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Academic literature on the topic 'Grotesque in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Grotesque in literature"

1

Montandon, Alain. "« Das Groteske — Le grotesque — The Grotesque » , Colloquium Helveticum 35 , Fribourg, Academic Press, 2004." Revue de littérature comparée o 317, no. 1 (January 1, 2006): VI. http://dx.doi.org/10.3917/rlc.317.0085f.

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Kim, Yeagyung. "19th Century Grotesque Spectacles and Literature." Korean Association for Visual Culture 39 (December 31, 2021): 179–206. http://dx.doi.org/10.21299/jovc.2021.39.7.

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Donn, Katharina. "Migration and the Grotesque in Salman Rushdie’s The Satanic Verses." Anglia 131, no. 1 (April 2013): 100–120. http://dx.doi.org/10.1515/anglia-2013-0006.

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Abstract In the following, I explore the mutually enriching dialogue between the grotesque (based on Mikhail Bakhtin) and postcolonial literature that provides a leitmotif in Salman Rushdie’s The Satanic Verses on multiple levels: first and foremost, it defines the migrant protagonists’ experience as one of metamorphosis, transgression and change; in the grotesque just as in the experience of migration, the familiar and the unfamiliar conflate, and this is foregrounded in The Satanic Verses in striking manner: the protagonists Saladin Chamcha and Gibreel Farishta transform physically into grotesquely jointed creatures, one an incarnation of the archangelic divine, the other a goatish Satan. In so, the often violent physicality of the grotesque foregrounds the migrant’s identity formation to be one in which the self not only encounters, but physically integrates and eventually transforms constructions of alterity. In very concise terms, identity here emerges to be a relational process, and this is the reason, too, why the grotesque has been hailed as a new form of postcolonial ethics1 concerned with representations of alterity. The grotesque, however, is also a transformatory force, which overtopples hierarchies and binary oppositions. In The Satanic Verses, the migrant protagonists are thus empowered, by way of their transformations, not only to cross but temporarily to displace borders; their chimerical forms interact with the narrative structure and multiple voices of the text to question the value of cultural hierarchies and divides. The grotesque opens up these borderlines into spaces of hybridity and creative energy, and takes effect, too, on the discourses of fundamentalism that are deconstructed in the text itself and became decisive in the notoriously dramatic aftermath of its publication.

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Leonova, Ekaterina Yu. "GROTESQUE AND ABSURD IN THE LITERATURE FOR CHILDREN. CORRELATION OF CONCEPTS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2021): 12–20. http://dx.doi.org/10.28995/2686-7249-2021-8-12-20.

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The article considers the poetics of the grotesque and the absurd in the literature for children, in particular, the stories of T. Sobakin (“The Bald Monster”, “Motya”, “Then I Thought”), N. Nosov (“Dreamers”), M. Yessenovsky (“Ur-Yur-vyr”), as well as poems by A. Givargizov (“Unusual”), A. Orlova (“I am growing...”) and A. Usachev (“Vobla and the magazine”). Ideas about the wholeness of images and their harmony towards the created artistic reality are considered key characteristics for both concepts. So, absurd images are created by multiple points of view and contradictions between them, they clearly express the border between the ordinary and the implausible. The elements there are not completely combined and can be separated from each other by the means of imagination. Grotesque images in literature for children, created by objectifying individual elements or combining plans that do not contradict each other, are more natural and can also be visualized, and that is what distinguishes grotesque and absurdity from nonsense. The physicality and the variability of the image remain the most common ways of creating the grotesque in children’s literature. The grotesque and absurd does not depend on the fantastic assumption, which allows such images to exist both inside and outside the category of the fantastic.

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Arens, Sarah, and Joseph Ford. "Introduction: Revisiting the Grotesque in Francophone African Literature." Irish Journal of French Studies 20, no. 1 (November 1, 2020): 1–13. http://dx.doi.org/10.7173/164913320830841656.

