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Miller, Erin L. "Grotesque Evolutions." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363097197.
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Kubacki, Iwona Maria. "Angela Carter's feminist grotesque." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq23812.pdf.
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Stine, Jon M. "Absurd and grotesque circumstances." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1115754.
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The work is a reflection of my opinions and criticism of society and the world as I see it. The absurd behavior of individuals in my environment provided the basis for my research. The seven woodcut prints that were completed, attempted to examine universal and personally significant themes.I utilized visual techniques to convey personal feelings and ideas about relationships with other people. Technical as well as conceptual abilities were drawn upon to produce a series of prints that depicted specific experiences I have had in life.Department of Art
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Davidson, Chad (Chad Thomas). "Revisiting the Grotesque: Poems." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278154/.
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This thesis consists of a group of poems around a central concept: language as a physical dwelling place—a place much like what Raphael discovered in the grottoes of Rome and named "grotesque," or "grotto-esque." Using the word, "grotesque," as an example, the preface illustrates how poetry can play with the lost histories of words while still searching for new referents and associations.
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Pellerin, Erika. "La Swala, suivi de À l'exemple de Rabelais, le grotesque contemporain et la possibilité grotesque." Mémoire, Université de Sherbrooke, 2002. http://savoirs.usherbrooke.ca/handle/11143/2287.
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L'essai"À l'exemple de Rabelais, le grotesque contemporain" et la création grotesque La Swala explorent la présence du grotesque dans la société contemporaine, ainsi que la possibilité de l'utiliser comme moteur de la création, malgré la réduction sémantique du terme et le fait que cette esthétique souffre d'une certaine méconnaissance chez une majorité de lecteurs. La Swala , histoire en trois volets, narrée par Dieu lui-même à travers les ondes de la radio, raconte l'ascension au statut de déesse d'une mère qui a décidé d'avaler ses enfants pour leur donner un monde meilleur, et cela, à la suite de recherches infructueuses sur le sens de la vie. Le pouvoir de l'argent la mènera vers des sommets inattendus. Pourtant, rien ne change dès qu'il s'agit de l'être humain, et ses enfants, petits adultes en devenir, réussissent à miner de l'intérieur le monde idéal qu'elle leur réservait. Cet échec sera porteur à la fois de mort et d'un nouvel ordre encore à venir. La Swala se voit commentée en détails dans l'essai intitulé"À l'exemple de Rabelais, le grotesque contemporain"."--Résumé abrégé par UMI
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Fuss, Peter. "Das Groteske : ein Medium des kulturellen Wandels /." Köln : Böhlau, 2001. http://catalogue.bnf.fr/ark:/12148/cb38962352t.
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Levkovich, Rivi Cara. "Harlan Ellison and the technological grotesque." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63836.
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Lachaud, Maxime. "Harry Crews : un maître du grotesque /." Paris (5 rue Henri-Brisson, 75018) : K-ïnite, 2007. http://catalogue.bnf.fr/ark:/12148/cb411733374.
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Petten, Aaron. "The grotesque and/in/through film." Thesis, University of East London, 2012. http://roar.uel.ac.uk/1693/.
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This thesis explores the grotesque and realist aesthetics of contemporary independent American filmmakers, Larry Clark and Harmony Korine from a broadly formalist perspective. The thesis is situated amongst two conversations within Film Studies. The first conversation is with those who have critically and historically engaged with the films and filmmaking practices of Clark and Korine. The second conversation contributes with those critics and historians who explored the presence and status of the grotesque in cinema. It addresses the grotesque vision and imagination of the filmmakers, and the realist motivations and imperative, according to their own public pronouncements. It then provides a close descriptive analysis of the manifestation of the grotesque and realist aesthetics of the films themselves. It shows the ways in which both filmmakers embrace the grotesque through their expressions of the margins and underbelly of the middle-American landscape. Their approaches to realism, principally deriving from non- fictional modes of audiovisual production, illustrate the extraordinariness of the banal and mundane realities of the everyday, albeit the darker recesses of the everyday. This thesis further demonstrates how the coupling of Clark’s and Korine’s realist approaches enhances and even constitutes their grotesque aesthetic.
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Monnier, Jean. "Le grotesque dans l'œuvre de Céline." Tours, 1996. http://www.theses.fr/1996TOUR2033.
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On s'attache à démontrer que l'œuvre de Céline dans son ensemble appartient à la catégorie esthétique du grotesque ; on tente aussi de définir la notion de grotesque littéraire dans un contexte historique. On aborde la question du grotesque au travers de la thématique romanesque de Céline qui est analysée grâce aux instruments théoriques avancés par Mikhail Bakhtine, qui sont présentés en parallèle à la théorie de Wodfgang Kayser - la rencontre de ces deux théories permet d'élucider l'essence du grotesque célinien qui apparait à la lueur de leur synthèse. Cette recherche aboutit à montrer une face cachée de l'œuvre de Céline qui se révèle être le sacre conjugué au comique par le style émotif, et avance l'hypothèse que le grotesque est une notion esthétique qui renvoi aux origines premières de l'art. En contribuant à déchiffrer un nouvel aspect de l'œuvre de Céline cette étude reprend une catégorie de la réflexion esthétique, longtemps délaissé, mais qui n'est pas sans intérêts pour la réflexion contemporaine puisqu'il aborde le rapport que la post-modernité entretient avec le passéIt attempts to demonstrate that the work of Céline into whole belongs to the esthetics of the grotesque, and tries to define the literary grotesque in an historical context the question of the grotesque is presented through the novelistics themes of Céline which are analysed with the theories of Mikhail Bahktine presented in parallel with that of Wolfgang Kayserthe clash between these two theories of the grotesque permits to better see the grotesque quality of Céline's work which is situated at the synthesis of those two theories. This study reveals the hidden facets of the work of Céline which happens to be the sacred joined to the comical through the emotive style. It advances the hypothesis that the grotesque is an art form expressing the primal origin of arts. In decipheving this new aspect of the literature of Céline this thesis uses a rave problematic which can be of great importance for modern thought, since it touches the relationship that exist between post-modernity and the origine
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Scheidweiler, Alexander. "Maler, Monstren, Muschelwerk Wandlungen des Grotesken in Literatur und Kunsttheorie des 18. und 19. Jahrhunderts." Würzburg Königshausen & Neumann, 2009. http://d-nb.info/991843312/04.
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Maloney, Cahill B. Claire. "Samuel Beckett and the Irish grotesque tradition." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22606.
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By fusing many of the established hypotheses on the source of the grotesque in Irish literature, this study establishes that these writers' impatience with all boundaries and limitations, physical or mental, led them to exploit the indeterminacy of the grotesque to achieve their particular aesthetic and epistemological objectives.After an initial chapter on the relevant theoretical and national considerations, the prodigious cloacal visions of Beckett and Joyce are compared, with emphasis on their use of the grotesque to demythologize the creative process. A fourth chapter compares O'Brien's and Beckett's exploitation of the grotesque to undermine hegemonic philosophical and epistemological systems.
