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Reiter, Geoffrey. ""A dark poem" : Lovecraft and his Puritans /." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
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Heye, Kézia L'Engle de Figueiredo. "Weird fiction and the unholy glee fo H. P. Lovecraft." Florianópolis, SC, 2003. http://repositorio.ufsc.br/xmlui/handle/123456789/86573.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente.Made available in DSpace on 2012-10-21T08:21:02Z (GMT). No. of bitstreams: 1 193275.pdf: 328228 bytes, checksum: 1560ec68c3127a980c594f90b7c807c6 (MD5)
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Scotuzzi, Nathalia Sorgon [UNESP]. "Relances vertiginosos do desconhecido: a desolação da ciência em H. P. Lovecraft." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/150830.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Um dos elementos chave na obra de H. P. Lovecraft é a Ciência, que é representada de maneira verossímil frente à realidade empírica do momento histórico do autor. A Ciência, em diversos momentos, se torna a responsável por mover a trama, possibilitar as ações e justificar as descobertas extraordinárias dos personagens. Sua análise, portanto, permite um enriquecimento da discussão a respeito da obra do autor de modo geral. Realizando uma análise das implicações da Ciência dentro das tramas, a partir de questões espaciais e filosóficas, pretendemos contribuir para uma compreensão mais ampla do seu papel na obra de Lovecraft. Além das análises, buscamos delinear o perfil da crítica que o autor realiza à Ciência, e de que maneira ela é construída por meio de seus contos e novelas agrupados no conjunto conhecido como Cthulhu Mythos.
One of the key elements in H. P. Lovecraft‘s work is Science, which is represented in a verisimilar way to the empirical reality of the author‘s historic moment. Science is for several times the responsible for moving the plot, making the characters‘ actions possible and justifying their extraordinary discoveries. Therefore, its analysis allows an enrichment of the discussion regarding the author‘s work in a general way. Analyzing the implications of Science inside the plots as from spatial and philosophical matters, we intend to contribute with a broader comprehension of its role inside Lovecraft‘s work. Besides the analyses, we aim at outlining the profile of the criticisms the author makes to Science, and how they are built through his short stories and novellas in the group known as the Cthulhu Mythos.
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Scotuzzi, Nathalia Sorgon. "Relances vertiginosos do desconhecido : a desolação da ciência em H. P. Lovecraft /." Araraquara, 2017. http://hdl.handle.net/11449/150830.
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Orientador: Aparecido Donizete RossiBanca: Júlio César França Pereira
Banca: Álvaro Luiz Hattnher
Resumo: Um dos elementos chave na obra de H. P. Lovecraft é a Ciência, que é representada de maneira verossímil frente à realidade empírica do momento histórico do autor. A Ciência, em diversos momentos, se torna a responsável por mover a trama, possibilitar as ações e justificar as descobertas extraordinárias dos personagens. Sua análise, portanto, permite um enriquecimento da discussão a respeito da obra do autor de modo geral. Realizando uma análise das implicações da Ciência dentro das tramas, a partir de questões espaciais e filosóficas, pretendemos contribuir para uma compreensão mais ampla do seu papel na obra de Lovecraft. Além das análises, buscamos delinear o perfil da crítica que o autor realiza à Ciência, e de que maneira ela é construída por meio de seus contos e novelas agrupados no conjunto conhecido como Cthulhu Mythos.
Abstract: One of the key elements in H. P. Lovecraft's work is Science, which is represented in a verisimilar way to the empirical reality of the author's historic moment. Science is for several times the responsible for moving the plot, making the characters' actions possible and justifying their extraordinary discoveries. Therefore, its analysis allows an enrichment of the discussion regarding the author's work in a general way. Analyzing the implications of Science inside the plots as from spatial and philosophical matters, we intend to contribute with a broader comprehension of its role inside Lovecraft's work. Besides the analyses, we aim at outlining the profile of the criticisms the author makes to Science, and how they are built through his short stories and novellas in the group known as the Cthulhu Mythos.
Mestre
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Lima, Dulce Fabiana Mota. "Traduzindo horrores com H. P. Lovecraft (1890-1937) : aspectos afetivos e relação tradutoria." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269233.
