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Journal articles on the topic 'Grotesque'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Daly, James Oliver. "Antonin Artaud and the grotesque." Ephemera: Revista do Programa de Pós-Graduação em Artes Cênicas da Universidade Federal de Ouro Preto 2, no. 3 (2019): 55–72. http://dx.doi.org/10.70446/ephemera.v2i3.4021.

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Grotesque performatives (or ways of performing grotesquely) have not been the object of close study in neither general studies of the grotesque nor in Performance Studies. My doctoral study (in progress)2 centres around an inquiry into practice of gestural and vocal hybridity and excess in embodied performance. Non-compatible hybridity – where two or more things sit together unfit and in contrast – contributes to the grotesque, as does excess. In this article, I test the presence and extent of hybridity and excess as constitutive qualities of the grotesque in Artaud’s own embodied performance,

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2

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

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3

Mello, Júlia Almeida de. "Revisitando o grotesco: O indefinível como transgressão na arte." Todas as Artes Revista Luso-Brasileira de Artes e Cultura 3, no. 2 (2020): 55–70. http://dx.doi.org/10.21747/21843805/tav3n2a4.

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This article presents an analysis of the grotesque as a transgressive element of artistic canons, norms and dominant discourses, considering different periods in the art history(ies). From its manifestation as an aesthetic category in descriptions of Domus Aurea in fifteenth century to the disordered bodies that confront categorizations in contemporary art, the grotesque is constantly in motion and although it cannot be classified it is immediately identified as provocative. Approaches linking Visual Culture to gender issues and political identities are made by emphasizing works that incorpora

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4

Stoicescu, Alexa. "Een labyrint voor onze tijd. Het metaverhaal van de metropool in Paul van Ostaijens grotesken." Neerlandica Wratislaviensia 28 (June 26, 2019): 203–17. http://dx.doi.org/10.19195/0860-0716.28.15.

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A labyrinth for our time: The meta-story of the metropolis in Paul van Ostaijen’s grotesques Apart from poetry, Paul van Ostaijen also wrote grotesque prose. The grotesque shows an inverted world that is equally logical as the real world but governed by different norms and an upside-down morality. It is alienating and familiar at the same time. The grotesque texts reflect on the grand narratives of modernism. In this article, I focus on the image of the metropolis in three stories: De kudde van Claire, De gehouden hotelsleutel and De verloren huissleutel. Firstly, I define the concept of the g

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5

Minaeva, Olga. "Writings from the Grotesque World: «Julio Jurenito» by Ilya Ehrenburg and «The Naked Year» by Boris Pilnyak." Izvestia of Smolensk State University, no. 4 (56) (January 26, 2022): 39–47. http://dx.doi.org/10.35785/2072-9464-2021-56-4-39-47.

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In the article we focus on grotesque nature of Ilya Ehrenburg’s and Boris Pilnyak’s creative prose, viz. «Julio Jurenito» and «The Naked Year». These nov- els were written almost at the same time. They share commonality in issues and style. We compare these novels to trace how the both writers use grotesques in their works about Russian Revolution. Despite both Ehrenburg and Pilnyak sharing one technique, they realize it in a quite different manner. Ilya Ehrenburg finds grotesque in every human being. Thus, the world, where people live, act and communi

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6

Donn, Katharina. "Migration and the Grotesque in Salman Rushdie’s The Satanic Verses." Anglia 131, no. 1 (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 grot

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7

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

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

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9

Wilson, Ann. "Canadian Grotesque." Canadian Theatre Review 89 (December 1996): 25–28. http://dx.doi.org/10.3138/ctr.89.005.

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Theatre audiences in England discovered Judith Thompson’s work in 1992 when the Gate Theatre presented The Crackwalker, directed by James Macdonald, from 5 March until 4 April. The production was praised by critics and led the Hampstead Theatre to produce Lion in the Streets in April of 1993 – a production which was acclaimed by critics – and the Battersea Arts Centre to produce Loose Change’s production of White Biting Dog – which received less critical attention than the two other productions – from 19 November to 23 December of the same year. These productions, by companies which are well-r

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10

Kanashina, Svetlana. "Representation of Grotesque Forms in English Internet Memes." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 3 (July 21, 2021): 55–64. http://dx.doi.org/10.37482/2687-1505-v103.

