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Journal articles on the topic 'Grotesque in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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

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11

Klinge, Markus. "THE GROTESQUE IN “AREOPAGITICA”." Milton Studies 45 (January 1, 2006): 82–128. http://dx.doi.org/10.2307/26395845.

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12

Ditner, Tessa. "London and the Grotesque." World Literature Today 86, no. 3 (2012): 24–27. http://dx.doi.org/10.1353/wlt.2012.0058.

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13

Jarzębski, Jerzy. "Gombrowicz and the Grotesque." Russian Literature 62, no. 4 (November 2007): 441–52. http://dx.doi.org/10.1016/j.ruslit.2007.10.006.

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14

Kaneeva, Anna, Sofia Minasyan, and Tatyana Bagdasaryan. "Experience in using information technologies in teaching foreign literature." E3S Web of Conferences 273 (2021): 12012. http://dx.doi.org/10.1051/e3sconf/202127312012.

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The article deals with the features of using information technologies in teaching modern foreign literature to students of various training areas and specialties including future personnel of the agro-industrial complex. The timeliness of this strategy is due to the fact that in the twentieth century there was a general tendency of Western art to rethink traditional approaches and norms in creativity. Russian youth, brought up mostly on the traditions of critical realism in Russian literature, is not always ready for an adequate perception of the latest techniques of the author's mask, the grotesque principle of modeling artistic reality. It is also not ready for the grotesque principle of modeling artistic reality, and stage play in works, finally, the shock-grotesque fullness, in some cases leading to conflicts up to the confrontation of civilizations (the events surrounding the French satirical weekly Charlie Hebdo ("Charlie's Weekly"). This problem is important today because it is aimed at eliminating this gap in education. The article presents personal experience of the authors in the priorities of the choice of teaching technologies in this discipline. The effectiveness of using social networks to discuss literary works is shown.

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15

Hajo, Suhair Fuaad. "GROTESQUE COMPONENTS IN CHARLES DICKENS’ TO BE TAKEN WITH A GRAIN OF SALT AND MARY ELIZABETH BRADDON’S EVELINE’S VISITANT." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 7, no. 1 (June 28, 2023): 61–71. http://dx.doi.org/10.30743/ll.v7i1.6941.

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This paper attempts to define the grotesque and its primary literary features before examining the grotesque components in two Victorian authors' works with the goal of separating their approaches to the grotesque based on gender. The most well-known novelist of the Victorian era, Charles Dickens will be one of the authors covered in this paper through his story To be Taken with a Grain of Salt, and the other one is Mary Elizabeth Braddon’s story Eveline’s Visitant. Dickens and Braddon particularly make use of the grotesque elements to convey their ideas and ideals through satire, comedy, tragedy, suspense, and a sense of fear, gloom, and obscurity. The research results show that both tales can be regarded as significant Victorian grotesque literature since they share, in various ways, elements of the grotesque notion. The real meaning of the grotesque is only exposed by itself-contradictory nature with the opposite, which is in this sense the ideal. Both stories are based on the main contrast between the spiritual and material worlds. They attempt to persuade us that there is yet another mysterious force that, despite the efforts to conceal it in the physical world, it exposes human wrongdoing. Thus, abnormal human beings, ghostly figures, and terrifying events will be detected through which grotesque elements are found.

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Guerlac, Suzanne, and Geoffrey Galt Harpham. "Delights of Grotesque and Sublime." Diacritics 15, no. 3 (1985): 46. http://dx.doi.org/10.2307/464622.

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17

Weber, Julien. "Aux frontières de l'expérience esthétique: le grotesque baudelairien." Nottingham French Studies 58, no. 2 (July 2019): 237–48. http://dx.doi.org/10.3366/nfs.2019.0251.

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This article is about the grotesque in Baudelaire. While Baudelaire's famous essay on laughter plays an important role in contemporary theories of grotesque aesthetics, his own poetic production is often left aside. In this article, I discuss how the grotesque manifests itself in works by Baudelaire that seem a priori irrelevant because of their ostensible use of ‘comique significatif’, a sort of antithesis of the grotesque. Through a discussion of Pauvre Belgique! And ‘Le Chien et le Flacon’, I argue that the baudelairian grotesque most powerfully intervenes in the mode of a distortion of the intended meaning, which leads me to distinguish its reading from a properly ‘aesthetic’ experience.