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Orientador: Jo Anne Marie McCafrey Busnardo NetoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta dissertação apresenta um estudo de caso auto-reflexivo que denomino autoetnografia de tradução. Esse estudo visa a minha própria relação tradutória com um escritor norte-americano bastante representativo para a literatura de horror, Howard Philips Lovecraft (1890-1937). Para investigar essa relação, utilizo-me de uma metodologia de pesquisa qualitativa que combina dois instrumentos: histórias de vida e protocolos verbais (aos quais me refiro também como protocolos de tradução). Durante as análises dos dados coletados, eu verifico a aplicabilidade de certas teorias psicanalíticas: o neo-lacanianismo do teórico da escrita Mark Bracher (1999); o pós-lacanianismo de Julia Kristeva e suas noções de registro Semiótico e de abjeto; o conceito de relação tradutória amorosa (ou relação de amor) e a idéia de escrita singular da teórica brasileira de tradução Maria Paula Frota (2000); e o ¿Esquema Lacandemônico¿ do teórico norte-americano de tradução Douglas Robinson (2001). O foco da investigação é a visibilidade do tradutor. Faço uso também de teorias de recepção para compreender as implicações ¿ inclusive as implicações éticas ¿ de uma relação tradutória caracterizada por um amor infeliz e que é construída pelo apagamento de aspectos importantes do texto de partida
Abstract: This dissertation presents a self-reflexive case study which I will call an autoethnography of translation. The study describes my own relationship, as a translator, to the North American author H. P. Lovecraft (1890-1937), one of the most representative creations of the horror genre in literature. In order to investigate that relationship, I utilize a qualitative research methodology which combines two instruments: life histories and verbal protocols (which I also refer to as translation protocols). During the analysis of the data collected, I attempt to verify the applicability to translation processes of certain psychoanalytic theories: the neo-Lacanianism of the writing theorist Mark Bracher (1999); the post-Lacanianism of Julia Kristeva and her notions of the Semiotic Register and the abject; the concept of the translation love relationship (or love affair) and the idea of the singular in translation writing processes of the Brazilian translation theorist Maria Paula Frota (2000); and the ¿Lacandemonic Schema¿ of the North American theorist of translation Douglas Robinson (2001). The focus of the investigation is the translator¿s visibility. I also make use of theories of reception in order to understand the implications ¿ including ethical implications ¿ of a translation relationship characterized as unhappy love, and which is constructed through the erasure of important aspects of the source text
Mestrado
Tradução
Mestre em Linguística Aplicada
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Dutra, Daniel Iturvides. "O horror sobrenatural de H. P. Lovecraft : teoria e praxe estética do horror cósmico." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/128999.
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H.P. Lovecraft, em seus ensaios e cartas, nos oferece uma reflexão riquíssima sobre a narrativa de horror e como esta deve se expressar na literatura. O autor cunhou o termo Horror Cósmico para denominar sua teoria estética. Porém, mais do que ser uma teorização sobre o horror na literatura, o Horror Cósmico é uma teorização sobre como deve ser a narrativa que Lovecraft julga ser a ideal para as histórias que deseja contar. Nessa perspectiva, a análise de sua ficção, acompanhado dos conhecimentos adquiridos pela análise pormenorizada de seus ensaios e cartas sobre o tema, permitem ao leitor compreender melhor sua obra, chegando assim a uma interpretação aproximadamente correta de sua ficção. O objetivo deste trabalho, portanto, é compreender como suas teorizações se refletem em seus textos ficcionais. Os contos e respectivas transposições fílmicas selecionadas foram analisados sobre o prisma destas teorizações. Para alcançarmos esse objetivo primeiro analisamos os seus contos comparativamente com os textos não ficcionais, a fim de compreendermos a forma como o autor expressa o conceito de Horror Cósmico em sua prosa ficcional. Após a compreensão dos elementos teóricos de Lovecraft em sua ficção, analisamos as transposições fílmicas selecionadas sob esse mesmo prisma. Pesquisas bibliográficas foram realizadas com o objetivo de construir um referencial teórico para a abordagem proposta.H.P. Lovecraft, in his essays and letters, offers the reader powerful insights into the subject of horror and how it should be expressed in literature. The author coined the term Cosmic Fear to name his aesthetic theory. However, in addition to being a theory about horror in literature, Cosmic Fear is a theory about how the ideal horror story (as Lovecraft wishes to write it) should be. From this perspective, the analysis of Lovecraft´s fiction, accompanied by the knowledge acquired through a detailed analysis of his essays and letters on the subject, allows the reader to better understand his work, thus reaching an approximately correct interpretation of his fiction. The goal of our research, therefore, is to understand how Lovecraft´s aesthetic theory works in his fiction. The short stories, novels and the filmic transpositions we selected for this research were analyzed under the prism of these theories. To achieve this goal we analyzed his fiction by comparing it first to his non-fiction in order to understand the concept of Cosmic Fear in his fiction. After understanding Cosmic Fear in Lovecraft´s fiction, we analyzed the selected filmic transpositions under the same prism. Bibliographic references were used with the purpose of building a theoretical framework for the proposed approach.