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The introduction provides an overview of the intellectual context for the thematic issue and outlines the complexities around the genesis of Achille Mbembe's 'Provisional Notes on the Postcolony' (1992). It examines how Mbembe's work ushered in a new era of discursive practices that sought to understand the role of the imagination in the operation of power in contemporary Africa and sketches how the articles of the thematic issue engage with the aesthetics of the grotesque that is a key element in the African political imagination. As a new group of populist leaders in the West exhibit traits that are reminiscent of Mbembe's articulation of the grotesque, the editors emphasise the need for an expanded vision of the grotesque as it circulates between Africa and the West as part of a far broader and deeply entrenched colonial matrix of power.

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Rimanelli, Giose, and Michael Vena. "Italian Grotesque Theater." World Literature Today 76, no. 1 (2002): 204. http://dx.doi.org/10.2307/40157189.

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Forcione, Alban, and Henry W. Sullivan. "Grotesque Purgatory." Hispanic Review 66, no. 3 (1998): 345. http://dx.doi.org/10.2307/474477.

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Zatlin, Linda Gertner. "Aubrey Beardsley's “Japanese” Grotesques." Victorian Literature and Culture 25, no. 1 (1997): 87–108. http://dx.doi.org/10.1017/s1060150300004642.

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Aubrey Beardsley made major contributions to the art of the grotesque. Initially, he probably learned the theory as well as the technique of creating designs in this mode from the work of medieval European artists. His own development of the grotesque, however, rests on his treatment of subject matter, a treatment which was influenced by Japanese woodblock artists. The double viewpoint, both expressing an author's point of view and critiquing one's own society, is seen most frequently in humorous grotesque Japanese woodblock designs, which were collected, exhibited, and reproduced in England during the 1890s. In order to detail one of Beardsley's major contributions to this form, this essay will first delineate Beardsley's attraction to the grotesque as well as his exposure to Japanese art, and, after examining the ways in which the grotesque works, it will concentrate on Beardsley's adaptations of the Japanese grotesque.

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Ford, Joseph. "Deconstructing the Grotesque in Contemporary Francophone Algerian Literature, or: How to Move Beyond the 'Zombified' State?" Irish Journal of French Studies 20, no. 1 (November 1, 2020): 48–71. http://dx.doi.org/10.7173/164913320830841755.

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Taking Achille Mbembe's theory of the grotesque as a starting point, this article examines how a series of contemporary Algerian novels deploy an aesthetic of the grotesque to contest and deconstruct the operation of State power in Algeria. The article shows how three writers of the post-civil war period (Habib Ayyoub, Salim Bachi and Mustapha Benfodil) engage in distinct yet related ways with representations of the grotesque and the obscene in a renewed effort to break out of a state of false consciousness that renders citizens and observers complicit with the structures of power in place. The article argues that one of the reasons Mbembe's landmark essay is so important to the situation now faced by Algerian artists, writers and civil society, is because it helps us to see the failure of the grotesque as a contestatory aesthetic and hence provides new insight into the spectacle of power at work in Algerian society and politics.

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Rosen, Elisheva. "Grotesque, modernité." Romantisme 21, no. 74 (1991): 23–28. http://dx.doi.org/10.3406/roman.1991.5812.

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Dissertations / Theses on the topic "Grotesque in literature"

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Scheidweiler, Alexander. "Maler, Monstren, Muschelwerk Wandlungen des Grotesken in Literatur und Kunsttheorie des 18. und 19. Jahrhunderts." Würzburg Königshausen & Neumann, 2009. http://d-nb.info/991843312/04.

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Davidson, Chad (Chad Thomas). "Revisiting the Grotesque: Poems." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278154/.

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This thesis consists of a group of poems around a central concept: language as a physical dwelling place—a place much like what Raphael discovered in the grottoes of Rome and named "grotesque," or "grotto-esque." Using the word, "grotesque," as an example, the preface illustrates how poetry can play with the lost histories of words while still searching for new referents and associations.

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De, Oliveira Antonio Eduardo. "The grotesque and the carnivalesque in Conrad's fiction." Thesis, University of Reading, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302832.

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Maloney, Cahill B. Claire. "Samuel Beckett and the Irish grotesque tradition." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22606.

