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Journal articles on the topic 'H. P. Lovecraft'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Hand, Richard J. "‘Awed listening’: H. P. Lovecraft in classic and contemporary audio horror." Horror Studies 13, no. 1 (April 1, 2022): 97–115. http://dx.doi.org/10.1386/host_00048_1.

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From the beginnings of radio drama to digital podcasting, horror has been a significant genre. Radio located an immediate and effective affinity with horror, exploiting the form’s qualities of invisibility, immersivity and suggestion in realizing the genre in on-air performance. As a part of this, adaptation ‐ from Gothic classics to populist fiction ‐ has been central. One conspicuous absence in early radio is H. P. Lovecraft with only one notable adaptation in the 1930‐1950s ‘golden age’. Nevertheless, in the radio work of Lovecraft acolyte Robert Bloch as well as shows such as Quiet, Please (1947‐49) the ‘Lovecraftesque’ is strongly evident. Indeed, various dimensions to Lovecraft’s fiction make his oeuvre ideally suited to audio adaptation. In recent times, the transmedia pre-eminence of Lovecraft is evident in audio culture as much as anywhere else. This article scopes the presence of Lovecraft in both classic and contemporary contexts of horror audio.

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2

van Allen, Lanny. "Recommended: H. P. Lovecraft." English Journal 75, no. 4 (April 1986): 73. http://dx.doi.org/10.2307/819382.

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3

Setiya, Kieran. "Correspondence; Revisiting H. P. Lovecraft." Yale Review 108, no. 3 (September 24, 2020): 135–52. http://dx.doi.org/10.1111/yrev.13676.

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4

Setiya, Kieran. "Correspondence; Revisiting H. P. Lovecraft." Yale Review 108, no. 3 (2020): 135–52. http://dx.doi.org/10.1353/tyr.2020.0048.

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5

Sokol, Augustín, and Jozefa Pevčíková. "Animal symbolism in works of H. P. Lovecraft." Ars Aeterna 13, no. 3 (December 1, 2021): 42–56. http://dx.doi.org/10.2478/aa-2021-0016.

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Abstract Howard Phillips Lovecraft is widely considered to be one of the most influential writers of modern horror fiction and one of the main pioneers of the genre in its current form. One of the less discussed attributes of his work is his use of animal symbolism, despite how common it is, and serves several important functions. We will examine the different forms of animal symbolism in Lovecraft’s writing, their use and their respective functions. Our main goal will be to examine how animal symbolism in Lovecraft’s work was influenced by cultural and mythological sources and his own opinions towards different creatures and what they represent, in which case we will examine how his knowledge and beliefs may have influenced his depiction of animals. Our focus will be on the depiction of cats, dogs, snakes, aquatic, and amphibious animals as these play a significant role Lovecraftian fiction. We will also examine how animal symbolism connects to the key themes in cosmic horror, such as its negation of anthropocentrism.

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6

Jelača, Matija. "O UŽASU SPOZNAJE: SPEKULATIVNI REALIZAM I H. P. LOVECRAFT." Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu 63, no. 1-2 (March 19, 2020): 1–31. http://dx.doi.org/10.22210/ur.2019.063.1_2.01.

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ON THE HORROR OF KNOWLEDGE: SPECULATIVE REALISM AND H. P. LOVECRAFT This paper provides an account of the relation between the philosophy of speculative realism and H. P. Lovecraft’s poetics of “cosmic horror”. Q. Meillassoux and R. Brassier are taken as representatives of speculative realism. These two philosophers share two fundamental presumptions: first, any philosophy that aspires to the name of “realism” has to provide an answer to the question as to how thought can think a world without thought; and second, insofar as it reveals that this is indeed possible – to think a world without thought – science constitutes the greatest challenge to correlationism. The first two parts of the text provide an account of these two aspects of Meillassoux’s and Brassier’s projects respectively. The third part reconstructs the basic tenets of Lovecraft’s poetics of “cosmic horror”, first through an engagement with his numerous (auto)poetic writings on this genre, and then by a reading of his famous short story “The Call of Cthulhu”. Finally, the conclusion brings these various threads together in order to show that an explication of the relation between these three authors facilitates a better understanding of the specifics of their individual projects.

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Hernández Roura, Sergio Armando. "Rhetorics and Cosmicism in H. P. Lovecraft." Brumal. Revista de investigación sobre lo Fantástico 7, no. 1 (June 19, 2019): 15. http://dx.doi.org/10.5565/rev/brumal.503.

