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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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De, Nittis Elizabeth MacInnes. "Gender and the grotesque in the short fiction of Joyce Carol Oates." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/denittise/elizabethdenittis.pdf.
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Bose, Siddhartha. "Back and forth : the grotesque in the play of romantic irony." Thesis, Queen Mary, University of London, 2009. http://qmro.qmul.ac.uk/xmlui/handle/123456789/401.
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This thesis examines the dramatic implications of the grotesque in Romantic aesthetics, particularly in relation to its poetics of plurality. There have been few studies exploring the drama of the Romantic grotesque, a category that accentuates the multiplicity of the self, while permitting diverse ways of seeing. The post-Kantian philosophy backing Friedrich Schlegel’s Romantic irony provides the most decisive rationalisation of this plurality of identity and aesthetic expression through theatrical play, and forms the theoretical framework for my study. Poetry and philosophy are merged in Schlegel’s attempt to create Romantic modernity out of this self-conscious blurring of inherited perspectives and genres—a mixing and transgressing of past demarcations that simultaneously create the condition of the Romantic grotesque. The other writers examined in this thesis include A. W. Schlegel, Stendhal, Victor Hugo, and Charles Baudelaire. The primary research question that this thesis investigates is: how is the grotesque used to re-evaluate notions of aesthetic beauty? And my answer emerges from a study of those thinkers in Schlegel’s tradition who evolve a modern, ironic regard for conventional literary proprieties. Furthermore, how does the grotesque rewrite ideas of poetic subjectivity and expression? Here, my answer foregrounds the enormous importance of Shakespeare as the literary example supporting the new theories. Shakespearean drama legitimises the grotesque as ontology and literary mode. Consequently, in reviewing unique, critically hybrid texts like the Schlegelian fragments, Stendhal’s Racine et Shakespeare (Racine and Shakespeare), Hugo’s Préface de Cromwell (Preface to Cromwell), and Baudelaire’s De L’Essence du Rire (On the Essence of Laughter), this thesis will use theories of continental Romanticism to reposition the significance of an English aesthetic. Through this, I claim that the Romantic revisioning of the Shakespearean grotesque helps create the ideas of post-Revolutionary modernity that are crucial to the larger projects of European Romanticism, and the ideas of modernity emerging from them.
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Klerks, Suzanne (Suzanne Elizabeth) Carleton University Dissertation English. "The Making of a monster; the female grotesque in Chaucer's Canterbury Tales." Ottawa, 1992.
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Berggren, Elliott. "A Grotesque and Gothic Corporeality : Queer Transgression in Closer and Frisk." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104217.
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This thesis investigates how two novels by Dennis Cooper, Closer and Frisk, conceive of queer sexuality as transgressing heteronormative notions of moral standards, and how they challenge these by elevating their subject matters to an excessive degree. Drawing on the concepts of the grotesque and the Gothic, this thesis explores the aesthetics of Closer and Frisk, focusing in particular on the way corporeality figures as a central aspect of how these texts explore the ways in which the body becomes a site for Cooper’s discourses of transgression. Furthermore, drawing on Lee Edelman’s notion of the queer subject as inherently opposed to the value of every social form and structure, it is argued that the adverse representations of Cooper’s subjects work to add to this oppositionality. Thus, this thesis investigates how the queer expressions of desire in the texts are inextricable from the aberrant imagery of the body; the body as Gothically grotesque in the novels provides ways to configure alternative ways of conceptualizing the queer body and investigate its ties to transgression.
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Marleau, Tania. "Le grotesque dans Les diaboliques de Barbey d'Aurevilly /." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33301.
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The grotesque is an unsettled notion which is difficult to define. Over the years, there have been several attempts to formulate a satisfactory definition. Today, a few definitions prevail, namely that proposed by Hugo, Bakhtine and Kayser. In my opinion, the latter is the most appropriate for the analysis of the grotesque in Barbey d'Aurevilly's Diaboliques .Indeed, Wolfgang Kayser's theory of the grotesque is based on the idea of a world that has suddenly become "estranged". Barbey's "diabolical" characters are peculiar beings, both passionate and inscrutable, who by their actions and attitudes manage to overwhelm most characters of their universe. By their very mystery, the diaboliques remain deeply present in others' minds, thereby changing their existence forever. In Barbey's stories, there are no mythical beasts, no monstrous grotesque per se. However, when examined from Kayser's perspective, light is shed on the grotesque aspect of their characters.
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Eichhorn-Mulligan, A. C. "Form and function of the grotesque body in medieval Irish and Norse literature." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399988.
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Iuliucci, A. A. "GROTESQUE AND GOTHIC CHILDREN'S LITERATURE: FROM NINETEENTH-CENTURY PICTUREBOOKS UP TO TIM BURTON." Doctoral thesis, Università degli Studi di Milano, 2014. http://hdl.handle.net/2434/234166.
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The aim of the present dissertation is to show that Tim Burton’s imaginative universe can be considered as a remediation of a past tradition of grotesque and Gothic children’s book illustration which I have identified with the picturebooks realised by some illustrators who lived between the nineteenth and the twenty-first century. The first two chapters are meant to provide a historical and theoretical background to the development of the works specifically discussed in the last two chapters.
At the beginning of Alice’s Adventures in Wonderland, the young protagonist asks what is the use of a book without pictures or conversations. Turning Alice’s question upside down, in the first chapter I investigate what is the use of picturebooks. I start by tracing a brief history of picturebooks showing that it is strongly connected with the changes and improvements undergone by children’s literature and by book illustrations. Subsequently, I identify in the interaction between words and images the distinguishing feature of picturebooks. Text-picture interaction is what makes picturebooks original and unique, and what explains their usefulness in the development of both verbal and visual literacy and especially of the literacy of the imagination.
The second chapter deals with the grotesque and the Gothic. Despite the fact that they are examined separately, I do not conceive the grotesque and the Gothic as two distinct entities and in this chapter I show that they share many elements and they can be considered as complementary. I especially pinpoint that in the beginning both the terms grotesque and Gothic are used in the artistic field and only later start to be applied also in literature. As far as the grotesque is concerned, I examine the etymology of the word and all its changes and developments over the centuries in order to identify its main features. The same procedure is then applied also to the analysis of the Gothic. This study is useful to make some remarks about the grotesque and the Gothic in children’s literature, thus introducing the examination of some grotesque and Gothic picturebooks.