Like most writers of the grotesque tradition, Joyce and O'Brien assume a degree of moral responsibility by affirming, explicitly or implicitly, some traditional or utopian values and standards, while Beckett's deliberations on the complex relationship between Nature, the mind and the body end in negation, impotence and the hope of silence.
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Hutchison, Lorna. "Strategies of the grotesque in Canadian fiction." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100627.
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In this study of narration, feminist theory, and grotesque Canadian fiction, my aim is to provide a narrative model with which to read characters portrayed as both female and monstrous in a way that criticism on the grotesque does not. I provide two systems for the methodology of this study: via negativa, a well-established philosophical system of definition by negation, which shows the strength of the grotesque to represent a subject that is inherently paradoxical; and a narrative model called the "middle voice," which I developed to examine narratives that confuse or render ambiguous the identity of subjects. Through these distinct but complementary frameworks I illustrate a literary phenomenon in fiction of the grotesque: that authors develop and reveal the subjectivity of characters by confounding identities.Although I provide a concise definition of the term "grotesque," my focus is on feminist theoretical approaches to the grotesque. However, whereas feminist theory on the grotesque examines the binary opposition of woman to man, this study shows that the grotesque bypasses the "male/female" dichotomy in the representation of fictional characters. Instead, the sustained contradiction of the central opposition "woman/monster" works to undermine the notion of fictional characterization.
Specifically, this study focuses on the grotesque as a narrative strategy and examines the use of the grotesque in the portrayal of female narrators. The prevalence of female grotesque characters in recent Canadian fiction combined with the rapid growth of interest in the critical concept of the "female grotesque" requires a theoretical analysis of the literature.
In the fiction I examine by Canadian authors Margaret Atwood, Lynn Coady, Barbara Gowdy, Alice Munro, and Miriam Toews, narrators are contradictory. As subjects, they have doubled identities. Authors situate identity ("subjectivity") in the realm of paradox, rather than in the realm of clarity and resolution. As a result, readers and critics must rely on ambiguity and subversion as guides when posing the ultimately irresolvable question "who is speaking?" Through analysis of this fiction, then, I argue for nothing short of a new conceptualization of subjectivity.
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Wages, Emily C. "Macro Self-Portraiture and the Feminine Grotesque." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/798.
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According to the Mirriam-Webster online dictionary, “grotesque” is defined as “a style of decorative art characterized by fanciful or fantastic human and animal forms often interwoven with foliage or similar figures that may distort the natural into absurdity, ugliness, or caricature.” Originating from the Old Italian grottesca, cave painting, feminine of grottesco of a cave, from the time of its conception, the grotesque has been inexorably linked to art and the female. The work of other female artists that explore themes of the feminine grotesque are discussed, including Katheryn Wakeman, Jenny Saville, and Maria Lassnig. In my current work, I have been creating oil paintings of macro images of my own body to construct a fragmented and magnified, borderless, grotesque view of the body. The images focus on the mouth, due to its complicated nature as both internal and external, hidden and in plain sight, as well as due to connotations with speech, ingestion, and sexuality. The work walks a fine line between aesthetically pleasing while also commanding an uncomfortably visceral, fleshy quality. While the works are somewhat ambiguous and allow for various readings, they also allude to larger issues of sexism. The use of magnification and fragmentation references the insufficient representation of the female body both art historically —with the beautiful female nude painted by the male artist—as well as contemporarily in an overly-Photoshopped society. The visceral feeling of disgust should allow viewers to commune with their own bodies’ psychophysiological reactions and question the politics of how beauty standards are established as well as whether beauty is a valuable concept when judging the female form.
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Wiedeman, Megan. "A Queer and Crip Grotesque: Katherine Dunn's." Scholar Commons, 2018. http://scholarcommons.usf.edu/etd/7244.
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The grotesque has long been utilized in literature as a means for subverting societal constraints and inverting constructions of normalcy. Unfortunately, in many instances, it has been constructed at the expense of disabled characters using their embodiment as metaphorical plot devices rather than social and political agents. Criticism of the grotesque’s use of bodily difference has prompted this analytical project in order to rethink disability as socially and politically positioned within texts, rather than simply aesthetics for symbolic means. The aim of this paper is to explore the ways the literary grotesque can be reread using queer theory and crip theory as frameworks for constructing agential disabled embodiments in Katherine Dunn’s Geek Love. Ultimately, the potential of queer and crip interventions necessitates an examination of the systems of power disabled subjects operate within in these narratives.
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Burkart, Milena. "Création, récréation, recréation : figures du grotesque littéraire." Strasbourg 2, 2001. http://www.theses.fr/2001STR20048.
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Le terme grotesque est né au début du seizième siècle pour désigner une forme d'art ornemental spécifique à la Renaissance italienne ; mais il acquiert vite une vie autonome et devient une notion esthétique qui traverse les siècles et les frontières de l'art pictural. Au cours de ces extensions, le grotesque perd ses contours et devient une notion hétéroclite, en peinture comme en littérature. Cette étude propose non pas une redéfinition du grotesque, mais une comparaison de figures littéraires grotesques qui met à jour les similitudes avec les origines picturales de la notion. A travers des oeuvres littéraires du dix-neuvième et du vingtième siècle, les deux apogées du grotesque après la Renaissance- on découvre un langage imagé qui procède à la dislocation et à la recomposition des corps, qui est à la fois recréation des données naturelles et récréation ludique de l'artiste. .The origine of the word grotesque lies in the beginning of the 16th century, when it stands for a specific form of ornamental art in the Italian Renaissance. . .
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Sedgwick, James Martin. "Emily Dickinson's grotesque : ambivalent interactions with uncertainty." Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/2619/.
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Emily Dickinson's work can be understood in terms of dynamic and variable interactions with uncertainty. Sometimes uncertainty is horrifyingly meaningless, whilst on other occasions it is liberating and meaningful; Dickinson's grotesque is predicated upon the interplay of both these perspectives. Dickinson's grotesque dialectic between enabling and disabling interactions with uncertainty resists monolithic critical appropriation. Theories of the grotesque enable us to unify the critical discord between conservative and radical depictions of Dickinson's work. Using the psychoanalytic theories of Melanie Klein and Wilfred Bion, I explain the dialectic between the different interactions with uncertainty and demonstrate how they are shaped contextually. Gothic context engenders fearful responses to uncertainty; female creativity engenders ambivalence; embodying contexts produce liberating uncertainty. Dickinson's gothic elucidates a need for meaning, and a corresponding fear of representational insufficiency. This desire for certainty is extrapolated from a Calvinist sensibility, whereby uncertainty denotes unregenerate being. The apophatic poems move towards meaning by perpetually surpassing their own conceptual limitations. However, this process becomes self-defeating as the act of negation itself turns into the kind of uncertainty it was supposed to overcome. Female creativity is achieved through internalizing overwhelming, masculine power as the basis of poetic autonomy. Dickinson's poetic self partially overcomes the oppressive, binary distinction between male and female positions. I compare Dickinson with Harriet Prescott Spofford, illustrating how both writers narrate their assimilation of alterity as a terrifying encounter with an omnipotent male muse.