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8

Sederholm, Carl H. "H. P. Lovecraft, Heavy Metal, and Cosmicism." Rock Music Studies 3, no. 3 (January 29, 2016): 266–80. http://dx.doi.org/10.1080/19401159.2015.1121644.

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9

Scotuzzi, Nathalia Sorgon. "Keziah Mason: a bruxa cientista de H. P. Lovecraft." Literartes 1, no. 15 (December 21, 2021): 48–65. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2021.184675.

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A obra do escritor norte-americano H. P. Lovecraft é marcada por um conteúdo mitológico de autoria própria que é parte indissociável de sua escrita. Essa mitologia autêntica e alienígena possui seus próprios pressupostos, não tendo relações diretas (e poucas vezes indiretas) com a mitologia cristã. O conto “Sonhos na casa da bruxa” (1933), entretanto, trabalha com a figura da bruxa, que é constantemente associada ao Diabo e ao cristianismo e, assim, nosso objetivo com esse trabalho é identificar de que forma Lovecraft desenvolve essa figura nesse conto e até que ponto incorpora elementos da mitologia cristã em sua história.

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10

Gacoin-Marks, Florence. "H. P. Lovecraft et l'œuvre de Michel Houellebecq : hypothèses pour une étude génétique." Acta Neophilologica 39, no. 1-2 (December 1, 2006): 125–29. http://dx.doi.org/10.4312/an.39.1-2.125-129.

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Le présent article expose les résultats d'une lecture attentive de la monographie que Michel Houellebecq, écrivain français contemporain, a consacrée à H. P. Lovecraft. La présentation que Houellebecq propose de l'écrivain américain est un précieux document permettant de formuler des hypothèses concernant le rôle joué par Lovecraft dans la genèse des oeuvres de l'écrivain français.

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11

Will, Bradley. "H. P. Lovecraft and the Semiotic Kantian Sublime." Extrapolation 43, no. 1 (January 2002): 7–21. http://dx.doi.org/10.3828/extr.2002.43.1.03.

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12

Wise, Dennis Wilson. "Just like Henry James (Except with Cannibalism): The International Weird in H. P. Lovecraft's ‘The Rats in the Walls’." Gothic Studies 23, no. 1 (March 2021): 96–110. http://dx.doi.org/10.3366/gothic.2021.0080.

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The early short story ‘The Rats in the Walls’ (1924) is recognized as the best of H. P. Lovecraft's fiction prior to ‘The Call of Cthulhu’, but this story is also non-cosmic and therefore (for some) not truly ‘Lovecraftian’. In conjunction with dense prose and seemingly throwaway references, this view has made ‘Rats’ arguably the most inadequately read of Lovecraft's major works. This article proposes that we read ‘Rats’, Lovecraft's first tale within an unofficial ‘witch cult’ trilogy, as a story of the path not taken in modern weird fiction. Using Henry James's ‘The Jolly Corner’ (1908) as a companion piece, I argue that the international weird forms a major component of Lovecraft's text. Far from portraying horrors merely personal in scope, Lovecraft uses the Delapore family and their geographical dislocations between two distinct nation-states, America and England, to signal what he sees as the historical rise and fall – or evolution and de-evolution – of culture itself.

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13

Raga Rosaleny, Pascual. "Jules Verne y H. P. Lovecraft o unas teorías para la historia." Brocar. Cuadernos de Investigación Histórica, no. 36 (June 21, 2012): 7–52. http://dx.doi.org/10.18172/brocar.1562.

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Dos revolucionarios y geniales escritores, aunados además por su péñola de tendencia antirrealista tanto como por el occidentalismo del Atlántico, nos van a ayudar a teorizar sobre el estudio de la historia; dicha tendencia literaria fue parcial en el primero de ellos, e integral en el segundo, siendo Occidente el genético horizonte de ambos. La primera cuestión solidaria, con ser de grado, en verdad es irrelevante para nuestro empeño, ya que de Verne nos interesa especialmente una de sus obras realistas, y de Lovecraft sobretodo uno de sus textos de ensayo. Además, nuestra apropiación de Verne está mediada filosóficamente, entretanto la correspondiente recepción de Lovecraft la observamos mediada desde la literatura.

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14

Gadomska, Katarzyna. "Le chronotope dans les récits de H. P. Lovecraft." Studia Romanica Posnaniensia 31 (December 1, 2004): 35. http://dx.doi.org/10.14746/strop.2004.311.003.