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By fusing many of the established hypotheses on the source of the grotesque in Irish literature, this study establishes that these writers' impatience with all boundaries and limitations, physical or mental, led them to exploit the indeterminacy of the grotesque to achieve their particular aesthetic and epistemological objectives.
After an initial chapter on the relevant theoretical and national considerations, the prodigious cloacal visions of Beckett and Joyce are compared, with emphasis on their use of the grotesque to demythologize the creative process. A fourth chapter compares O'Brien's and Beckett's exploitation of the grotesque to undermine hegemonic philosophical and epistemological systems.
Like most writers of the grotesque tradition, Joyce and O'Brien assume a degree of moral responsibility by affirming, explicitly or implicitly, some traditional or utopian values and standards, while Beckett's deliberations on the complex relationship between Nature, the mind and the body end in negation, impotence and the hope of silence.

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Sedgwick, James Martin. "Emily Dickinson's grotesque : ambivalent interactions with uncertainty." Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/2619/.

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Emily Dickinson's work can be understood in terms of dynamic and variable interactions with uncertainty. Sometimes uncertainty is horrifyingly meaningless, whilst on other occasions it is liberating and meaningful; Dickinson's grotesque is predicated upon the interplay of both these perspectives. Dickinson's grotesque dialectic between enabling and disabling interactions with uncertainty resists monolithic critical appropriation. Theories of the grotesque enable us to unify the critical discord between conservative and radical depictions of Dickinson's work. Using the psychoanalytic theories of Melanie Klein and Wilfred Bion, I explain the dialectic between the different interactions with uncertainty and demonstrate how they are shaped contextually. Gothic context engenders fearful responses to uncertainty; female creativity engenders ambivalence; embodying contexts produce liberating uncertainty. Dickinson's gothic elucidates a need for meaning, and a corresponding fear of representational insufficiency. This desire for certainty is extrapolated from a Calvinist sensibility, whereby uncertainty denotes unregenerate being. The apophatic poems move towards meaning by perpetually surpassing their own conceptual limitations. However, this process becomes self-defeating as the act of negation itself turns into the kind of uncertainty it was supposed to overcome. Female creativity is achieved through internalizing overwhelming, masculine power as the basis of poetic autonomy. Dickinson's poetic self partially overcomes the oppressive, binary distinction between male and female positions. I compare Dickinson with Harriet Prescott Spofford, illustrating how both writers narrate their assimilation of alterity as a terrifying encounter with an omnipotent male muse.

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Hutchison, Lorna. "Strategies of the grotesque in Canadian fiction." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100627.

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In this study of narration, feminist theory, and grotesque Canadian fiction, my aim is to provide a narrative model with which to read characters portrayed as both female and monstrous in a way that criticism on the grotesque does not. I provide two systems for the methodology of this study: via negativa, a well-established philosophical system of definition by negation, which shows the strength of the grotesque to represent a subject that is inherently paradoxical; and a narrative model called the "middle voice," which I developed to examine narratives that confuse or render ambiguous the identity of subjects. Through these distinct but complementary frameworks I illustrate a literary phenomenon in fiction of the grotesque: that authors develop and reveal the subjectivity of characters by confounding identities.
Although I provide a concise definition of the term "grotesque," my focus is on feminist theoretical approaches to the grotesque. However, whereas feminist theory on the grotesque examines the binary opposition of woman to man, this study shows that the grotesque bypasses the "male/female" dichotomy in the representation of fictional characters. Instead, the sustained contradiction of the central opposition "woman/monster" works to undermine the notion of fictional characterization.
Specifically, this study focuses on the grotesque as a narrative strategy and examines the use of the grotesque in the portrayal of female narrators. The prevalence of female grotesque characters in recent Canadian fiction combined with the rapid growth of interest in the critical concept of the "female grotesque" requires a theoretical analysis of the literature.
In the fiction I examine by Canadian authors Margaret Atwood, Lynn Coady, Barbara Gowdy, Alice Munro, and Miriam Toews, narrators are contradictory. As subjects, they have doubled identities. Authors situate identity ("subjectivity") in the realm of paradox, rather than in the realm of clarity and resolution. As a result, readers and critics must rely on ambiguity and subversion as guides when posing the ultimately irresolvable question "who is speaking?" Through analysis of this fiction, then, I argue for nothing short of a new conceptualization of subjectivity.