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18

Daham, Ghada. "The Affinity between the Grotesque and Naturalism in the Works of Stephen Crane and Frank Norris." International Journal of Arabic-English Studies 12, no. 1 (January 1, 2011): 37–50. http://dx.doi.org/10.33806/ijaes2000.12.1.3.

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When nineteenth century Naturalism emphasized the grotesque and sordid side of life as one of its characteristics, many critics and readers strongly objected to this presentation, wondering why anyone would wish to expose this unattractive phenomenon. What they may not have realized was that the grotesque was an integral part of the movement—one that could not be ignored or falsely beautified. For Stephen Crane and Frank Norris, two American naturalists of the fin-de-siècle, the grotesque became an integral part of their works, both as a result of the new subject matter which they attacked and as an attempt to achieve their didactic purpose of drawing the attention of the refined genteel readers, who preferred to ignore anything distasteful in literature, to the illusive concepts of their age. This article discusses the way the grotesque becomes a tool in the hands of Norris and Crane as they deliberately apply it to their writings in order to portray the reality of human nature as it really exists, rather than the grotesque merely existing as an element of this dark and pessimistic movement..

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19

Kress, Helga. "The Culture of the Grotesque in Old Icelandic literature: The Saga of the Sworn Brothers." Scandinavian-Canadian Studies 26 (December 1, 2019): 70–86. http://dx.doi.org/10.29173/scancan163.

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ABSTRACT: According to scholarly consensus on the development of Old Icelandic literature, The Saga of the Sworn Brothers (Fóstbræðra saga) is an example of the earliest sagas. Such archaic sagas can be distinguished by their repetitious and fragmented or episodic narrations; they are negatively characterized by authorial digressions. Yet in the case of The Saga of the Sworn Brothers the digressions are actually key to understanding the saga itself. Full of irony and grotesque bodily imagery, they represent a medieval society’s culture of the carnival or “grotesque realism.” They function as a parody of heroes and heroic ideals in hierarchical and patriarchal societies.

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Fernández, Ana González-Rivas. "Images of the Grotesque in “Berenice”: Visual Representations of Poe’s Tale from Nineteenth-Century Illustrations to Comic Books." Edgar Allan Poe Review 22, no. 1 (June 1, 2021): 59–78. http://dx.doi.org/10.5325/edgallpoerev.22.1.59.

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Abstract There is no doubt that “Berenice” is one of Poe’s most disturbing stories; much of this disturbance lies upon its “too horrible” subject—Poe’s words—in tune with the aesthetics of the grotesque that were present in certain publications of the nineteenth century. This grotesque component substantially increased the “graphicality” that characterizes Poe’s style by attracting the attention of many visual artists, ranging from some renowned illustrators who were Poe’s contemporaries, to some popular present-day comic-book artists, including Richard Corben, who provided two original interpretations of the tale. By drawing on a selection of visual renderings of Poe’s tale, this study looks at how the grotesque survives throughout all these adaptations, revealing the tale’s complexity, and even, in some cases, opening up new possible readings of the text. As will be shown, all these new works result in an interesting array of approaches to the woman protagonist; however, two perspectives have prevailed in the visual interpretation of “Berenice” since the nineteenth century: more idealistic or more grotesque. The final results will always depend on the artists’ personal perceptions, but they sometimes have also been determined by certain external circumstances—such as the Comics Code Authority, in the case of comic books.

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21

Arens, Sarah. "Killer Stories: 'Globalizing' the Grotesque in Alain Mabanckou's African Psycho and Leïla Slimani's Chanson douce." Irish Journal of French Studies 20, no. 1 (November 1, 2020): 143–72. http://dx.doi.org/10.7173/164913320830841692.

