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Journal articles on the topic 'Weird Fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Gyuris, Norbert. "The Semiotic Background of the Ineffective Investigation in the Weird Detective Story." Acta Universitatis Sapientiae, Philologica 15, no. 1 (2023): 150–62. http://dx.doi.org/10.2478/ausp-2023-0010.

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Abstract The classical detective story is based on a teleological certainty offered by the narrative. In these stories, the detective successfully solves the crime, and the lawful order is restored in an assuring manner, so the closure of the narrative structure does not allow for an open ending in ontological terms. However, weird fiction and its most recent form, new weird, have a different approach to the teleological givens prescribed by the classical detective story (whodunit). The weird investigation is paradigmatically open-ended, and the detective most often fails to solve the case. Th

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2

Marshall, Kate. "Weird Century." American Literary History 36, no. 4 (2024): 1112–22. http://dx.doi.org/10.1093/alh/ajae121.

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Abstract Has the world become weirder? This is a question that a reader of twentieth-century fiction might ask, perhaps especially a reader of realist novels. These novels, as I argue in my recent book Novels by Aliens, evince a genre creep of science fiction, fabulism, and the weird that contends with the fractured and competing crises of our time. By extending this argument through a set of contemporary novellas, I discuss why genre is functioning as an important critical resource for twenty-first-century writing and how the form of the novella focuses genre debates on problems of scale and

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Norman, Joseph. "‘[…] tentacular invisible mother divine!’: (The) Weird (in) Metal as convergence of sonic extremities and literary margins." Metal Music Studies 5, no. 2 (2019): 225–42. http://dx.doi.org/10.1386/mms.5.2.225_1.

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Weird Fiction is often understood as an unclassifiable fusion of horror, science fiction (SF) and fantasy, and therefore a kind of generically hybridized writing. Here I discuss various parallels between Weird Fiction and music marketed and recognized as ‘extreme metal’, an umbrella term for bands playing in the core styles of black, death and doom metal, and their various offshoots like grindcore and sludge. Analysis of all Weird Metal is beyond the scope of this article, so I focus on artists who achieve Weirdness through the presence and interrelationship of hybridity, numinosity (an overwh

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Kiss, Gábor Zoltán. "Anti-heuréka." Artcadia 1, no. 2 (2022): 5–12. http://dx.doi.org/10.57021/artcadia.3803.

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A modern irodalmi mainstream a 20. század első évtizedeiben kezdett el leválni a vulgáris formáiról, a sci-firől, a horrorról, a fantasyről, vagy ahogy akkoriban az angolszász kontextusban nevezték, a weird fictionről. A weird fiction szupernaturalizmusa összeegyeztethetetlennek tűnt a modern irodalom társadalmi realizmusával, ami rövidesen a közönség, a publikáció és a terjesztés csatornáinak különválását is eredményezte. Az esztétikailag érzékeny közönség, a patinás irodalmi kiadók, az irodalmi establisment elváltak a pulp magazinoktól és közönségüktől, a pult alóli terjesztéstől és a szub-l

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Grdešić, Maša. "Asja Bakić’s Feminist Weird Fiction." Umjetnost riječi 68, no. 2 (2024): 187–210. https://doi.org/10.22210/ur.2024.068.2/03.

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Born in Bosnia in 1982, Asja Bakić now lives in Croatia, and publishes both in Croatia and Serbia. A member of a new generation of Balkan and post-Yugoslav writers, Bakić is not only poet and essayist, but also gained international success with her short story collection Mars (2015), which has been translated into English, German, and French. Bakić’s playful poetry, feminist polemical essays, and her genre-bending short stories position her as a subversive author in Croatian literature where neorealist poetics is still dominant. In contrast, Bakić’s short stories can best be described as “weir

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6

Cohen, Debra Rae, and Catherine Keyser. "Women Thinking in Public: An Introduction." MFS Modern Fiction Studies 70, no. 3 (2024): 369–84. http://dx.doi.org/10.1353/mfs.2024.a942193.