As a matter of fact, in the third chapter I take into consideration the following illustrators lived between the nineteenth and the twenty-first century: Alfred Crowquill, Heinrich Hoffmann, Edward Lear, Richard Dadd, John Tenniel, Wilhelm Busch, Arthur Burdett Frost, Charles Addams, Ronald Searle, Edward Gorey. These artists are examined in chronological order, according to their date of birth. For each of them I provide some biographical information and I analyse the most significant works. Both the illustrators and their picturebooks have been chosen according to the following criteria:
- Their style is strongly characterised by the presence of grotesque and Gothic elements
- Their imaginative universes may have influenced the Burtonesque style
Tim Burton is the protagonist of the fourth and last chapter, where I examine his figure of “visual storyteller” in order to show that his whole artistic production can be considered as a remediation of the picturebooks analysed in the previous chapter in particular, and of the children’s literature in general. Taking into consideration his movies, his picturebooks and his drawings and sketches, which are the basis of his creative process, I identify the main features of the so-called "Burtonesque", providing evidence of its being at the same time an appropriation and a remediation. This is the reason why Burton’s imaginative universe succeeds in exploring the limitless possibilities of grotesque and Gothic picturebooks, respecting its main feature, that is the imaginative activity and the development of the literacy of imagination.
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Free, Melissa M. "The grotesque as an objection to silence and oppression a queer reading of Carson McCullers's fiction /." Connect to this title online, 2002. http://www.lib.ncsu.edu/theses/available/etd-08022002-155049/.
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Lawlor, Clark. "The classical and the grotesque in the work of Alexander Pope and Jonathan Swift." Thesis, University of Warwick, 1993. http://wrap.warwick.ac.uk/34635/.
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This thesis takes Mikhail Bakhtin's definitions of the classical and the grotesque, uses various other theorists to problematise and extend these concepts through an engagement with gender categories, and applies them to the work of Alexander Pope and Jonathan Swift. Although the first part deals with the 'theory' of the classical and the grotesque, the following sections on Pope and Swift seek to recognise the historical specificity and complexity of these modes as they intersect with the cultural, material, and psychological circumstances of the writer. The methodology is not solely biographical', 'political', 'cultural', 'feminist' or 'textual', but combines those approaches most relevant to the particular text in question, sometimes engaging more directly with the political environment, for example, at other times placing greater stress on mythological and generic allusions. The thesis shows that the classical and the grotesque emerge from a long social and literary tradition, yet the ways in which they manifest themselves in the time of Pope and Swift are very specific and constructed at least partially in response to contemporary cultural contexts such as the publishing trade, the present monarchy, the situation of Ireland and so on. Extending the work of Susan Gubar, particular attention is paid to the figure of the female grotesque, a common and yet varied image that is made to stand for a variety of cultural and moral ills in the writing of Pope and Swift. In contrast the figure of the 'classical' woman or 'softer man' is found to be symbolic of order as the unruly 'natural' substance of woman is transformed into masculine 'Culture' through social and textual containment. Classical and grotesque constructions of the masculine are also examined, especially in relation to the author's perceptions of his own masculinity. The thesis concludes with a brief analysis of the classical masculine friendship between Pope and Swift.
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Prior, Tim J. "Classical and grotesque bodies, some aspects of courtesy literature and the mid-eighteenth-century comic novel." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq28039.pdf.
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Cooke, James M. (James Michael). "The Grotesque Tradition in the Short Stories of Charles Bukowski." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc501093/.
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The style and themes central to Bukowski's prose have roots in the literary tradition of the grotesque. Bukowski uses grotesque imagery in his writings as a creative device, explaining the negative characteristics of modern life. His permanent mood of angry disgust at the world around him is similar to that of the eighteenth-century satirists, particularly Jonathan Swift. Bukowski confronts the reader with the uglier side of America--its grime, its corruption, the constricted lives of its lower class--all with a simplicity and directness of style impeccably and clearly distilled. Bukowski's style is ebullient, with grotesquely evocative descriptions, scatological detail, and dark humor.
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Kisawadkorn, Kriengsak. "American Grotesque from Nineteenth Century to Modernism: the Latter's Acceptance of the Exceptional." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278030/.
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This dissertation explores a history of the grotesque and its meaning in art and literature along with those of its related term, the arabesque, since their co-existence, specifically in literature, is later treated by a well-known nineteenth-century American writer in Tales of the Grotesque and Arabesque- Theories or views of the grotesque (used in literature), both in Europe and America, belong to twelve theorists of different eras, ranging from the sixteenth century to the present period, especially Modernism (approximately from 1910 to 1945)--Rabelais, Hegel, Scott, Wright, Hugo, Symonds, Ruskin, Santayana, Kayser, Bakhtin, (William Van) O'Connor, and Spiegel. My study examines the grotesque in American literature, as treated by both nineteenth-century writers--Irving, Poe, Hawthorne, and, significantly, by modernist writers--Anderson, West, and Steinbeck in Northern (or non-Southern) literature; Faulkner, McCullers, and (Flannery) O'Connor in Southern literature. I survey several novels and short stories of these American writers for their grotesqueries in characterization and episodes. The grotesque, as treated by these earlier American writers is often despised, feared, or mistrusted by other characters, but is the opposite in modernist fiction.
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Grué, Mélanie. "Grotesque «queer» et savoirs abjects dans l’oeuvre de Dorothy Allison." Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST0013.
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Originaire du milieu white trash, victime d’inceste, lesbienne et queer, Dorothy Allison appartient à une nouvelle génération d’auteurs qui, depuis les années 1980, perturbent le paysage littéraire et politique américain. Peuplée de personnages grotesques, dont les difformités physiques reflètent les normes sociales, sexuelles et de genre qui sous-tendent les discours dominants réduisant l’individu déviant au silence, l’oeuvre de l’auteure est pourtant un espace de prise de parole pour les sujets subalternes (les pauvres, les femmes, l’enfant abusée, et les homosexuels) que la société définit comme étant abjects. Ces recherches se concentrent sur les liens entre littérature et théorie, et sur la portée politique du témoignage minoritaire de Dorothy Allison, envisagé comme un espace de théorisation. À partir de l’analyse des théories du sujet, des études sur les classes et les « races », des critiques de l’autobiographie et de la théorie queer, nous expliciterons la manière dont le texte littéraire transmet le discours de revendication de l’individu subalterne, permet l’affirmation du sujet, et véhicule les « savoirs abjects » qui perturbent les normes. Ce travail s’attache à relire et repenser les théories à travers le prisme d’une oeuvre littéraire qui s’approprie le mode de représentation grotesque et accorde une place centrale au corps et aux sens. Faisant la part belle au langage du corps, le témoignage minoritaire romancé met à mal les hiérarchies et célèbre la profonde humanité des individus dévalorisésBorn in a white trash milieu, a victim of incest, lesbian and queer, Dorothy Allison belongs to the new generation of writers who, since the 1980s, have troubled the American literary and political landscape. Overflowing with grotesque characters, whose physical deformity mirrors the social, sexual and gender norms underlying the dominant discourses that silence the deviant individual, the author’s work is nevertheless a space where inferior subjects (the poor, women, the abused child, homosexuals), defined by society as being abject, can speak. This research focuses on the connections between literature and theory, and on the political significance of Dorothy Allison’s testimony, here considered as a theorizing narrative. Using subject theory, class and race studies, autobiography criticism and queer theory, we shall explain how the literary text passes on the inferior individual’s claims, enacts the subject’s self-assertion, and transmits the “abject knowledge” which disrupts the norms. This research aims at re-reading and rethink various theories through the literary work which appropriates the grotesque mode of representation and grants the material body and the senses a central place. The fictionalized testimony makes bodily language paramount, interrogates established hierarchies and glorifies the intense humanity of discredited individuals
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Marks, Maria Cecilia. "A voz das vozes: uma leitura bakhtiniana de Grande Sertão: Veredas." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-26062018-101804/.