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Focusing on Leïla Slimani's Chanson douce (2016) and Alain Mabanckou's African Psycho (2003), this article traces a grotesque aesthetics that draws on other globally circulated texts, such as North American crime fiction, the literary trope of the serial killer and the 'evil mother', as well as on the recognition value of the city of Paris to appeal to a global, and in particular Western readership. While this new aesthetics is clearly informed by previous generations of African literature, such as the texts that have served to illustrate Achille Mbembe's articulation of the grotesque, the 'commandement' in Slimani and Mabanckou's novels is exercised by less tangible dynamics of transnational capitalism, class differentiation, gender stereotypes, and social marginalisation. The article considers the ways in which both Slimani and Mabanckou's narratives place a new importance on, and instrumentalize the role of the audience — as readership — by making them a central element of their representation of the grotesque. The writers' public performance of their identities as celebrity literary authors then serves to better understand how their re-configuration of the grotesque as a 'globalized' aesthetic extends to a re-thinking of what African literature in French and its authors are today on the world literary market.

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22

WALL, DAVID. "“A Chaos of Sin and Folly”: Art, Culture, and Carnival in Antebellum America." Journal of American Studies 42, no. 3 (December 2008): 515–35. http://dx.doi.org/10.1017/s0021875808005550.

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This essay looks at a variety of antebellum cultural productions and, utilizing Mikhail Bakhtin's notion of the grotesque body, identifies the ubiquitous use of the tropes of carnival as a principal discourse in the construction of bourgeois subjectivity and the staging of its “low Others.” The essay examines the visual arts, popular literature, minstrelsy, and the freak show, demonstrating that as the grotesque body of the social and racial low Other is rejected and excluded socially, it returns constantly and repeatedly in narrative form. Appearing as it does across the broad spread of antebellum cultural domains, the grotesque body emerges as an object not only of disgust but also of deep and profound desire.

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23

Coulthard, A. R., and Marshall Bruce Gentry. "Flannery O'Connor's Religion of the Grotesque." American Literature 59, no. 1 (March 1987): 146. http://dx.doi.org/10.2307/2926507.

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Hiddleston, James A. "Baudelaire et le temps du grotesque." Cahiers de l'Association internationale des études francaises 41, no. 1 (1989): 269–83. http://dx.doi.org/10.3406/caief.1989.1719.

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25

BULDUR, Cristina. "The Aesthetic Function of the Grotesque in E.T.A. Hoffmann’s „The Sandman”." ANALELE UNIVERSITĂȚII DIN CRAIOVA SERIA ȘTIINȚE FILOLOGICE LIMBI STRĂINE APLICATE 2024, no. 1 (July 19, 2024): 78–87. http://dx.doi.org/10.52744/aucsflsa.2024.01.09.

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This article explores the aesthetic intricacies of E.T.A. Hoffmann’s „The Sandman,” through the lenses of Kantian and Burkean philosophy, examining the profound implications of the grotesque within the narrative. Drawing from Kant’s notion of the sublime and Burke’s concepts of terror and delight, the article analyzes how Hoffmann masterfully intertwines elements of the grotesque to evoke a sense of astonishment and transcendence in the reader. Through an analysis of the protagonist Nathaniel’s tumultuous journey and his fraught relationship with the grotesque figure of Coppelius, we aim to elucidate how Hoffmann addresses themes of trauma, obsession, and existential dread. Furthermore, the article delves into the broader implications of the grotesque within Romantic literature, highlighting its role as a means of approaching complex psychological and societal phenomena. Ultimately, by unravelling the enigmatic connection between the narrator and Nathaniel, the article underscores how „The Sandman” emerges as a haunting enquiry into human frailty and the elusive nature of reality.

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Rowan Fannin, Jordan. "The ‘Strange Fruit’ of Flannery O’connor: Damning Monuments in Southern Literature and Southern History." Literature and Theology 35, no. 3 (July 1, 2021): 309–27. http://dx.doi.org/10.1093/litthe/frab018.

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Abstract This article revisits Flannery O’Connor’s racialised Christophany in her short story, ‘The Artificial N*’, in light of contemporary tensions over Confederate monuments in America. It explores her grotesque Christ (manifest in a suburban lawn jockey) that mysteriously acts as a means of grace and effects repentance and reconciliation. It teaches us how to read this racist statuary within the grotesque history of Confederate monuments in the American South. By further situating her story and this history in the matrix of art and community, materiality and memory, her work is able to provide a damning theological critique of the current debate around monument removal, without which we may be content to absent offending sculptures but leave untouched our unreconciled communities and sinful social order.

