bengali political horror satire, as a counter-narrative to Bengali cinema’s monocultural bhodrolok branding. The article argues that Bhooter Bhabisyat is radical in its refusal to follow hegemonic homogenizing musical styles classified into genres such as folk, popular, traditional and modern, which tend to be ethnocentric and class based with serious value judgments about the superiority of certain musical forms over others. Instead, Bhooter Bhabisyat uses a variety of distinct Bengali musical traditions to problematize the historic role of capitalist media that work to homogenize and popularize the dominant culture of the ruling classes. The hybrid songs of the film disrupt a sense of homogeneous bhodrolok class position that Bengali cinema has historically sustained. Through the strategies of musical pastiche, Bhooter Bhabisyat offers a meta-historic narrative about Bengali cinema, which makes possible a critical investigation of the cultural discourses and historical narratives that are discursively embedded within the history of filmic production, circulation and consumption. If film histories are produced by repressing differences between social groups and constructing universal identification, then foregrounding film songs as decolonial storytelling methods that reemphasize local voices and subject matters can lead to an effort to read history from below. The vulgar representation of time as a precise and homogeneous continuum has […] diluted the Marxist concept of history. (Giorgio Agamben) The history of all hitherto existing society is the history of class struggles. (Karl Marx)
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Sommer, Myriam Ackermann. "Wanderers of the New World: From the Jew as Other, to the Jew as (Uncanny) Double in “A Virtuoso's Collection” (1842) and “Ethan Brand” (1850)." Nathaniel Hawthorne Review 46, no. 2 (December 1, 2020): 186–206. http://dx.doi.org/10.5325/nathhawtrevi.46.2.186.
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Abstract The legend of the Wandering Jew began as a European folk motif and migrated to America, where it gained a popularity unmatched in the countries of the Old World. This article focuses on the adaptation of this legend in the American gothic, and specifically on the literary rendition of the Wandering Jew in Hawthorne's “A Virtuoso's Collection” (1842) and “Ethan Brand” (1850). Hawthorne first staged this archetype in his short story titled “A Virtuoso's Collection,” in which the Jew serves as a chronicler and an eerie museum guide. In “Ethan Brand,” the Wandering Jew is recast as a “German Jew,” a showman carrying a diorama and showing sketches. There, he serves as both the figure of the Other and an image of the evil double. He proves to be a source of gothic horror, hinting at the pointlessness of the quest of the main protagonist, who claims to have identified and mastered the “Unpardonable Sin.” After the departure of the Jew, Brand kills himself, which could be interpreted as a victory of the doppelgänger typical of gothic tales. However, Brand's attempt to annihilate himself is incomplete, for it is mentioned in the explicit that his heart could not be burnt down. This ambiguous ending and lack of closure are true to the spirit of the legend, whereby the Jew must wander until messianic times. However, the real Jew behind the mask remains unaccounted for, as he is reduced to a mere literary representation of pure otherness.
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Velissariou, Aggeliki. "Two folktales (Vampire beings in Greek folktales)." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (January 2022): 215–36. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.15.
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This paper attempts to elaborate how the vampire theme is conceptualized in Greek folktales. It’s a case study of the Greek folk tales: “Gelloudi” and “The Lamia bride” found in the compilation Paramythokores (2002). The folktale complies with a strict formulaic style of oral narration and the most time-resilient elements of storytelling are the motifs that create the story. We find similar or echoing motifs in folktales globally; some motifs are darker than others, enhancing the agony and thrill of storytelling. Concerning the Greek folktale, the research led to the classification of six dark motifs. Bloodsucking creatures such as Strigla (in Latin: Strigula, Strix), Gello (gelloudi) and Lamia are found in the dark motif of the supernatural. The tales, in this case study, are horror stories, in a sense, but they evolve in a broad form of narration, depriving the reader of gruesome details and delivering a cathartic ending. The vampire theme is not dominating in the first folktale as a result of the combination of three folktale types, whereas the second one focuses solely on this theme. In both cases the creatures are female attacking animals, men and community, symbolizing the heavy price of the birth of a girl in the family, as it was perceived in these traditional communities. A baby girl and a new bride, attack the world of men. They are powerful and feared, they are ‘horse-eaters’ symbolizing the threat of depriving the established status for men, first by eating their horse and then by eating them.
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Schmitt, Mark. "The World Turned Upside Down, Again: Hauntings of the English Revolution and Archaeologies of Futures Past in Contemporary British Films." Journal of British Cinema and Television 20, no. 1 (January 2023): 25–45. http://dx.doi.org/10.3366/jbctv.2023.0655.