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This article looks at the grotesque as a stylistic device in English memes. The novelty of the research is determined by the fact that for the first time the grotesque is analysed in detail within the context of such a popular and understudied phenomenon of computer-mediated communication as the Internet meme. The relevance of the paper consists in the necessity of studying the grotesque in the Internet meme with the aim of developing and complementing a coherent theory of Internet memes. The aim of the paper is to examine the functioning of the grotesque in English Internet memes from the per

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Anam, Naufaludin, and Nurfathi Robi. "Happiness, Love, and Friendship as Grotesque Imagery in Oscar Wilde’s Fairy-Tales: Bakhtinian Perspective." Journal of Language and Literature 25, no. 1 (2025): 141–53. https://doi.org/10.24071/joll.v25i1.9416.

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Grotesque is an image or aesthetic form that presents a nuance of bizarre and peculiar. Commonly understood, that grotesque may posits negative connotation and horrible forms of symbol lies in works of arts, architecture, and even in literary works. Within literary works grotesque imagery may posit certain interpretation and value, depends on the lied perspective to see. Here in this research, researchers put a lens through children’s literatures or fairy-tales to investigate the images of grotesque which may indicating certain value. Three selected Oscar Wilde fairy tales were chosen as mater

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Abbas Fadel, Anmar, and Saleh Ahmed Al-Fahdawi. "Grotesque works in children's theater texts." Al-Academy, no. 109 (September 15, 2023): 75–86. http://dx.doi.org/10.35560/jcofarts1119.

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Theater is described as a form of human expression, and an important human necessity, through which the needs of individuals and societies are expressed, and an important mediator for the transfer of educational, social and intellectual dimensions. Hence, the importance of the child’s theater emerged as a guiding educational method that affects the child’s development educationally, emotionally, psychologically and socially through imaginative play that combines enjoyment and entertainment. The grotesque is one of the artistic methods that work to attract the attention of the recipient in thea

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13

D'Elia, Una Roman. "GROTESQUE PAINTING AND PAINTING AS GROTESQUE IN THE RENAISSANCE." Source: Notes in the History of Art 33, no. 2 (2014): 5–12. http://dx.doi.org/10.1086/sou.33.2.23611168.

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14

Laurušaitė, Laura. "Food as a Tool of Grotesque in Contemporary Lithuanian and Latvian Fiction." Colloquia 54 (January 7, 2025): 73–88. https://doi.org/10.51554/coll.24.54.05.

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The article explores the interplay between grotesque and gastropoetics in contemporary Lithuanian and Latvian literature, focusing on Latvian author Guntis Berelis’s short story “Es nekad nerunāju muļķības” (“I Have Never Talked Nonsense,” 2017) and Lithuanian author Ieva Dumbrytė’s novel Šaltienos bistro (Aspic Bistro, 2021). In both texts, grotesque imagery involving food, cannibalism, and bodily transformations plays a significant narrative role and encodes social and political critique. An identified subgenre of the grotesque—gastronomic grotesque (gastrogrotesque)—emerges as a previously

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15

MARIĆ, Antonela. "GROTESQUE ELEMENTS IN SELECTED CROATIAN AND ITALIAN DRAMAS FROM EARLY 20TH CENTURY. INTERPRETATION AND INTERTEXTUALITY." Lingua Montenegrina 21, no. 1 (2018): 243–61. https://doi.org/10.46584/lm.v21i1.627.

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The author of this paper considers intertextual elements and interprets the grotesque features, codes and methods typical for the group of authors commonly referred to as the Italian Grotesque theatre writers. The analysis is limited to the period of approximately first three decades of the 20th century and is particularly concerned with similarities of features perceived as grotesque between the said Italian group and the Croatian writers of the same period. Some of the plays are grotesque in structure, making grotesque its intrinsic value. In other plays, grotesque is manifested through effe

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16

Yu, Ruobin. "The Grotesque Body in Pat Barkers Tobys Room." Communications in Humanities Research 18, no. 1 (2023): 181–87. http://dx.doi.org/10.54254/2753-7064/18/20231155.