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Roberts, Shelby Caroline. "The only light shot out as usual: Defining an Appalachian Grotesque." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/91423.
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With the success of podcasts like Serial and This American Life's S-Town, the calamity of J.D. Vance's Hillbilly Elegy, and the dawning of "Trump's America" as a regional branding, Appalachia has once again found itself laid bare on the national stage. As the romanticization of Appalachia as poor, packing, and white persists, the question becomes: how can Appalachian peoples access these negative images as tools of resistance, reformation, and community making? How does an American gothic find home in Appalachian narratives?
This project explores clashes between national othering and local othering in Appalachian identity making as a tangible production of an Appalachian grotesque, a grotesque constructed through the subversion of the modern American gothic as a critical model for exploring Appalachian identity, particularly nationally othered and queered identities. The scope of this project ranges from contemporary, such as the popular memoir Hillbilly Elegy (2016) and the record breaking podcast S-Town (2016), as well as Robert Gipe's debut novel, Trampoline (2015), and their historical counterparts: the 1967 documentary Holy Ghost People and the 1976 documentary Harlan County, U.S.A.
Through the lens of contemporary gothic readings of identity that come to form the grotesque, a framework for deconstructing notions of Appalachian fatalism begins to emerge. By specifically looking at ideas of violence, whether economic, cultural, or physical, and theories of erasure through the lens of land distribution and acquisition in Appalachia and its effect on self and community identity built up in the anchoring texts, defining and cultivating an Appalachian grotesque allows for a quantifying of Appalachian persistence within a history of critical thought, for better or for worse, as a way of both critiquing and fortifying the identity of Appalachia.Master of Arts
The narrative of Appalachia, as white, poor, uneducated, barefoot, etc. that defines conceptions of the grotesque in contemporary media, such as more classic movies like 1972’s Deliverance, the tale of four ‘city boys’ from Atlanta during a bloody trip through the mountains, most famous for its “Dueling Banjos” scene, or more recent movies such as 2017’s Logan Lucky, a heist movie centered around two brothers’ plot to rob a NASCAR race in North Carolina, interacts with concepts of American masculinity and femininity through two prominent categories: hunger and disgust. Through the literary positioning of the body as a site in which hunger and disgust interact/react, as well as the subsequent relationship between sex and desire as defining features of a productive, and reproductive body, southern gothic tropes are encapsulated and reimagined through a grotesque Appalachian lens. It is through this cyclical process of hunger and disgust, and sex, desire, and production, in the social, political, and economic spheres that an Appalachian notion of the grotesque is formed.
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Brincken, Jörg von. "Tours de force : die Ästhetik des Grotesken in der französischen Pantomine des 19. Jahrhunderts /." Tübingen : M. Niemeyer, 2006. http://catalogue.bnf.fr/ark:/12148/cb402084225.
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Wagner, Bettina. "Dmitri Schostakowitschs Oper "Die Nase" : zur Problematik der Kategorie des Grotesken in der Musik /." Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 2003. http://catalogue.bnf.fr/ark:/12148/cb39204712v.
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Marleau, Tania. "Le grotesque dans Les diaboliques de Barbey d'Aurevilly /." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33301.
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The grotesque is an unsettled notion which is difficult to define. Over the years, there have been several attempts to formulate a satisfactory definition. Today, a few definitions prevail, namely that proposed by Hugo, Bakhtine and Kayser. In my opinion, the latter is the most appropriate for the analysis of the grotesque in Barbey d'Aurevilly's Diaboliques .Indeed, Wolfgang Kayser's theory of the grotesque is based on the idea of a world that has suddenly become "estranged". Barbey's "diabolical" characters are peculiar beings, both passionate and inscrutable, who by their actions and attitudes manage to overwhelm most characters of their universe. By their very mystery, the diaboliques remain deeply present in others' minds, thereby changing their existence forever. In Barbey's stories, there are no mythical beasts, no monstrous grotesque per se. However, when examined from Kayser's perspective, light is shed on the grotesque aspect of their characters.
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Klinge, Markus. "Aspects of the grotesque in Milton's prose works." Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398195.
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This thesis assesses the role of the grotesque in some of Milton's prose works from 1641 to 1651. The Renaissance grotesque has its origins in the rediscovered human-animal-plant chimeras of Roman ornamental painting, widely emulated in the Renaissance arts, and expanded to incorporate ideas of disguise, dance, attire, peculiarities of the natural world, perplexing constructs of thoughts, and motifs of metamorphosis and dream. The grotesque is one of the major intellectual and cultural developments of the Renaissance, and the thesis traces Milton's growing awareness of its literary and polemical possibilities. The first chapter begins by outlining the history of the grotesque and of theorising about it, emphasising its meaning and role in Milton's age. A new theory of the grotesque is advanced, which sees the concept as a `structure' comprising a major element - the principle - and a minor element - the agent. A seminal example of such a grotesque structure is Raphael's Vatican Loggia, in which the paintings of biblical history form the principle and the pagan chimerical ornaments the agent. Within such a structure, the agent is aesthetically dependent on the principle, yet challenges it. The remainder of the chapter examines the Renaissance aesthetic debate on the grotesque, and Milton's use of the word grotesque in Paradise Lost. The second chapter analyses Milton's polemical use of the grotesque in two anti-episcopal pamphlets, Of Reformation (1641) and Animadversions (1641). Its use in the first is seen as part of the Puritan adoption of Reformation-inspired anti-Catholic polemics, whereas the second develops a new grotesque style. As part of this, Milton joins the polemically effective grotesque potential of the Marprelate pamphlets to the more established Reformation-style grotesque. The third chapter assesses Milton's use of the grotesque in The Doctrine and Discipline of Divorce (1643). Here Milton develops the notion of grotesque love which marked by human fallibility and thus legitimises divorce. Milton also uses the grotesque to acknowledge the limitations of his authorial persona, and to hint at the equality of gender relationships within ideal marriages. The fourth chapter focuses on Areopagitica (1644) and the notion of grotesque truth developed there. Milton uses this concept to complicate his authorial persona and his attitude to the contemporary debate on licensing. In part, it is Milton's aim to increase the awareness of the implications of licensing by indirect means, through the structures of the grotesque. The fifth chapter analyses A Defence of the People of England (1651) and its polemic use of the grotesque to colour his readers' perceptions of his opponents, but also eventually to alienate himself from his European readership in an attempt to refashion his readers' conceptions of the stereotypical Puritan. The process of presenting credible arguments through an increasingly alien persona paradoxically allows Milton to make the tract's arguments appear more independent and reliable: the authority of the argument, established initially through a trustworthy spokesman, remains credible even when it is reiterated by an increasingly alienated and Puritan authorial persona. The thesis ultimately shows that Milton's use of the grotesque in prose works from 1641 to 1651 indicates a growing awareness of its complex possibilities and an increasingly daring and original use of them.
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劉燕萍 and Yin-ping Grace Lau. "Grotesque satire in the Ming and Qing novels." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31240495.
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De, Oliveira Antonio Eduardo. "The grotesque and the carnivalesque in Conrad's fiction." Thesis, University of Reading, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302832.