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Dahlbäck, Joakim. "Cthulhu vaknar på vita duken : En jämförande analys av H.P. Lovecrafts The Call of Cthulhu och Andrew Lemans filmatisering av den." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-175450.
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Smith, Lacroix Louis-Pierre. "Mythologie de Lovecraft : contexte, prétexte, texte." Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25212/25212.pdf.
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Horth, Sophie. "Dire et montrer l'horreur : le sublime par l'ekphrasis au service du fantastique chez H.P. Lovecraft." Master's thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/26477.
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L’étude de l’œuvre de l’auteur fantastique américain H.P. Lovecraft a souvent été mise de côté dans les études littéraires, où on qualifiait son style d’excessif et maladroit. Celui-ci a alimenté beaucoup de débats sur l’appartenance de Lovecraft au genre fantastique en général, duquel on l’excluait, prétextant qu’il rompait la traditionnelle hésitation typiquement fantastique. Dans ce mémoire, nous souhaitons nous interroger sur le rôle que peut jouer l’écriture particulière de Lovecraft dans la construction d’un univers narratif cohérent, malgré la crise du signe à laquelle font face ses personnages. Nous observerons comment l’écriture de Lovecraft, grâce à son recours à l’ekphrasis, parvient à susciter le sublime, d’abord chez ses narrateurs, mais également transcender le récit pour atteindre le lecteur. Nous montrerons comment le sublime vécu par ses personnages parvient, grâce à une esthétique de la présence du surnaturel, à faire douter le lecteur sur sa propre réalité.
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Schnabel, William. "Les monstres familiers de H. P. Lovecraft : une analyse des images tératologiques dans la vie et l'oeuvre de H.P.Lovecraft." Toulouse 2, 1995. http://www.theses.fr/1995TOU20077.
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Notre recherche porte essentiellement sur les images teratologiques dans la fiction de h. P. Lovecraft. Cette etude tache de montrer les correspondances et les interferences qui existent entre sa vie et son oeuvre litteraire. Le monstre lovecraftien est le miroir qui reflete les aspects dysphoriques ou negatifs de sa vie. Les images monstrueuses sont filtrees, deformees, grossies ou condensees par les evenements qu'il a vecus, pour devenir enfin des metaphores obsessionnelles, personnalisees par la plume de l'ecrivain. Nous commencons notre etude par un examen du racisme lovecraftien. Nous nous appliquons a analyser les contenus racistes dans sa fiction, sa correspondance et ses essais. Ensuite nous abordons le theme des vampires lovecraftiens. Nous examinons les vampires demoniaques, les vampires humains morts-vivants, les vampires theriomorphes, la possession vampirique, la reincarnation vampirique et les vampires psychiques. Dans le troisieme chapitre nous voulons montrer que les personnages lovecraftiens sont les doubles de l'auteur, des facettes de son caractere. Nous analysons les themes de l'imago monstrueuse, du double maternel et paternel, de la maison onirique, de la nouvelle-angleterre et de la decadence. Dans le quatrieme chapitre nous etudions les doubles reveurs, les doubles metamorphiques, les doubles par possession, les doubles jumeaux et les doubles monstrueux. Nous terminons notre recherche par une analyse de l'espace monstrueux qui comprend les themes du labyrinthe, de l'escalier et de l'abimeThe present study focusses primarily on the teratological images in the life and fiction of h. P. Lovecraft. Our objective is to show the links between the two as well as the way in which the author's life intrudes in his art. Lovecraft's monsters function as a sort of mirror revealing the negative or dysphoric aspects of his life. Throughout his fiction, his images of monsters are filtered, deformed, enlarged and condensed as a result of his own personal experience, and eventually become obsessional metaphores, bearing the author's unique trademark. Our study begins with an investigation of lovecraft's racism, before concentrating on his use of vampires and the theme of the double. We conclude our research with an analysis of the author's use of space as an integral part of his teratological images
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Vanderlinden, Cedric. "Going beyond illustration of the Lovecraft novel at the mountains of madness." Thesis, Nelson Mandela Metropolitan University, 2013. http://hdl.handle.net/10948/d1020950.