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Khoury, Dr Samah Saffuri. "THE GROTESQUE IN EVENTS OF PALESTINIAN VERY SHORT STORIES." International Journal Of Literature And Languages 4, no. 7 (July 1, 2024): 16–29. http://dx.doi.org/10.37547/ijll/volume04issue07-04.

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Objectives: In view of the changes that happened after Nakba which this reality wrought in all aspects of everyday life, we wish to see how this was reflected in very short stories and the extent to which writers used the grotesque in order to describe the unfortunate situation in which people found themselves, the resulting tendency to avoid the dominant ideologies and ideas and to attempt to promote marginal notions, for the purpose of stimulating the reader and restoring his equilibrium. Methods: In this study I will examine the use of grotesque events in very short stories written by Palestinians from three different sectors: Palestinians inside Israel, Palestinians in the West Bank and the Gaza Strip, and Palestinians abroad. Our aim is to discover how the distorted reality imposed by the wake of the War of 1948 affected the use of the grotesque as a literary technique for expressing this reality. The study consists of two parts. In the theoretical part we define the grotesque in literature and its use by writers, especially since the twentieth century. In the applied part we analyze very short Palestinian stories of three types and examine the use of the grotesque in them. Conclusions: I Found that The grotesque in the stories reflects the state of decline among human beings on every level, especially in the superficial and mechanical way people treat their fellow human beings, and the lack of empathy with the other.

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Tink, James. "Horrible Imaginings: Jan Kott, the Grotesque, and “Macbeth, Macbeth”." Multicultural Shakespeare: Translation, Appropriation and Performance 24, no. 39 (March 15, 2022): 71–85. http://dx.doi.org/10.18778/2083-8530.24.05.

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Throughout Jan Kott’s Shakespeare Our Contemporary, a keyword for the combination of philosophical, aesthetic and modern qualities in Shakespearean drama is “grotesque.” This term is also relevant to other influential studies of early-modern drama, notably Mikhail Bakhtin’s idea of the carnivalesque, as well as Wolfgang Kayser’s psychoanalytic criticism. Yet if this tradition of the Shakespearean grotesque has problematized an idea of the human and of humanist values in literature, can this also be understood in posthuman terms? This paper proposes a reading of Kott’s criticism of the grotesque to suggest where it indicates a potential interrogation of the human and posthuman in Shakespeare, especially at points where the ideas of the grotesque or absurdity indicate other ideas of causation, agency or affect, such as the “grand mechanism” It will then argue for the continuing relevance of Kott’s work by examining a recent work of Shakespearean adaptation as appropriation, the 2016 novel Macbeth, Macbeth by Ewan Fernie and Simon Palfrey which attempts a provocative and transgressive retelling of Macbeth that imagines a ‘sequel’ to the play that emphasises ideas of violence and ethics. The paper argues that this creative intervention should be best understood as a continuation of Kott’s idea of the grotesque in Shakespeare, but from the vantage point of the twenty-first century in which the grotesque can be understood as the modification or even disappearance of the human. Overall, it is intended to show how the reconsideration of the grotesque may elaborate questions of being and subjectivity in our contemporary moment just as Kott’s study reflected his position in the Cold War.

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Sazyek, Esra. "The Appearance of Grotesque Forms in Crystal Manor Tales." Folklore: Electronic Journal of Folklore 92 (April 2024): 145–66. http://dx.doi.org/10.7592/fejf2024.92.sazyek.

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The term “grotesque”, derived from the Italian word “grotto” for underground caves, refers to the ornamental art in which human, animal, and plant motifs are intertwined on the walls of Nero’s Golden House (Domus Aurea), discovered during the Roman excavations in 1480. However, over time, it has abandoned its decorative meaning and become a form of expression in art and literature, which is sometimes associated with the humorous and sometimes with the tragic. Adjectives such as “absurd”, “outrageous”, “strange”, and “incompatible” characterize the grotesque, which is intended to surprise, frighten, and disgust an audience as well as make them laugh. More importantly, the grotesque exists across the folk mythology and pre-classical works of many cultures as a significant means of expression that takes and presents the ugly and formless from within an exciting life. The present study examines Crystal Manor Tales through the lens of the grotesque theory, which Russian literary theorist Mikhail Bakhtin conceptualized in his work Rabelais and His World (2005 [1965])1 by associating it with medieval and Renaissance carnivals. Therefore, it has been determined that the tales aim to expose society’s flaws through the grotesque images they convey, as well as to establish a healthier order by excluding un-desirable behaviors.