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Black, Fiona Catherine. "The grotesque body in the Song of Songs." Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311696.
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Picon-Vallin, Béatrice. "V. Meyerhold le grotesque au théâtre : 1905-1926 /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37610524z.
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Howell, Audrey. "The Biomorphic Grotesque in Modernist and Contemporary Painting." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/327.
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This paper looks at the concepts of the biomorphic and grotesque in art from the start of the 20th century to the present with a focus on painting and drawing. Included in the discussion of the grotesque throughout history are the works of Dadaist Otto Dix, painter Georg Baselitz, and feminist artists Judy Chicago, Hannah Wilke, and Ana Mendieta. Each used grotesque imagery to comment or react to a larger sociopolitical issue. Biomorphic artworks from the 20th century are mentioned as well, with specific examples of work by Lee Krasner, Willem DeKooning, and Hans Bellmer. These artists together start to illustrate the ways biomorphic and grotesque imagery can be used to explore physical gesture, inspire a visceral reaction in the viewer, and make societal critique. These themes are currently being explored by contemporary artists Jenny Saville, Wangechi Mutu, Inka Essenhigh, Cecliy Brown, Elizabeth Murray, and Maria Lassnig, each of whom is discussed in detail. Their work explores the boundary space between the body and hybridity, impurity, or abstraction, each in their own way. Following this discussion the author’s own paintings and drawings are mentioned, including dialogue detailing the thought process behind each one. Photographs of these works are included.
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Cambreleng, Guy. "Witkiewicz et le grotesque. L'exemple de son theatre." Paris 3, 1989. http://www.theses.fr/1990PA030001.
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Witkiewicz est l'auteur d'une oeuvre tres diversifiee, theatre, essais, romans, ouvrages philosophiques, peinture et meme photographies. Son oeuvre theatrale met en valeur de nombreux caracteres du genre "grotesque", mis au service d'une conception du monde essentiellement tragique. Contemporain de nombreux mouvements litteraires et artistiques apparus dans le premier tiers du vingtieme siecle, il manifeste envers eux une mefiance, en raison de l'intuitionnisme et de l'irrationnalisme qu'il y percoit. Les caracteres des personnages de ses pieces ainsi que les themes de sa dramaturgie sont souvent recurrents. La langue qu'il utilise fait appel aux registres les plus divers. Ses pieces comportent un grand nombre de personnages toujours decrits avec minutie, dans des didascalies-fleuve. Son theatre, tres souvent represente dans son pays possede un impact assez faible en occident. Quelles en sont les causes ? une analyse des representations de ses pieces en pologne, d'une part et dans les pays d'expression francaise, d'autre part doit permettre d'y repondre. Une pratique scenique de witkiewicz permet de preciser les conditions de reussite de ses drames. En annexe, un essai de mise-en-scene pour "une locomotive folle", la construction d' une piece "l'ile de satan" a partir de deux fragments publies, un exemple de lecture des "cordonniers" ainsi que l'analyse detaillee d'une scene de cette piece et enfin un expose des problemes engendres par la traduction d'une piece non encore publiee en france mais jouee a paris en 1986: "miss tootlie-pootlie" permettent, je l'espere, de cerner de plus pres cette oeuvre fondamentalement pessimisteWitkiewicz is the author of a work very varied, theater, essays, novels, philosophical works, painting and even photography. His theatrical work set oo many features of grotesque style at the service of a world conception essentially tragic. Contemporary of several artistic and literary movements, loomed up on the horizon of the first third of twentieth century, he mistrusts them owing to intuitionnism and irrationalism that he detects in them. The dramatis personae of his plays as the themes of his dramatic art are often recurrents. The language employed refers to the most varied levels. His plys consist of many dramatis personae always describe meticulously in sizeable didascalies. His plays are very often performed in his country but they have an enough weak impact in occident. What are the reasons of that? an analysis of the performances of his plays in poland, on the one hand and in the countries of french expression, on the other hand can allow to answer. A theatrical practice of witkiewicz permits to specify the conditions of success of his dramas. In annex, an attempt to put on stage: "a crazy locomotive", the construction of a play: "the island of satan" from two published fragments, an example of reading about "the shoemakers" as a detailed analysis of of a scene of this play and at last the problems created by the translation of a play never published in france but performed in paris in 1986: "miss tootlie-pootlie", allow, i hope so, to delimit more closely, this work inherently pessimistic
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Picon-Vallin, Béatrice. "V. Meyerhold. Le grotesque au theatre. 1905-1926." Paris 3, 1987. http://www.theses.fr/1987PA030174.
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Avec l'oeuvre theatrale de v. Meyerhold, acteur et metteur en scene, on saisit toute l'histoire du theatre russe et sovietique de 1898, naissance du theatre d'art, a la revolution, et de 1917, ou meyerhold s'inscrit au p. C. A la fin des annees 30. Pivot d'une histoire du theatre russe qui epouse les violentes crises de l'epoque, il est lie aux revolutions sceniques europeennes (maeterlinck, fuchs, appia, craig). Son theatre de la convention cherche la suggestion, la collaboration du public, reevalue le role de la peinture et de la musique. Comme craig, il refuse pour le theatre un statut degrade et dependant et fera du metteur en scene l'"auteur" du spectacle dans les annees 20. Experimentateur, il monte wagner, puis gluck et realise ainsi l'union des arts. Mais il emprunte aussi la voie des arts du spectacle dits mineurs, caracteristique du theatre du debut du 20eme siecle, qu'il appelle "theatre de foire" (balagan) et privilegie dans ce contexte la commedia dell'arte. A long terme, il vise une nouvelle forme de theatre de type musical, appuye sur l'etude des arts marginaux et des theatres traditionnels pour renouveler le gesamtkunstwerk wagnerien. Entre drame musical et baraque de foire, son parcours est marque de ruptures brutales. Pour en degager l'unite sans en masquer les contradictions fecondes, le concept de grotesque qu'il propose des 1911 et qu'il nomme essence de la theatralite, dans du theatre, offre l'approche la moins reductrice. Non pas figure de style, mais outil conceptuel, le grotesque structure le langage theatral meyerholdien en donnant une organisation, qui n'est ni hierarchique, ni tautologique, ni fusionnelle, de ses materiaux : base sur le choc etThrough the theatrical works of the actor and director meyerhold, the hole of the history of russian and soviet stage can be grasped, from 1898, when the moscow art theatre came into being, to the revolution, and from 1917, when meyerhold joined the communist party to the end of the thirties. As the central figure in a history of the russian stage, which closely follows the violent crises of the time, he has strong connections with the revolutions of the european stage. His theatre of convention is a search for suggestion, for audience participation, and a reappraisal of the use of painting and music on the stage. Just like craig, meyerhold rejects a degraded and dependant status of the theatre and in the twenties, he turns the stage director into the "author" of the show. As an experimentor, he stages wagner, then gluck, thus achieving the blending of the arts. But he also treads the path of the so-called minor spectacular arts, characteristic of the early twentieth century theatre and which he calls the "fairground theatre" (balagan). In this context, he gives precedence to the commedia dell'arte. In the long run, he aims at a new form of musical show founding upon the study of marginal arts and traditionnal stages, in order to give a new life to the wagnerian gesamtkunstwerk. Between musical drama and fair booth, his path is marked by sudden breaking points. In order to point out its unity without evading the fruitfull contradictions, the concept of the grotesque which meyerhold
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Fauconnier, David. "L'esprit grotesque dans le cinéma espagnol, 1960-1965." Paris 8, 2003. http://www.theses.fr/2003PA082253.