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O objetivo deste estudo é analisar o romance Grande sertão: veredas, de João Guimarães Rosa, a partir de conceitos elaborados por Mikhail Bakhtin. Este desenvolveu a concepção de romance polifônico em sua interpretação da obra de Fiódor Dostoiévski, desvendando o procedimento do escritor de incluir em sua prosa ficcional a multiplicidade de vozes presentes na sociedade. Trata-se do fenômeno do dialogismo, em que diferentes discursos entram em interação, se manifestam em réplicas diretas ou veladas, reagem entre si, estabelecem consonâncias ou dissonâncias, transformando-se continuamente, sendo que o autor aparece como uma entre as muitas vozes da narrativa. Nesse sentido, apesar de haver apenas uma voz em enunciação, consideramos Grande sertão: veredas um romance polifônico e interpretamos trechos em que o dialogismo é patente. Em seu estudo sobre François Rabelais, Bakhtin introduziu o conceito de carnavalização da literatura, processo por meio do qual foram incorporadas manifestações da cultura popular na linguagem literária. Bakhtin vale-se ainda da noção de grotesco, estilo antigo caracterizado pela mistura de formas. Tanto em Rabelais como em Guimarães Rosa, a linguagem está radicada na oralidade e em expressões populares, ainda que amalgamada a um vasto conhecimento erudito. Desse prisma, analisamos duas novelas (O recado do morro e Meu tio o Iauaretê) e um conto (Darandina) de Guimarães Rosa, além do romance Grande sertão: veredas. Seguindo uma linha de pensamento alinhada às ideias de Bakhtin que encontram ressonância em Guimarães Rosa, nas quais as fronteiras são indistintas e a transformação é inerente ao movimento da vida, procuramos centrar a análise na superação da lógica binária moderna, dando um salto para o polissêmico. É dessa maneira que propomos uma atualização da visão sobre a relação amorosa em Grande sertão: veredas, com o apoio teórico de Michel Foucault.The objective of this study is to analyze the novel Grande sertão: veredas, by João Guimarães Rosa, based on Mikhail Bakhtins concepts. Bakhtin developed a conception of the polyphonic novel in his interpretation of Fyodor Dostoevsky\'s work, in which he describes the writers procedure that includes, in his fictional prose, the multiplicity of social voices found in society. This is the phenomenon of dialogism, in which different dialogues interact, manifest themselves in direct or veiled responses, react among themselves, establishing consonances or dissonances, transforming themselves continuously, with the author appearing as one among the many voices of the narrative. In this regard, although there is only one voice in enunciation, we consider Grande sertão: veredas to be a polyphonic novel and analyze extracts in which the dialogism is distinct. In his study of Francois Rabelais, Bakhtin introduced the concept of the carnivalization of literature, a process in which the manifestations of popular culture were incorporated into literary language. Bakhtin also employs the notion of grotesque, an ancient style characterized by a mixture of forms. In both the Rabelais and Guimarães Rosa works the language is rooted in orality and popular expressions, even though it is melded with a vast erudite knowledge. From this point of view, we analyze two novels (O recado do morro and Meu tio o Iauaretê) and a tale (\"Darandina\") by Guimarães Rosa, besides the novel Grande sertão: veredas. Following a line of thought concurrent with Bakhtins ideas, and also consonant in Guimarães Rosa, where boundaries are indistinct and transformation is inherent in lifes movement, we aim to focus the analysis on the overcoming of modern binary logic, thereby taking a leap to the polysemic. It is in this manner we propose an updated interpretation of the love affair in Grande sertão: veredas, with the theoretical support of Michel Foucault.
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Case, Marlene Katherine. "The Carnivalesque and Grotesque Realism in Modernist Literature| The Final Novels of Ronald Firbank and Virginia Woolf." Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10096025.
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Concerning the Eccentricities of Cardinal Pirelli by Ronald Firbank and Between the Acts by Virginia Woolf both liberate the text from the expected form to engage emotional awareness and instigate reform of societal standards. Employing Mikhail Bakhtin’s theories of the carnivalesque and grotesque realism as a means to create this perspective is unconventional; nevertheless, Firbank, predominantly misunderstood, and Woolf, more regarded but largely misinterpreted, both address sexuality and religion to parody what they believe to be the retrogression of civilization by narrating christenings, pageants, and other forms of carnival. Both novels forefront nonconformity, and the conspicuous influence of debasement is identified as a form of salient renewal. Christopher Ames, Melba-Cuddy Keane, and Alice Fox have already expressed remarkable insight into Woolf; unfortunately not a single scholar has approached Firbank’s text in this manner, and this essay discusses the value of both authors in the aspect of Bakhtin’s theories.
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Grué, Mélanie. "Grotesque "queer" et savoirs abjects dans l'oeuvre de Dorothy Allison." Phd thesis, Université Paris-Est, 2013. http://tel.archives-ouvertes.fr/tel-00958245.