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García, Alberto N. "‘Tell me, what are you becoming?’ Hannibal and the inescapable presence of the grotesque." Horror Studies 11, no. 1 (April 1, 2020): 83–100. http://dx.doi.org/10.1386/host_00012_1.

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Aesthetics philosopher Noël Carroll affirms that grotesque forms ‘are all violations of our standing categories or concepts; they are subversions of our common expectations of the natural and ontological order’. In breaking structural boundaries, consequently, the grotesque appears as deformations, aberrations, exaggerations, metamorphosis or startling portmanteaus. Given both its nightmarish texture and the evil ingenuity of Dr Lecter’s murders, Hannibal (NBC, 2013‐15) ploughs fertile ground in putting together conceptually distant and even contradictory elements. Hence, this article explores how the aesthetic and philosophical principles of the grotesque are a pervasive presence throughout the entire Hannibal TV series, defining its style, characters’ personality and metaphorical themes. Putting art theory in dialogue with the Hannibal televised text, this article demonstrates how the grotesque ‐ one of the key concepts in Gothic horror ‐ permeates every level of the show, from the opening credits to the protagonist’s inner transformation, converting the narrative into a comprehensive and cohesive liminal artistic ecosystem.

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Armstrong, James. "War, Pandemic, and Immortality: 1918 and the Drama of Eternal Life." Shaw 42, no. 2 (November 1, 2022): 460–79. http://dx.doi.org/10.5325/shaw.42.2.0460.

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ABSTRACT Bernard Shaw’s Back to Methuselah and Luigi Antonelli’s A Man Confronts Himself both had their origin in 1918, as mass slaughter from the Great War, an assault on traditional values by the Russian Revolution, and the devastation of the flu pandemic created a fascination with the extension of human life. Both dramatists juxtapose immortality with the grotesque business of ordinary life. However, Antonelli sounds a traditionalist warning, while Shaw looks forward to unleashed potential. Though Shaw’s work strives for philosophical purity, it forfeits the powerful tensions of the grotesque, which seeks to live life even in the midst of death.

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Ishenko, N. A., and A. R. Izmailov. "THE CONCEPT OF “GROTESQUE” AND ITS ISSUES IN LITERATURE STUDIES." "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism" 2, no. 6 (2021): 148–52. http://dx.doi.org/10.32838/2710-4656/2021.6-2/26.

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33

Crawford, Donald W., and Geoffrey Galt Harpham. "On the Grotesque: Strategies of Contradiction in Art and Literature." Journal of Aesthetic Education 20, no. 2 (1986): 119. http://dx.doi.org/10.2307/3332706.

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Ganim, John M. "Medieval Literature as Monster: The Grotesque before and after Bakhtin." Exemplaria 7, no. 1 (January 1995): 27–40. http://dx.doi.org/10.1179/exm.1995.7.1.27.

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Fingesten, Peter, and Geoffrey Galt Harpham. "On the Grotesque, Strategies of Contradiction in Art and Literature." Journal of Aesthetics and Art Criticism 43, no. 4 (1985): 412. http://dx.doi.org/10.2307/429906.

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Mavlonova, Ugiloy. "THE ROLE OF IRONY IN UZBEK LITERATURE." Scientific Reports of Bukhara State University 5, no. 3 (June 30, 2021): 50–59. http://dx.doi.org/10.52297/2181-1466/2021/5/3/5.

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Introduction. In world literature, a number of scientific investigations are being conducted on the classification of irony, its artistic manifestations, parody, paradox, grotesque and image. The role of irony and image in the structure of the work of art in the world literary science, in which the coverage and identification of the individual skills of the writer remains one of the urgent tasks. In modern Uzbek literature, there is an approach based on various research methods of world literature in the analysis of works of art, the coverage of the poetic skills of the author. Research methods. At the same time, as poetry and prose of the 1970s and 1980s emerged from ideological stereotypes, literary criticism seemed to lag behind.

