Grotesque Elements Research Articles

CONTEMPORARY APPROACHES TO RESEARCHING POLEMICS AND POLEMIC DISCOURSE

The article is dedicated to identifying the approaches to researching polemic discourse and the general idea of polemics. The concept of "polemic" is explored through linguistic and cultural lenses, considering its definitions in both English and Russian. While in English, it is primarily understood as a form of written argumentation, in Russian, it encompasses a broader range of communicative situations, including debates and discussions. The historical evolution of polemic writing is examined, tracing its origins to religious debates during the Middle Ages. Early polemics were characterized by aggressive language and one-sided arguments, often lacking consideration for opposing viewpoints. Translation played a significant role in shaping these debates, as linguistic barriers hindered mutual understanding. Despite changes over time, modern polemic writing continues to be subjective and aggressive, although contemporary examples often incorporate irony, satire, and grotesque elements. The scientific novelty of this article lies in the fact of addressing polemic discourse from different angles, considering the cultural implications which may influence the dichotomy in researching this study object. Theoretical analysis, comparison, and contrast methods are employed toreview the body of research related to polemics, providing insights into its complexity and evolving nature. The practical significance of the research results lies in their contribution to the understanding of polemic discourse, which has implications for communication strategies and cross-cultural communication.

Grotesque Approaches in Contemporary Turkish Painting

The Republican period witnessed significant changes in Turkish art and the art of painting was reshaped in this process. By addressing the grotesque elements in paintings depicting mythological themes, the study aims to understand the reasons why artists use these images and the social, cultural, and political contexts of these images. The study analyzes the depiction of figures in Turkish painting in a grotesque context during the Republican period and how artists integrated the influences of Western culture as well as traditional Turkish culture. Additionally, it is examined whether the use of grotesque images emerged as a reaction of the artists to the political and social atmosphere of the period or as a different narrative strategy. In this context, it offers an understanding of how grotesque images in Turkish painting reflect the artists' individual expressions, social criticism and cultural identities.

GROTESQUE COMPONENTS IN CHARLES DICKENS’ TO BE TAKEN WITH A GRAIN OF SALT AND MARY ELIZABETH BRADDON’S EVELINE’S VISITANT

This paper attempts to define the grotesque and its primary literary features before examining the grotesque components in two Victorian authors' works with the goal of separating their approaches to the grotesque based on gender. The most well-known novelist of the Victorian era, Charles Dickens will be one of the authors covered in this paper through his story To be Taken with a Grain of Salt, and the other one is Mary Elizabeth Braddon’s story Eveline’s Visitant. Dickens and Braddon particularly make use of the grotesque elements to convey their ideas and ideals through satire, comedy, tragedy, suspense, and a sense of fear, gloom, and obscurity. The research results show that both tales can be regarded as significant Victorian grotesque literature since they share, in various ways, elements of the grotesque notion. The real meaning of the grotesque is only exposed by itself-contradictory nature with the opposite, which is in this sense the ideal. Both stories are based on the main contrast between the spiritual and material worlds. They attempt to persuade us that there is yet another mysterious force that, despite the efforts to conceal it in the physical world, it exposes human wrongdoing. Thus, abnormal human beings, ghostly figures, and terrifying events will be detected through which grotesque elements are found.

Depression, a Major Theme of Modern Literature as the Culmination Point of the Degradation of Human Feelings Found in Victorian Literature

This study aims to show how life is portrayed in the Victorian Age through Victorian literature and its effects on modern literature. The paper represents depression, considered to be the central theme of modern literature, also found available in modern society where degradation of human feelings found in Victorian society and literature that acted as the catalysts of depression. To make this paper more acceptable, a comparison of Victorian and modern writers' writing styles and techniques is shown. To show the writing styles of Victorian and modern novels, Victorian novels have been described as having grotesque elements. In contrast, modern novels use a 'stream of consciousness.' Victorian poetry uses dramatic monologue, whereas modern poetry uses 'interior monologue.' Another comparison is held, keeping in mind the spiritual conditions of humans in the two periods. In the Victorian Age, people remained far away from spirituality; on the other hand, in modern society, people have an attempt to clutch the spiritual senses. Finally, this paper talks about how Victorian literature primarily reflects depression that comes from the breakdown of romantic spirits and disillusionment, followed by the rise of materialistic achievements during industrialization, which results in the cry of a departed and disinterested human soul prevailing in modern literature.