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Originaire du milieu white trash, victime d'inceste, lesbienne et queer, Dorothy Allison appartient à une nouvelle génération d'auteurs qui, depuis les années 1980, perturbent le paysage littéraire et politique américain. Peuplée de personnages grotesques, dont les difformités physiques reflètent les normes sociales, sexuelles et de genre qui sous-tendent les discours dominants réduisant l'individu déviant au silence, l'oeuvre de l'auteure est pourtant un espace de prise de parole pour les sujets subalternes (les pauvres, les femmes, l'enfant abusée, et les homosexuels) que la société définit comme étant abjects. Ces recherches se concentrent sur les liens entre littérature et théorie, et sur la portée politique du témoignage minoritaire de Dorothy Allison, envisagé comme un espace de théorisation. À partir de l'analyse des théories du sujet, des études sur les classes et les " races ", des critiques de l'autobiographie et de la théorie queer, nous expliciterons la manière dont le texte littéraire transmet le discours de revendication de l'individu subalterne, permet l'affirmation du sujet, et véhicule les " savoirs abjects " qui perturbent les normes. Ce travail s'attache à relire et repenser les théories à travers le prisme d'une oeuvre littéraire qui s'approprie le mode de représentation grotesque et accorde une place centrale au corps et aux sens. Faisant la part belle au langage du corps, le témoignage minoritaire romancé met à mal les hiérarchies et célèbre la profonde humanité des individus dévalorisés.
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Thomas, Sara Ann. "Subjectivity In American popular metal : contemporary gothic, the body, the grotesque, and the child." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/644/.
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This thesis examines the subject in Popular American Metal music and culture during the period 1994-2004, concentrating on key artists of the period: Korn, Slipknot, Marilyn Manson, Nine Inch Nails, Tura Satana and My Ruin. Starting from the premise that the subject is consistently portrayed as being at a time of crisis, the thesis draws on textual analysis as an under appreciated approach to popular music, supplemented by theories of stardom in order to examine subjectivity. The study is situated in the context of the growing area of the contemporary gothic, and produces a model of subjectivity specific to this period: the contemporary gothic subject. This model is then used throughout to explore recurrent themes and richly symbolic elements of the music and culture: the body, pain and violence, the grotesque and the monstrous, and the figure of the child, representing a usage of the contemporary gothic that has not previously been attempted. Attention is also paid throughout to the specific late capitalist American cultural context in which the work of these artists is situated, and gives attention to the contradictions inherent in a musical form which is couched in commodity culture but which is highly invested in notions of the ‘Alternative’. In the first chapter I propose the model of the contemporary gothic subject for application to the work of Popular Metal artists of the period, drawing on established theories of the contemporary gothic and Michel Foucault’s theory of confession. The second chapter focuses on instances of violence to the body and the recurrent themes of pain and violence, which are explained through the model of corporeal verification and consensual violence. In the third chapter I explore the contemporary gothic subject in the tradition of the grotesque and the monstrous, drawing on theories of the gothic monster, to suggest that the subject is engaged in a negotiation of the boundaries between self and other. The fourth chapter concentrates on the figure of the child, drawing on theories of horror film and fiction and the tradition of the Evil Innocent and the Gothic child. The final chapter is a case study of Marilyn Manson, exploring his role as a paradigmatic example of contemporary gothic subjectivity.
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Zandi, Sophia. "Grotesque, Bodily, and Hydrous: The Liminal Landscapes of the Underworld In Homer, Virgil, and Dante." Oberlin College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1625864941501779.
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Vien, Myriam. "Formes et figures du grotesque dans «La grande tribu : c’est la faute à Papineau!» de Victor-Lévy Beaulieu." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121566.
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This thesis examines the role of the grotesque in Victor-Lévy Beaulieu's La Grande Tribu : c'est la faute à Papineau. It aims to show how the writer's primary aesthetics offers a new conception of Quebec's national past and society that subverts the initial project of the text and its original model, the epic. The hypothesis underlying this study is that the grotesque – through improbable mixings, hybridization, and metamorphosis – enables Lévy-Beaulieu to reflect on the ways the world has changed and to put the future of a community into words. The first chapter gives an overview of the main theories on the grotesque in order to turn its defining characteristics into concrete analysis tools. In this respect, the works of Mikhail Bakhtine, Wolfgang Kayser and Rémi Astruc are closely analyzed to provide the theoretical framework of this study. The second chapter deals with the various occurrences of the grotesque in La Grande Tribu in order to see how they participate – with an emphasis on the representation of the ways the body and language mutate – in shifting the plot into another reality altogether. Finally, the last chapter focuses on the specific relationship between time and historical continuity in the text. Under the influence of the "grotesque time", which minimizes the distance between past and present, La Grand Tribu drifts into an entropic temporality in which memory rules the characters' fate and complicates the plot by harking back to and repeating the past.Ce mémoire examine la présence grotesque à l'œuvre dans La Grande Tribu : c'est la faute à Papineau ! de Victor-Lévy Beaulieu, dans le but de montrer comment l'esthétique privilégiée par l'écrivain installe une nouvelle vision du passé national et de la société québécoise, détournant le projet initial de l'œuvre et son modèle de départ, l'épopée. L'hypothèse qui sous-tend cette étude est que le grotesque, en déployant les figures du mélange improbable, de l'hybridation et de la métamorphose, permet de penser la transformation du monde et d'articuler le devenir d'une communauté. Le premier chapitre propose un survol des grandes propositions formulées sur la question grotesque afin de convertir les principaux traits définitoires du phénomène en outils d'analyse concrets. À cette fin, les travaux de Mikhaïl Bakhtine, Wolfgang Kayser et Rémi Astruc, sont décortiqués pour établir le cadre théorique de cette recherche. Le deuxième chapitre aborde les manifestations du grotesque dans La Grande Tribu dans le but de voir comment celles-ci participent, par la représentation de la mutation du corps et du langage notamment, au basculement du récit dans une toute autre réalité. Enfin, un dernier chapitre interroge le rapport particulier au temps et à la continuité historique qui prend place dans l'œuvre. Sous l'effet du « temps grotesque », qui aplatit les distances entre le passé et le présent, La Grande Tribu verse dans une temporalité entropique où la mémoire s'approprie le destin des personnages et entraîne le récit dans le ressassement et le redoublement.
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Irving, Catherine Janet Sarah. "A jungle of shadows : interpenetrations of the anagogical and the grotesque in the short stories of Flannery O'Connor." Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/18692.