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15

Houe, Ulf. "The Protoplasmic Imagination: Ernst Haeckel and H. P. Lovecraft." Configurations 30, no. 1 (2022): 47–76. http://dx.doi.org/10.1353/con.2022.0002.

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16

Garcia, Yuri. "Monstros Sagrados e Ciberculturais: H. P. Lovecraft e sua mitologia na cultura contemporânea." Galáxia (São Paulo), no. 39 (December 2018): 203–14. http://dx.doi.org/10.1590/1982-255435811.

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Resumo O presente artigo procura analisar a relação entre horror e religião na obra de H. P. Lovecraft e suas articulações por meio de outras mídias e no campo da cibercultura. O autor, que não gozava de muito prestígio no passado, tem penetrado cada vez mais no atual cenário tanto em âmbitos considerados eruditos quanto em âmbitos considerados massivos ou populares. Desse modo, ao investigar as razões desse surpreendente renascimento de Lovecraft na esfera da chamada alta cultura (literatura, artes, filosofia), buscaremos ao mesmo tempo as motivações de seu interesse no âmbito da cultura popular e midiática e estudando as formas e apropriações como seus temas, ideias ou mesmo obras foram absorvidos pelos meios de comunicação contemporâneos.

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17

Carbonell, Curtis D. "Answering Lovecraft: Clive Barker’s embodied fiction." Horror Studies 12, no. 1 (March 1, 2021): 97–117. http://dx.doi.org/10.1386/host_00031_1.

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This article asks how Clive Barker responds to H. P. Lovecraft as a horror writer. It sees in Barker a particular example of how cosmic horror emerges, even as expected Gothic tropes become renewed with interesting variations. In particular, it foregrounds a resistance by Barker to Lovecraft’s insistence that the Weird be a place where writers hint at the monsters that cause ultimate dread rather than drawing them. Barker, though, refuses to balk at such a demand, channelling the same instinct that the later Lovecraft himself developed in categorizing with scientific-like granularity the often horrific particulars of the monstrous. This article poses the Cenobites as a fitting example of how Barker combines cosmic and Gothic tropes, both within the frames of the posthuman and draconic, even as they morphed within a shared universe rooted in a Christianized metanarrative. It focuses on The Scarlet Gospels as the most fitting text in which Barker demonstrates his ability to represent the unrepresentable, a dominant concept within fruitful theorizing by thinkers as diverse as Eugene Thacker, Graham Harman and Thomas Ligotti.

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18

Sorensen, Leif. "A Weird Modernist Archive: Pulp Fiction, Pseudobiblia, H. P. Lovecraft." Modernism/modernity 17, no. 3 (2010): 501–22. http://dx.doi.org/10.1353/mod.2010.0007.

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19

Kneale, James. "From beyond: H. P. Lovecraft and the place of horror." cultural geographies 13, no. 1 (January 2006): 106–26. http://dx.doi.org/10.1191/1474474005eu353oa.

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20

Evans, Timothy. "Tradition and Illusion: Antiquarianism, Tourism and Horror in H. P. Lovecraft." Extrapolation 45, no. 2 (January 2004): 176–95. http://dx.doi.org/10.3828/extr.2004.45.2.7.

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21

Price, Fiona. "Prosthetic Pasts: H. P. Lovecraft and the Weird Politics of History." Genre 49, no. 2 (July 2016): 135–58. http://dx.doi.org/10.1215/00166928-3512297.

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22

Ralickas, Vivian. "The horrors of technology in the fiction of H. P. Lovecraft." Horror Studies 13, no. 1 (April 1, 2022): 77–96. http://dx.doi.org/10.1386/host_00047_1.

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Ralickas identifies the horror of technology in Lovecraft’s fiction as the human subject’s abject fear of machinery, whose alienating nature symbolically underscores the ubiquity of the Second Industrial Revolution’s mass-produced recording and electrical devices including the phonograph, the telegraph, the photographic camera and the typewriter.

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23

Czekster, Gustavo Melo. "A importância da música na construção da atmosfera e do efeito em uma narrativa de terror." Scriptorium 6, no. 1 (July 16, 2020): e35930. http://dx.doi.org/10.15448/2526-8848.2020.1.35930.