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In the 1960s and 1970s, the period of the Civil War and the English Revolution featured prominently in a variety of films ranging from the mainstream historical drama Cromwell to the independent Winstanley and the folk horror film Witchfinder General. Film-makers’ interest in the period at that time coincided with the cultural, social and political turmoil of 1968 as well as with the increasingly popularised revision of the period in Marxist historiography, such as Christopher Hill’s seminal book The World Turned Upside Down. Recently, there has been a renewed interest of British film-makers in Hill’s focus on the subcultures of the English Revolution, such as the Diggers, as well as in the aesthetics of earlier films about the period. This article analyses two contemporary films about the period, Ben Wheatley’s A Field in England and Thomas Clay’s Fanny Lye Deliver’d, and through historicisation and contextualisation within film, genre and media history seeks to understand the significance of their return to the historical material of the seventeenth century as well as to the style of their filmic models from the 1960s and 1970s. The article argues that the two films perform an ‘archaeology of the future’ (Jameson) that excavates utopian ‘futures past’ (Koselleck) in British cultural history as well as in British film and media history. By analysing Wheatley and Clay’s films as hauntological and archaeological texts, the article explores the potential of the cinematic image for engaging with national and film history as well as with visions of the past and the future.
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Yoon, Haeny S. "Stars, Rainbows, and Michael Myers: The Carnivalesque Intersection of Play and Horror in Kindergarteners’ (Trade)marking and (Copy)writing." Teachers College Record: The Voice of Scholarship in Education 123, no. 3 (March 2021): 1–22. http://dx.doi.org/10.1177/016146812112300303.
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Background Research on children's play asserts that children's identities are performed and (re)formed in peer groups where they try out identities and make sense of their social worlds. Yet there are kinds of play (e.g., violence, gore, sexuality, and consumer culture) that are often hidden and taken underground, deemed inappropriate for public spaces. These underground spaces are potentially revolutionary (#playrevolution) as children disrupt power hierarchies and regulatory boundaries in both subtle and overt ways. These spaces are important for children who are consistently marginalized by intersecting identities, further complicated by negative perceptions attached to certain topics constituting dark play. Thus, what if we look beyond labeling certain play episodes “inappropriate” and consider how children produce and enact culture? What seems nonsensical and irrational to the adult gaze is about creative participation, agency, and autonomy for children. Focus Bakhtin described “carnival” as a countercultural space where folk ideologies dominated, hierarchies were removed, and people engaged in joyful laughter, playful mockery, and the enactment of various discourses. This unofficial space allowed for multiple voices, giving individuals an opportunity to (re)create identities in dialogue with others. For young children, free play can be considered carnivalesque—children learn to disrupt social structures and norms, question authority and power, test boundaries, and understand conflict. Taking up Bakhtin's notion of carnival, this study examines the lived experiences of young children as they construct (counter)cultural spaces of creativity, play, and resistance. Research Design Drawing from a five-month qualitative study in a Midwestern kindergarten classroom, I take up Bakhtin's notion of carnival, or the practices of everyday individuals when free from authority or boundaries. Data for this project were collected during writing workshop times, occurring 3 to 5 times per week for 45–90 minutes; the sessions were audio-recorded and transcribed, and writing samples were collected daily. The focus is on five children who sat together at the same table; limited to their table space, they navigated around curriculum while collectively cultivating their own cultural community. Through an analysis of artifacts, written texts, transcriptions, and popular media content, this study examines how children destabilize hierarchies and subvert the authority of traditional and “appropriate” genres. Conclusions Children actively took up tools and ideas from horror story genres (e.g., chainsaws, blood, and masks), while their local context served as the setting for their own stories: the nearby high school, Halloween parties, and popular costumes. They remixed stories to include curricular demands (e.g., true stories) with popular culture interests. However, they did not reveal these seemingly “inappropriate” topics to their teacher and the demands of school literacy. Their resulting written stories were not pictures of chainsaws, bloody deaths, and killer dolls: They were “masked” by attempts at writing letters underneath pictures of houses, trees, cars, rainbows, and people. Arguably, the children knew how to navigate the official space of school, understanding which ideas were appropriate for their secret conversations and which were appropriate for public sharing. In the midst of their play, children learned how to write from one another: Certain words were borrowed across the table, pictures (e.g., rainbows) symbolized common practices, and storylines were “copied” and reappropriated from others. These literacy attempts were trademarked and encoded on their written texts to signify belonging and participation at the intersection of popular culture and play.
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Kulakevych, Lyudmyla. "Artistic means of a silent film in I. Dniprovsky's psychological action «Zarady nei» («For Her Sake»)." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 31–38. http://dx.doi.org/10.34079/2226-3055-2020-13-22-31-38.