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Abstract: This introduction teases out the productive tension between female characters in modern fiction and the implied author as modeled by Mary Mc-Carthy's The Group . Fiction writers dramatize both women's intellection and self-expression and the barriers to that public role. Modern and contemporary women writers blur the lines between essay writing and fiction, professional and intellectual personae, and novelistic narration. Feminist theory also adapts fictional modes to speculate about living otherwise. Our special issue contributions feature collaboration, archives, praxis, the corpor

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7

Miller. "Weird Beyond Description: Weird Fiction and the Suspicion of Scenery." Victorian Studies 62, no. 2 (2020): 244. http://dx.doi.org/10.2979/victorianstudies.62.2.12.

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8

Kowalczyk, Bartosz. "Zakamarki." Schulz/Forum, no. 21-22 (December 30, 2023): 143–54. https://doi.org/10.26881/sf.2023.21-22.09.

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The essay focuses on the connections of Bruno Schulz’s stories with weird fiction. The author attempts to determine which features of Schulz’s fiction have made some critics to associate his name with that genre. Referring to the highly criticized essays by Kazimierz Wyka and Stefan Napierski, he wonders if applying to Schulz’s work a term rooted in romanticism, particularly in its „dark” variety, is well-founded. Ultimately, he concludes that Schulz’s fiction can be legitimately assigned to a literary tradition represented by Edgar Allan Poe. By the same token, weird fiction has been included

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9

Barrientos, Maximiliano. "Devenir monstruo (Reflexiones en torno a la ficción weird)." Aportes 1, no. 33 (2022): 71–76. http://dx.doi.org/10.56992/a.v1i33.402.

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10

Zähringer, Raphael. "The Short Story, the New Weird, and the Literary Market." Zeitschrift für Anglistik und Amerikanistik 69, no. 2 (2020): 109–28. http://dx.doi.org/10.1515/zaa-2021-2034.

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Abstract The short story is commonly – and very productively – treated in the spirit of critical terms such as marginality and liminality. Quite surprisingly, though, New Weird Fiction, which postulates similar interests in, e.g., formal and aesthetic innovation as well as literary ambition, is primarily associated with the novel. The underlying lack of interest in the New Weird Short Story in both popular culture and academic work is scrutinised in this article. In a first step, it will survey the short story as a liminal form, both formally and aesthetically, and contextualize it by drawing

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Blacklock, Mark. "Higher spatial form in weird fiction." Textual Practice 31, no. 6 (2017): 1101–16. http://dx.doi.org/10.1080/0950236x.2017.1358688.

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12

Marshall, Nowell. "Queer Trauma in Caitlín R. Kiernan’s The Red Tree." English Language Notes 59, no. 2 (2021): 50–65. http://dx.doi.org/10.1215/00138282-9277260.

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Abstract Despite winning numerous literary awards, Caitlín R. Kiernan’s work has received little critical attention. Scholars have focused on Kiernan’s reworking of H. P. Lovecraft’s influential weird fiction and have discussed Kiernan’s pioneering work in New Weird fiction and short fiction. As astute as much of the critical work is, none of it addresses the cornerstone of Kiernan’s fiction: trauma. This essay considers Kiernan’s novel The Red Tree as a queer American gothic novel dealing with trauma and its lingering effects on its witnesses. Through its complex, fragmentary form and its use

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13

Steffan, Jenkins. "The Weirdness of Hyperobjects." Pulse: the Journal of Science and Culture 8 (June 5, 2021): 17. https://doi.org/10.5281/zenodo.10576359.

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Global weirding, a phrase coined by Hunter Lovins and popularised by Thomas Friedman,has garnered a modicum of prominence since its popularisation in the late 2000s. It wascoined as a replacement for global warming, with the abnormal effects of climate changeforegrounded. When conceiving the concept of the ‘hyperobject’, Timothy Morton usesglobal warming specifically as one of his key examples. However, as the vernacular forreferring to climate change has been updated, it seems prudent to examine the hyperobjectagain. When writing on the topic of 

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Isto, Raino. "How Dumb Are Big Dumb Objects? OOO, Science Fiction, and Scale." Open Philosophy 2, no. 1 (2019): 552–65. http://dx.doi.org/10.1515/opphil-2019-0039.