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Levkovich, Rivi Cara. "Harlan Ellison and the technological grotesque." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63836.

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Driscoll, Mark W. "Erotic empire, grotesque empire work and text in Japan's imperial modernism /." online access from Digital dissertation consortium, 2000. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9953667.

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Racadio, D. S. "The comic, the grotesque and the uncanny in Charles Dickens." Thesis, University of East Anglia, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.280064.

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Musgrave, David. "Figurations of the grotesque in Menippean satire." Thesis, University of Sydney, 1997. https://hdl.handle.net/2123/22725.

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Ignoring for the moment the fact that the very existence of the genre is a contentious issue, menippean satire is a form of writing with a history which extends back almost two and a half thousand years, at least to its legendary origin with Menippus of Gadara in the first half of the third century B.C. Menippus’ writings no longer survive, but some facts of his life are known, largely through the Lives of Eminent Philosophers of Diogenes Laertius. Menippus was a slave who became a pupil of the Cynic Metrocles, purchased his freedom and settled in Thebes where he satirized all formal schools of philosophy and all philosophical elites. Legend has it that he hanged himself, through disappointment at financial ruin. Not entirely inappropriately, then, ‘menippean satire’ has the attraction of having its ‘origin’ as mythic — Donald Dudley has noted that Menippus, “like the Cheshire cat, has faded away to a grin” — an apt condition for a form characterised by unparalleled freedom and invention. (This lack of a defining origin also has important epistemological implications, allowing Menippean satire to inhabit the undecidable boundary region of literature and philosophy on the one hand, and of literature and “writing” on the other.) From what is known through fragments of, and references to Menippus, his satire was a mélange of prose and poetry, presumably developed from verse satire with additional prose interludes.

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Books on the topic "Grotesque in literature"

1

Perova, Natalii︠a︡. Soviet grotesque. Moscow: Russlit in cooperation with Izvestiya, 1991.

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Perova, Natalii︠a︡. Soviet grotesque. Moscow: Russlit in cooperation with Izvestiya, 1991.

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Harpham, Geoffrey Galt. On the grotesque: Strategies of contradiction in art and literature. 2nd ed. Aurora, CO: Davies Group, 2006.

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Katkus, Laurynas. Grotesque revisited: Grotesque and satire in the post/modern literature of Central and Eastern Europe. Newcastle upon Tyne: Cambridge Scholars Publishing, 2013.

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McElroy, Bernard. Fiction of the modern grotesque. Houndmills, Basingstoke, Hampshire: Macmillan, 1989.

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McElroy, Bernard. Fiction of the modern grotesque. New York: St. Martin's Press, 1989.

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Elroy, Bernard Mc. Fiction of the modern grotesque. New York: St. Martin's Press, 1989.

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1901-, Adams James Luther, Yates Wilson, and Warren Robert Penn 1905-, eds. The grotesque in art and literature: Theological reflections. Grand Rapids, Mich: W.B. Eerdmans, 1997.

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Maciejewski, Jerzy. Konstruktor dziwnych światów: Groteskowe, ludyczne i karnawałowe aspekty prozy Romana Jaworskiego. Toruń: [s.n.], 1990.

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Rosen, Elisheva. Sur le grotesque: L'ancien et le nouveau dans la réflexion esthétique. Saint-Denis: PUV, 1991.

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Book chapters on the topic "Grotesque in literature"

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Bartolomé Gómez, Jesús. "Horrible deaths, grotesque deaths." In IVITRA Research in Linguistics and Literature, 103–28. Amsterdam: John Benjamins Publishing Company, 2020. http://dx.doi.org/10.1075/ivitra.23.c5.

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Woods, Orlagh. "Grotesque Mat(t)er." In Progressive Intertextual Practice In Modern And Contemporary Literature, 90–112. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003441199-7.