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In the present paper a short story written by I. Dniprovsky's is analyzed. In accordance with the action canon, the main character has to find his beloved in the shortest possible time so that they could catch the train and escape from the enemy. In the twists and turns of the story the archetypal plot of lovers’ escape / rescue from the monster can be traced. It descends from folk tales and legends where a young man sacrifices himself for the sake of his beloved. By analogy with receptions in tense feature films (thrillers, horror films, catastrophes), the single-line plot «For Her sake» consists of annoyingly insidious concourse of circumstances. They create the feeling as if the whole world, even the closest people and character’s personal belongings, want to thwart his rescue. It is emphasized that, similar to the techniques in the action movies, a linear storyline in the short story consists of the treacherously irritating coincidences. However, while an action-adventure meta-genre normally has a happy ending, in the present short story the ending is more appropriate for a novella: the Bolsheviks shoot the hero as a deserter. It is established that the defining feature of the story is the lack of description of the characters’ appearances and their speech is reduced to minimum, which was a general feature of silent film scripts. A tense atmosphere of anxiety and fear is created through the acoustic and visual micro-images with the semantics of panic and horror. The gloomy urban landscapes, the hostility of the world and the sense of the fatal doom of the heroes refer to the German expressionist cinema of the early XX century. It is revealed that the story never mentions the struggle of ideologies or the enemy who seeks to seize Petro's native land. The enemy appears as an invisible and terrifying force, an element that creates chaos and makes it difficult to maintain human dignity. The key to understanding of this on border crazy motivation of the main character is the archetypal theory of C. G. Jung. In the story of I. Dniprovsky, a brave soldier (Persona Petra) in attempt to save himself together with Hanka (Anima), subconsciously seeks to save his Self-Identity. Moreover, a Wise Old Man (Hanka's father) and a Big Mother with a Child are present in the story as well. However, none of them is helpful to Petro and does not encourage the latter to make any attempts for escape. According to the artistic concept of the short story, when escaping from death, a person experiences tremendous stress, which breaks his psyche, so in a borderline situation collective experience fails, everyone tries to save himself. It is emphasized that the story's ending is unexpected: the hero finds himself in the city again, however, he is now in the status of unidentified enemy, whom he tried to escape and now he dies at the hands of the redhead leader.
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Kasyanova, Olena. ""Devil's Tango" Plastic Style in Alfred Schnittke’s Opera "The Story of Doctor Johann Faust"." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2(55) (June 16, 2022): 125–39. http://dx.doi.org/10.31318/2414-052x.2(55).2022.266552.
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The article examines conceptual approaches to the plastic stylistics of "Devil's Tango" in A. Schnittke's opera "The Story of Dr. Johann Faust" through the prism of postmodern aesthetics. The problem of the Faustian choice in modern society is determined against the background of today's sociocultural challenges. The characteristic features of musical drama are outlined in relation to the selected scenes, and the author also explains the specifics of the plastic solution of the dramatic component in the context of the composer's idea. The concept of stylistic solution of the dance scene "Devil's Tango" is established through the prism of dramaturgical, musicological, and theatrical aspects of the Faustian choice problem. An overview of the evolutionary interpretations of the image of Faust, their correspondence to the aesthetic concepts of certain historical eras, which present a kind of closed circle from the 16th century to the present is reviewed. An analysis of the interpretation of the images of Faust and the devil in A. Schnittke's cantata and opera "The Story of Dr. Johann Faust" was carried out, which made it possible to determine their modifications. The reasons for the composer's choice of the "folk" Faust based on the book by Y. Spies with contradictions in his strength and weakness, in contrast to the idealized and exalted scientist according to J. Goethe, are clarified. The impetus for the interpretation of the image of Faust as a deeply tragic figure who grasped the horror of the wrong choice between the Eternal and the perishable is determined. Three hypostases of the image of the devil are differentiated with different missions and corresponding timbral coloring of the parts: Mephistopheles is a sweet-voiced tempter (countertenor), Mephistopheles is a cruel punisher (contralto), Lucifer is a terrible devil (chorus). It is proved that the musical dramaturgy features of "Devil's Tango" in A. Schnittke's opera require a deep synthesis of traditional and innovative means of scenic expressiveness with their active interaction and syncretic orientation, corresponding to the polystylistics of the composer's method. Prospects for further exploration of directorial interpretations of the Faustian choice problem in the context of a new paradigm of artistic culture and art are predicted.
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Krzyżaniak, Aleksandra. "Liminalność i ofiara. Midsommar. W biały dzień jako przykład folk horroru." Literatura Ludowa, no. 3 (December 23, 2021): 108–12. http://dx.doi.org/10.12775/ll.3.2021.010.
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Kim, Bong-Hyun, Se-Hwan Lee, Min-Kyoung Ka, and Dong-Uk Cho. "Fear Valuation of Horror Film Using Pattern Analysis of Vocal Fold Vibration." Joural of the Korea Entertainment Industry Association 3, no. 1 (March 31, 2009): 53. http://dx.doi.org/10.21184/jkeia.2009.03.3.1.53.
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Kotwasińska, Agnieszka. "Un/re/production of Old Age inThe Taking of Deborah Logan." Somatechnics 8, no. 2 (September 2018): 178–94. http://dx.doi.org/10.3366/soma.2018.0249.
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The article offers a re-examination of abjected femininity and old age through a close reading of The Taking of Deborah Logan (2015), a found footage horror movie centered on spectral possession. While to a large extent the movie replicates an infamous monstrous old woman trope, it also effectively questions typical Alzheimer's disease (AD) narratives, which tend to portray life with AD as a story of unmitigated loss and debility. In The Taking of Deborah Logan, potentially destabilizing moments occur when in the face of progressive loss of control, memory, and bodily functions, the main protagonist is momentarily experienced as resisting the dehumanisation and loss of agency conventionally associated with AD and possession alike. The aim of this article is thus three-fold. The first part sketches the processes through which possession narratives generate a highly ambivalent space for aging femininity in horror film, and how aging, disability, and AD intersect both in popular understanding and in film. In the second part, the author examines how The Taking of Deborah Logan, as a found footage horror, shapes a discussion about selfhood, agency, and monstrous embodiment. Finally, the author argues that it is through the concept of transaging that one can find ways to destabilise traditional understandings of old age, female embodiment, and AD, and offer new narratives that highlight monstrous, if ambivalent, agency.