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In Pat Barkers 2012 novel Tobys Room, numerous portraits of grotesque bodies are foundfrom the pregnant mother and the deformed fetus, a dead mans shrunken penis on the dissection table, to the disfigured faces of the soldiers who fought in the First World Warthese grotesque images are closely related and logically intertwined in revealing the characters secret mindset and inner struggles, as well as foreshadowing their fate, arousing the readers a mixed feeling of sympathy and great horror. Relying mainly on Bakhtins and Clarks notions on the grotesque body, this study analyzes the implicatio

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17

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

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

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18

Kim, Jun-hee. "A Study on the Grotesque Features Represented in the ‘Fox Sister’ Folktale." Research of the Korean Classic 57 (May 31, 2022): 431–57. http://dx.doi.org/10.20516/classic.2022.57.431.

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This study investigates the “inconvenience” and “uncertainty” of the Fox Sister folktale through the concept of “the grotesque.” Beyond the visual grotesque of a specific scene, I tried to examine the grotesque in the mere existence of the fox sister and the grotesque that occurs in the tale itself. First, the parents’ wish for a daughter makes things coexist that cannot coexist, given that it is already a wish that defies the society in the story and the “common sense” of the transmitters. The parents’ wish for a daughter eventually becomes a curse that ruins the family, resulting in a confli

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19

Remy-Handfield, Gabriel. "The Aesthetic of Grotesque in Lu Yang’s Delusional Mandala and Delusional World." Screen Bodies 7, no. 1 (2022): 111–27. http://dx.doi.org/10.3167/screen.2022.070107.

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This article explores the aesthetic of the grotesque in Lu Yang’s recent work Delusional Mandala (2015) and Delusional World (2020). I argue that the aesthetic of the grotesque envisioned in these two works becomes a radical tool for the artist’s deconstruction and dismantling of the socially and culturally sanctioned boundaries of corporeality and normativity. My approach to Lu Yang’s aesthetic of the grotesque is based on Sara Cohen Shabot’s theorization of grotesque philosophy and the grotesque body as well on the concept of faciality proposed by Deleuze and Guattari in A Thousand Plateaus

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20

Reisman, Mara. "Grotesque Spaces and Transformative Nature in Patrick McGrath’s The Grotesque." Journal of Modern Literature 48, no. 3 (2025): 131–48. https://doi.org/10.2979/jml.00088.

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Abstract: In Patrick McGrath’s novels, the gothic elements of transgression and decay create an essential framework for his characters who experience physical, mental, and moral breakdowns. In The Grotesque (1989), McGrath’s characters are also subject to grotesque forces, through which the boundaries between animal, human, and biological are transgressed. The narrative is grotesque as well. The genres that McGrath invokes and blends to create a grotesque narrative include the gothic, the grotesque, and a scientific narrative that highlights Charles Darwin’s ideas about evolution and natural s

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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 (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, trag

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22

Csicsery-Ronay, Istvan. "On the Grotesque in Science Fiction." Science Fiction Studies 29, Part 1 (2002): 71–99. https://doi.org/10.1525/sfs.29.1.0071.

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The “sense of wonder” traditionally attributed to sf is closely allied to the grotesque, the aesthetic of representing objects interfused and combined in an unnatural fashion. In the postmodern period, the grotesque becomes a kind of norm, since science is able to detect and synthesize an unprecedented number of things never before seen in nature, The science-fictional grotesque begins from this premise, embodying in its central repertoire of anomalies a host of monsters, cyborgs, and aliens. The sf grotesque usually involves a descent from intellectual apprehension of anomalies into relentles

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Weber, Julien. "Aux frontières de l'expérience esthétique: le grotesque baudelairien." Nottingham French Studies 58, no. 2 (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

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

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Aubrey Beardsley made major contributions to the art of the grotesque. Initially, he probably learned the theory as well as the technique of creating designs in this mode from the work of medieval European artists. His own development of the grotesque, however, rests on his treatment of subject matter, a treatment which was influenced by Japanese woodblock artists. The double viewpoint, both expressing an author's point of view and critiquing one's own society, is seen most frequently in humorous grotesque Japanese woodblock designs, which were collected, exhibited, and reproduced in England d

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Williams, Sebastian A. "The Gothic Grotesque." Journal of Literary & Cultural Disability Studies 13, no. 4 (2019): 461–76. http://dx.doi.org/10.3828/jlcds.2019.34.