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Grossman, Kathryn M. "Grotesque Desires in Hugois LiHomme qui rit." Nineteenth Century French Studies 33, no. 3 (2005): 371–84. http://dx.doi.org/10.1353/ncf.2005.0009.

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Krzychylkiewicz, Agata. "Towards the understanding of the modern grotesque." Journal of Literary Studies 19, no. 2 (June 2003): 205–28. http://dx.doi.org/10.1080/02564710308530325.

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Butter, Stella. "The Grotesque as a Comic Strategy of Subversion. Mapping the Crisis of Masculinity in Patrick McGrath's The Grotesque." Orbis Litterarum 62, no. 4 (August 2007): 336–52. http://dx.doi.org/10.1111/j.1600-0730.2007.00896.x.

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Davis, Christian R. "Protestant Missionaries in Literature." Renascence 72, no. 3 (2020): 125–46. http://dx.doi.org/10.5840/renascence202072310.

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Protestant cross-cultural missionaries have appeared as characters in literary narratives for some two hundred years. These narratives use three patterns. The first, showing godly missionaries supported by divine interventions, includes nonfiction accounts of missionaries like Hudson Taylor, Jim Elliot, and Don Richardson. The second pattern, showing missionaries as orthodox fanatics, includes Brontë’s Jane Eyre, Maugham’s “Rain,” and Kingsolver’s The Poisonwood Bible. The third pattern, common in postcolonial novels, portrays missionaries with ambivalence and humor and includes elements of Bakhtin’s “carnivalesque”: comic-grotesque imagery, obscenities, and feasts. This postcolonial missionary character represents not oppression but freedom and appears in such novels as Anand’s Untouchable, Achebe’s Things Fall Apart, and Vargas Llosa’s The Storyteller.

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Murphy, A. Mary. "Carrington: The Culturally Grotesque Hybrid Monster." a/b: Auto/Biography Studies 15, no. 1 (January 2000): 82–95. http://dx.doi.org/10.1080/08989575.2000.10815236.

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Seemann, Daphne Maria. "Abbas Khider's Refugee Narrative Ohrfeige : A System-Critical Intervention in the Continuing Human Rights and Solidarity Crisis." Modern Language Review 118, no. 4 (October 2023): 521–34. http://dx.doi.org/10.1353/mlr.2023.a907835.

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Abstract: This article investigates Abbas Khider's Ohrfeige as a system-critical intervention in the discourse of forced migration and the continuing human rights and solidarity crisis. It focuses on Khider's use of the grotesque to illustrate how, as refugee narrative, Ohrfeige is symptomatically situated within the constraints of a profit-driven world economic system which reduces literature, cultures, and people to commodities, while growing numbers of refugee populations are kept in inhospitable spaces of radicalized exclusion. The grotesque also serves Khider as a distancing technique to highlight the need to assume active responsibility beyond humanitarian compassion to confront the injustices of our time.

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Unsriana, Linda. "Fenomena Muen Shakai dalam Dua Novel Jepang." Humaniora 6, no. 4 (October 30, 2015): 525. http://dx.doi.org/10.21512/humaniora.v6i4.3381.

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On January 31, 2010 NHK (Nippon Hoso Kyokai) reported that 32 thousand people died each year alone and buried by the local government. The news immediately raised the interest of the problem called disconnected society (muen shakai), that Japanese people live in less socializing with relatives or neighbors. This research examined the muen shakai phenomenon in two Japanese novels, Grotesque and Umibe no Kafka. The approach used in this research is sociology of literature, that literature is not only artworks but also real representation of the social state. Descriptive analytical method was used through library study by describing and analyzing data to derive a conclusion. Research found that muen shakai exists in both Grotesque and Umibe no Kafka. The phenomenon is due to changes in Japan’s family system, from Ie to kaku-kazoku.

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Nushi, Admira. "A Comparative Overview Between the Duo Characters of Don Quixote Dela Mancha and the Rise and Fall of Comrade Zylo." World Journal of Education and Humanities 3, no. 1 (November 17, 2020): p19. http://dx.doi.org/10.22158/wjeh.v3n1p19.