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Mirvoda, T. A., and M. V. Stroganov. "FEARS AND SCARY NARRATIVES OF CHILDREN IN THE ERA OF THE INTERNET." Culture and Text, no. 44 (2021): 129–47. http://dx.doi.org/10.37386/2305-4077-2021-1-129-147.
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(Discussion based on the materials of the defense of T. A. Mirvoda’s PhD thesis “Poetics of a modern children’s “scary” narrative in oral tradition and the Internet”)Within the framework of the conversation, the article discusses psychological background of the emergence and existence of scary stories in the modern online space which are being accompanied with audio-visual objects and ritual practices, which on a par with the oral folk art of similar themes form the network mythology of horrors (the creepypasta). The principles of genre stratification of children’s «scary» narrative folklore and the creation of a corresponding index of characters and plots, as well as the differentiation of scary stories and evocations, proposed in the dissertation research by T. A. Mirvoda, are highlighted.
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Rinanda, Puji Dwi, Bayu Delvika, Syahida Nurhidayarnis, Naufal Abror, and Assad Hidayat. "Perbandingan Klasifikasi Antara Naive Bayes dan K-Nearest Neighbor Terhadap Resiko Diabetes pada Ibu Hamil." MALCOM: Indonesian Journal of Machine Learning and Computer Science 2, no. 2 (September 10, 2022): 68–75. http://dx.doi.org/10.57152/malcom.v2i2.432.
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Diabetes juga dikenal sebagai penyakit metabolik kronis yang dipicu karena pankreas tidak menghasilkan insulin yang cukup. Pada masa kehamilan, tubuh akan meningkatkan hormon-hormon yang juga mempengaruhi kerja insulin. Pada penelitian ini data yang digunakanlah adalah kemungkinan resiko ibu hamil terkena diabetes, data tersebut diolah memakai teknik data mining yaitu naïve bayes. Setelah dilakukan pengolahan data memakai teknik klasifiaksi data mining algorithma naïve bayes, hasil yang didapat untuk pembagian data menggunakan K-Fold Cross Validation K=10 pada algoritma naïve bayes didapat lah hasil 75,78% dan untuk penggolahan menggunakan knn dengan nilai K=25 didapat hasil 74,48%. Dari hasil tersebut naïve bayes lebih baik dibandingkan K-Nearest Neighbor (KNN).
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BOBAN, RENU ANNA. "PANDEMIC AND LITERATURE: A STUDY ON KAKKANADAN'S VASOORI." ENSEMBLE SP-1, no. 1 (April 12, 2021): 103–7. http://dx.doi.org/10.37948/ensemble-2021-sp1-a012.
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The current pandemic situation has completely altered our lives. In this context, it is imperative to look back at the history of human civilization to see how the ancient faced such situations. Works dealing with the horrors of plague have been written in various regional literature across India, the famous being Rabindranath Tagore’s Puraton Bhritto, Ahmed Ali’s Twilight in Delhi and U.R Anandamoorthy’s Samskara. The article focuses on a Malayalam novel, Vasoori, written by Kakkanadan (1968) which revolves around the lives of common village folk caught in the jaws of smallpox. The novel focuses on the lived in experience of a community forced to face the disease almost every year. It is enlightening to go through the novel in the current Covid-19 pandemic as it concentrates on the first human reaction to pandemics – fear. By using the motif of smallpox, Vasoori pushes the reader to reflect on the ancestral fear of humans to infectious diseases and how it completely shatters the body’s internal perceptions. Thus reading Vasoori in the current pandemic situation is one way of understanding how the human race dealt with a disease for which there seemed no solution in sight.
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Turk, Elizabeth. "Toxic Care (?)." Inner Asia 20, no. 2 (October 23, 2018): 219–41. http://dx.doi.org/10.1163/22105018-12340108.
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Abstract In post-socialist Mongolia, unsuccessful treatment, or worse, interventions that result in worsened health conditions, are common concerns. Patients and clients direct scepticism towards a range of practitioners, from biomedical physicians to shamans and ‘folk’ healers (domch). The gap between the ideal treatment and the actual outcome—the prevalence of treatment misfires—invites analysis of infrastructural changes to (health)care and wider contexts of relationality. As state-owned medicine was restructured in the 1990s, healing ‘traditions’ such as shamanism and Traditional Mongolian Medicine considered essentialised aspects of national identity have gained new legitimacy. Many people find it challenging to navigate the multiple authorities on health and wellbeing that exist in contemporary public. Patients and clients often questioned efficacy in terms of toxicity and poison (hor, horlol). Toxicity’s associations with Soviet-era regulation and Buddhist medical contexts articulate the importance of both state-sanctioned regulation and the practitioner’s specialised knowledge.