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AbstractThis article considers the potential intersections of object-oriented ontology and science fiction studies by focusing on a particular type of science-fictional artifact, the category of ‘Big Dumb Objects.’ Big Dumb Objects is a terminology used—often quite playfully—to describe things or structures that are simultaneously massive in size and enigmatic in purpose: they stretch the imagination through both the technical aspects of their construction and the obscurity of their purpose. First used to designate the subjects of several science fiction novels written in the 1970s, Big Dumb O

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15

Wróbel, Łukasz. "Człowiek — to brzmi… marnie. Pesymistyczna antropologia „weird fiction”." Literatura i Kultura Popularna 28 (October 6, 2022): 117–32. http://dx.doi.org/10.19195/0867-7441.28.9.

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The article is focused on discussing the anthropological dimension of weird fiction. This type of literature presents the characteristic picture of a man which the author defines as homo victus. The pessimism and the vanity of existence are typical elements of weird fiction poetics. The authors often structure their writing in such a way so that the characters, when confronted with the uncanny nature of the world, can understand their insignificance and fragility. With the aim of advocating this thesis, stories of three remarkable authors who wrote in this convention will be discussed: Howard

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Mazzocato, Elisa. "Weird Ghosts of the Anthropocene: The Spectral Encounter in New Weird Fiction as a Conceptual Metaphor for Ecocritical Theory." Ecozon@: European Journal of Literature, Culture and Environment 15, no. 2 (2024): 156–72. http://dx.doi.org/10.37536/ecozona.2024.15.2.5368.

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In The Great Derangement, Amitav Ghosh links the reluctance of contemporary fiction to tackle the environmental crisis to the inadequacy of realism, with which Western “high” literature has been associated since the rise of the modern novel, to describe the “hyperobject” quality (Clark 140) of the Anthropocene. This paper argues that the genre labeled as New Weird, which strives to portray the Unheimlich, the eerie, or precisely the weird in our familiar reality, offers an answer to this aesthetic challenge, having found an especially powerful literary device in spectral encounters. In the wor

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Malmaceda, Luise. "'Bacurau': ficção 'weird' e estética aceleracionista de expurgo colonial | 'Bacurau': weird fiction and accelerationist aesthetics of colonial purge." Revista PHILIA | Filosofia, Literatura & Arte 3, no. 1 (2021): 194–218. http://dx.doi.org/10.22456/2596-0911.112892.

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ResumoNeste artigo, são analisados filme e roteiro de Bacurau (2019), dirigido por Kléber Mendonça Filho e Juliano Dornelles. Compreende-se a obra sob a perspectiva da ficção weird pela conjunção entre os elementos de futuridade da narrativa e os conflitos sociais do interior do Brasil, circunscritos a uma realidade histórica. Misturando gêneros cinematográficos em um filme que vai do cangaço ao gore, Bacurau nos coloca frente a uma distopia sobre a proliferação de tecnologias de vigilância e controle e, sobretudo, sobre a proliferação de sistemas políticos de morte.Palavras-chave: Bacurau. Fi

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18

Reinfandt, Christoph. "The Long and the Short of It: Approaching the (Un-)Representable in China Miéville’s “The Tain” (2002) and “The Condition of New Death” (2014)." Zeitschrift für Anglistik und Amerikanistik 69, no. 2 (2020): 129–42. http://dx.doi.org/10.1515/zaa-2021-2035.