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Il existe dans le cinéma espagnol des films se caractérisant par une représentation du monde et une forme de dérision singulières. On en trouve des manifestations dans l'histoire de l'art et de la littérature espagnoles. De nombreux commentaires critiques se réfèrent au grotesque pour décrire les sujets représentés et analyser l'esthétique de ces oeuvres. Cette thèse consiste à montrer que, de Buñuel à Almodovar, des réalisations significatives du cinéma espagnol relèvent d'un esprit grotesque. Son expression est particulièrement manifeste dans la période 1960-1965. C'est au début de cette décennie que furent réalisés El cochecito (Marco Ferreri, 1960), Viridiana (Luis Buñuel, 1961), El verdugo (Luis G. Berlanga, 1963) et El extraño viaje (Fernando Fernan-Gomez, 1964). L'analyse de ces œuvres tend ainsi à étudier le dispositif de mise en scène par lequel s'exprime un esprit grotesque au cinémaIn Spanish cinema there are movies characterised by a representation of the world and a form of derision which are unusual. They can be found in art history and Spanish literature. Several critical commentaries refer to the grotesque to describe the subject which are represented and to analyse the aesthetic of those art works. This thesis consists in showing that, from Buñuel to Almodovar, significant films of Spanish cinema comes within a grotesque spirit. It was particularly expressed from 1960 to 1965. It was at the beginning of this decade that were directed El cochecito (Marco Ferreri, 1960), Viridiana (Luis Buñuel, 1961), El verdugo (Luis G. Berlanga, 1963) and El extraño viaje (Fernando Fernan-Gomez, 1964). Therefore, the analyse of those works aims at studying the set of production through which the grotesque spirit in cinema is expressed
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Porter, Whitney B. "John Waters: Camp, Abjection and the Grotesque Body." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1292345547.
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Andrade, D. Joseph. "Architecture and the grotesque : an architecture of estranged beginnings." Thesis, Georgia Institute of Technology, 1994. http://hdl.handle.net/1853/23480.
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Bong, Mabelle. "Grotesque Depictions and Seduction: Exotification of Asian/American Women." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/579.
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My senior art project is an exploration of contemporary representations of women of Asian descent in the United States, specifically looking at issues of body image, sexuality, and exotification. I will examine the lack of representation of Asian women in America in media and art, specifically painting and mixed media. Ultimately, I will elucidate on why I chose this topic and used certain techniques and materials to explore the contemporary features and symbolic representations of Asian women in America.
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Wilson, Natalie. "Bodily subversions : the corporeal grotesque in contemporary American fiction." Thesis, Birkbeck (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406328.
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Udris, Janis. "Grotesque and excremental humour : Monty Python's Meaning of Life." Thesis, University of Warwick, 1988. http://wrap.warwick.ac.uk/34722/.
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The thesis represents an attempt to bring together theoretical and empirical work on (grotesque/excremental) humour. The first two sections are consequently concerned with the history and theorisation of the grotesque/excremental and with the prevalent ways of analysing the comedic. It was decided that a 'history' of Monty Python would constitute too long a digression, and so only a brief account of Terry Gilliam's links with the grotesque is included. Two further section then deal with some of the research on the comedic which has been done and with audience research methodologies. It is worth noting a shift which took place in the course of work on this thesis, from a concern with highly individuated responses (reflecting the centrality of psychoanalytic explications of the comedic) to an eventual decision to concentrate on a 'readerresponse' approach. The rationale for this shift is discussed in Section 5, and briefly in Section 6. The empirical heart of the research is, then, an analysis of a transcript of six hours of taped interviews/discussions about responses to Monty Python's Meaning of Life. These are supplemented by the results of Humour Appreciation Tests and Mood Adjective Check Lists administered under standard conditions to the respondents watching the film. While there can be no question of 'proof', particularly in a field in which psychoanalytic mechanisms are arguably crucial, results of the empirical study indicate that the humour of Meaning of Life functions to reduce anxiety, and that the mechanism by which this occurs conforms to a Freudian repression model. Over and above this, however, - the work of David Morley and Janice Radway is worth evoking here - the detailed account of audience response also furnishes data for further enquiry about how and why 'real' respondents do or do not find grotesque and excremental humour 'funny'.
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SainteOnge, Sopha Françoise. "L'Oeuvre narrative de Herbert Rosendorfer grotesque, utopie, téléologie, eschatologie /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37610028z.
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Dombrowski, Renee. "The Carnivalesque and the Grotesque in Elizabeth Bishop's Poetry." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1304.
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Elizabeth Bishop (1911-1979) was a Pulitzer-prize winning American poet who did not produce much published work in her career. This was partly due to her low confidence, depression, alcoholism, and difficult personal life, but it was also due to her meticulousness as a poet. Colleagues and critics praised her strong description and mastery of technique, but criticized her early work as lacking depth. While appearing simple, her early works present complex themes of dualism and isolation. Using characteristics of the carnivalesque and the grotesque, her poetry explores these concepts and the need to cover them. This study's close analysis of four works ("From the Country to the City, " "Cirque d'Hiver, " "Pink Dog, " and "The Man-Moth") reveals characteristics of the carnivalesque and the grotesque, adding a previously unnoticed depth to her early work.
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Queiroz, Paulo Roberto. "Estranged lives : the romantic grotesque in Carson McCullers fiction." reponame:Repositório Institucional da UFSC, 1995. https://repositorio.ufsc.br/xmlui/handle/123456789/157940.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e ExpressãoMade available in DSpace on 2016-01-08T19:45:55Z (GMT). No. of bitstreams: 1 102605.pdf: 2176514 bytes, checksum: af16123982ce0fec9aa636ee0822127a (MD5) Previous issue date: 1995
Análise da função do grotesco no estabelecimento da atmosfera em Reflections in a Golden Eye e The Ballad of the Sad Café, de Carson McCullers, a partir do conceito de grotesco Romântico, de Mikhail Bakhtin. A análise mostra que a falta do poder regenerativo que é característico do grotesco Romântico está presente nas duas obras estudadas, proporcionando-lhes uma atmosfera sombria.
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Lachaud, Maxime. "Le grotesque sudiste dans l'œuvre romanesque de Harry Crews." Toulouse 2, 2003. http://www.theses.fr/2003TOU20043.