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The research examines the relationship between the Sublime, the written works of H. P. Lovecraft, and the researcher’s production in the studio arts. It analyses how the Sublime is approached as a subject matter and principal objective within philosophical and artistic discourses, historically and within a contemporary paradigm. It also investigates the applicability of the Sublime to selected themes uncovered in H. P. Lovecraft’s work in general, and At the Mountains of Madness in particular. This is undertaken through an investigation of primary and secondary sources whose explorations and contextualization informs and supports the researcher’s practical visual studies. A reflective and critical analysis of this studio work is performed and included in the main body of the dissertation, from which a conclusion is drawn about the effectiveness of this approach. Specifically, the research explores the relevance of the Sublime both as a critical component of contemporary fine arts and as a fundamental element of the work of H. P. Lovecraft, At the Mountains of Madness in particular. In addition, the research’s practical component consists of a visual exploration of the intersection between the two. Furthermore, it represents an evaluation of this overlap in its effective translation across modes of expression, as interpreted through the medium of the researcher’s creative process.
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Kurtz, Gabriela Birnfeld. "O despertar de Cthulhu na cibercultura: as ressignificações do personagem de H. P. Lovecraft realizadas por fãs no facebook." Pontifícia Universidade Católica do Rio Grande do Sul, 2015. http://hdl.handle.net/10923/7076.
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Previous issue date: 2015The present work has as objective to comprehend fans’ appropriations and reframing (Jenkins, Hills, Jenson) of the character Cthulhu, Howard Phillips Lovecraft’s creation, in the context of cyberculture (Lévy, Manovich, Castells, Santaella). Lovecraft, born in Providence, United States, lived between 1890 and 1937, and wrote short stories and poems on the fantastic genre of literature. His creations survived time, being modified and reinterpreted in different entertainment spheres and, in cyberculture, appropriated by fans in large scale around the world. By the analysis of posts and conversations in the page “Cthulhu”, on Facebook, it was objectified to comprehend who is the fans’ Cthulhu. In addition, it was aimed to investigate what would the differences be between these reframings and Lovecraft’s short story, “The Call of Cthulhu”, in a context where the new media and the Social Network Websites amplify and facilitate content’s production methods and its propagation among the fandom. The methodologies chosen were the documental analysis and the conversation analysis in social media, being done together and later on related with the theoretical approaches chosen. Through the research, the character, before a terrible and irrational monster, gained from the fans personality, human traits, merged with memes and transcended its purpose beyond the original short story – destroying humanity -, becoming a socializing creature.
O presente trabalho tem por objetivo compreender as apropriações e ressignificações de fãs (Jenkins, Hills, Jenson) acerca do personagem Cthulhu, criação de Howard Phillips Lovecraft, no contexto da cibercultura (Lévy, Manovich, Castells, Santaella). Lovecraft, nascido em Providence, Estados Unidos, viveu entre 1890 e 1937, e escreveu contos e poemas do gênero da literatura fantástica. Suas criações sobreviveram ao tempo, sendo modificadas e reinterpretadas em diversas esferas do entretenimento e, na cibercultura, apropriadas pelos fãs em grande escala ao redor do mundo. Por meio da análise de postagens e conversações dentro da página “Cthulhu”, no Facebook, objetivou-se compreender quem é o Cthulhu dos fãs. Também, desejou-se investigar quais seriam as diferenças entre essas ressignificações para o conto de Lovecraft, “O Chamado de Cthulhu”, em um contexto onde as novas mídias e os Sites de Redes Sociais amplificam e facilitam as formas de produção e difusão de conteúdo entre o fandom. As metodologias escolhidas foram a análise documental e a análise de conversação em redes sociais, sendo realizadas em conjunto e relacionadas posteriormente com os aportes teóricos escolhidos. Por meio da pesquisa constatou-se que o personagem, antes um monstro temível e irracional, ganhou dos fãs personalidade, traços humanos, fundiu-se a memes e transcendeu seu propósito além do conto original – o de destruir a humanidade -, tornando-se uma criatura socializante.
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Oskarson, Kindstrand Gro. "Hur blev jag ett monster? : Om monsterskapande i Howard Phillips Lovecrafts The Outsider och The Thing on the Doorstep." Thesis, Södertörns högskola, Institutionen för genus, kultur och historia, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18080.