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Medha, Ied Andro, and Dian Puspita Sari. "IMPLEMENTASI FUZZY DECISION TREE UNTUK PREDIKSI PENYAKIT LIVER PADA DATASET ILPD (INDIAN LIVER PATIENT DATASET)." POSITIF : Jurnal Sistem dan Teknologi Informasi 5, no. 2 (December 6, 2019): 71. http://dx.doi.org/10.31961/positif.v5i2.773.
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Hati manusia adalah salah satu organ utama dalam tubuh dan penyakit liver dapat menyebabkan banyak masalah dalam kehidupan manusia. Hati mengubah zat beracun menjadi nutrisi dan kemudian tubuh menggunakannya untuk mengendalikan tingkat hormon dalam tubuh. Prediksi penyakit liver yang cepat dan akurat memungkinkan perawatan dini dan efektif. Perkembangan dari teknologi komputer membuat pekerjaan diagnosis atau pengambilan keputusan menjadi lebih mudah. Di dalam machine learning memungkinkan sebuah komputer mampu untuk memutuskan atau memberikan saran yang tepat. Uji coba telah dilakukan menggunakan algoritme fuzzy decision tree dengan menggunakan beberapa nilai threshold yaitu fuzziness control threshold (𝜃𝑟) dan leaf decision threshold (𝜃𝑛) yang telah di tentukan dengan metode uji coba 10-fold cross validation dan diperoleh hasil akurasi sebesar 78.95%. Dikarenakan akurasi tersebut di peroleh di beberapa nilai threshold yang berbeda, maka untuk mengetahui kinerja akurasi yang baik digunakanlah metode receiver operating characteristics (ROC) sehingga hasil ROC menunjukkan bahwa akurasi yang paling optimal 78.95% berada saat 𝜃𝑟=75%,77%,80%,82%,85%, 87%,90%,92%,95%,98% dan 𝜃𝑛=6%.Kata Kunci: Penyakit Liver, Fuzzy Decision Tree, K-Fold Cross Validation dan Receiver Operating Characteristics
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Tabet, Sam. "Butch Orientations: Locating Queerness in Daryl Dixon from The Walking Dead." Frames Cinema Journal 20 (November 16, 2022): 190–206. http://dx.doi.org/10.15664/fcj.v20i0.2519.
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American post-apocalyptic horror series The Walking Dead (2010-2022) has been accused of both killing off out queer characters and explicitly explores a world that recreates fascist masculinity (Gencarella, 2016) and heteropatriarchal gender roles (Sugg, 2015). However, the fan favorite Daryl Dixon (Norman Reedus) presents an opportunity for queer spatiality which disrupts the dichotomy of queer/heterosexual. Dixon follows a queer narrative trajectory, largely outside of heterosexual relationships and estranged from his family of origin. The show’s treatment of the character reflects queer masculinities which develop outside of heteropatriarchy, based in a queer process of becoming, frequently seen among AFAB butch lesbians, non-binary, and transmasculine folx. Through his proximity to out queer characters on screen and role as the protector of the group, Daryl is spatially oriented (Bradbury-Rance, 2019;Ahmed, 2006) both within the group and his own body in varying degrees of distancing.
Dixon’s role outside of a dominant gendered framework as well as his tendency to distrust models of collectivist structures which replicate American capitalist society give primacy to a queer anti-establishment positionality. The privacy to which Dixon’s sex life has been shielded from view highlights the ways queer readings have influenced the show and present Dixon with queerer affect. For example, the fandom around Dixon representing an asexual or gay character caused the writers to avoid showing Daryl kiss character Leah on screen in season 10 (Stone, 2021), instead foregrounding looks and close up shots by a fireplace which are typically reserved for reading lesbian desire on screen (Bradbury-Rance, 2019).
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Sabdenova, G. E., and D. S. Baigunakov. "SOME ISSUES OFTHE CONFRONTATION BETWEEN YESSIM KHAN AND TURSUN KHAN(BASED ON THE MATERIALS OF SHEZHIRE AND ORAL HISTORY)." edu.e-history.kz 30, no. 2 (October 5, 2022): 221–33. http://dx.doi.org/10.51943/2710-3994_2022_30_2_221-233.
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The increasing importance of oral history and folk sources (especially shezhire in Kazakhstanhistoriography)is one of the important trends in the development of historical science. In recent years, shezhire data has become one of the active sources capable of providing interesting facts on the medieval history of Kazakhstan. Using them opens up new horizons in the history of the Kazakh Khanate. The object of the study is the political and military confrontation between Yessim Khan and Tursun Khan in 1626-1627/28. The main directions of Tursun Khan's domestic policy and military actions in the war against Yessim Khan in the process of its beginning and development as an integral part of the domestic military tragedy were chosen as the subject of the study. This also determines the chronological framework of the study, which focuses on the most intense events in the first quarter of the XVII century. Kazakh shezhire, as well as oral history, has deeply and acutely preserved the consequences of the internecine war. Especially the horrors of war were experienced by the Dulats, Katagans and other tribes who suffered great human lossesand material costs. The materials of shezhire and the oral history of the Dulat (Shuyldak genus) tribe have preserved in people's memory some intrigues, secret conspiracies and insidious deeds of Tursun Khan. As a result, apparently they became some of the reasons for the ruptureof the relationship between the two rulers. The issues analyzed in the article are poorly studied and have not received comprehensive development in the domestic scientific literature until now.