Introduction: Black Laughs Matter

Introduction: Black Laughs Matter

Grotesque Elements in Great Apes by Will Self

Grotesque Elements in Great Apes by Will Self

UMA LEITURA CARNAVALIZADA DE “A GORDA DO TIKI BAR”, DE DALTON TREVISAN

The present work aims to analyze how the carnival language is configured when taking as an object of study the short story “A Gorda do Tiki Bar”, by Dalton Trevisan, whose works present representations of pornography, violence and the comic. To conduct the analysis, the theoretical assumptions about the carnivalization of Bakhtin (1987) were fundamental for the literary understanding. It was verified, through the narrative, that the carnivalesque language is created by the junction of comic and grotesque elements that, from time to time, are linked through hyperboles, for example, and, simultaneously, destroy and regenerate, building the carnivalesque ambivalence. Thus, this article proposes a reading of Dalton Trevisan’s short story attentive to the presence of elements of carnivalization as a way of structuring his characters and their spatial-temporal context.

THE GROTESQUE AND MYTH IN GIAMBATTISTA BASILE’S IL PENTAMERONE

This paper, besides a short introduction concerning general information on themes and the structure present in the short story collection Lo cunto de li cunti overo lo trattenemiento de’ peccerille, written by the Italian Baroque author Giambattista Basile, whose masterpiece enjoyed great fame abroad much earlier than in Italy, is concerned with the analysis of fantastic and grotesque elements which generally characterise oral tradition, fairy tales and myths. The above-mentioned elements were identified in the fifty short stories which Basile wrote and included in his collection. Various sources were used in the analysis, relying on myths and fairy tales with the aim of explaining the presence of the grotesque. Besides its great literary value, this collection is also of great historical importance because, just like many other examples of oral tradition, it fosters a vast span of costumes and traditions that are typical of the Mediterranean folklore. From one tale to another, the collection slowly but surely reveals the Mediterranean identity of the people from the South of Italy and explains the function of the grotesque and its didactic purpose.

Beowulf’s Monster Discourse Now: Grendel in Twenty-First-Century Film

ABSTRACT Drawing on Monster Studies, this paper develops its own syncretic theoretical approach to focus on recent transformations of Beowulf’s archetypal plot of the Hero Overcoming the Monster in film discourse, as part of the broad popularity that Beowulf still enjoys in different art forms. Significantly preceded by McTiernan’s The 13th Warrior (1999), an attempt to adapt Michael Crichton’s literary ambition to make Beowulf’s story appealing to modern audiences, the new century opens with a revisionist approach to it in Hartley’s No Such Thing (2001), whose heroine empathises with the monster. While crude adaptations such as Lyon’s Grendel and McCain’s Outlander (2008) still abound, Gunnarson’s Beowulf & Grendel (2005) and Zemeckis’s Beowulf (2007) enhance the story by focalising it from Grendel’s mother’s perspective without renouncing its grotesque and sublime elements. Similar elements are likewise present in monster movies which are not ostensibly Beowulf adaptations, such as Ridley Scott’s Prometheus (2012), Bayona’s A Monster Calls (2016), and del Toro’s The Shape of Water (2017), yet whose monster discourse is sustained by ingredients ultimately deriving from the Anglo-Saxon poem: the monster as a tester of moral fibre, the cultural syncretism which gives sociohistorical meaning to the alien entity, and its human kinship.

Negligentia Diligens

The façade of Santa Maria dei Derelitti, also known as the church of the Ospedaletto (Venice, 1674), is one of the most eccentric works by the Venetian architect Baldassare Longhena. Devised as a frontispiece to the church of a hospital, the façade features conspicuous grotesque elements, such as leonine heads and rustic herms. In Negligentia Diligens: Baldassare Longhena and the Ospedaletto Church Façade, Stefano Colombo investigates the seemingly paradoxical architecture of the façade on architectural and rhetorical grounds, suggesting that in its subversion of architectural normativity, the façade offers a metaphor for the symbolic elevation of the poor population under the hospital’s care. By examining the concepts of norms and license as these were formulated in seventeenth-century visual rhetoric and architectural theory, Colombo investigates how the Ospedaletto church façade served as an architectural celebration of the humble, with ironic undertones.