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Flannery O'Connor (1925-64) has become established in critical thought both as a "Christian" writer and a writer of the "grotesque". Indeed, to be true to the nature of her art, neither designation can be easily discarded. It is the premise of this study that O'Connor's mature, post-l 952 work, specifically her collected short fiction, draws on the modes of the anagogical and the grotesque to represent a vision highly conscious of both ultimate reality and the deficiency of a sinful, evil-inflicted world. These modes can be envisaged as antitheses: the anagogical, in its traditional medieval sense, implies a positive means to God via the created, sacramental world; the grotesque, conventionally and pessimistically perceived, infers a negative impetus towards the chaotic or demonic. In Chapter One, I investigate the conceptual parameters of the anagogical, beginning with a consideration of its medieval status as the hermeneutical level concerned with apocalyptic eventualities and disclosure of the divine presence. In my discussion of the anagogical operating through nature, art, individuals and everyday objects, I emphasise the Thomistic principle that the literal or material serves as a starting point for configuring anagogy. I argue that to address a modern audience unfamiliar with, or unsympathetic towards, traditional Christian imagery, O'Connor enlarged her view of the anagogical mode to incorporate elements of the grotesque. In Chapter Two, I explore the bounds of what constitutes the grotesque, drawing attention to its double-faced nature, to its inextricable merging of terror and comedy. Highlighting O'Connor's reliance at various points on both emphases of the grotesque, I examine the contrasting theories of Wolfgang Kayser and Mikhail Bakhtin. I discuss also the negative way of representation that the grotesque makes possible. The supposition of this strategy is that degradation or distortion of a phenomenon causes its meaningfulness to be communicated anew. It remains a point of debate as to whether desired interpretation can be achieved. O'Connor's mature work importantly conveys a paradoxical understanding of the grotesque as registering both depravity and renewal.
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Barcala, Débora Ballielo. "O grotesco e a personagem feminina em contos de Flannery O'Connor /." Assis, 2017. http://hdl.handle.net/11449/148989.
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Orientadora: Cleide Antonia RapucciBanca: Alexander Meireles da Silva
Banca: Antonio Roberto Esteves
Resumo: O presente trabalho pretende analisar os contos "A Stroke of Good Fortune", "A Temple of the Holy Ghost", "Good Country People", "A View of the Woods", "Revelation" e "Parker's Back", da escritora estadunidense Flannery O'Connor considerando o que neles há de grotesco. Será dada especial atenção à representação do corpo grotesco, isto é, o corpo deformado, amputado, modificado, doente. Uma vez considerados os elementos grotescos, serão realizadas análises das personagens femininas nos contos: como elas são construídas e o que isso pode representar em termos de subversão da autoridade patriarcal e das particularidades da escrita de Flannery O'Connor. Por fim, serão feitas aproximações entre o grotesco e a representação da mulher nos textos da autora. Para a realização desta pesquisa, tomaremos por base as obras dos teóricos sobre o grotesco Wolfgang Kayser (2013), Mikhail Bakhtin (2013) e Mary Russo (2000); além de estudos sobre a escrita de Flannery O'Connor como a obra de Katherine Prown (2001) e outros teóricos que abordam análise de personagens
Abstract: The present work intends to analyse the short stories "A Stroke of Good Fortune", "A Temple of the Holy Ghost", "Good Country People", "A View of the Woods", "Revelation" and "Parker's Back", by the American writer Flannery O'Connor, considering what is grotesque in them. Special attention is going to be paid to the representation of the grotesque body - the deformed, amputee, modified, sick body. Once the grotesque elements are considered, analyses of the female character is going to be carried out: how they are constructed and what it may represent in terms of subversion of the patriarchal authority and of the particularities of Flannery O'Connor's writing. Finally, approximation between the grotesque and the representation of the woman is going to be done based on the author's stories. This research is going to be based on the works of the grotesque theorist Wolfgang Kayser (2013), Mikhail Bakhtin (2013) and Marry Russo (2000), besides studies about Flannery O'Connor's writing such as the work of Katherine Prown (2001) and other theorists of character analysis
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Heyns, Michiel. "Elemente van die groteske realisme en karnavaleske in Foxtrot van die vleiseters deur Eben Venter /." Link to the online version, 2007. http://hdl.handle.net/10019/355.
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Bliss, Adrienne L. "Trauma and the psychological grotesque in the novels of Laura Hendrie, Laura Kasischke, and Gloria Naylor." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317741.
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This research uses the interpretive framework of the Psychological Grotesque to address a protagonist's response when she is unable to integrate the experience of interpersonal trauma into her psyche. The framework reveals a survival mechanism, identity incorporation, with roots in the transgressive and evolutionary nature of the grotesque as discussed in the work of Mikhail Bakhtin, Mary Douglas and Leonard Cassuto. The psychological grotesque is explicated using Stvgo by Laura Hendrie, The Life Before Her Eyes, by Laura Kasischke, and Linden Hills by Gloria Naylor.The psychological grotesque reveals how the protagonist within each of these novels, when positioned within a specific matrix of contributing factors engages in flawed survival strategies to reconcile psychic fragmentation. Drawing on theories of trauma from the work of Bessel Van Der Kolk, Dori Laub, Sigmund Freud, Mardi Horowitz, Ronnie Janoff-Bulman, Laurie Vickroy, Cathy Caruth, Peter Woods and Tim Middleton, the definition of the matrix includes: interpersonal trauma, prior history of emotional problems, no social support network, and self-perceived complicity in the violence. Where these criteria are present, the protagonist is incapable of achieving the repair of her damaged psyche in order to reintegrate into society and relief from the pain of trauma. In an effort to repair her brokeness through the incorporation of parts of the identity of others, the protagonist creates a grotesque mental hybrid living in fractured time. The protagonist experiences destabilization of time due to incorporating the temporal perspective of the other identities. A flawed survival strategy, identity incorporation leads to further psychic fragmentation.The psychological grotesque takes up the challenge of communicating the effects of trauma and addresses the lack of a literary interpretive mechanism for trauma literature in which a critical component of the narrative is the story of female victims of interpersonal violence. This framework confronts the fact that representations of women and trauma are problematic due to how trauma resists linguistic representation and because women have historically been denied a voice in the canon. Therefore, by drawing on elements of the grotesque, specifically hybridity and transgression, this interpretive framework recuperates the experiences of traumatized protagonists.Department of English
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McKague, Cathleen Meghan. "'[A]n hermaphrodite - two parts in one' : the androgynous as grotesque and divine in Jonson, Marston, and Shakespeare." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/6089/.
