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Relevant bibliographies by topics / Grotesque Character

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Academic literature on the topic 'Grotesque Character'

Author: Grafiati

Published: 7 June 2025

Last updated: 2 August 2025

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Journal articles on the topic "Grotesque Character"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Dissertations / Theses on the topic "Grotesque Character"

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Dalgleish, David Galbraith. "The dynamics of terror, or, The grotesque character of Gothic fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq25953.pdf.

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Machado, Vinicius Torres. "A máscara no teatro moderno: do avesso da tradição à contemporaneidade." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-27102010-141326/.

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O trabalho apresenta algumas das iniciativas para a retomada da máscara no teatro moderno. No amplo quadro da primeira metade do século XX, escolhemos quatro principais artistas que abordaram esse objeto: Gordon Craig, Meyerhold, Jacques Copeau e Jacques Lecoq. Nestes a máscara não é apenas mais um elemento colocado em cena, mas também um princípio organizador da teatralidade que almejam. Através de seus trabalhos analisamos algumas características da máscara que podem ser reelaboradas no teatro contemporâneo. Em Gordon Craig, abordamos as primeiras proposições dentro do teatro simbolista, alé

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Maslowski, Krystyna. "Le personnage dans le théâtre de Witold Gombrowicz." Paris 3, 2008. http://www.theses.fr/2008PA030079.

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La théâtralité travaille l’œuvre entière de Witold Gombrowicz, elle est à la base de sa dialectique sur la Forme et l’immaturité, elle est la source de sa vision de l’homme artificiel, de l’homme-acteur. L’étude du personnage dans son œuvre dramatique apparaît comme le meilleur moyen d’appréhender, par le geste singulier de l’auteur, à la fois la mise en doute du personnage caractéristique de l’ensemble du théâtre moderne depuis la fin du XIXème siècle, ainsi que la représentation que l’homme se fait de lui-même dans le désert d’un monde dénué de sens. Les personnages gombrowicziens réduits à

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Azevedo, Patrícia Aparecida de. "O belo e o grotesco em personagens femininas de Memórias póstumas de Brás Cubas." Universidade Presbiteriana Mackenzie, 2006. http://tede.mackenzie.br/jspui/handle/tede/2286.

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Made available in DSpace on 2016-03-15T19:46:50Z (GMT). No. of bitstreams: 1 Patricia Azevedo.pdf: 641329 bytes, checksum: 2516084aa7af7b09ac799026ef9c585a (MD5) Previous issue date: 2006-05-26<br>This dissertation aims at presenting an interpretative analysis of female characters in Memórias póstumas de Brás Cubas, by Machado de Assis, by examining the theoretical perspectives of those characters and of the grotesque images especially focusing Virgília and Eugênia establishing a paradigm with the remaining female characters in the novel. In order to weave Machado de Assis diversity whi

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Sandy, Kébir. "The grotesque in the creation of the dickensian characters : constancy and evolution." Limoges, 1994. http://www.theses.fr/1994LIMO0506.

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Dickens et son oeuvre ont fait l'objet de multiples interpretations. Ceci est du a la complexite de la personnalite de l'ecrivain et a la richesse de son texte. Il y a cependant un sujet relativement peu aborde, celui de l'evolution du romancier comme artiste du grotesque. C'est le but que nous avons fixe a notre travail ; nous nous sommes appuyes sur l'analyse de nombreux personnages des romans. En tenant compte de sa nature ambigue, la premiere partie propose une definition historique et linguistique du terme "grotesque" et une serie d'opinions anciennes et modernes sur la question. Ensuite,

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Peterson, Katrina M. "Humor, Characterization, Plot: The Role of Secondary Characters in Late Eighteenth- and Nineteenth-Century Marriage Novels." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303262727.

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Bednár, Peter. "Tvorba písma OpenType volně dostupnými softwarovými prostředky." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2011. http://www.nusl.cz/ntk/nusl-218848.

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In thesis themes of typography and computer font of OpenType format is described in details. At the beginning attention is paid to historical development of typeface, where stress is laid mainly on development of Roman and white letter with their characteristics. Having presented basis of typography work is concentrated on topic of digital font with emphasis on possibilities of OpenType format. Further its characteristics and advantages were listed compared to another formats and it was evaluated as format appropriate also for creating font in education process. Letterspacing and kerning were

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Martin, Sean Elliot. "H.P. Lovecraft and the modernist grotesque." 2008. http://cdm256101.cdmhost.com/cdm-p256101coll31/document.php?CISOROOT=/p256101coll31&CISOPTR=96331.