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Por meio das ideias de Edgar Allan Poe a respeito das formas de criação de um efeito no leitor e com base nas lições de H. P. Lovecraft sobre a atmosfera das narrativas sobrenaturais, o presente artigo se propõe a discutir como a música pode ser um fator decisivo na construção de uma obra literária do gênero terror. Para tanto, o artigo analisa a forma com que as músicas são elementos importantes para o desenvolvimento da tensão narrativa em contos de H. P. Lovecraft, Nathaniel Hawthorne e Stephen King, detalhando as estratégias narrativas adotadas por cada um para destacar uma música imaginada pelo leitor como parte integrante da atmosfera de uma história de terror.

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24

Torhovets, Y., and M. Andronova. "PECULIARITIES OF EPITHETS FUNCTIONING IN THE SHORT STORIES BY H. P. LOVECRAFT." Studia Philologica, no. 12 (2019): 46–50. http://dx.doi.org/10.28925/2311-2425.2019.12.5.

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The article presents the analysis of the role of epithets in the creation of mysterious atmosphere and awaking the reader’s feeling of fear and disgust in short stories written by H. P. Lovecraft. The peculiar feature of “cosmic horror” in the short stories under analysis is the use of epithets in order to appeal to sensory feelings, which are the powerful tool for the creation of disgusting and terrible images and feelings. By means of interdisciplinary approach, the epithets have been grouped according to the location of sensory receptors into visual, auditory and olfactory. It has been found that visual epithets constitute the dominant group.

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25

Diamantino Valdés, Jesús Fernando. "H. P. Lovecraft, Edición anotada (ed.), Leslie S. Klinger, Akal, Madrid, 2017." Brumal. Revista de investigación sobre lo Fantástico 6, no. 1 (May 28, 2018): 339. http://dx.doi.org/10.5565/rev/brumal.514.

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26

Pina Arrabal, Álvaro. "The Influence Of H. P. Lovecraft In The Work Of Junji ito." Brumal. Revista de investigación sobre lo Fantástico 7, no. 1 (June 19, 2019): 135. http://dx.doi.org/10.5565/rev/brumal.578.

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27

Hefner, Brooks E. "Weird Investigations and Nativist Semiotics in H. P. Lovecraft and Dashiell Hammett." MFS Modern Fiction Studies 60, no. 4 (2014): 651–76. http://dx.doi.org/10.1353/mfs.2014.0054.

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28

Murphy, Timothy S. "Supremely Monstrous Thought: H. P. Lovecraft and the Weirding of World Literature." Genre 49, no. 2 (July 2016): 159–79. http://dx.doi.org/10.1215/00166928-3512309.

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29

Romero Leo, Jaime. "There are more thinhgs. El horror lovecraftniano en la obra de Jorge Luis Borges." Anales de Literatura Hispanoamericana 48 (December 4, 2019): 473–84. http://dx.doi.org/10.5209/alhi.66797.

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El siguiente artículo investiga acerca de la contradictoria relación que Jorge Luis Borges mantuvo con la obra de H. P. Lovecraft. A través del cuento There are more things se analizarán los rasgos literarios del escritor argentino, a la vez que se demostrará como conoció de primera mano la obra de Lovecraft hasta el punto de llegar a realizar una simbiosis entre la mitología del escritor norteamericano y la suya propia. Dichos planteamiento serán desarrollados en torno a la categoría del horror lovecraftiano, el cual será ironizado por Borges.

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30

Bulkeley, Kelly. "Cthulhu Fhtagn: Dreams and nightmares in the fantasy fiction of H. P. Lovecraft." Dreaming 26, no. 1 (2016): 50–57. http://dx.doi.org/10.1037/drm0000023.

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31

Reinert, Sophus A. "The economy of fear: H. P. Lovecraft on eugenics, economics and the Great Depression." Horror Studies 6, no. 2 (October 1, 2015): 255–82. http://dx.doi.org/10.1386/host.6.2.255_3.

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32

Prado, Márcio Roberto do, and Clayton Henrique de Melo Silva. "Medo invisível: Os domínios do sonoro em Lovecraft." Eutomia 1, no. 25 (March 26, 2020): 187. http://dx.doi.org/10.51359/1982-6850.2019.244669.