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This thesis investigates competing representations of androgyny as grotesque and/or divine in selected works by Ben Jonson, John Marston, and William Shakespeare. The literary grotesque is a combination of incompatibles—such as the combination of masculine and feminine—which evokes simultaneous reactions of laughter and revulsion, while I define the divine as that which inspires awe and wonder through its otherworldliness. Throughout, the thesis examines figures such as physical or metaphorical hermaphrodites, eunuchs, Amazons, transvestites, the asexual, the pansexual, and those who transgress gender boundaries. The Introduction establishes historical contexts for physical and behavioural androgyny, the grotesque, and the divine. Each subsequent chapter close-reads one literary text: Chapter 1 examines place-based androgyny in Jonson’s Volpone; Chapter 2 explores Antonio/Florizel’s effect in Marston’s Antonio and Mellida; Chapter 3 analyses role-reversal in Shakespeare’s Venus and Adonis; Chapter 4 investigates Ganymede’s magnetism and Rosalind’s wondrousness in As You Like It; and Chapter 5 evaluates Cesario’s invigoration in Twelfth Night. I argue for a progression in the degree of wonder evoked by androgynous figures, and an increase in these figures’ subjectivity and agency. My thesis is the first to explore the liberating unfixity of androgyny as funny, frightening, repulsive, and yet also potentially divine.
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Campbell, Stephanie 1983. "Le sublime, le grotesque et le meurtre spectaculaire : l'esthétique de la violence dans le drame romantique." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116056.
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This thesis focuses on the representation of physical violence in the first Romantic French dramas of the 19th century. Before 1829, the Classic movement forbade spectacles of violence in the major theatres. However, with the production of the first Romantic play, Henri III et sa cour, the stage was transformed into a space of murder, physical brutality and suicide. In this study, we will interrogate the reasons for which violent acts reappear on the French stage. The influence of the guillotine will be examined as well as the sublime and grotesque nature of murder. The theories of Christine Marcandier-Colard, which explore the supreme beauty of criminality, will lead us to determine which ideologies are communicated through the depictions of death. We will also analyze the reaction of the public in regard to brutality in the theatre, as well as the role that violence plays in the development of a new society. Although violence inherently possesses a destructive value, its aesthetic value in the theatre advocates a veritable evolution of the French society towards democracy.
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Potvin, Allison Leigh. "Bodies in Transition:Physical Transformation in Postmodern Russian Fiction and Visual Culture." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316111770.
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White, Michael 1971. "The relationship between the grotesque and revolutionary thought in Milton's Paradise lost and Shelley's Prometheus unbound /." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20187.
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No substantial studies, at least to my knowledge, have yet been dedicated either to Milton's or to Shelley's extensive poetic use of the grotesque. This omission surprises me, especially given the voluminous critical attention both authors receive. Neither Milton nor Shelley's grotesquerie can be viewed as the basis of artistic method or artistic achievement as we might with, say, Rabelais, or Poe, or even Kafka. And neither Milton nor Shelley is self-consciously an artist of "the grotesque." In fact, Milton, from his seventeenth century perspective, would scarcely have regarded the term as being applicable to literary criticism at all. And as a late Romantic, Shelley defined himself rather as a poet of the imagination. Nonetheless I will show that both artists avail themselves of a grotesque aesthetic to achieve some of their most powerful and provocative poetry: we may here consider, for instance, Milton's memorable descriptions of the incongruities of Hell and the deformities of its fallen denizens in Paradise Lost, or Shelley's Gothic touches and his perplexing distortion of conventional linguistic and dramatic form in Prometheus Unbound.Aside from general considerations of the grotesque in these texts, I will especially focus on how Milton's and Shelley's uses of the grotesque mode provide us with unique, and often fascinating vantage points from which to appreciate their respective political concerns and revolutionary interests. While I expect this critical approach will elucidate Milton and Shelley in their own separate artistic and political spheres, I am especially interested to compare and contrast the poets, to show how the quite different uses made of the grotesque in Prometheus Unbound and Paradise Lost reflect the various ways in which Shelley responds to Milton in his role as a revolutionary forefather.
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Christovich, Michelle M. "Eloquent Distortion: The Southern Grotesque and Ideal Femininity in the works of Flannery O'Connor, Eudora Welty, and Carson McCullers." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/206.
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In this paper, I will examine works of Flannery O’Connor, Eudora Welty, and Carson McCullers, three Southern women writers who wrote during the first half of the twentieth century. While these authors differ in a number of ways, each of them produced work that deals, often explicitly, with ideal Southern womanhood and the expectations this ideal places upon women. Additionally, each of these three authors uses the grotesque as a tool for examining ideal womanhood, most often represented through the ideal of the Southern Lady. This paper is concerned with analyzing the link between the grotesque and the ideal of the Southern Lady, specifically the ways in which O’Connor, Welty, and McCullers employ the grotesque as a tool for exposing the limiting and destructive nature of this ideal.
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Burneo, Raul Antonio. "Lo monstruoso en dos novelas contemporáneas una indagación de la modernidad en latinoamérica /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/461290450/viewonline.
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Dyson, Cynthia. "The form and function of the grotesque in the literature of the American South and its function as a rhetorical strategy in the short stories of William Faulkner and Flannery O'Connor." Thesis, Cardiff University, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297879.
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Gardner, Stacy L. "Literary Alchemy and Elemental Wordsmithery: Linking the Sublime and the Grotesque in Carson McCullers's The Heart Is a Lonely Hunter." Ohio Dominican University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=odu148007888468904.
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Evenson, Brian. "The carnival of negativity /." Thesis, Connect to this title online; UW restricted, 1993. http://hdl.handle.net/1773/9330.
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Lafond, Brianna Nicole. "BECOMING INFINITE: A BAKHTINIAN CONSIDERATION OF DAVID FOSTER WALLACE’S INFINITE JEST." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/68.
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In this study of David Foster Wallace’s Infinite Jest, I combine the linguistic and literary theories of renowned scholar Mikhail Bakhtin to create a new lens through which to consider Wallace’s thematic project. Combining Bakhtin’s linguistic theories of dialogic conflict and heteroglossia with his literary theories on the grotesque provides an integrated stylistic methodology that illustrates the connections between Wallace’s use of imagery and style. In view of his use of both grotesque liminal imagery and dialogized heteroglossia, Wallace’s seemingly obsessive use of language is recast as a manifestation of grotesque embodiment that reflects the postmodern mileau in which he writes. I propose that Wallace crafts a series of grotesque stylistic devices that shape his words to match his theme. I propose two particular grotesque stylistic devices: narrative bleed in which the seemingly neutral narrative voice begins to reflect particular character discourses and character-to-character voice bleed in which dialogic conflict between characters is dramatically rendered within the novel.
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Razvickas, Anna Clara Versolato. "O universo grotesco em Uma anedota desagradável, de Dostoiévski." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-09122016-135436/.