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26

Kaplan, Leslie. "Le stade grotesque." Raison présente N° 221, no. 1 (2022): 95–98. http://dx.doi.org/10.3917/rpre.221.0095.

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27

Boutieri, Charis. "The Democratic Grotesque." Cambridge Journal of Anthropology 39, no. 2 (2021): 59–77. http://dx.doi.org/10.3167/cja.2021.390205.

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How do we understand the presence of the grotesque in negotiations of democratic life after a revolution? At the peak of procedural democratic consolidation, carnivalesque revelries in Tunisia became the object of public aporia and repugnance. The dissimilar interpretations of these revelries across generations evince an agonistic process of prizing open both the parameters of nationhood and democratic ideals within existing social relations. The concept of the ‘democratic grotesque’ captures the sensorial and affective ways Tunisian citizens negotiate the affordances and limitations of democr

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28

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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Balkun, Mary McAleer. "The American Grotesque." Literature Compass 6, no. 4 (2009): 824–41. http://dx.doi.org/10.1111/j.1741-4113.2009.00644.x.

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30

Whittaker, Gary. "A grotesque influenza." Trends in Microbiology 5, no. 7 (1997): 266. http://dx.doi.org/10.1016/s0966-842x(97)88835-x.

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31

Schechter, Madeleine. "Defining the Grotesque." International Journal of the Humanities: Annual Review 3, no. 6 (2007): 125–32. http://dx.doi.org/10.18848/1447-9508/cgp/v05i06/42153.

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32

Starnawski, Bartłomiej. "Grotesque Possible Worlds." Tekstualia 1, no. 1 (2013): 325–39. http://dx.doi.org/10.5604/01.3001.0013.6154.

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The author of the articles shows that the grotesque is one of the most interesting ways of diagnosing changes and crisis in the anthroposphere (as a continuation of thinking about the subject from the middle of the seventeenth century through to postmodernity). According to Thomas Mann, the grotesque is one the most active notions in contemporary art. Its productivity results from the subject’s tendency to self-fulﬁlment, self-cognition, and self-deﬁnition; it is an independent vision and position in the “me – the world”, “me – community” relations. The grotesque is a strongly philosophical pr

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33

Fowler, Heather. "The Beautiful Grotesque." American Book Review 33, no. 5 (2012): 16. http://dx.doi.org/10.1353/abr.2012.0130.

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Waters, Alyson. "Introduction: Hungarian Grotesque." Sites: The Journal of Twentieth-Century/Contemporary French Studies revue d'études français 5, no. 2 (2001): 445. http://dx.doi.org/10.1080/10260210108456092.

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Brown, Jeffrey A. "Class and Feminine Excess: The Strange Case of Anna Nicole Smith." Feminist Review 81, no. 1 (2005): 74–94. http://dx.doi.org/10.1057/palgrave.fr.9400240.

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Cultural concerns about race, class and beauty often intersect with mass-mediated depictions of the female body. Drawing on Foucault's theories about disciplining the public body, this article examines the changing public perception of Anna Nicole Smith from an ideal beauty to a white trash stereotype. This analysis argues that Smith's very public weight gains, her outrageous behaviour and her legal battle for her late husband's fortune is presented in the media as an example of inappropriate conduct for a white beauty ideal and thus is repositioned as white trash culture. Central to this repo

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

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

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С.О., Тіхоненко. "ФУНКЦІЇ ГРОТЕСКУ В РОМАНІ ДЖ. СВІФТА «МАНДРИ ГУЛЛІВЕРА» (З ОПЕРТЯМ НА ТЕКСТ ТРЕТЬОЇ ЧАСТИНИ)". Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 2, № 86 (2018): 212–27. https://doi.org/10.5281/zenodo.1146280.