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Pozzilli, Paolo, Luca Vollero, and Anna Maria Colao. "VENUS BY BOTTICELLI AND HER PITUITARY ADENOMA." Endocrine Practice 25, no. 10 (October 2019): 1067–73. http://dx.doi.org/10.4158/ep-2019-0024.
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Objective: Simonetta Vespucci, considered the most beautiful woman of the Renaissance, is the inspiration and face of one of the most famous paintings of all times, “The Birth of Venus,” by Botticelli. She died in 1476 at the age of 23 years. We postulate she suffered from a pituitary-secreting tumor progressing to pituitary apoplexy. The goals of this study were 3-fold: (i) verify that the subject depicted by Botticelli in different paintings represents the same woman; (ii) identify the facial traits affected by the progression of a growth hormone– and prolactin-secreting tumor; and (iii) confirm that the observed changes of the face traits observed in the portraits of Simonetta Vespucci are compatible with the facial traits changes identified earlier. Methods: Comparison among face traits was based on the analysis of the face regions measured by means of fiducial points and their distances, and after pose compensation based on three-dimensional head modelling. Results: In favor of the hypothesis that Simonetta suffered from a pituitary growth hormone– and prolactin-secreting tumor stands changes of her lineaments, a feature which becomes evident over the years and particularly manifest in the Allegorical Lady, where galactorrhea is depicted. Conclusion: We conclude that sufficient evidence is presented to suggest that Simonetta Vespucci, the Venus depicted by Botticelli, suffered from pituitary adenoma secreting prolactin and growth hormon with parasellar expansion. The current interpretation of the Venus strabism should be revisited according to this finding. Abbreviation: GH = growth hormone
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Bastiar, NFN, Agus Oman Sudrajat, and Melta Rini Fahmi. "Penggunaan serotonin dalam formulasi hormon pregnant mare serum gonadotropin dan antidopamin untuk menginduksi perkembangan gonad ikan ringau, Datnioides microlepis Bleeker, 1854 [Serotonin application in pregnant mare serum gonadotropin hormone and dopamin antagonist formulation to induce gonadal development of Indonesian tigerfish (Datnioides microlepis Bleeker, 1854)]." Jurnal Iktiologi Indonesia 17, no. 1 (August 22, 2017): 29. http://dx.doi.org/10.32491/jii.v17i1.302.
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The objective of study was to analyze the effect of serotonin (5-HT) in the formulation of hormones Pregnant Mare Serum Gonadotropin (PMSG) and dopamin antagonist (AD) hormones to gonad development of tigerfish. This study used completely randomized design (CRD) with five treatments of hormone namely: (P1) 1 ml of 0.9% NaCl (control); (P2) 20 IU PMSG+10 mg AD; (P3) 20 IU PMSG AD+10 mg+0.2 mg 5-HT; (P4) 20 IU PMSG+10 mg AD+2 mg 5-HT; and (P5) 20 IU PMSG+10 mg AD+4 mg 5-HT. Each treatment was tested on five fish as individual replications. Hormone injected intramuscularly at the lower part of the dorsal fin of fish every 10 days. The fish were reared for 60 days. Fish that were used at this study were originate from natural catches as much as 25 fishes with 17.5-33.0 cm of total length and 118-926 g of body weight. During the study, fish fed using shrimp and small fish (live) twice daily at satiation. Measured parameters were gonadosomatic index (GSI), hepatosomatic index (HSI), 17P-estradiol (E2) plasma concentration and gonad maturity level based on morphology and histology examination. The results showed that the use of 2 mg of 5-HT are added to 20 IU PMSG and 10 mg AD (treatment P4) has stimulated the fish to had the highest GSI (2.38 ± 0.06%) and HSI (3,09±0,12%) which was significantly different to other treatment. The treatment (P4) could increase the E2 plasma concentration (37.14±2.99 pg.ml-1) two fold compared with the concentration before injection and stimulated the gonadal development to stage III. AbstrakPenelitian ini bertujuan untuk menganalisis pengaruh penggunaan serotonin (5- hydroxytryptamine atau 5-HT) dalam formulasi hormon Pregnant Mare Serum Gonadotropin (PMSG) dan antidopamin (AD) terhadap