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Esta pesquisa é composta de uma tradução do original em russo da novela Uma anedota desagradável, de Fiódor Dostoiévski, publicada em 1862 na revista Vriêmia, seguida de um breve comentário sobre ela. Para o estudo do texto considerou-se que seu tema está relacionado com artigos publicados pelo escritor, em que ele expõe as suas observações acerca da intelliguentsia e da sociedade russa da época. No que se refere ao tratamento dado ao tema, o escritor empregou amplamente recursos associados ao universo grotesco, como o riso e a paródia, tanto para a descrição das personagens como para a narração dos acontecimentos.This research is composed of a translation from the Russian novella An unpleasant anecdot, by Fyodor Dostoyevsky, published in 1862 in the periodic Vriemia, followed by a brief commentary about the periodic. To the study of the text was considered that the theme is related to the articles published by the author, on which he exposes his observations about the intelliguentsia and the Russian society of that time. Regarding the treatment given to the theme, the writer largely used resources associated to the grotesque universe, like the laughter and the parody, as to the description of the characters as well as to the narration of the events.
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Yago, Daniel Françoli. "A caravana dos prodígios: maravilhas, figuras grotescas e freaks na obra “Noites no Circo” de Angela Carter." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/19912.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
This dissertation aims to make a genealogy of the process of conversion of prodigious and wonderful figures of the past in monstrous and aberrative figures in the West. In order to do so, we accomplished three stages of our itinerary: the paradigm of the Greco-Roman and medieval world of wonders, the birth of the grotesque aesthetic in the light of the modern civilizational process and the disciplinary era of the bodies, moment of therapy and hospitalization of the so-called monsters. In a second moment of our research, we aimed to comprehend the look that women literature concedes to these prodigies in an attempt to synthesize their uses in a critical relation to the patriarchy. The process of disenchantment of the stranger as a facet of this genealogy intersects with aspects of the advent of modern patriarchy, especially in what it refers to the ways of treating its alteritary figures. Recently, such intersection made monsters, freaks, prodigies and marvels described in the women's literature occupy more potent and positive places, often metaphorical, to expose and re-signify various aspects of the female condition. We focused on Angela Carter and, more specifically, her oeuvre from 1984, Nights on the Circus, because her characters demonstrate dynamics of an inverse process to the abjection of the stranger: instead of being disenchanted, they were figures that re-enchanted the world by means of a reappropriation of its prodigiousness
Esta dissertação objetivou fazer uma genealogia do processo de conversão das figuras prodigiosas e maravilhosas do passado em figuras monstruosas e aberrativas no Ocidente. Para tanto, cumpriu três etapas em seu itinerário: o paradigma do mundo de maravilhas greco-romano e medieval, o nascimento da estética do grotesco à luz do processo civilizatório moderno e a era disciplinar dos corpos, momento auge da teratologia e da hospitalização dos chamados monstros. Em um segundo momento de nossa pesquisa, também objetivamos compreender o olhar da literatura de mulheres para essas figuras prodigiosas em uma tentativa de sintetizar seus usos em relação a uma crítica do ideário patriarcal. O processo de desencantamento do estranho como faceta desta genealogia intersecciona com aspectos de surgimento do patriarcado moderno, em especial no que se refere a uma forma de tratamento de suas figuras alteritárias. Tal cruzamento fez com que mais recentemente monstros, freaks, prodígios e maravilhas descritos na literatura de mulheres ocupassem funções potentes e positivas, e frequentemente metafóricas, para a exposição e ressignificação de diversos aspectos da condição feminina. Por fim, nos focamos na autora Angela Carter e, mais especificamente, em sua obra Noites no Circo, de 1984, por compreendermos que suas personagens demonstram dinâmicas de um processo inverso à pejoração do estranho: ao invés de desencantadas, são figuras que reencantam o mundo por meio de uma reapropriação de sua prodigiosidade
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Alblaimi, Najla A. ""I WILL SHOW YOU FEAR IN A HANDFUL OF DUST":CORPOREAL ANXIETIES IN T. S. ELIOT'S EARLY POETRY." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1429271816.
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Marion, Carol A. v. "Distorted Traditions: the Use of the Grotesque in the Short Fiction of Eudora Welty, Carson Mccullers, Flannery O'connor, and Bobbie Ann Mason." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4591/.
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This dissertation argues that the four writers named above use the grotesque to illustrate the increasingly peculiar consequences of the assault of modernity on traditional Southern culture. The basic conflict between the views of Bakhtin and Kayser provides the foundation for defining the grotesque herein, and Geoffrey Harpham's concept of "margins" helps to define interior and exterior areas for the discussion. Chapter 1 lays a foundation for why the South is different from other regions of America, emphasizing the influences of Anglo-Saxon culture and traditions brought to these shores by the English gentlemen who settled the earliest tidewater colonies as well as the later influx of Scots-Irish immigrants (the Celtic-Southern thesis) who settled the Piedmont and mountain regions. This chapter also notes that part of the South's peculiarity derives from the cultural conflicts inherent between these two groups. Chapters 2 through 5 analyze selected short fiction from each of these respective authors and offer readings that explain how the grotesque relates to the drastic social changes taking place over the half-century represented by these authors. Chapter 6 offers an evaluation of how and why such traditions might be preserved. The overall argument suggests that traditional Southern culture grows out of four foundations, i. e., devotion to one's community, devotion to one's family, devotion to God, and love of place. As increasing modernization and homogenization impact the South, these cultural foundations have been systematically replaced by unsatisfactory or confusing substitutes, thereby generating something arguably grotesque. Through this exchange, the grotesque has moved from the observably physical, as shown in the earlier works discussed, to something internalized that is ultimately depicted through a kind of intellectual if not physical stasis, as shown through the later works.
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Santos, Nelma Aronia. "A voraz-cidade: procedimentos de construção do midiático na obra de Rubem Fonseca, com ênfase no grotesco." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/4508.