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The article deals with researching the functions and specific features of the grotesque shapes in the novel«Gulliver’s Travels» by Jonathan Swift, on the basis of the third part of the novel, «A Voyage to Laputa, Balnibarbi, Luggnagg, Glubbdubdrib and Japa». The purpose of the article is to analyze the world of the grotesque, described in the text, and reveal the role of the grotesque as a key issue in spotting the author’s attitudes and his philosophical views. The scientists, who studied and developed the theory of grotesque (M. Bakhtin, Iu. Mann, V. Keise

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Kasperski, Edward. "IN THE GROTESQUE MELTING POT. ON THE LITERARY WRITING OF MYKOLA HOHOL (GOGOL) – FROM THE PERSPECTIVE OF THE 21ST CENTURY." Polish Studies of Kyiv, no. 40 (2024): 57–90. https://doi.org/10.17721/psk.2024.40.57-90.

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The article analyzes Mykola Hohol’s (Gogol’s) works with respect to the category of the grotesque. Identifying a broad range of literary contexts for Gogol’s writing (Franz Kafka, Jaroslav Hašek, Victor Hugo, Edgar Allan Poe etc.), it argues that he gave a unique shape to the grotesque and used it flexibly to represent the Russian reality. The writer not only caricatured his heroes, but also showed a positive but hidden side of the world he lived in. Thanks to this, Hohol became an important inspiration for later authors who employed the category of the grotesque in their works. The literary b

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Brandão, Geysa Russielly Campelo, and Paula Fabrisia Sá. "Sombras do grotesco: violência e horror em O Senhor das Moscas, de William Golding." Revista Criação & Crítica, no. 39 (November 20, 2024): 282–315. http://dx.doi.org/10.11606/issn.1984-1124.i39p282-315.

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This paper article to analyze the representation of the grotesque in The Lord of the Flies, by William Golding, since this work represents, through the presence of shocking expressions and plot, situations of conflict between conventional social laws and the creation of a new world, a familiar but strange one. Thus, first we are going to show the trajectory of this grotesque as a concept, this would take in to consideration the changes and variations and its meaning through the ages. In the second moment, we will discuss the grotesque world in the work under study, exploring how the rupture of

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Küçük, İrem. "A Reading on the Intervention of the Grotesque Body in Urban Space: Box Man." Tasarim + Kuram 20, no. 43 (2024): 252–68. https://doi.org/10.59215/tasarimkuram.dtj441.

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This study explores the spatial production of the grotesque body in urban space, questioning its temporary, provocative and unusual being. It analyzes how it intervenes in space by challenging everyday routines and social forms, making other ways of life visible, triggering change and opening space for creative formations. It constructs interpretative research by evaluating the potential for spatial experimentation offered by the presence and creative agency of the grotesque body in urban space. It offers a new perspective to the existing literature by emphasizing that the grotesque body shoul

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Froehlich, Caleb. "Peter Howson and the Language of Salvation." Religion and the Arts 23, no. 1-2 (2019): 76–99. http://dx.doi.org/10.1163/15685292-02301004.

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Abstract Since his conversion to Christianity in 2001, Peter Howson’s religious paintings have generally been met with critical incomprehension. A case in point was his 2012 exhibition Redemption, where reviewers suggested an irreconcilable incongruity between its grotesque imagery and redemption, the exhibition’s title. In response to this critical bewilderment, the present article argues for the appropriateness of the grotesque in Howson’s depictions of salvation by examining the significance of his conversion experience and providing a more sophisticated and developed analysis of the grotes

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Taborda, Jeferson Camargo. "Nem loucura, nem burrice: algumas pistas sobre o dispositivo grotesco nas políticas de extrema-direita." Profanações 12 (June 23, 2025): 423–41. https://doi.org/10.24302/prof.v12.5909.