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O objetivo deste trabalho é compreender o modo como H. P. Lovecraft recorre ao sonoro enquanto elemento diegético determinante nos processos narrativos de construção do medo. A abordagem apoia-se no conceito de medo metafísico ou intelectual, definido por David Roas como componente fundamental do gênero fantástico, e nas reflexões sobre o sentido da audição propostas por Pierre Schaeffer, Murray Schafer e Jean-Luc Nancy, entre outros. Dessa maneira, verificamos, nos contos lovecraftianos, como a atuação dos sons e seus modos de escuta contribuem para a subversão da percepção do real e sua decorrente desestabilização da racionalidade, gerando o medo característico do fantástico.

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33

Morteo, Jorge. "Cuentos noctámbulos." La Palabra y el Hombre, revista de la Universidad Veracruzana, no. 51 (November 11, 2020): 76–78. http://dx.doi.org/10.25009/lpyh.v0i51.3110.

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"Las páginas de Cosmos nocturno están más emparentadas con las de, por ejemplo, Italo Calvino. Incluso hay una evidente veta de H. P. Lovecraft, personaje tutelare ineludible para quien escriba en la parcela del horror y lo fantástico. Sin embargo, llama la atención que los cuentos de Lima Molina estén recubiertos de forma bastanteefectiva por un embalaje ágil y ligero".

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34

Bartual, Roberto. "Lovecraft, Providence, Moore y el fin del logos." CuCo, Cuadernos de cómic, no. 9 (December 31, 2017): 75–108. http://dx.doi.org/10.37536/cuco.2017.9.1172.

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La obra del escritor de Nueva Inglaterra, H. P. Lovecraft, ha sido adaptada numerosas veces al cómic y, en otras ocasiones, ha servido como inspiración para narraciones gráficas ambientadas en su universo ficticio. El terror lovecraftiano, al contrario de lo que parece, no está relacionado con el miedo a lo desconocido, sino con el miedo al conocimiento; de ahí que la aproximación de Alan Moore y Jacen Burrows a Lovecraft —The Courtyard, Neonomicon, pero, sobre todo, Providence— más que una recontextualización de su obra, suponga una relectura desde coordenadas mejor informadas, donde lo «terrorífico» no esconde sus perfiles, sino que se presenta como algo totalmente ajeno, pero completamente visible, cuya comprensión y conocimiento le obligan a uno a reconsiderar la naturaleza de la realidad.En el presente artículo se analiza la última entrega de la saga lovecraftiana de Moore yBurrows, Providence, la cual funciona como una ficción y al mismo tiempo también comoun ensayo sobre la naturaleza de Lo Numinoso en la obra de Lovecraft, explorando el papelde este concepto y de la gramática del Inconsciente Colectivo, así como el miedo a perderel dominio del lenguaje y, por tanto, de lo racional.

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35

Garcia, Yuri. "The Shadow Out of Berkeley Square." ALCEU 21, no. 45 (December 16, 2021): 51–71. http://dx.doi.org/10.46391/alceu.v21.ed45.2021.191.

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O presente trabalho busca analisar a relação entre o filme Berkeley Square (1933) e a obra do escritor americano H. P. Lovecraft. Embora não fosse um grande admirador do cinema, a película analisada parece ter sido um caso em que o autor se impactou com a história a ponto de utilizá-la como inspiração para algumas de suas ideias. O conto The Shadow Out of Time (1936) parece ter sido a versão lovecraftiana de Berkeley Square e a relação entre as obras é, de fato, curiosa. Aqui, iremos apresentar um pouco sobre o autor e o filme citado para podermos compreender melhor como se dá esse curioso diálogo. A rica mitologia de Lovecraft é sempre um curioso terreno a ser investigado, e nesse caso, uma inusitada inspiração em um filme nos fornece um interessante material sobre o escritor.

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FROTA, Adolfo José de Souza. "O FANTÁSTICO EM “ O JOVEM GOODMAN BROWN” , DE NATHANIEL HAWTHORNE." MOARA – Revista Eletrônica do Programa de Pós-Graduação em Letras ISSN: 0104-0944 1, no. 31 (August 3, 2016): 199. http://dx.doi.org/10.18542/moara.v1i31.3619.

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O objetivo desse artigo é analisar como se configura a idéia do fantástico no conto de Nathaniel Hawthorne “O jovem Goodman Brown” a partir das teorias de H. P. Lovecraft , Tzvetan Todorov e Filipe Furtado e apontar, de forma sucinta, uma outra possível leitura para a narrativa aliada à fantástica, fazendo com que a crítica desse conto seja enriquecida na confluência de outras possibilidades interpretativas.PALAVRAS- CHAVE: Fantástico; hesitação; conto; sobrenatural; ambigüidade.