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Previous issue date: 2013-05-09The purpose of this study is to analyze the processes of the media discourse present in the works of Rubem Fonseca. Among these processes, emphasis will be placed on the aesthetics of the grotesque and the spectacular, present both in his printed works and in the language used in its inner workings. The text corpus researched here covers the following sample of short stories by Fonseca: Livro de ocorrências, Corações solitários, Relato de ocorrência, Dia dos namorados, Duzentos e vinte e cinco gramas, Nau Catrineta and A arte de andar nas ruas do Rio de Janeiro. This text corpus was published between 1963 and 1992. It was selected due to the fact that its production provides a kind of narrative of the consolidation of mass communications media in our country. The main theoretical references on which our research is based include Mikhail Bakhtin, Wolfgang Kayser and Muniz Sodré, notable scholars of the grotesque; Guy Debord, a scholar of the society of the spectacle; Patrick Charaudeau, who describes and analyzes media discourse and is staging and expression strategies; Rildo Cosson, a scholar of hybrid texts, above all those that involve Brazilian journalism; David le Breton, who studies contemproary culture from the perspective of the body; and Zygmunt Bauman, for insight into human coexistence in the urban space. Our methodological procedure consists of allusive bibliographical research on the state of the art in studies and Brazilian media. The primary result is intended to be an observation of the potential for exchange between the spheres of literature and more popular media forms. We also intend to contribute to research that tries to comprehend the processes of literary creation from an inter-semiotic perspective
O objetivo desta pesquisa é analisar os procedimentos do discurso midiático presentes na obra de Rubem Fonseca. Dentre tais procedimentos, dar-se-á ênfase a estética do grotesco e do espetacular presentes tanto na mídia impressa, quanto na linguagem utilizada nos seus bastidores. O corpus da pesquisa compreende o seguinte recorte de contos fonsequianos: Livro de ocorrências, Corações solitários, Relato de ocorrência, Dia dos namorados, Duzentos e vinte e cinco gramas, Nau Catrineta e A arte de andar nas ruas do Rio de Janeiro. Trata-se de um corpus publicado entre 1963 e 1992. Sua seleção deve-se ao fato de sua produção ser concomitante com a consolidação dos meios de comunicação de massa em nosso país. Os principais referenciais teóricos sobre os quais nossa pesquisa está amparada contemplam Mikhail Bakhtin, Wolfgang Kayser, e Muniz Sodré, notórios estudiosos do grotesco; Guy Debord, estudioso da sociedade do espetáculo, Patrick Charaudeau que descreve e analisa as especificidades do discurso midiático e suas estratégias de encenação e enunciação; Rildo Cosson, estudioso dos textos híbridos, sobretudo daqueles que envolvem a Literatura e o jornalismo Brasileiro, David Le Breton, que estuda a cultura contemporânea sob a perspectiva do corpo, e Zygmunt Bauman, para compreensão da convivência humana no espaço urbano. Nosso procedimento metodológico constitui-se de pesquisa bibliográfica alusiva ao estado da arte dos estudos e à mídia brasileira. Ambicionase como principal resultado o apontamento das relações de intercâmbio possíveis entre as esferas da literatura e àquelas das mídias mais populares. Pretendemos contribuir também com as pesquisas que buscam compreender os processos de criação literária numa perspectiva intersemiótica
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MATTOS, Carlos Eduardo de. "DEIXAI TODA ESPERANÇA VÓS QUE ENTRAIS: o Inferno na tradição dos apócrifos e sua recepção em textos medievais e contemporâneos." Universidade Metodista de Sao Paulo, 2017. http://tede.metodista.br/jspui/handle/tede/1651.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
The research that follows seeks to present a mapping of a tradition developed over many centuries in the apocalyptic writings of Christianity: The accounts of travel description to the Other-World, more specifically, to Hell. Initially we tried to draw a line starting from the origins of this tradition, in classical Greek texts, through the Jewish Apocalypse of the Second Temple, through Primitive Christianity and making references to some works of the Middle Ages, in order to demonstrate, once more, that the importance of the theme made him gain breath in this period too. We highlight some important concepts such as the apocalyptic genre and some striking features of the reports of journeys of hell. We define some theoretical bases that are relevant to all research, such as the importance they have for a significant study of the formation of the religious imaginary of Primitive Christianity, from sources such as apocryphal writings. In a second moment, we turn to the analysis of one of the primitive sources in which, in the second century of Christianity, reports of a description of Hell appeared in a guided journey in which condemned sinners and their feathers were described: The Apocryphal Acts of the Apostle Philip. Finally, we analyze two contemporary sources in which, we argue, there was reception of the theme of the journeys to Hell and in which are laid common characteristics in relation to continuity and rupture with the oldest writings, revealing the importance of the theme for crossing centuries of history of the Christianity, being assumed, reread and re-signified by the most diverse readers to the present day.
A seguinte pesquisa busca apresentar um mapeamento de uma tradição desenvolvida ao longo de muitos séculos nos escritos apocalípticos do Cristianismo: Os relatos de descrição de viagens ao Além-Mundo, mais especificamente, ao Inferno. Inicialmente procuramos traçar uma linha que se iniciasse nas origens dessa tradição, em textos clássicos gregos, passando pela Apocalíptica Judaica do Segundo Templo, pelo Cristianismo Primitivo e fazendo referências a algumas obras da Idade Média, a fim de demonstrar, mais uma vez, a importância do tema e como o mesmo ganha fôlego também nesse período. Destacamos alguns conceitos importantes como o de gênero apocalíptico e algumas características marcantes dos relatos de viagens ao inferno. Definimos algumas bases teóricas relevantes a toda a pesquisa, como por exemplo, a importância que têm, para um estudo significativo da formação do imaginário religioso do Cristianismo Primitivo, de fontes como os escritos apócrifos. Num segundo momento, passamos à análise de uma das fontes primitivas na qual, já no segundo século do Cristianismo, surgiram relatos de uma descrição do Inferno em uma jornada guiada em que pecadores condenados e suas penas foram descritas: Os Atos Apócrifos do Apóstolo Felipe. Por fim, analisamos duas fontes contemporâneas em que, defendemos, houve recepção do tema das viagens ao Inferno e nas quais estão postas características comuns em relação de continuidade e ruptura com os escritos mais antigos, revelando a importância do tema por atravessar séculos de história do Cristianismo, sendo assumido, relido e ressignificado por leitores, os mais diversos até os dias de hoje.
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Heyns, Michiel. "Elemente van die groteske realisme en karnavaleske in Foxtrot van die vleiseters deur Eben Venter." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1860.
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Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2006.In this thesis I explore the possibility of reading Foxtrot van die vleiseters by Eben Venter through the philosophy of the carnivalesque and grotesque realism, as put forward by the Russian language philosopher, Mikhail Bakhtin. An overview of the theory of grotesque realism is given in chapter 1. In chapter 2 some of the main aspects of the apartheidsregime are discussed, after which the most important principles of grotesque realism are applied to the novel. A chapter is devoted to each of the following broad categories: the distinction between a high, official order and a low, unofficial order and the consequences when the official order is lifted; the images of the grotesque body; and lastly, the culture of laughter and celebration. The salient points will be gathered together in the conclusion.