perkembangan gonad ikan ringau. Penelitian ini menggunakan rancangan acak lengkap dengan lima perlakuan (dosis.kg-1 bobot tubuh ikan): (P1) 1 ml NaCl 0,9% (kontrol); (P2) 20 IU PMSG+10 mg AD; (P3) 20 IU PMSG+10 mg AD+0,2 mg 5-HT; (P4) 20 IU PMSG+10 mg AD+2 mg 5-HT; dan (P5) 20 IU PMSG+10 mg AD+4 mg 5-HT. Setiap perlakuan diujikan pada lima ekor ikan sebagai ulangan individu. Penyuntikan hormon dilakukan setiap 10 hari dengan lama penelitian 60 hari. Hormon disuntikkan secara intramuskular pada bagian bawah sirip punggung ikan uji. Ikan yang digunakan merupakan hasil tangkapan alam dengan ukuran panjang total 17,5-33,0 cm dan bobot tubuh 118-926 g. Selama penelitian, ikan uji diberi pakan berupa udang dan ikan-ikan kecil (hidup) dua kali sehari secara satiasi. Parameter yang diamati adalah indeks kematangan gonad, indeks hepatosomatik, konsentrasi estradiol-17p plasma dan tingkat kematangan gonad berdasarkan morfologi dan histologi gonad. Hasil penelitian menunjukkan penggunaan 2 mg 5-HT dalam 20 IU PMSG dan 10 mg AD (perlakuan P4) menghasilkan perkembangan gonad yang lebih baik dibandingkan perlakuan lainnya. Nilai indeks kematangan gonad, indeks hepatosomatik, dan konsentrasi E2 plasma tertinggi diperoleh pada perlakuan P4 dengan nilai masing-masing sebesar 2,38±0,06%; 3,09±0,12% dan 37,14±2,99 pg.ml-1. Nilai tersebut berbeda nyata p<0.05) dengan perlakuan lainnya. Perlakuan P4 meningkatkan konsentrasi E2 plasma dua kali lebih besar dibanding-kan sebelum penyuntikan serta menghasilkan perkembangan gonad yang mencapai tingkat kematangan gonad tahap III.
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Ovchinnikov, A. V., G. V. Borisevich, A. I. Terent’ev, Yu I. Pashchenko, V. T. Krotkov, V. N. Marchenko, S. V. Borisevich, and S. L. Kuznetsov. "Optimization of Vaccine Virus Accumulation in the Development of Smallpox Drugs Based on Cell Cultures." Problems of Particularly Dangerous Infections, no. 1 (April 3, 2019): 107–12. http://dx.doi.org/10.21055/0370-1069-2019-1-107-112.
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Objective. Optimization of vaccine virus cultivation in the suspended cell culture BHK-21 for infectious activity increment of virus-containing suspension as the base material for smallpox vaccine preparations. Materials and methods. We used suspended culture line of the cells BHK-21 of 72-hour age and nutrient medium of the MEM type in accordance with the guidelines on preparation in our studies. For challenging of the cells, vaccine virus (strain B-51) was used. The virus was adapted through three consequent passages on horion-allantois shell of developing chicken embryos of commercial dermovaccine series 449а at the premises of the Federal State Budgetary Institution “the 48th Central Research Institute” of the Ministry of Defense of the Russian Federation. Information on its genetic features is absent. Cultivation and precipitation of infected cells BHK-21 was carried out in bioreactor with priming volume of 1 liter at (36.5±0.5) °C and aeration with air mixture with varying content of CO2. Results and conclusions. Gas massexchange intensity was enhanced alongside simultaneous maintaining of sparing hydrodynamic conditions for mixing suspended cell cultures in bioreactor. Two-fold increase (up to (4.48±0.63)·109 cell/l) in suspended BHK-21 cell culture concentration at the end of reproduction cycle was achieved. Concentration of the vaccine virus was 3–5 times raised, from (8.1±0.3) lg PFU (plaque forming unit)/ml up to the level of infectious activity – (8.8±0.3) lg PFU/ml. Specific multiplicity of cell infection in recalculation per a cell was 1–5 PFU/cell and by virus yield – 20–100 PFU/cell. Enhanced infectious activity of the virus in concentrated suspension of infected BHK-21 cells substantiates the perspectives of the proposed method for improvement of vaccine virus accumulation phase in the development of anti-smallpox preparations based on cell cultures.
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Мирвода, Татьяна Александровна. "“Scary” Folklore on the Web or the Web’s “Scary” Folklore? On the Problem of Defining and Typologizing Scary Narratives on the Internet." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (August 14, 2021): 68–80. http://dx.doi.org/10.26158/tk.2021.22.2.005.