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37

Matek, Ljubica. "The Architecture of Evil: H. P. Lovecraft's ‘The Dreams in the Witch House’ and Shirley Jackson's The Haunting of Hill House." CounterText 4, no. 3 (December 2018): 406–23. http://dx.doi.org/10.3366/count.2018.0141.

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This paper proposes that H. P. Lovecraft's ‘The Dreams in the Witch House’ (1932) and Shirley Jackson's The Haunting of Hill House (1959) embody the Gothic idea of subversion through their use of space. Specifically, both texts are set in a house that is shaped according to a scale unknown and repulsive to humans, suggesting that the architecture of evil is out of scale literally and metaphorically. Walter Gilman's room in the Witch House is strangely shaped and represents a passage into a parallel world which Gilman, a mathematician firmly set into the world of scale, first believes to exist only in dreams. Similarly, the interior of the Hill House is off centre and disjointed. People get physically lost as the rooms are set in strange concentric circles which defy traditional architecture; more importantly, characters’ subjectivity is consumed and appropriated by the house. By depicting protagonists as scientists deeply invested in the research of the occult, both Jackson and Lovecraft juxtapose science, which is marked by taxonomies, systems, and scales, with entities and rituals that transcend scalable knowledge. As their projects fail, the perceived harmony and knowability of life is revealed as false. The collapse of scale in both texts unsettles the reader, as it suggests that evil refuses to comply and be contained within a specific human-designed system of measurement or value. With this, the texts confirm the Gothic genre's countercultural position within the literary canon.

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38

Wilczyński, Marek. "The eye looks back: Seeing and being seen from William Bartram to H.P. Lovecraft." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 15/4 (December 28, 2018): 157–72. http://dx.doi.org/10.26881/bp.2018.4.08.

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The paper focuses on the sense of sight and seeing in the selected texts of American literature from the late 18th century to the 1930s, i.e. from William Bartram to H. P. Lovecraft. Adopting a perspective of changing “scopic regimes” – conventions of visual perception presented in a number of literary and non-literary works, the author analyzed a passage from Bartram’s Travels to reveal a combination of the discourse of science with that of the British aesthetics of gardening. In Margaret Fuller’s Summer on the Lakes (1843) the main factor is the work of imagination dissatisfied with the actual view of Niagara Falls, while in Ralph Waldo Emerson’s Nature substantial subjectivity is reduced to pure seeing. In Henry David Thoreau’s essay “Ktaadn” the subject confronts nature that is no longer transparent and turns out meaningless. In American literature of horror from Charles Brockden Brown through Edgar Allan Poe and H. P. Lovecraft, the narrator’s eye encounters the inhuman gaze of a predator, a dehumanized victim of murder, or a sinister creature from the out-er space. To conclude, the human gaze was gradually losing its ability to frame or penetrate nature, bound to confront the annihilating evil eye from which there was usually no escape.

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39

Pyrka, Paweł. "Haunting Poe’s Maze: Investigative Obsessions in the Weird Fictions of Stefan Grabiński and H. P. Lovecraft." AVANT. The Journal of the Philosophical-Interdisciplinary Vanguard 8, no. 2 (2017): 201–10. http://dx.doi.org/10.26913/80202017.0112.0017.

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Diamantino Valdés, Jesús Fernando. "Presentation of the monograph issue coordinated by Jesús Diamantino: The fantastic world of H. P. Lovecraft." Brumal. Revista de investigación sobre lo Fantástico 7, no. 1 (June 19, 2019): 7. http://dx.doi.org/10.5565/rev/brumal.600.

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Grenander, M. E., and S. T. Joshi. "The Weird Tale: Arthur Machen, Lord Dunsany, Algernon Blackwood, M. R. James, Ambrose Bierce, H. P. Lovecraft." American Literature 63, no. 1 (March 1991): 134. http://dx.doi.org/10.2307/2926576.

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Tatarincev, N. S. "Types and Functions of Repetition in the Works of Howard Phillips Lovecraft." Discourse 7, no. 5 (November 17, 2021): 162–73. http://dx.doi.org/10.32603/2412-8562-2021-7-5-162-173.