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Abstract How can the genre of the short story accommodate the ‘inflationary tendency’ of weird fiction (Carl Freedman)? This article will trace how a very long and a very short story by China Miéville establish their respective weird elements in order to function as ‘placeholders for the unrepresentable’ (China Miéville). As will be shown, “The Tain” frames the weird in an elaborate and intricate narrative construction which is clearly literary while “The Condition of New Death” is basically expository and partly relies on the non-literary genre conventions of the academic report and the manif

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Machin, James. "Weird fiction and the virtues of obscurity: Machen, Stenbock, and the weird connoisseurs." Textual Practice 31, no. 6 (2017): 1063–81. http://dx.doi.org/10.1080/0950236x.2017.1358692.

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Gunderson, Marianne. "Other Ethics: Decentering the Human in Weird Horror." Kvinder, Køn & Forskning, no. 2-3 (November 29, 2017): 12–24. http://dx.doi.org/10.7146/kkf.v26i2-3.110547.

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Margrit Shildrick has argued that the monster’s ability to disturb and unsettle arises from its position as simultaneously same and different, both self and other at the same time. Through an analysis of Algernon Blackwood’s novella The Willows, this article discusses the challenge posed by the nonhuman Absolute other, the nebulous creatures whose whose difference is total, as they appear in weird fiction. Drawing on posthuman theory, it explores the ethical implications of imagining the crumbling horizons of human subjectivity in the meeting with the absolute and unknowable other. This articl

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21

Rauth, Thomas. "Forms and Functions of Description in the (New) Weird." Anglia 141, no. 3 (2023): 407–30. http://dx.doi.org/10.1515/ang-2023-0027.

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Abstract This essay discusses how and to what effect Weird and New Weird fiction use description in unique and genre-defining ways. Using H. P. Lovecraft’s “The Call of Cthulhu” and China Miéville’s The City & The City as examples, it shows how the Weird relegates a comparatively large part of the text to description and attempts to elicit dread as an aesthetic effect. The essay argues that the Weird breaks with the traditional use of description by employing formally realist tendencies which it defies functionally, and by combining over-description with the failure to describe, whereas th

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Feagin, Susan L. "Imagining Emotions and Appreciating Fiction." Canadian Journal of Philosophy 18, no. 3 (1988): 485–500. http://dx.doi.org/10.1080/00455091.1988.10717187.

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The capacity of a work of fictional literature to elicit (some) emotional responses is part of what is valuable about it, and having (relevant) emotional responses is part of appreciating it. These claims are not very controversial; perhaps they are even common sense. But philosophy rushes in where common sense fears to tread, raising questions and looking for explanations.Are the emotions we have in appreciating fictional works of art, what I call art emotions, of the same sort as those which occur in ‘real life’? Which emotions are appropriate to the work, and why: what justifies having one

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23

Markova, Ekaterina A. "British and American Reception of The Red Laugh by Leonid Andreev." RUDN Journal of Studies in Literature and Journalism 27, no. 2 (2022): 299–322. http://dx.doi.org/10.22363/2312-9220-2022-27-2-299-322.

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The article deals with the English-language reception of The Red Laugh , one of the most well-known of Leonid Andreev’s texts both in Russia and abroad. As the examples of this reception, a number of newspaper and magazine publications, memoirs, translators’ prefaces, and works of fiction are analyzed. There exist several waves of interest in Andreev’s story. They could be explained either by the appearance of new translations or by significant historic events of the time (the Russian Revolution, World Wars I and II). Andreev’s critics in Britain and America place his story in a variety of con

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Mortensen, Peter. "Isak Dinesen’s weird voodoo novel." Horror Studies 14, no. 1 (2023): 29–45. http://dx.doi.org/10.1386/host_00060_1.

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With its awkward generic shifts, odd repetitions, confusing spatial dislocations, unstable characters and inconclusive supernatural horrors, I here argue, bilingual Danish author Isak Dinesen’s The Angelic Avengers weirds our experience of living in a familiar, predictable and rule-governed universe. In my analysis, I especially foreground Dinesen’s use of West Indian voodoo, which is a prominent weirding device largely overlooked by the novel’s relatively few critics. Dinesen, I argue, wrote her novel amidst a widespread international voodoo and zombie vogue, tapping into popular representati

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Habdankaitė, Daina. "The Absolute as the Meeting Point Between Speculation and Fiction." Open Philosophy 3, no. 1 (2020): 349–57. http://dx.doi.org/10.1515/opphil-2020-0109.

