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Journal articles on the topic 'The grotesque'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

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

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

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2

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

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

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3

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

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

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4

Donn, Katharina. "Migration and the Grotesque in Salman Rushdie’s The Satanic Verses." Anglia 131, no. 1 (2013): 100–120. http://dx.doi.org/10.1515/anglia-2013-0006.

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Abstract In the following, I explore the mutually enriching dialogue between the grotesque (based on Mikhail Bakhtin) and postcolonial literature that provides a leitmotif in Salman Rushdie’s The Satanic Verses on multiple levels: first and foremost, it defines the migrant protagonists’ experience as one of metamorphosis, transgression and change; in the grotesque just as in the experience of migration, the familiar and the unfamiliar conflate, and this is foregrounded in The Satanic Verses in striking manner: the protagonists Saladin Chamcha and Gibreel Farishta transform physically into grot

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5

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

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6

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

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7

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

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8

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

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

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9

Rimanelli, Giose, and Michael Vena. "Italian Grotesque Theater." World Literature Today 76, no. 1 (2002): 204. http://dx.doi.org/10.2307/40157189.

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10

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

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11

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

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12

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

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13

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

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14

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

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

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15

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

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16

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

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

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17

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

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18

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

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

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19

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

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

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20

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

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

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21

Stolzenberg, Jürgen. "Symphonie-Groteske." Archiv für Musikwissenschaft 76, no. 3 (2019): 177. http://dx.doi.org/10.25162/afmw-2019-0009.

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22

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

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

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23

Seibel, N. E. "GROTESQUE BY PETER HACKS." Vestnik of Samara University. History, pedagogics, philology 24, no. 2 (2018): 101. http://dx.doi.org/10.18287/2542-0445-2018-24-2-101-106.

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24

Tessa Ditner. "London and the Grotesque." World Literature Today 86, no. 3 (2012): 24. http://dx.doi.org/10.7588/worllitetoda.86.3.0024.

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25

Tenezakis, Xenophon. "Face au souverain grotesque." Esprit Mars, no. 3 (2018): 11. http://dx.doi.org/10.3917/espri.1803.0011.

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26

Coppel-Batsch, Marthe. "Le grotesque du transfert." Revue française de psychanalyse 68, no. 2 (2004): 633. http://dx.doi.org/10.3917/rfp.682.0633.

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27

Iehl, Dominique. "Gœthe et le grotesque." Littératures 12, no. 1 (1985): 95–106. http://dx.doi.org/10.3406/litts.1985.1346.

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28

Cook, C. "A Grotesque Old Woman." BMJ 339, jul22 1 (2009): b2940. http://dx.doi.org/10.1136/bmj.b2940.

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29

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

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30

Robin O'Bryan. "Grotesque Bodies, Princely Delight:." Preternature: Critical and Historical Studies on the Preternatural 1, no. 2 (2012): 252. http://dx.doi.org/10.5325/preternature.1.2.0252.

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31

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

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32

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

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33

Youngjoo Kim. "Grotesque Body and Grotesque Laughter in Angela Carter’s Rewriting of Fairy Tales." Feminist Studies in English Literature 18, no. 1 (2010): 29–56. http://dx.doi.org/10.15796/fsel.2010.18.1.002.

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34

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

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

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35

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

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

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36

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

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Throughout Jan Kott’s Shakespeare Our Contemporary, a keyword for the combination of philosophical, aesthetic and modern qualities in Shakespearean drama is “grotesque.” This term is also relevant to other influential studies of early-modern drama, notably Mikhail Bakhtin’s idea of the carnivalesque, as well as Wolfgang Kayser’s psychoanalytic criticism. Yet if this tradition of the Shakespearean grotesque has problematized an idea of the human and of humanist values in literature, can this also be understood in posthuman terms? This paper proposes a reading of Kott’s criticism of the grotesqu

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37

Unsriana, Linda. "Perbedaan Kelas Sosial sebagai Penyebab Ijime dalam Novel Grotesque." Humaniora 3, no. 2 (2012): 523. http://dx.doi.org/10.21512/humaniora.v3i2.3359.