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Introduction. Issues of the author’s writing style, means and methods of constructing an individual author’s artistic picture of the world have always been in the focus of attention of researchers. The object of this paper is H. P. Lovecraft’s stories, which are part of horror literature. The subject of the paper is repetition, which plays a special role in a literary text as a means of artistic expression. Conducting research is relevant for several reasons, like interest in the consideration of the functional aspects of the literary text as a whole, or to H. P. Lovecraft’s works in particular, as the horror genre of literature is one of the most popular in modern society. The purpose of this study is to identify the most productive types of repetitions and their pragmatic functions in the H. P. Lovecraft’s stories.Methodology and sources. General methods of this research are functional analysis of repetitions, supplemented by the quantitative method. Repetitions used in the stories are separated and analyzed based on their following functions: pragmatic focus, emotivity and rhythmization. The material of the study was the following works of the author: “Dagon”, “Beyond the Wall of Sleep’”, “The Music of Erich Zann”, “The Other Gods”, “The Hound”, “The Rats in the Walls”, “The Call of Cthulhu”, “The Descendant”, “The Dunwich Horror”.Results and discussion. Repetition is a significant element of H.P. Lovecraft’s writing style. In the analyzed works, repetitions are presented in various types: simple verbatim repetitions (contact and remote), anadiplosis, epanalepsis, synonymous, syntactic (lexical and syntactic parallelism). Lexico-semantic analysis of repetitions showed that the most frequent units in H.P. Lovecraft’s stories are such lexemes as “old” (125), “night” (95), “great” (85), “strange” (62), “gods” (48), “horror” (48). Their use can be attributed to the author’s desire to create a sense of "cosmic fear", to highlight the themes of ancient and hidden evil with “divine” forces. Functional analysis has shown that repetitions are most often used to highlight the most important elements of the text (pragmatic focus), convey the emotional states of the characters, create an appropriate emotional atmosphere (horror, fear), as well as rhythmic organization and stylistic imitation of religious discourse.Conclusion. Repetition as a stylistic figure is an important technique of pragmatic focusing and a significant element of the H.P. Lovecraft’s writing style, emerging in various structural variations and performing many functions.

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Murphy. "Physiology Is Destiny: The Fate of Eugenic Utopia in the Fiction of H. P. Lovecraft and Olaf Stapledon." Utopian Studies 29, no. 1 (2018): 21. http://dx.doi.org/10.5325/utopianstudies.29.1.0021.

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Kurz, Andreas. "Lo fantástico más allá de la vacilación: la representación mimética del miedo en dos cuentos de Bioy Casares y Cortázar." Revista Valenciana, estudios de filosofía y letras, no. 14 (October 6, 2014): 89. http://dx.doi.org/10.15174/rv.v0i14.80.

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El artículo revisa algunos conceptos y definiciones de lo fantástico literario y pretende diferenciarlo de lo postulado por el realismo mágico y lo real maravilloso. Se proponen como textos clave al respecto el libro de Franz Roh que da nombre al realismo mágico, la historia de la literatura fantástica por H. P. Lovecraft, así como la tesis de 'das Unheimliche' de S. Freud. A manera de hipótesis establecemos el carácter mimético de la literatura fantástica que en primer lugar representa el miedo. Nos dirigimos contra la idea de la vacilación expuesta por Todorov. Finalmente pretendemos mediante el análisis de dos cuentos canónicos testar nuestra hipótesis.

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Weinstock, Jeffrey Andrew. "Dead is not better: The multiple resurrections of Stephen King’s Revival." Horror Studies 12, no. 2 (October 1, 2021): 189–203. http://dx.doi.org/10.1386/host_00037_1.

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Stephen King’s 2014 novel, Revival, plays with its title in several respects. It is first a familiar Frankenstein-esque narrative about a mad scientist who seeks to revive the dead. It is also, however, about religious revivals, both in the specific sense of the religious gatherings held by minister and main antagonist Charles Jacobs, and in the more general sense of attempting to find something in which to place one’s faith in a world where accidents can claim the lives of loved ones. Beyond this, Revival plays with its title in two more senses. First, it elaborates on the recurring theme in King of existentialist angst precipitated by the death of a child or loved one, which King uses to question God’s benevolence or existence. In order to ask these questions, King also resurrects the spirit of Mary Shelley, taking from Frankenstein the theme of reanimation of the dead. The narrative’s conclusion, however, offers yet another revival as it transitions us from the horror of Shelley to the weird fiction of Arthur Machen and H. P. Lovecraft. Thus, through these various revivals, King’s novel charts the evolution of twentieth- and twenty-first-century horror from Shelley to Lovecraft and our contemporary ‘weird’ moment.