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Entre réalisme grotesque et étrangeté gothique, l'œuvre de Harry Crews érige la tradition sudiste post-faulknérienne au rang de manifeste esthétique. L'auteur dépasse le conflit et la dualité cartésienne du corps et de l'esprit pour présenter des personnages qui trouvent l'esprit, ou qui le cherchent, à travers le corps. Son grotesque se ressent dans cette "théologie du corps" et dans une physicalité inspirée de l'environnement "white trash" dans lequel il a grandi. Face à la domination du corps dans la vie des personnages, deux attitudes se révèlent : soit un sentiment d'aliénation, qui renvoie aux théories de Kayser, soit une acceptation (Bakhtine). L'œuvre de Crews se poserait donc comme une sorte de réconciliation entre le grotesque médiéval et le grotesque romantique, entre la bouffonnerie rabelaisienne et la noirceur existentielle. En se livrant à des rituels "carnavalesques" pour imposer de l'ordre et de la discipline dans leur existence, les personnages traduisent ce concept bakhtinien dans un conflit individuel, une aliénation. L'œuvre de Crews apporte une lumière nouvelle et déroutante sur la tradition grotesque en la confrontant à une métaphysique de l'abject dans un Sud "hanté" par la FoiBetween grotesque realism and Gothic strangeness, Harry Crews's novels transform the post-Faulknerian Southern tradition into an aesthetic manifesto. The author goes beyond the Cartesian conflict between mind and body to present characters who find, or try to find, the spiritual through the corporeal. Crews's grotesque can be felt in this "theology of the body" aund in a physicality inspired by his white trash education. In response to the domination of the body in the characters's lives, two attitudes can be found : a feeling of alienation, that brings us back to Kayser's theories, or acceptance (Bakhtin). Thus, Crews's work would be a kind of reconciliation between the medieval and the Romantic grotesque. Through "carnivalesque" rituals, the characters want to impose order and discipline on their lives and translate this Bakhtinian concept into a personal conflict, an alienation. The fictions of Crews enlighten in a challenging way the grostesque tradition through a metaphysics of abjection in a South "haunted" by Faith
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SOPHA, BOROCCO FRANCOISE. "L'oeuvre narrative de herbert rosendorfer. Grotesque - utopie, teleologie, eschatologie." Université Marc Bloch (Strasbourg) (1971-2008), 1987. http://www.theses.fr/1987STR20064.
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Comme le titre l'indique, il s'agit dans cette these de voir en quoi l'oeuvre narrative en question est grotesque, puis d'etudier les rapports qu'elle entretient avec l'utopie, la teleologie, l'eschatologie. J'ai d'abord presente l'oeuvre narrative de herbert rosendorfer, oeuvre qui comporte aussi bien des romans que des nouvelles. J'ai ensuite tente une definition du grotesque en en faisant l'analyse sous l'aspect de la psychanalyse et sous celui de l'ontologie. Ceci fait, j'ai essaye de voir ce qui le differencie des genres apparentes. Un troisieme chapitre est consacre a l'analyse de deux nouvelles et de quatre romans : il s'agissait de les classer en "grotesques integrales" et en "grotesques partielles". Les moyens stylistiques constituent le chapitre le plus important. J'y ai range l'etude des personnages, car c'est sur eux que repose l'univers grotesque de l'auteur etudie. Viennent ensuite les themes, puis les techniques. Les uns et les autres sont consideres sous l'aspect de la dissolution du processus narratif qui est la forme meme que prend le grotesque pour s'exprimer. Reste l'etude des rapports du grotesque represente ici par l'oeuvre de herbert rosendorfer avec l'utopie, la teleologie, l'eschatologie. C'est au "pays de nulle part" que se rencontrent grotesque et utopie. L'un et l'autre sont teleologiques, mais le grotesque peut etre defini comme le "bris du nexus final". Quant a l'eschaton, ce n'est pas celui du dogme ou ouvre l'univers grotesque, mais bien plutot celui de la gnose. J'ai insiste en conclusion sur la "these" enoncee dans ce travail, a savoir que le grotesque postule une dualite, deux mondes qu'il tente d'integrer en une synthese superieure sans pourtant y reussir, d'ou les monstres qu'il engendreAs is implicit in the title, the purpose of this thesis is to examine the grotesque content of the narrative works in question and then to study their relationships with utopia, teleology, eschatology the thesis begins with a description of the narrative works of herbert rosendorfer which comprise both novels and novelettes. This is followed by an attempt to define the grotesque by analysing it from psychoanalytical and ontological aspects. Having done this, an endeavour was made to differentiate the grotesque from other related terms. A third chapter is devoted to the analysis of two novelettes and four novels, with a view to classifying these into "integrally grotesques" and "partially grotesques". The stylistic devices are the subject of the most important chapter. Here the characters themselves are analysed, because they are the foundation on which rests the grotesque universe of the author. Then follow the themes and techniques. Both are dealt with under the aspect of the dissolution of the narrative process which is the very form which the grotesque takes to express itself. There remains the study of the links between the grotesque represented by the works of herbert rosendorfer and utopia, teleology and eschatology. In the "country of nowhere" grotesque and utopia meet. Both are teleological but the grotesque can be defined as the "breaking of the final nexus". As for the eschaton, the grotesque universe does not open up on that of the dogmas but much more on that of the gnosis. In the summing up, special emphasis is given to the "thesis" expressed in this paper -i. E. , that the grotesque postulates a dualism, two worlds which it attemps to integrate in a higher synthesis, an attempt which fails, whence the monsters which it engenders
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Lee, Jae-Geol. "Le Grotesque contemporain : une catégorie de l’émotion dans l’art." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040212.
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Le mot grotesque est mal défini ; il recouvre, comme nom et adjectif, des réalités très disparates. Aussi, comment peut-il être utilisé pour désigner un système cohérent de représentation ? Quel est le point commun à toutes les formes du grotesque ?Dans un premier temps, il s’agit de présenter un panorama des références nécessaires à une description synthétique des motifs du grotesque. Deux analyses se sont particulièrement révélées stimulantes dans le processus : celles de Wolfgang Kayser et Mikhaïl Bakhtine. Analyses qui ne datent que d’environ un demi-siècle et reposent sur un corpus littéraire (respectivement Kafka et Rabelais). Puis il sera question des tenants et aboutissants du grotesque en fonction des contraintes et possibilités des différents mediums de l’art contemporain. Ainsi, dans quelle mesure les outils critiques de la littérature peuvent-ils être féconds pour la compréhension de ces formes plastiques ?Dans un second temps, il apparaît que le corps humain et ses acceptions sociale, culturelle, psychologique, ait pris une place prépondérante dans la production plastique du XXe siècle en ce sens que le support se fait documentaire. En quoi cette politique du corps s’est-elle structurée à un moment ou un autre sur le motif du grotesque ?Ensuite, il s’agit de produire une typologie des manifestations du grotesque et des réactions qu’elles suscitent. Dans quelle mesure ces émotions ont-elles leur part dans une compréhension de l’individu en tant que tel et de son mode de vie, des rapports de pouvoir et des aspirations qui les traversent ?Enfin, le grotesque semble se perdre dans les tentatives de définition, notamment en fournissant des modèles esthétiques hétéroclites. Comment serait-il possible toutefois de solidifier ses expressions en des formes théorisées distinctes ? Ainsi une théorie des formes du grotesque, aussi disparates qu’elles puissent être, et en évolution permanente, pourrait bien être un outil incontournable pour une appréhension sensible de l’art contemporain et ainsi peut-être s’en approprier les motifsThe word grotesque has never been accurately defined. As a noun and an adjective, it covers disparate concepts. Therefore how could it be used to designate a coherent representational system? What is the common point between all the forms of the grotesque?Firstly we’ll present a comprehensive overview of the references necessary to the description of grotesque patterns. In this process, two analysis have been particularly stimulating : those of w k and m b. These analysis are less than fifty years and are respectively based on Kafka and Rabelais’ body of literature.We’ll then talk about the ins and outs of the grotesque depending on both the possibilities and the constraints of contemporary artistic mediums. We’ll also explain how literary critical tools can help understand the art forms of the grotesque. Secondly we’ll see how the human body - as well as its social, cultural and psychological acceptions - have become predominant in the artistic production of the 20th century. How have these acceptions sooner or later edified a conceptual body around the notion of grotesque ?Thirdly we’ll try and produce a typology of the manifestations of the grotesque as well as a typology of the reactions it has generated. To what extent have these emotions played a part in the understanding of the human being and its lifestyle? Finally we’ll see how the grotesque tends to loose its meaning when we attempt to define it. It is especially the case when those attempts try to provide aesthetic benchmarks. However, could it be possible to consolidate those analysis and turn them into several distinctive theories?The forms of the grotesque are diverse, disparate and in constant evolution. However a theory of these forms is a tool not only indispensable to the comprehension of contemporary art but also necessary to the understanding of its patterns
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Barrere, Sophie. "Le grotesque : petit traité anarchique sur les oeuvres d'art." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30065/document.