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This article investigates some clues about the grotesque device, a strategy that has become common in current far-right politics. In Foucault's conception, the device refers to the complex and heterogeneous mechanisms articulated to certain games of power and knowledge. The notion of grotesque is also derived from the studies of this author and would have three characteristics: speeches that make people laugh, the will to truth and the politics of death. The object of the investigation is some news stories about the political figures of Jair Bolsonaro, Javier Milei and Donald Trump. The study

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Yi, Qiuhong, and Hee Hyun Kim. "Research on the Nature of grotesque and 'pan-Grotesque' phenomenon in Visual Advertising Art -Centered on grotesque image research-." Journal of Digital Art Engineering and Multimedia 10, no. 1 (2023): 1–14. http://dx.doi.org/10.29056/jdaem.2023.03.01.

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Halfmann, Drew, and Michael Young. "War Pictures: The Grotesque as a Mobilizing Tactic." Mobilization: An International Quarterly 15, no. 1 (2010): 1–24. http://dx.doi.org/10.17813/maiq.15.1.y561981851788672.

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This article examines the uses and effects of grotesque imagery in the antislavery and antiabortion movements and considers implications for theories of movement framing and mobilization. Grotesque images can produce strong emotions that may increase the resonance of movement frames and provide physiological "evidence" of immorality. Such images may also produce confusion and ambiguity that deeply engages readers or viewers and potentially breaks frames. But grotesque images can also be counterproductive for activists. They can cause readers or viewers to turn away in disgust, and their use ca

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Vasilev, Mikhail F. "Fear, disgust, laughter. Forms of grotesque in D. Wong’s novel." Vestnik of Saint Petersburg University. Language and Literature 21, no. 1 (2024): 4–19. http://dx.doi.org/10.21638/spbu09.2024.101.

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In contemporary scientific paradigm, horror literature is often interpreted on the basis of disgust and/or abjection, mainly due to the influential works by J. Kristeva and N. Carroll, inspired by M. Douglas. However, phenomenological approach as well as cognitive studies clearly show the fundamental difference between fear and disgust. The three theorists’ common understanding of disgust as a categorical anomaly has much in common with a wider concept of grotesque. Drawing on the works by M. M. Bakhtin, A. Kolnai and S. Asma it is possible to demonstrate how grotesque images can induce not on

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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 (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

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Zwierzchowska, Katarzyna. "Twórczość Romana Jaworskiego początkiem nurtu parodystyczno-groteskowego w literaturze polskiej." Acta Universitatis Lodziensis. Folia Litteraria Polonica 14, no. 2 (2011): 131–42. https://doi.org/10.18778/1505-9057.14.29.

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Many researchers on the 20th century literature and art locate Roman Jaworski‘s artistic work on the border of grotesque achievements. The author of Historia maniaków, as the only writer of the Young Poland, with full awareness created and materialised his own theory of this category. In the work of writers preceding his artistic work one can see features of the grotesque, which was expressed in every epoch. However, it was not enriched before the 20th century. Even today it is difficult to define it clearly. The author of Historia maniaków remained for many years in the shadow of the future l

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Yu, Xiang. "Excess of Sensuality: Poetics of Grotesque in Plays of Nina Sadur." Nauchnyi dialog 13, no. 10 (2024): 292–309. https://doi.org/10.24224/2227-1295-2024-13-10-292-309.

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This article explores the poetics of the grotesque in the works of Nina Sadur, focusing on her dramatic collections “Chudnaya Baba” [Strange Woman] and “Obmorok” [Fainting], alongside a series of interviews and her writings on creativity. It is noted that the poetics of the grotesque aligns with the writer’s creative objective — stimulating individual sensuality and enhancing the aesthetic capacity to perceive the world and life through dramatic art. The analysis delves into rich grotesque imagery that disrupts cognitive inertia and reveals the hidden existence of multiple worlds. The symbolic

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Tink, James. "Horrible Imaginings: Jan Kott, the Grotesque, and “Macbeth, Macbeth”." Multicultural Shakespeare: Translation, Appropriation and Performance 24, no. 39 (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 grotesqu

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Kim, Yea-Gyung. "Frankenstein, Sublime and grotesque." Society Of Korean Language And Literature 62 (September 30, 2018): 401–34. http://dx.doi.org/10.15711/wr.62.0.13.

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