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AbstractThe article investigates Meillassoux’s notion of the absolute in relationship with the Kantian and Hegelian philosophical systems. The absolute, as independent of subjective consciousness, is showcased as the meeting point of speculation and fiction. By looking into Meillassoux’s notions of speculation and some works of weird fiction, it is argued that the significant role of imagination as well as a deferred temporality is what facilitates the discussion of both speculation and fiction as faculties able to transcend the limitations that are projected by the correlationist mind. Throug

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Kaplan, David. "What weird meant to Williams." Dramaturgia em foco 7, no. 2 (2025): 370–96. https://doi.org/10.5281/zenodo.14883121.

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In August 1928, <em>Weird Tales</em> magazine published “The vengeance of Nitocris,” a short story written by 16 year-old Thomas Lanier Williams. What Tennessee Williams wrote later in his life resembles the plots, the structure, and stylings of stories (including the names of characters) that appeared in <em>Weird</em> <em>Tales</em> in and around 1927 and 1928. Consistently, where the progression of certain fantasy images (including ghosts and vampires) in <em>Weird</em> <em>Tales</em> leads to withering death and punishment in hell, t

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Davis, Erik. "Weird Naturalism of the Brothers McKenna." International Journal for the Study of New Religions 7, no. 2 (2017): 175–98. http://dx.doi.org/10.1558/ijsnr.v7i2.31944.

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When Terence McKenna and his brother Dennis performed the so-called “Experiment at La Chorrera” in Columbia in 1971, they staged what became one of the most legendary and storied trip tales in contemporary psychedelic culture. This paper diagrams the matrix of Jungian alchemy, Marshall McLuhan, and science fiction that underpinned the protocols and conceptual apparatus of the Experiment. These ideas are tied to McKenna’s early unpublished text Crypto-Rap, which is briefly summarized as an example of “weird naturalism.” In essence, it is argued that Terence and Dennis McKenna “esotericized” med

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LÓPEZ-PELLISA, Teresa. "NARRATIVAS DEL FUTURO. IMAGINARIOS Y CIENCIA FICCIÓN EN LA LITERATURA HISPÁNICA." Signa: Revista de la Asociación Española de Semiótica 34 (January 8, 2025): 13–22. https://doi.org/10.5944/signa.vol34.2025.43422.

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Este monográfico presenta cinco trabajos que analizan diversos imaginarios políticos en la ciencia ficción hispánica. Tanto la ciencia ficción latinoamericana como la española contemporánea se han consolidado como espacios privilegiados para la exploración de los futuros posibles, abordando de manera crítica las problemáticas globales del presente. En este sentido, se prestará atención a cómo las narrativas de este género literario articulan cuestiones fundamentales como el neoliberalismo, el patriarcado, el legado colonial, el colapso ecosocial, la globalización y la subversión de las estruct

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

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The early short story ‘The Rats in the Walls’ (1924) is recognized as the best of H. P. Lovecraft's fiction prior to ‘The Call of Cthulhu’, but this story is also non-cosmic and therefore (for some) not truly ‘Lovecraftian’. In conjunction with dense prose and seemingly throwaway references, this view has made ‘Rats’ arguably the most inadequately read of Lovecraft's major works. This article proposes that we read ‘Rats’, Lovecraft's first tale within an unofficial ‘witch cult’ trilogy, as a story of the path not taken in modern weird fiction. Using Henry James's ‘The Jolly Corner’ (1908) as a

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March-Russell, Paul. "Anthropocene feminism and the Weird temporalities of landscape." Short Fiction in Theory & Practice 15, no. 1 (2025): 81–95. https://doi.org/10.1386/fict_00122_1.