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Ijime or bullying is a common problem in Japanese schools, and even, ijime actions sometimes result in the victims or the victims commit to suicide. Ijime is also depicted in the Grotesqe novel on a character, Kazue Sato. Kazue Sato is a girl who desperately wants to enroll an elite girl school, Q school. The school is for students from high social class. Nevertheless, by passing the strict exams, intelligent students from different social classes can go to this school. Article elaborates the relationship between social class differences in the actions of ijime, using a corpus of works Natsuo

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38

Khoury, Samah. "Grotesque in The Vey Short stories of Palestinian Female Writers." International Journal of Language and Literary Studies 2, no. 3 (2021): 121–34. http://dx.doi.org/10.36892/ijlls.v2i3.551.

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This research aims to study the application of the Grotesque technique on the characters of the very short story written by Palestinian female writers. The study includes three examples of very short stories by Palestinian female writers from different sectors: Israel, West Bank and Gaza Strip, and the diaspora. It attempts to find the connection between the grotesque reality that emerged after the war in 1948 and its effects and changes in society, politics and economics. Therefore, we will monitor the topics written by Palestinian female writers in the very short story because of the prefere

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39

Leonova, Ekaterina Yu. "GROTESQUE AND ABSURD IN THE LITERATURE FOR CHILDREN. CORRELATION OF CONCEPTS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2021): 12–20. http://dx.doi.org/10.28995/2686-7249-2021-8-12-20.

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The article considers the poetics of the grotesque and the absurd in the literature for children, in particular, the stories of T. Sobakin (“The Bald Monster”, “Motya”, “Then I Thought”), N. Nosov (“Dreamers”), M. Yessenovsky (“Ur-Yur-vyr”), as well as poems by A. Givargizov (“Unusual”), A. Orlova (“I am growing...”) and A. Usachev (“Vobla and the magazine”). Ideas about the wholeness of images and their harmony towards the created artistic reality are considered key characteristics for both concepts. So, absurd images are created by multiple points of view and contradictions between them, the

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40

Grojnowski, Daniel. "Le comique et le grotesque." Poétique 186, no. 2 (2019): 243. http://dx.doi.org/10.3917/poeti.186.0243.

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41

방찬혁. "Grotesque Aesthetic in Beckett’s Plays." English21 22, no. 4 (2009): 65–82. http://dx.doi.org/10.35771/engdoi.2009.22.4.004.

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42

Kim, Hee Joo, and Yeon Mi Kang. "Grotesque Aesthetics Represented in Jewellery." Journal of Basic Design & Art 19, no. 2 (2018): 111–24. http://dx.doi.org/10.47294/ksbda.19.2.9.

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43

Singley, Paulette. "Devouring Architecture: Ruskin's Insatiable Grotesque." Assemblage, no. 32 (April 1997): 108. http://dx.doi.org/10.2307/3171411.

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44

Lee, Hae-Woon. "Grotesque in the modern poetry." Korean Literature and Arts 9 (March 31, 2012): 117. http://dx.doi.org/10.21208/kla.2012.03.9.117.

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45

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

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46

Blakeslee, Vanessa. "The Pragmatic and the Grotesque." Iowa Review 46, no. 1 (2016): 187–89. http://dx.doi.org/10.17077/0021-065x.7716.

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47

Kouba, Anik. "Pour une esthétique du grotesque." Chimères 20, no. 1 (1993): 219–36. http://dx.doi.org/10.3406/chime.1993.1922.

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48

Usher, Phillip John. "Le Sublime et le Grotesque." Romanic Review 106, no. 1-4 (2015): 215–17. http://dx.doi.org/10.1215/26885220-106.1-4.215.

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49

Zajac, Marta. "Paradigmatic deformations of the grotesque." European Legacy 2, no. 4 (1997): 793–97. http://dx.doi.org/10.1080/10848779708579814.

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50

Ousselin, Edward. "Le Sublime et le grotesque." French Studies 69, no. 3 (2015): 407–8. http://dx.doi.org/10.1093/fs/knv110.

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