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Dalgleish, David. "The dynamics of terror : or, The grotesque character of Gothic fiction." Thesis, 1997. http://spectrum.library.concordia.ca/185/1/MQ25953.pdf.

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This essay examines the use of the grotesque to create terror in Gothic fiction in the late l8th century and throughout the 19th century. After using Mervyn Peake's Titus Groan and Gormenghast to establish the central role of the grotesque in fully successful Gothic texts, the focus then shifts to a survey of Gothic's early period and its 19th century refinements, demonstrating the role of the grotesque in various key works. In the earlier texts, underdeveloped grotesque characters are crucial to the manufacture of terrifying moments; in the later texts, fully developed grotesques create an on

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Sun, Tung-peng, and 孫東朋. "Humor and Grotesque Realism in Pirandello's Six Characters in Search of an Author and Henry IV." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/95677569890411284416.

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碩士<br>國立暨南國際大學<br>外國語文學系<br>91<br>This study examines two of Luigi Pirandello’s plays, Six Characters in Search of an Author and Henry IV, with Pirandello’s aesthetical views on humor as a point of entry. Coupled with Mikhail M. Bakhtin’s interpretation of medieval humor, a doubling of meaning in Pirandello’s drama is revealed in light of the special activity of reflection Pirandello defined. In Six Characters in Search of An Author we find in humor and grotesque images a dispelling of the fear over the unchanging reality. In Henry IV we find in humor and grotesque images a dispelling of th

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Books on the topic "Grotesque Character"

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Gaslight Grotesque: Nightmare Tales of Sherlock Holmes. EDGE Science Fiction & Fantasy, 2009.

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The Grotesque Adventure of the Green Goblin! (Spider-Man). Spotlight, 2006.

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Gibbons, William. Love in Thousand Monstrous Forms. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0008.

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Borrowing Mikhail Bakhtin’s notion of the grotesque, this chapter explores how the use of remixed classical works contributes to the game Catherine’s pervasive focus on opposing dualities. The chapter describes in detail how, for example, music comments on the real world and horrific dreamworld experienced within the game by the main character, Vincent, who is in the midst of a major life crisis. It explores how the careful selection of musical works in Catherine, along with the irreconcilable combination of high and low arts, mirrors dualistic structures found throughout the game, from the mi

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Vinther, Janus. Special Effects Make-up. Bloomsbury Publishing Plc, 2002. http://dx.doi.org/10.5040/9781350344594.

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Special effects have become an increasingly important part of both film and theatre production. With storylines becoming more sensational and technology more sophisticated, the market for high-quality special effects is huge. In this book Janus Vinther provides step-by-step guidelines for achieving a wide variety of grotesque and outlandish effects, including bullet holes, body fluids and burns. In addition there is a chapter on specialised character make-up, ranging from Dracula to the Terminator. With detailed explanation of techniques and materials and illustrated throughout, this book cont

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Dickens, Charles. The Old Curiosity Shop. Edited by Elizabeth M. Brennan. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199538232.001.0001.

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‘… holding her solitary way among a crowd of wild, grotesque companions; the only pure, fresh, youthful object in the throng.’ ‘Little Nell’ cares for her grandfather in the gloomy surroundings of his curiosity shop. Reduced to poverty the pair flee London, pursued by the grotesque and vindictive Quilp. In a bizarre and shifting kaleidoscope of events and characters the story reaches its tragic climax, an ending that famously devastated the novel's earliest readers. Dickens blends naturalistic and allegorical styles to encompass both the actual blight of Victorian industrialization and textual

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Hunt, Leon. The League of Gentlemen. Bloomsbury Publishing Plc, 2008. http://dx.doi.org/10.5040/9781839028403.

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Part sitcom, part sketch show, part “Kitchen Sink,” part “Northern Gothic,” The League of Gentlemen is one of British television’s most innovative and enduring comedy series. Set in the northern town of Royston Vasey, the series introduced viewers to homicidal Local Shop keepers Tubbs and Edward, vindictive training officer Pauline, demonic butcher Hilary Briss, and the nightmarish circus owner Papa Lazarou. Such was the series’ effect that the word “local” would never seem the same again. The majority of these grotesque characters were played by Mark Gatiss, Steve Pemberton and Reece Shearsmi

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Doane, Mary Ann. Bigger Than Life. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021780.