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This article presents an overview of the topic I have been exploring in recent years – the role of landscape in contemporary British women’s fiction. Here I focus specifically on the use of the short story in relation to temporality and the Anthropocene. In discussing stories by Zoe Gilbert, Sarah Hall, Daisy Johnson and Lucy Wood, I contextualize them within what has been termed as ‘Anthropocene feminism’, which regards the effects of climate change and species loss as man-made, and posits a posthuman future after the end of patriarchy. As the first section argues, this revolutionary project

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Dajnowski, Maciej. "„Praca widma w epoce mechanicznej reprodukcji”. China Miéville: koncepcje „haute weird” i „abcanny”." Literatura i Kultura Popularna 26 (September 16, 2021): 179–201. http://dx.doi.org/10.19195/0867-7441.26.14.

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The aim of the paper is presentation and discussion of China Miéville’s theoretic approach to the issue of horror’s subgenres, including classical Victorian ghost story and Lovecraftian weird fiction. “The abcanny” — in a way a subversive, theoretical category, that Miéville coins in his critical writings — is crucial for both his own speculations and the problems considered here. As it is decisively opposite to Freudian “uncanny” and Kristevian “abject”, it constitutes a relatively new approach to the question of distinction among the aforementioned horror literary genres. The Victorian ghost

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Camara, Anthony. "The Non-Euclidean Gothic: Weird Expeditions into Higher Dimensions and Hyper-Matter with H.P. Lovecraft." Science Fiction Studies 51, no. 2 (2024): 174–201. http://dx.doi.org/10.1353/sfs.2024.a931151.

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ABSTRACT: This article explores the significance of higher-dimensional and Non-Euclidean geometries in the weird horror fiction of H.P. Lovecraft, particularly in "The Dreams in the Witch House" (1933) and "From Beyond" (1934). Charting a new direction for studies of geometry in Lovecraft's fiction, this article argues that said tales speculate on the role higher dimensions play in the qualities, capacities, and tendencies of physical matter, all the while emphasizing the need for topological investigations that examine the interrelations of time, space, and matter in Lovecraft's weird cosmos.

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Daugherty, Gregory N. "A Daydreamer’s Antiquity: The Weird Classical World of Edward Lucas White." Classical World 118, no. 1 (2024): 95–105. http://dx.doi.org/10.1353/clw.2024.a944557.

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ABSTRACT: Edward Lucas White (1866–1934) taught Latin in private schools in Baltimore MD, published in Classical Weekly , earned a BA from Johns Hopkins but abandoned a PhD program due to ill health. He is known to many classicists for the historical novels The Unwilling Vestal , Andivius Hedulio and Helen . Today, White is the focus of intense admiration for his works of fantasy and horror, now part of the genre of Weird Fiction, especially “Lukundoo” and “The House of the Nightmare.” Thus far this resurgent admiration has not extended to his equally deserving historical fiction or poetry.

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Thomas, Joseph. "Lagniappe: “For ’the making and glimpsing of Other-Worlds’: Literature of the Fantastic in the Schlobin Collection at East Carolina University"." North Carolina Libraries 63, no. 1 (2008): 40–43. http://dx.doi.org/10.3776/ncl.v63i1.55.

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A new collection at East Carolina University’s Joyner Library: The James H. and Virginia Schlobin Literature of the Fantastic Collection includes fantasy, science fiction, horror, and the weird which builds, perhaps, on the uncertainty and anxiety created by the “marvelous” and the “uncanny” aspects of fantasy identified by Tzvetan Todorov (1975).

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Buckley, Chloe Germaine, and Laura Mitchell. "Weird Experience: Transformations of Space/Place in Lovecraftian LARP." Studies in Gothic Fiction 7 (November 15, 2021): 30–40. https://doi.org/10.18573/sgf.50.