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Flinn, Anthony. "The New Grotesque in Jess Walter’s The Zero." In Transatlantic Literature and Culture After 9/11, 221–37. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137443212_13.

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Milbank, Alison. "Joseph Sheridan Le Fanu: Gothic Grotesque and the Huguenot Inheritance." In A Companion to Irish Literature, 362–76. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444328066.ch22.

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Abe Auestad, Reiko. "Speech Acts and Emotion in Kirino Natsuo's Grotesque." In Affect, Emotion and Sensibility in Modern Japanese Literature, 95–114. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003414278-8.

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Adams, Jenni. "Trauma and the Grotesque Body: D. M. Thomas’s The White Hotel." In Magic Realism in Holocaust Literature, 82–111. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230307353_4.

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Tankard, Alexandra. "‘If I am not Grotesque I am Nothing’: Aubrey Beardsley and Disabled Identities in Conflict." In Conflict and Difference in Nineteenth-Century Literature, 93–108. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230277212_7.

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Þorgeirsdóttir, Brynja. "Grotesque Emotions in Old Norse Literature: Swelling Bodies, Spurting Fluids, Tears of Hail." In Emotional Alterity in the Medieval North Sea World, 17–42. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33965-3_2.

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Butter, Stella. "McGrath, Patrick: The Grotesque." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14306-1.

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Gillespie, Gerald. "Romantic Irony and the Grotesque." In Comparative History of Literatures in European Languages, 322. Budapest: Akadémiai Kiadó, 1988. http://dx.doi.org/10.1075/chlel.viii.23gil.

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Conference papers on the topic "Grotesque in literature"

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Ibadova, N. "A CHANGİNG MOSCOW: IMAGE OF THE CAPİTAL İN THE WORKS BY YU. TRİFONOV AND YU. POLYAKOV." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3762.rus_lit_20-21/358-362.

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The article compares the poetics of embodiment of the image of Moscow in the prose of outstanding Russian writers Yu. Polyakov and Yu. Trifonov. The image of Moscow in the works of Trifonov and Polyakov is autobiographical and filled with the signs of time and the authors’personal attitudes. Moscow in the works of both writers has temporal and spatial multilayeredness. Urban toponymy is widely represented in the literary works of both authors. Both of them resort to the use of spatial oppositions. In Yu. Polyakov's work a new spatial opposition "city - province" appears, mythologems are actualized, which are absent in Trifonov's works. The authors' attitudes to the ongoing changes differ: if Trifonov is dominated by the nostalgia for old Moscow, Polyakov, a master of "the grotesque realism", depicts urban realities satirically.

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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 discrete, the time in this chronotope is linear and “endless”. In Tōkaidō gojyūsantsugi, in opposite, amidst the Tōkaidō road, a “micro-world” of a heroine, a journey into the deepest layers of her soul is taking place. With the heroes of past and present, wandering along the road in reality and in fantasy, the heroine finally finds her own place in the changing world.

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Stroganova, Nina. "LETTER TO WU JIZHONG BY CAO ZHI — A PANEGYRIC OR A PAMPHLET?" In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.18.

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The focus of the article, Letter to Wu Jizhong (Yu Wu Jizhong shu, 与吴季重书), a sample of Jian’an epistolography, is a message sent by Cao Zhi (曹植, 192–232) to his friend Wu Zhi (吴质). The article contains the translation and analysis of Letter to Wu Jizhong, which has not been studied in Russian sinology yet. Letter to Wu Jizhong is to be considered only in the light of Letter in response to Cao Zhi by Wu Zhi (Da Dong’e wang shu, 答东阿王书). Letter to Wu Jizhong is analyzed as an oratorical speech in writing. The analysis is based on classical rhetorical theories, mainly on Aristotle’s theory of rhetoric. In each of the 3 parts of the Letter… we highlight its subject, theme, problem, thesis, goal (elements of the Inventio). The oratory of the Letter… is epideictic and deliberative. “The topos of Size”, i. e., exaggeration, contributes to the grotesque-satirical effect.

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