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Cervantes’ influence in Albanian literature has not been studied much by Albanian literary criticism, but there is still a lot of interest in finding the traces that literature leaves in another literature, revealing the reciprocal communication between them. Cervantes’ influence with Don Quixote of La Mancha the work of the Albanian famous writer Dritëro Agolli, The Rise and Fall of Comrade Zylo, which conveys the actualization of two archetypal characters of the work of Cervantes in the Albanian literature. The study of Cervantes’ grotesque occupies an important role in the analyses the Albanian literary criticism makes to Quixote. This literary figure is closely related to the creativity of many Albanian writers in the years of dictatorship, and grotesque is considered as a direct influence of Cervantes. Don Quixote of La Mancha is not considered timeless only because the fact that after centuries it continues to be published, read, translated into new languages, but most importantly, we think that literature does not stop being influenced by Don Quixote of La Mancha.

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Roselezam Wan Yahya, Wan, Kamelia Talebian Sedehi, and Tay Lai Kit. "Gothic and Grotesque in James Hogg’s The Mysterious Bride." International Journal of Comparative Literature and Translation Studies 5, no. 1 (January 31, 2017): 27. http://dx.doi.org/10.7575/aiac.ijclts.v.5n.1p.27.

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The word Gothic refers back to the Dark ages in England. The Roman civilization was ruined by the Goths who were the barbarians at that time. As a result of the destruction of Roman Empire, the whole civilization underwent ignorance and darkness. Nowadays, the word Gothic has a variety of meaning and applications. Gothic novels portray exaggerated scenes, haunted castles, monsters and vampires. Scottish Gothic literature started after 1800. This paper will focus on one of the Scottish short stories by James Hogg, “The Mysterious Bride”. Some elements of Gothic and grotesque such as transgression of boundaries, suspense, uncanny and supernatural being are discussed within this short story in order to indicate Hogg’s main intention to use Gothic and grotesque elements in “The Mysterious Bride”. Among all the elemnts in Gothic and grotesque, this paper will mainly apply the presence of the opposites, uncanny, abnormal beings and supernatural events to James Hogg’s “The Mysterious Bride”.

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Baumgaertner, Jill Pelaez, and Anthony Di Renzo. "American Gargoyles: Flannery O'Connor and the Medieval Grotesque." American Literature 66, no. 3 (September 1994): 607. http://dx.doi.org/10.2307/2927615.

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Vázquez, Lydia. "Le monstre goyesque : figuration grotesque d'un imaginaire enfantin." Littérature 169, no. 1 (2013): 102. http://dx.doi.org/10.3917/litt.169.0102.

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Platt, Len. "“Eating Gull since Friday”—Estuary Grotesque, Seaside Noir." Critique: Studies in Contemporary Fiction 58, no. 1 (October 11, 2016): 1–11. http://dx.doi.org/10.1080/00111619.2016.1141389.

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Weese, Katherine. "Normalizing Freakery: Katherine Dunn'sGeek Loveand the Female Grotesque." Critique: Studies in Contemporary Fiction 41, no. 4 (January 2000): 349–64. http://dx.doi.org/10.1080/00111610009601597.

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Jain, Shruti. "Sexualized Racial-Colonial Grotesque in the Company Archives." Eighteenth-Century Fiction 35, no. 4 (October 1, 2023): 509–12. http://dx.doi.org/10.3138/ecf.35.4.509.

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Building on Michel Foucault and Ann Laura Stoler’s recontextualizing of the Foucauldian theory of sexuality, I propose the category of the “sexualized racial-colonial grotesque” to unravel the double of Warren Hastings’s crime of corruption that Edmund Burke indexes onto his construction of Munny Begum. Throughout the infamous impeachment proceedings, 1787–95, Burke is deeply disturbed by Hastings’ relationships with Indians from varied caste-gender-class categories. These relationships disrupt mobilities that are historically and socially permitted in Indian and British codes of conduct. The most unhinged example of Burke’s anxieties around the spilling over of private relationships into political decisions is Hastings’s relationship with Begum. Through this construction, Burke poses Begum’s “deviant” sexuality as generative to and of power.

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