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This article takes an interdisciplinary approach to the study of live-action roleplaying games (LARP). Using techniques derived from organization studies, Gothic Studies, and speculative philosophy, we present autoethnographic reflections on playing and organizing live-action roleplaying games inspired by the stories of H. P. Lovecraft. We contend that such games construct and then destabilize an improvised “place” that reveals the underlying weirdness of material “space” underneath. “Space” is Weird in the sense intimated by the thematics of Lovecraftian fiction, which offers glimpses into a

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Deckard, Sharae, and Kerstin Oloff. "“The One Who Comes from the Sea”: Marine Crisis and the New Oceanic Weird in Rita Indiana’s La mucama de Omicunlé (2015)." Humanities 9, no. 3 (2020): 86. http://dx.doi.org/10.3390/h9030086.

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Caribbean literature is permeated by submarine aesthetics registering the environmental histories of colonialism and capitalism. In this essay, we contribute to the emergent discipline of critical ocean studies by delineating the contours of the “Oceanic Weird”. We begin with a brief survey of Old Weird tales by authors such as William Hope Hodgson and, most famously, H.P. Lovecraft, who were writing in the context of a world still dominated by European colonialism, but increasingly reshaped by an emergent US imperialism. We explore how these tales are both ecophobic and racialized, teeming wi

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Isekenmeier, Guido. "Descriptive Economy in the New Weird Short Story: China Miéville’s “The Condition of New Death”." Zeitschrift für Anglistik und Amerikanistik 69, no. 2 (2020): 143–57. http://dx.doi.org/10.1515/zaa-2021-2036.

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Abstract This article investigates the forms and functions of description in New Weird fiction, using texts by China Miéville as examples. It contrasts the expansive descriptive routines of his novel Perdido Street Station (2000) with the compact forms of descriptivity found in the short story “The Condition of New Death,” focussing on the role of metaphoric condensation and the blending of description with narrative and explanatory modes. Occasionally drawing on other stories contained in Miéville’s 2015 collection Three Moments of an Explosion, it formulates a model of the descriptive econom

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Bueno Arbo, Jade. "CONHECIMENTO, DOMINAÇÃO E O ESTRANHO: A EPISTEMOLOGIA BIZARRA DE ANIQUILAÇÃO, DE JEFF VANDERMEER." Criar Educação 13, no. 3 (2024): 208–26. https://doi.org/10.18616/ce.v13i3.8250.

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O presente artigo busca aproximar-se das questões epistemológicas articuladas pelo romance Aniquilação, de Jeff VanderMeer (2014) tendo em vista o caráter experimental da weird literature e a natureza interdisciplinar da ficção científica. Discutiremos, neste trabalho, de que forma o primeiro romance da trilogia Comando Sul ecoa discussões e conceitos da epistemologia e filosofia da ciência, acessando, através de uma abordagem interdisciplinar, a maneira pela qual Aniquilação causa um efeito epistemológico próprio da weird fiction, que chamamos de “epistemologia bizarra”, demonstrando que, qua

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Alder, Emily. "(Re)encountering monsters: animals in early-twentieth-century weird fiction." Textual Practice 31, no. 6 (2017): 1083–100. http://dx.doi.org/10.1080/0950236x.2017.1358686.

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

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Chetwynd, Ali. "“A National Literature of Irrationalism”: Horror and the Weird as Foundations for an American Literature Survey Course." Arab World English Journal For Translation and Literary Studies 6, no. 2 (2022): 2–25. http://dx.doi.org/10.24093/awejtls/vol6no2.1.

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While recent pedagogical scholarship has examined how to teach horror and “weird fiction” in the American Literature classroom, there has been no study of the possibility of organizing an entire American Literature survey course around such texts. I elaborate on my own experience teaching such a survey course, which used texts in the American “weird” tradition to examine the whole US literary tradition in terms of the nation’s originary conflict between the forces of reason and unreason. I pay particular attention to the first two weeks of the course, in which we set up this framework through

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Scholz, Christina. "Quantum fiction! – M. John Harrison’s Empty Space trilogy and Weird theory." Textual Practice 31, no. 6 (2017): 1149–63. http://dx.doi.org/10.1080/0950236x.2017.1358689.