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In this essay, I employ Judith Butlers theories of gender performativity to examine the construction of the monstrosity in Howard Phillips Lovecraft’s two works The Outsider and The Thing on the Doorstep. Focusing on the character’s monstrous attributes, how they are seen by themselves, by others and not least by the reader, I examine how their monstrosity is created and strengthened by dehumanizing processes. I argue that Lovecraft through his narrative technique complicates the relation between monstrosity and humanity in his characters, the result of which is a reader left to determine how monstrous, or human, the creature really is. I claim that the beings, themselves remaining uncertain about their own human and monstrous sides throughout Lovecraft’s stories, are not in fact monsters for the reader until the very moment that they themselves acquiescein their own exclusion.
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Kurtz, Gabriela Birnfeld. "O despertar de Cthulhu na cibercultura: as ressignifica??es do personagem de H. P. Lovecraft realizadas por f?s no facebook." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2015. http://tede2.pucrs.br/tede2/handle/tede/4606.
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Previous issue date: 2015-03-16The present work has as objective to comprehend fans appropriations and reframing (Jenkins, Hills, Jenson) of the character Cthulhu, Howard Phillips Lovecraft s creation, in the context of cyberculture (L?vy, Manovich, Castells, Santaella). Lovecraft, born in Providence, United States, lived between 1890 and 1937, and wrote short stories and poems on the fantastic genre of literature. His creations survived time, being modified and reinterpreted in different entertainment spheres and, in cyberculture, appropriated by fans in large scale around the world. By the analysis of posts and conversations in the page Cthulhu , on Facebook, it was objectified to comprehend who is the fans Cthulhu. In addition, it was aimed to investigate what would the differences be between these reframings and Lovecraft s short story, The Call of Cthulhu , in a context where the new media and the Social Network Websites amplify and facilitate content s production methods and its propagation among the fandom. The methodologies chosen were the documental analysis and the conversation analysis in social media, being done together and later on related with the theoretical approaches chosen. Through the research, the character, before a terrible and irrational monster, gained from the fans personality, human traits, merged with memes and transcended its purpose beyond the original short story destroying humanity -, becoming a socializing creature.
O presente trabalho tem por objetivo compreender as apropria??es e ressignifica??es de f?s (Jenkins, Hills, Jenson) acerca do personagem Cthulhu, cria??o de Howard Phillips Lovecraft, no contexto da cibercultura (L?vy, Manovich, Castells, Santaella). Lovecraft, nascido em Providence, Estados Unidos, viveu entre 1890 e 1937, e escreveu contos e poemas do g?nero da literatura fant?stica. Suas cria??es sobreviveram ao tempo, sendo modificadas e reinterpretadas em diversas esferas do entretenimento e, na cibercultura, apropriadas pelos f?s em grande escala ao redor do mundo. Por meio da an?lise de postagens e conversa??es dentro da p?gina Cthulhu, no Facebook, objetivou-se compreender quem ? o Cthulhu dos f?s. Tamb?m, desejou-se investigar quais seriam as diferen?as entre essas ressignifica??es para o conto de Lovecraft, O Chamado de Cthulhu, em um contexto onde as novas m?dias e os Sites de Redes Sociais amplificam e facilitam as formas de produ??o e difus?o de conte?do entre o fandom. As metodologias escolhidas foram a an?lise documental e a an?lise de conversa??o em redes sociais, sendo realizadas em conjunto e relacionadas posteriormente com os aportes te?ricos escolhidos. Por meio da pesquisa constatou-se que o personagem, antes um monstro tem?vel e irracional, ganhou dos f?s personalidade, tra?os humanos, fundiu-se a memes e transcendeu seu prop?sito al?m do conto original o de destruir a humanidade -, tornando-se uma criatura socializante.
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Joakim, Bengtsson. "From within the Abyss of the Mind : Psychological Horror in H. P. Lovecraft’s “The Call of Cthulhu”." Thesis, Blekinge Tekniska Högskola, Institutionen för humaniora, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1596.
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ABSTRACT An attempt to put the horror writer H. P. Lovecraft on the map of psychoanalytical criticism, this analysis examines Lovecraft’s use of setting, characters, and narrative mode and structure in “The Call of Cthulhu” (1926) to show how his construction of horror has its ground in psychology, or, more specifically, in ideas of identity and violated boundaries of the self. In addition, brief reflections on Modernist art, its connections with psychoanalysis, and its analogies to Lovecraftian imagery are provided in order to show the echoes of the Zeitgeist in Lovecraft’s horrors. Although Lovecraft made claims for the universality of the horror he depicted, the present analysis also maps its specific and time-bound characteristics.e-mail: lordlabil@hotmail.com
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Lizon, Margareta. ""That Innsmouth Look" : A Study of First-Person Narration and the State of Uncertainty in "The Shadow over Innsmouth" by H. P. Lovecraft." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-33383.