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С момента наступления эпохи Web 2.0 и по сей день в Интернете востребованы истории о всевозможных ужасах, в обилии представленные на его просторах в виде различных жанров и форм и именуемые самими пользователями крипипастой. Но, как это ни парадоксально, существуя в виде самодостаточной традиции сетевой культуры более пятнадцати лет и продолжая развиваться, данное явление до сих пор остается слабо изученным. Чтобы разобраться в этом обилии присутствующих в Интернете страшных историй и родственных им явлений, мы были вынуждены ввести два интерферирующих понятия: «сетевой “страшный” фольклор» и «“страшный” фольклор в Сети», а также исследовать повсеместно употребляемый интернет-пользователями в отношении содержимого обоих понятий термин «крипипаста». По нашему определению, «“страшный” фольклор в Сети» - это все представленные в Интернете и каким-либо образом ассоциирующиеся со страшным у пользователей и/или исследователей произведения народного творчества как сетевого, так и несетевого происхождения. Сетевым «страшным» фольклором мы назвали пласт собственно интернет-фольклора, к которому относятся подпадающие под его определение произведения, тематически и функционально связанные с переживанием страха, а также все возникшие в Интернете пародии на них, рьяно эксплуатирующие макабрическую стилистику оригиналов, но на деле лишь прикидывающиеся пугающими. Что же касается термина «крипипаста», то, суммируя множество пользовательских трактовок, мы выделили три самых распространенных его понимания: 1) как жанра «страшного» интернет-фольклора; 2) как традиции сетевого «страшного» повествования; 3) как семантической категории, включающей в себя все каким-либо образом связанное со «страшным» в Интернете. From the beginning of the era of Web 2.0 and to this day, stories about all kinds of horrors are in demand on the Internet. They appear in abundance on the World Wide Web in a wide variety of genres and forms, called “creepypasta” by users themselves. But, paradoxically, this phenomenon, which has existed as a self-sufficient tradition of network culture for about fifteen years and continuing to develop, remains insufficiently explored. In this article, we offer two intersecting definitions of this material: “scary” folklore on the Web and the web’s “scary” folklore, and we also explore the term “creepypasta,” which is generally used by Internet users in relation to both phenomena. “‘Scary’ folklore on the Web” indicates all works of folk art, both of web and non-web origin, presented on the Internet and perceived by users and researchers as related to what is frightening. “The web’s ‘scary’ folklore” designates Internet folklore itself that is thematically and functionally related to the experience of fear, as well as Internet parodies which energetically exploit the macabre style of the originals, but in reality only pretend to be frightening. As for the term “creepypasta,” we sum up three of its most common understandings: 1) as a genre of the web’s “scary” folklore; 2) as the web tradition of “scary” narration; 3) as a semantic category including everything in any way connected with the “scary” on the Internet.
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Larsen, Leif. "Uncertainties in Standard Analyses of Boundary Effects in Buildup Data." SPE Reservoir Evaluation & Engineering 8, no. 05 (October 1, 2005): 437–44. http://dx.doi.org/10.2118/90236-pa.
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Summary Boundary effects are often observed in buildup data—or at least that is the conclusion frequently drawn from an observed increase in derivative on a log-log plot or an increase in slope on a semilog plot. Furthermore, if (for instance) it is concluded that the effects of a sealing fault are seen in a given data set, then simple line methods or direct analytical-modeling efforts are normally used to determine the distance to the boundary. A sealing fault is the normal choice of boundary model if a doubling is observed in derivative or semilog slope. If a four-fold increase in derivative is observed, then a model with the well placed somewhere between two sealing faults forming a right angle would be a normal choice. But what if the two faults are not sealing? If the flow capacity on the other side of the faults is only one-third of the value on the well side, what will be the derivative characteristics? Problems like these are addressed in detail in this paper, with a series of simple rules given for possible combinations that will generate buildup data of a specific type (i.e., with specific "familiar characteristics"). The rules can be used to list alternative interpretations without running separate analyses. For instance, it is shown that the derivative characteristics of any sector model bounded by sealing faults correspond to an infinite number of two-zone sector models with an angle between the boundaries and permeability contrast satisfying a single equation. Other pairs of models with similar characteristics are models with partially sealing faults and specific three-zone sector models, and either of these types of models and radial composite models. This clearly complicates analyses. Also addressed are problems related to possible differences in the boundary effects observed in drawdown and buildup data for certain models. As one example, U-shaped and sector models can have identical buildup characteristics over a wide time range, although drawdown data from the models have distinctly different boundary characteristics. Radial composite and composite sector models are also of this type, with potentially significant differences between drawdown and buildup data. The reason for bringing up such cases is to emphasize the importance of attempting to collect high-quality drawdown data in addition to buildup data to limit the range of possible interpretation models. For completeness, effects of uncertainties in basic input parameters on the final analyses are also covered in the paper. Introduction It is well known that buildup data from a well near a sealing fault might exhibit a doubling of derivatives on a log-log diagnostic plot, as illustrated in Fig. 1. This doubling of derivatives corresponds to a doubling of slope on a semilog plot, as shown by Horner, and refers to a change between early and late data requiring storage effects to become negligible and radial flow to be reached before the onset of boundary effects. For this behavior to occur, it is also necessary for the flow period before shut-in to be long enough to be fully or almost fully affected by the boundary effect.
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Keetley, Dawn. "Forms of Folk Horror in Halloween III : Season of the Witch ." Journal of American Culture, October 26, 2022. http://dx.doi.org/10.1111/jacc.13405.
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Parkes-Nield, Sophie. "The Summoning: Folk Horror and the Calendar Custom in Molly Aitken’s the Island Child (2020) and Zoe Gilbert’s Folk (2019)." Critique: Studies in Contemporary Fiction, January 19, 2023, 1–10. http://dx.doi.org/10.1080/00111619.2022.2143256.
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