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John, Sears. "Emily Alder: Weird Fiction and Science at the Fin de Siècle." Pulse: the Journal of Science and Culture 8 (June 5, 2021): 3. https://doi.org/10.5281/zenodo.10578358.

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Kaplan, David, and (tradução) David Medeiros Neves. "O que estranho significava para Williams." Dramaturgia em foco 8, no. 2 (2024): 524–53. https://doi.org/10.5281/zenodo.14289001.

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Em agosto de 1928, a revista <em>Weird Tales </em>publicou “A vingança de Nitócris”, um conto escrito por Thomas Lanier Williams, com apenas 16 anos na época. O que Tennessee Williams escreveu posteriormente em sua vida assemelha-se às tramas, à estrutura e ao estilo das histórias (incluindo os nomes dos personagens) que apareceram em <em>Weird Tales </em>em torno de 1927 e 1928. De maneira consistente, onde a progressão de certas imagens de fantasia (incluindo fantasmas e vampiros) em <em>Weird Tales </em>leva a uma morte fulminante

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Wróbel, Łukasz Damian. "Is There “the Conspiracy against the Human Race”? The Philosophy of Man in the weird fiction Short Stories of Thomas Ligotti." Annales Universitatis Mariae Curie-Skłodowska, sectio FF – Philologiae 39, no. 1 (2021): 239–49. http://dx.doi.org/10.17951/ff.2021.39.1.239-249.

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ACAR, Barış Berhem. "Weird and Eerie: Yeşil Elmalar as an Inter-Genre-Al Novel." Akademik Dil ve Edebiyat Dergisi 6, no. 2 (2022): 0. http://dx.doi.org/10.34083/akaded.1145332.

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Genre theories determine that texts no longer belong to a single genre but can be included into various genres. As the borders of genres become more indistinct, interaction between genres are observed to increase. The presence of common discursive codes of genres helps authors be freed of the limits of a single genre, which enables the same texts to be read within the scope of various genres. In addition, genre differentiations with traditional strict rules are replaced with discursive genres that can change with new invented ones according to each text. The determination of usage values of ge

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Świrkowski, Andrzej. "The Detective Fiction of Oguri Mushitarō. Beyond the Orthodox and the Weird." Silva Iaponicarum, no. 56-59 (February 5, 2021): 312. http://dx.doi.org/10.12775/sijp.2020.56-59.18.

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Manea, Dragoş. "Western nightmares: Manifest Destiny and the representation of genocide in weird fiction." Studies in Comics 8, no. 2 (2017): 157–70. http://dx.doi.org/10.1386/stic.8.2.157_1.

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

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This article asks how Clive Barker responds to H. P. Lovecraft as a horror writer. It sees in Barker a particular example of how cosmic horror emerges, even as expected Gothic tropes become renewed with interesting variations. In particular, it foregrounds a resistance by Barker to Lovecraft’s insistence that the Weird be a place where writers hint at the monsters that cause ultimate dread rather than drawing them. Barker, though, refuses to balk at such a demand, channelling the same instinct that the later Lovecraft himself developed in categorizing with scientific-like granularity the often

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Vasconcelos Neto, Hélio Parente de, Katarine Maria Linhares Calado, and Luana Ferreira de Freitas. "H. P. Lovecraft’s Ethnocentric Violence in The Horror at Red Hook." Revista da Anpoll 54, no. 1 (2023): e1911. http://dx.doi.org/10.18309/ranpoll.v54i1.1911.

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H. P. Lovecraft is considered one of the leading authors in weird fiction, science fiction, fantasy, and horror. His concept of cosmic horror changed genres and served as an inspiration for many modern writers. The author's xenophobic and ethnocentric ideas are present in his literary work, with an emphasis on the racist themes so intrinsic to the short story “The Horror at Red Hook” (1927). The paratexts of Marsely de Marco and Giovana Bomentre’s translations of the short story, both from 2018, will be analyzed. Berman's retranslation theory (1984) and Albachten and Gürçağlar's theories (2018

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