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Sans souci de chronologie ou de catégories, cette recherche aborde les œuvres d’art sous la focale du grotesque, révélant une traversée de l’intime à l’universel qui les habite. Ceci débute par un franchissement au-delà du sens, pris dans l’espace du langage et de ses déterminismes. Le grotesque apporte par la contradiction systématique et le déplacement sémantique, une échappée. L’œuvre d’art fonctionne à partir et au-delà de cette illusion du sens à créer du commun, à travers l’anecdote. Une vigilance au « faire » plastique révèle les puissances qui travaillent le corps de l’artiste et mettent en jeu rythme, retournement et instant, où au-delà du visible s’articule l’apparaître, où la création se décrit comme un engagement vital vers ce point d’impossible autour duquel se décide le trait de pinceau, l’acte d’inscription. Dans cette compréhension, l’œuvre d’art est un surplus de fonctionnement, une coupure de la réalité qui origine l’histoire. Des réflexions psychanalytiques approfondissent l’enjeu de cette inscription, qui par le phénomène du transfert réactive la subtilité du processus d’identification. Ceci ouvre le rythme éthique où il est question de place occupée, d’une alternance vie, mort, dont le corps porte la dette séculaire comme sentiment archétypal du vivre ensemble. Ce processus de l’identification réactivé, relance le sujet face à son manque à être, castré, mortel, pris dans ce cycle de temporalité qui le précède et l’excède, face à ce grand Autre, ce « au moins un » qui y échappe.Voici une réflexion temporelle sur le poids du symbolique qui inconsciemment et indépendamment du pathologique peuple nos images et crée ce partage de l’intime à l’universelWithout regard to chronology or category, this research addresses the Art under the lens of the ludicrousness, revealing a crossing of intimacy to the universal that inhabits them. This starts with a crossing beyond the senses, taken in the space of language and its determinants. Ludicrousness brings the systematic contradiction and movement semantic, a breakaway. The Art works from and beyond the illusion of the senses to create the common, through the story. Vigilance to the "do" plastic reveals the powers that work on the artist's body and involve rhythm, reversal and instant, where beyond the visible articulated the show, where the creation is described as a vital commitment to this point of impossible around which decides the brush stroke, the act of register. In this understanding, the artwork is an operating surplus, a break from reality which origin the story. Psychoanalytic reflections deepen the stake of this registration, which the transference phenomenon reactive the subtlety of the process of identification. This opens up the ethical pace, where it comes to the space occupied, an alternation of life, death, whose body bears the secular debt as archetypal sense of living together. This process of identification reactivated revives the subject facing its lack of being, castrated, fateful, caught in this cycle of temporality that precedes and exceeds him, face to this big Other, this "at least one" that escapes. Here's a temporal thought on the significance of symbolism which people our images unconsciously and independently of the pathological and create this sharing of intimacy to the universal
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Bocianowski, Cécile. "Les dramaturgies du grotesque en Europe au XXe siècle." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040066.
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La thèse propose une lecture comparée de l’emploi du grotesque dans les théâtres français, polonais, belge francophone, germanophone, italien et espagnol. L’analyse comparée des écritures dramatiques comme du discours littéraire permet de dégager les spécificités du grotesque et de sa réception dans les diverses aires culturelles. La première partie est consacrée à la mise en place théorique de la notion dans les arts, des arts décoratifs à l’art dramatique, de la Renaissance au vingtième siècle. Une attention particulière est portée à la danse grotesque, jusque-là peu étudiée, ainsi qu’aux divergences entre les discours critiques occidental et oriental. La seconde partie constitue le cœur du travail par l’étude comparée des procédés grotesques selon trois axes : la déformation, la démesure et l’hybridité. Celle-ci permet de mettre en valeur les fonctions dramatiques de l’emploi de la marionnette et de la pantomime ainsi que l’inspiration des arts du cirque, de la foire et du cabaret. La troisième partie analyse l’hypothèse du genre dramatique grotesque en Europe au vingtième siècle. Une fois établi le cadre théorique de la réflexion sur le genre et au regard de la production dramatique la plus contemporaine, l’étude s’achève sur la détermination de la place du grotesque dans la création artistique comme dans la critique littéraire actuelle. En remettant en cause la périodisation traditionnelle du théâtre européen du siècle dernier, la thèse entend rendre sa place au grotesque dans la critique dramatique contemporaine comme mise en forme du difformeThis thesis proposes a comparative reading of the use of grotesque in French, Polish, French-speaking Belgian, German-speaking Italian and Spanish theatre so as to determinate the specificities of the grotesque and its reception in different cultural areas. It focuses in the first part on the theory of the notion in arts, from decorative to dramatic art, from Renaissance to the twentieth century. Special attention is given to the grotesque dance, which has been thus far insufficiently studied, and to the discrepancies between western and eastern critical discourses. The comparative analysis of the grotesque is conducted along three axes: deformation, excessiveness and hybridity. It emphasises the function of marionette, pantomime and the inspiration of circus, carnival and cabaret. The last part of the thesis concentrates on the hypothesis of a grotesque dramatic genre in Europe in twentieth century. Once established the theoretical basis of the reflexion upon genre, and in view of contemporary dramatic production, the thesis closes with the determination of the place of the grotesque in the creation and in the criticism. By calling into question traditional periodisation of European twentieth theatre, this thesis aims at giving its place to the grotesque in contemporary dramatic criticism as the shaping of the misshapen
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Cooke, James M. (James Michael). "The Grotesque Tradition in the Short Stories of Charles Bukowski." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc501093/.