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Wierzbicki, James. "Silent Listening." Resonance 1, no. 1 (2020): 60–76. http://dx.doi.org/10.1525/res.2020.1.1.60.

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This essay explores how one “listens to”—that is to say, how one takes in, makes sense of, and reacts to—“sounds” that are not really sounds at all but that are simply evocations of sounds served up by the authors of fiction. Although the essay’s conclusions apply to literary sounds in general, the examples on which the essay bases its observations and arguments are drawn—because their affective range is so very, very wide—from the vintage literature of so-called horror fiction. After a discussion of why some instances of scary literary sounds are more potent than others, emphasis is placed on sounds featured in the work of H. P. Lovecraft and Edgar Allan Poe, writers celebrated for their “aurality” yet whose structural use of sonic imagery—in dynamic patterns in the case of Lovecraft, as markers of plot points in the case of Poe—has hitherto been neglected. Throughout the essay parallels are of course drawn between literary sounds and actual sounds encountered both in the real world and in the fictional worlds of film, television, and radio drama. Readers of the essay are invited to decide for themselves, but it is suggested here that “silent listening”—because it demands creative involvement on the part of its participants—results in a richer aesthetic experience.

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Evans, Timothy H. "A Last Defense against the Dark: Folklore, Horror, and the Uses of Tradition in the Works of H. P. Lovecraft." Journal of Folklore Research: An International Journal of Folklore and Ethnomusicology 42, no. 1 (January 2005): 99–135. http://dx.doi.org/10.2979/jfr.2005.42.1.99.

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Betty, Louis. "Michel Houellebecq's ‘Materialist Horror Stories’: A Study in the Death of God." Nottingham French Studies 55, no. 3 (December 2016): 298–312. http://dx.doi.org/10.3366/nfs.2016.0156.

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This article examines Michel Houellebecq's work from a point of view that most scholars have yet to consider: its religious, metaphysical and existential concerns. I first argue that Houellebecq's novels are in large part an exploration of the psycho-social consequences of materialism. I then go on to discuss three vectors of ‘materialist horror’ that Houellebecq evokes: the body, nature and space. I also suggest a lineage between the ‘horror’ elements of Houellebecq's fiction and the writing of H. P. Lovecraft and Blaise Pascal. Finally, I point out that Houellebecq's vision of a materialistic and post-religious Europe is more polemical fantasy than reality, as extant measures of European religiosity are higher than one might assume from a reading of Houellebecq's novels.

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Garcia, Yuri. "Lovecraft e Poe: ressonâncias nos contos dos mestres do horror e suas criações de sensações e ambiências." Ícone 17, no. 3 (September 28, 2019): 302. http://dx.doi.org/10.34176/icone.v17i3.240541.

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O presente trabalho tem por objetivo apresentar similaridades entre dois grandes nomes do horror, Edgar Allan Poe e H. P. Lovecraft. O segundo mantinha correspondências e diários de sua vida pessoal, além de ter escrito ensaios sobre o gênero, de forma que podemos perceber a idolatria que possuía por seu antecessor registrada com suas próprias palavras. Assim, destacaremos algumas similaridades a fim de apontar um conto mais desconhecido de Poe como, possivelmente, uma das maiores inspirações dentro de sua obra para o desenvolvimento da narrativa e da mitologia criada por seu precursor. Entre os pontos importantes de interseção que percebemos, destacamos aqui para uma breve análise: a investigação ou relato de experiência testemunhada do narrador, a atmosfera criada para o conto de horror e o perigo oriundo dos mares e oceanos.

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Anderson, David S. "Crafting a Mysterious Ancient World." Nova Religio 22, no. 4 (May 1, 2019): 13–26. http://dx.doi.org/10.1525/nr.2019.22.4.13.

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Esoteric spiritual groups such as the Theosophical Society have had a profound effect on the general public’s understanding of the ancient world and archaeology. This article describes the author’s visit as an outside observer to a conference held by the Theosophical Society in America to examine the ways in which the ancient world was represented. While the beliefs of the Theosophical Society and related groups are not always well known to the general public, it is argued that their beliefs have nevertheless had a broad impact on public audiences through adoption in popular culture and films. This article will examine the appearance of esoteric claims about the ancient world in popular fiction, including the writings of H. P. Lovecraft and the Indiana Jones film franchise. If archaeologists are going to engage with public audiences, they need to understand what the public actually thinks of their work.

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