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In Bigger Than Life Mary Ann Doane examines how the scalar operations of cinema, especially those of the close-up, disturb and reconfigure the spectator's sense of place, space, and orientation. Doane traces the history of scalar transformations from early cinema to the contemporary use of digital technology. In the early years of cinema, audiences regarded the monumental close-up, particularly of the face, as grotesque and often horrifying, even as it sought to expose a character's interiority through its magnification of detail and expression. Today, large-scale technologies such as IMAX and

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Mellette, Justin. Peculiar Whiteness. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832535.001.0001.

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Peculiar Whiteness argues for deeper consideration of the complexities surrounding the disparate treatment of poor whites throughout southern literature and attests to how broad such experiences have been. While the history of prejudice against this group is not the same as the legacy of violence perpetrated against people of color in America, individuals regarded as ‘white trash’ have suffered a dehumanizing process in the writings of various white authors. Poor white characters are frequently maligned as grotesque and anxiety-inducing, especially when they are aligned in close proximity to b

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Body texts in the novels of Angela Carter: Writing from a corporeagraphic point of view. Edwin Mellen Press, 2008.

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Book chapters on the topic "Grotesque Character"

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Hutchings, William. "13. An Epistle to Allen, Lord Bathurst." In ‘Wit’s Wild Dancing Light’. Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0372.14.

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Chapter 13 illustrates how An Epistle to Allen Lord Bathurst constructs its argument by a series of character-sketches, real-life and fictional. The excessively frugal Old Cotta and his wildly extravagant son, Young Cotta, constitute a pair of extremes, while Pope’s addressee represents an admirable mean, a standard by which comic or tragic failures can be measured. Bathurst, however, could be viewed as financially and socially favoured, so the ‘Man of Ross’ (the real John Kyrle) is brought in to show that generosity can be squared with humble means. His opposite is the debauched aristocrat, G

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Karkani, Ina. "Framing the Weird Body in Contemporary European Cinema." In The Funambulist Papers, Volume 2. punctum books, 2015. https://doi.org/10.21983/p3.0098.1.24.

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New filmmaking practices within contemporary arthouse cinema are responding to current socio-political realities with new cinematic im-ages of the human body. They center around grotesque characters embedded within plots of comic absurdity. Particularly, since 2009, a Greek film trend has attracted international attention with the film fes-tival premiere of Giorgos Lanthimos’s social thriller Dogtooth (2009) and its follow-ups Alps (2011) and Attenberg (2010) by Athina Rachel Tsangaris. The films have been produced in the midst of, and as a response to, the current Greek social crisis, which i

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Teukolsky, Rachel. "Character." In Picture World. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859734.003.0002.

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“Character” is often studied as the deep psychological self crafted by the nineteenth-century realist novel. Yet Chapter 1 proposes an alternative history of character by looking to caricature, in some of the earliest comics (“Galleries of Comicalities”) appearing in sporting newspapers in the 1830s. Early caricatures portrayed an idea of character that was grotesque, masculinist, and brilliantly exteriorized, especially in depictions of “the cockney,” the urban mischief-man whose subversive masculinity reflected the economic pressures of the new urban economy. Cartoons featuring the cockney w

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Edmunds, Susan. "Tortured Bodies and Twisted Words: The Antidomestic Vision of Jean Toomer’s Cane." In Grotesque Relations. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195338539.003.0003.

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Abstract In Jean Toomer’s 1922 play, Natalie Mann, the title character offers a shocking comparison to convey the force of her aversion to the domestic ideals of her day. When a well-meaning Washington matron advises Natalie to trade in her bohemian commitment to free love and modern art for a safer life of domestic respectability, the young woman protests the silencing of her creative potential that such a choice would entail. She declares, “I would rather die outright, be burnt or lynched, than to build myself such a sepulchre, to cheat death by calling it home” (NM 296). In characterizing t

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Rana, Swati. "José Garcia Villa’s Book of Grotesques." In Race Characters. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469659473.003.0003.

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This chapter explores the ethnic character who severs art from biography through José Garcia Villa’s infamous disavowal of his racial and colonial identity. Focusing on Villa’s autobiographical short story cycle in Footnote to Youth (1933), this chapter rethinks Villa’s disavowal in terms of exposure. The grotesque characters of Villa’s fictive work draw attention to their own twisted forms and expose the social characterization of minorities and of Filipino colonial subjects, specifically their Orientalist and primitivist caricature. This chapter reveals Villa’s insistent disavowal of biograp

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Donnelly, K. J. "Musical romanticism v. the sexual aberrations of the criminal female: Marnie (1964)." In Partners in Suspense. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719095863.003.0011.