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The style and themes central to Bukowski's prose have roots in the literary tradition of the grotesque. Bukowski uses grotesque imagery in his writings as a creative device, explaining the negative characteristics of modern life. His permanent mood of angry disgust at the world around him is similar to that of the eighteenth-century satirists, particularly Jonathan Swift. Bukowski confronts the reader with the uglier side of America--its grime, its corruption, the constricted lives of its lower class--all with a simplicity and directness of style impeccably and clearly distilled. Bukowski's style is ebullient, with grotesquely evocative descriptions, scatological detail, and dark humor.
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Cross, David Anthony. "Some kind of beautiful : the grotesque body in contemporary art." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16277/.
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This thesis investigates, through a body of interdisciplinary artwork, the representation of the grotesque body. It examines how it might be possible to manipulate the iconography of attraction and repulsion in contemporary art with the aim of confusing the binary opposition of what signifies pleasure and disgust. Each of the three artworks function to draw the audience into a powerful and affective relationship with representations that are simultaneously appealing and revolting. Using a number of modes and techniques to disrupt the dyad, including audience interaction and the use of seductive visual forms, the work focuses on my body as a site for the development of new knowledge about the representation of the non-preferred body. By bringing together otherwise unrelated discourses such as horror and formalist abstract painting, the artwork in this study attempts to call into doubt received wisdom about the nature of beauty and ugliness. There are a lexicon of different artistic mediums explored in this project including performance, installation, video and photography. The engagement with these disciplines represents an attempt to speculate on how we know and experience the body in an increasingly mediatised world. This research is also a key means of highlighting how our understanding of the body is informed by the differing effects of timebased, photographic and performative media. By creating a series of dialogues between the live and the virtual, timebased and static imagery, and the fragmentary body and its relationship to the holistic body, this project seeks to activate in the viewer/participant, a critical self-reflexivity. I ask how it is possible to know and experience corporeality in a virtual world of digitally manipulated bodies.
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Grué, Mélanie. "Grotesque "queer" et savoirs abjects dans l'oeuvre de Dorothy Allison." Phd thesis, Université Paris-Est, 2013. http://tel.archives-ouvertes.fr/tel-00958245.
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Originaire du milieu white trash, victime d'inceste, lesbienne et queer, Dorothy Allison appartient à une nouvelle génération d'auteurs qui, depuis les années 1980, perturbent le paysage littéraire et politique américain. Peuplée de personnages grotesques, dont les difformités physiques reflètent les normes sociales, sexuelles et de genre qui sous-tendent les discours dominants réduisant l'individu déviant au silence, l'oeuvre de l'auteure est pourtant un espace de prise de parole pour les sujets subalternes (les pauvres, les femmes, l'enfant abusée, et les homosexuels) que la société définit comme étant abjects. Ces recherches se concentrent sur les liens entre littérature et théorie, et sur la portée politique du témoignage minoritaire de Dorothy Allison, envisagé comme un espace de théorisation. À partir de l'analyse des théories du sujet, des études sur les classes et les " races ", des critiques de l'autobiographie et de la théorie queer, nous expliciterons la manière dont le texte littéraire transmet le discours de revendication de l'individu subalterne, permet l'affirmation du sujet, et véhicule les " savoirs abjects " qui perturbent les normes. Ce travail s'attache à relire et repenser les théories à travers le prisme d'une oeuvre littéraire qui s'approprie le mode de représentation grotesque et accorde une place centrale au corps et aux sens. Faisant la part belle au langage du corps, le témoignage minoritaire romancé met à mal les hiérarchies et célèbre la profonde humanité des individus dévalorisés.
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Racadio, D. S. "The comic, the grotesque and the uncanny in Charles Dickens." Thesis, University of East Anglia, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.280064.
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Valentin, Éric. "Claes Oldenburg, Coosje van Bruggen : le grotesque contre le sacré /." [Paris] : Gallimard, 2009. http://catalogue.bnf.fr/ark:/12148/cb41436602q.
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Texte remanié de: Thèse de doctorat--Histoire de l'art--Paris 10, 2003. Titre de soutenance : Claes Oldenburg, Coosje van Bruggen, sculptures publiques : l'euphorie et l'angoisse du grotesque.Bibliogr. p. 235-238. Index.
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Grué, Mélanie. "Grotesque «queer» et savoirs abjects dans l’oeuvre de Dorothy Allison." Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST0013.
Full textAbstract:
Originaire du milieu white trash, victime d’inceste, lesbienne et queer, Dorothy Allison appartient à une nouvelle génération d’auteurs qui, depuis les années 1980, perturbent le paysage littéraire et politique américain. Peuplée de personnages grotesques, dont les difformités physiques reflètent les normes sociales, sexuelles et de genre qui sous-tendent les discours dominants réduisant l’individu déviant au silence, l’oeuvre de l’auteure est pourtant un espace de prise de parole pour les sujets subalternes (les pauvres, les femmes, l’enfant abusée, et les homosexuels) que la société définit comme étant abjects. Ces recherches se concentrent sur les liens entre littérature et théorie, et sur la portée politique du témoignage minoritaire de Dorothy Allison, envisagé comme un espace de théorisation. À partir de l’analyse des théories du sujet, des études sur les classes et les « races », des critiques de l’autobiographie et de la théorie queer, nous expliciterons la manière dont le texte littéraire transmet le discours de revendication de l’individu subalterne, permet l’affirmation du sujet, et véhicule les « savoirs abjects » qui perturbent les normes. Ce travail s’attache à relire et repenser les théories à travers le prisme d’une oeuvre littéraire qui s’approprie le mode de représentation grotesque et accorde une place centrale au corps et aux sens. Faisant la part belle au langage du corps, le témoignage minoritaire romancé met à mal les hiérarchies et célèbre la profonde humanité des individus dévalorisésBorn in a white trash milieu, a victim of incest, lesbian and queer, Dorothy Allison belongs to the new generation of writers who, since the 1980s, have troubled the American literary and political landscape. Overflowing with grotesque characters, whose physical deformity mirrors the social, sexual and gender norms underlying the dominant discourses that silence the deviant individual, the author’s work is nevertheless a space where inferior subjects (the poor, women, the abused child, homosexuals), defined by society as being abject, can speak. This research focuses on the connections between literature and theory, and on the political significance of Dorothy Allison’s testimony, here considered as a theorizing narrative. Using subject theory, class and race studies, autobiography criticism and queer theory, we shall explain how the literary text passes on the inferior individual’s claims, enacts the subject’s self-assertion, and transmits the “abject knowledge” which disrupts the norms. This research aims at re-reading and rethink various theories through the literary work which appropriates the grotesque mode of representation and grants the material body and the senses a central place. The fictionalized testimony makes bodily language paramount, interrogates established hierarchies and glorifies the intense humanity of discredited individuals
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Gouriey, Brian Camillus. "Carnivalesque and grotesque : transgression in the writings of John Bale." Thesis, Queen's University Belfast, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501268.
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