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The aim of the present essay has been to study how narration and focalisation generate the reader’s state of uncertainty in ”The Shadow over Innsmouth” by H. P. Lovecraft. It has been accomplished with the aid of Yvonne Leffler’s narratological analysis on horror fiction and, to some extent, Mieke Bal’s narratological theories. A pedagogical reflection has been provided before the analysis as to demonstrate how to teach narration and focalisation with the help of horror fiction. The analysis has four sections. The first section demonstrates how the narrative strategies used by Lovecraft in the narrative progression affects the reader’s state of uncertainty by making it difficult for the reader to solve the horror mystery. The second section shows how the narrator’s insecurities in his abilities and use of language affect the reader’s state of uncertainty as well as his or her interpretation of events. The third section illustrates how the narrator’s subjective and coloured perception generates the reader’s state of ambiguity by challenging the reader’s interpretation of events in relation to what is true or false. The final section demonstrates the problems of vision – “seeing too little”, “seeing too much” and “being seen” – complicate the reader’s interpretation of events.
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"Symphonic Movement: On Works of H. P. Lovecraft." Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.38683.
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abstract: Symphonic Movement: On Works of H. P. Lovecraft is a single movement
composition for wind band lasting approximately 11 minutes. The instrumentation
for the work is as follows: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, bass
clarinet, contrabass clarinet, 2 bassoons, contrabassoon, soprano saxophone, alto
saxophone, tenor saxophone, baritone saxophone, 4 horns, 4 trumpets, 2 trombones,
bass trombone, euphonium, tuba, string bass, timpani, 5 percussionists, and piano.
Symphonic Movement: On Works of H. P. Lovecraft is inspired by the horror
fiction writer H. P. Lovecraft. Lovecraft was famous for his ability to create a sense
of creeping dread and terror in his stories. The composition evokes this dark
atmosphere and uses a combination of melodic, harmonic, and orchestrational
devices to imitate this ambience.
The primary musical material of the work is a melody consisting of all twelve
tones. The composition explores this melody through motivic development and
phrase segmentation derived from the source material. This heavy use of
chromaticism helps to create a dissonant and brooding atmosphere throughout. The
work fluctuates between soft, lyrical passages and loud, cacophonous sections. The
alternation of exposed melodic lines with large bombastic climaxes is a major
component of the overall structure of the composition.Dissertation/Thesis
Doctoral Dissertation Music 2016
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Martin, Sean Elliot. "H.P. Lovecraft and the modernist grotesque." 2008. http://cdm256101.cdmhost.com/cdm-p256101coll31/document.php?CISOROOT=/p256101coll31&CISOPTR=96331.
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Smith, Lacroix Louis-Pierre. "Mythologie de Lovecraft : contexte, prétexte, texte /." 2008. http://www.theses.ulaval.ca/2008/25212/25212.pdf.
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"Traduzindo horrores com H. P. Lovecraft (1890-1937) : aspectos afetivos e relação tradutoria." Tese, Biblioteca Digital da Unicamp, 2005. http://libdigi.unicamp.br/document/?code=vtls000358580.
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Wu, Kuan-Yi, and 吳冠儀. "From Supernatural Philosophy to Posthuman Horror:A Cultural Study on H. P. Lovecraft’s Cthulhu Mythos." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/m65jfg.
Full textAbstract:
碩士國立臺灣師範大學
英語學系
105
This research aims to seek new possibilities of opening up H. P. Lovecraft’s world of the Cthulhu Mythos, and will focus specifically on his work “The Call of Cthulhu.” Starting with a textual analysis of the story, the research develops with a background of horror genre and Lovecraftian philosophers like Eugene Thacker and Graham Harman. The core part of the project attempts to contextualize the transformation of the signs, symbols and images of Cthulhu Mythos within the postmodern, posthuman, and “Post-Lovecraftian ” context. Several subcultural cases include works of Neil Gaiman, Alan Moore, and even Japanese animation as well as table games and children’s books. The research involves ontological and posthuman approaches to the Cthulhu Mythos, and highlights the importance of cultural and historical factors in Cthulhu Mythos’ fandom, scholarship, and ways of representation. Key Words: Lovecraft, Cthulhu Mythos, cultural studies, posthuman