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Hitchcock and Herrmann had a symbiotic and complementary artistic relationship. However, as this chapter contends, rather than necessarily synergic in their understanding of the unified requirements of drama, sometimes their complementary relationship took on a different character. In Marnie, Herrmann’s music attempted to ameliorate Hitchcock’s dark interests, in an attempt to romanticize Hitchcock’s bleak and grotesque story about a psychologist’s fantasy about possessing a disturbed kleptomaniac killer, which includes a deeply disquieting rape scene. The music moves to make these elements be

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Mortimer, Claire. "Battleaxes and Chars: Working-Class Matriarchs." In Spinsters, Widows and Chars. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474452823.003.0005.

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The working-class grotesque was a perennial figure in British cinema, informed by a tradition of the female grotesque and the unruly woman in popular culture. The middle-aged working-class woman was a character type frequently deployed in British film as a comic figure, often in the guise of the battleaxe. This chapter explores the representations of working-class communities in the era of kitchen sink realism, and the ambivalent status of the matriarch in a culture increasingly centred on youth. The chapter explores two films from the 1960s, Ladies Who Do (1963) and Morgan – A Suitable Case f

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Snodgrass, Chris. "The Urge to Outrage: The Rhetoric of Scandal." In Aubrey Beardsley, Dandy of the Grotesque. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195090628.003.0002.

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Abstract HEARDSLEY “was never really bad,” Aymer Vallance once tried to explain, “He had a sort of impishly mischievous pleasure in shocking people-that was all” (Hind, UWxxii). The Victorian public may well have disagreed with Vallance’s assessment of Beardsley’s character, but it certainly did find Beardsley’s designs shocking. Leslie’s Weeklythought his art a “revolution” that stood for “the apotheosis of the ugly, the exaltation of the grotesque”; he had “undoubtedly struck out boldly for himself, with the determination to abjure all the new gods as well as the old” (90). The Westminster R

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Pollard, Natalie. "Lunatic Forms." In Poetry, Publishing, and Visual Culture from Late Modernism to the Twenty-first Century. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198852605.003.0002.

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Chapter 1 examines derivation and re-animation in Djuna Barnes’s early-twentieth-century lyric novel, Nightwood, focusing on redeployed aesthetic figures: the sleepwalker, the unstoppable narrator, the animate statue. It shows how Barnes’s resurrection of character types is informed by the genre-fusing innovations of the commedia dell’arte. It reads Barnes in dialogue with both Laforgue’s and Verlaine’s development of the Pierrot-figure, and the sad and ominous clowns in grotesque theatre, which inform Chaplin’s Tramp and Beckett’s clowns, as well as Barnes’s characterization of the ‘doctor’.

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Dygul, Jolanta. "Carlo Gozzi Marfisa bizzarra, czyli o zgubnym wpływie modnych lektur." In Dziedzictwo Renesansu: Księga jubileuszowa dedykowana profesor Annie Klimkiewicz. Ksiegarnia Akademicka Publishing, 2023. http://dx.doi.org/10.12797/9788381389235.05.

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In 1759, Carlo Gozzi began writing a humorous poem entitled Marfisa bizzarra. Although he took the idea primarily from Dragoncina da Fano, equally important is his inspiration by Luigi Pulci’s Il Morgante (written in the convention of an epic in comic-satirical stylization) and the reference to the characters from the poems of Matteo Maria Boiardo and Ludovico Ariosto. Gozzi’s work is, on the one hand, a tribute to literary tradition, and on the other, a satire on his contemporary Venetian reality. The article shows the evolution of the title character, a proud and implacable warrior, into an

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Conference papers on the topic "Grotesque Character"

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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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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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Adascalita-Crigan, Lucia. "The narrative and its role in the creation of Alexei Grabco." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.10.

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In the caricature genre of the Republic of Moldova, Alexei Grabco asserted himself as a cartoonist who, through his graphic sheets, raised to a new value the artistic and spiritual dimension of humoristic-satirical drawings. His field of creation includes scenes taken from the society of his time, as well as the results of, subtle and critical analyzes on topics related to morals, religion, culture, etc. Even if his works are part of the realism of the time, in which caricaturists such as Iurie Rumeantsev, Nicolae Macarenco, Zigfrid Polingher, Leonid Domnin are also asserted, the plastic artis

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