In This Issue

Other| June 01 2021 In This Issue Journal of the Society of Architectural Historians (2021) 80 (2): 135. https://doi.org/10.1525/jsah.2021.80.2.135 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation In This Issue. Journal of the Society of Architectural Historians 1 June 2021; 80 (2): 135. doi: https://doi.org/10.1525/jsah.2021.80.2.135 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of the Society of Architectural Historians Search The façade of Santa Maria dei Derelitti, also known as the church of the Ospedaletto (Venice, 1674), is one of the most eccentric works by the Venetian architect Baldassare Longhena. Devised as a frontispiece to the church of a hospital, the façade features conspicuous grotesque elements, such as leonine heads and rustic herms. In Negligentia Diligens: Baldassare Longhena and the Ospedaletto Church Façade, Stefano Colombo investigates the seemingly paradoxical architecture of the façade on architectural and rhetorical grounds, suggesting that in its subversion of architectural normativity, the façade offers a metaphor for the symbolic elevation of the poor population under the hospital's care. By examining the concepts of norms and license as these were formulated in seventeenth-century visual rhetoric and architectural theory, Colombo investigates how the Ospedaletto church façade served as an architectural celebration of the humble, with ironic undertones. In Frederick H. Evans's Lantern-Slide Lectures as a... You do not currently have access to this content.

Negotiating Existential Concerns of Death and Meaninglessness through the Grotesque in Oscar Wilde’s The Canterville Ghost

Grotesque and existentialism in the field of literature generally raise four points. On the one hand, the grotesque has always been associated with negative connotation elements that usually include deformity, death, violence or monstrosity. In fact, the grotesque often carries pejorative connotations for it challenges traditions and deviates from what is accepted as the norm. On the other hand, existentialism, traced way back to as early as the 19 th century, often question the meaning of life and struggle with the anxiety of death while constantly looking for ways to justify one’s existence in a world that is filled with pessimism. Thus, this paper aims to find a point of convergence between existentialism and the grotesque by primarily focusing on how the male protagonist, Sir Simon in Oscar Wilde’s The Canterville Ghost employs the grotesque as a way to deal with existential concerns as pointed out by Irvin Yalom namely death, meaninglessness, freedom and existential isolation with an emphasis on the first two concerns. Three grotesque elements, specifically, Bakhtin’s carnivalesque, Thomson’s exaggeration, and Kohut’s narcissism will be studied alongside the two existential concerns, death and meaninglessness. By focusing on grotesque and existential elements, the paper will illustrate how the male protagonist is able to rely on the grotesque to subdue his fear and terror brought upon by the existential concerns in order to justify his sense of existence. Keywords: Oscar Wilde; Existential Concerns; Carnivalesque; Grotesque Body; Extravagance

D. H. Lawrence's Expressionist Approach to Tragedy: An Analysis of Touch and Go

D. H. Lawrence trajedi kavramına olumlu olarak yaklaşır ve yıkıcı ve olumsuz bakışı eleştirir. Lawrence trajedinin maddeci bir varoluş içinde insan ruhunun yeniden doğuşunu sağlamak için çabalayan dirençli, yaratıcı irade yoluyla üstesinden gelinebileceğini düşünür. Lawrence modernizmin trajedisini, emekle sermayenin, eskiyle yeninin, cinsiyetlerin çatışması ile aşk, sanayileşme ve savaşın trajedileri gibi içiçe girmiş birçok çatışma türünü irdeleyerek dramatize eder. Ancak, her bir çatışma türünde onun modernliğin trajedisine olumlu bakışı gözlemlenebilir. Lawrence'ın toplumda ütopyacı bir reformasyon isteğini modernist trajediye bir çare olarak sunduğu öne sürülebilir. Touch and Go oyunu Lawrence'ın trajediye tepkisini/direncini yaratıcı ve dışavurumcu bir biçimde açıklar. Bu makale Touch and Go oyununun Lawrence'ın modernizmin ve sanayileşmenin “meçhul” durumuna dışavurumcu direniş yoluyla meydan okuma düşüncesini açıkladığını ileri sürer. Oyun, Lawrence'ın “karmaşa” ve “sanat” olarak adlandırdığı, olumsuz ve olumlu trajedi kavramlarını ifade eden, trajik olana zıt bakışların tartışmasını ve çatışmasını barındırır. Maden işçileriyle sahiplerinin çatışması oyunda ele alınan başlıca trajedi kaynağı olmakla birlikte, dışavurumcu direnişle üstesinden gelinebileceği metinde önerilir. İnsanlıktan yoksun ve kısıtlayıcı bir toplumda yeni bir benlik ya da düzen arayışı oyunun merkezinde yer alır. İnsanlıktan çıkma kavramı dışavurumcu bir biçimde, grotesk unsurların kullanılması, alegorik kişiler ve basmakalıp bir dil kullanımı aracılığıyla sanayi çatışmasının bir karmaşa olduğu düşüncesini pekiştirir. Oyunda, ayrıca, sanatsal eylem ve unsurlar dışavurumcu niteliğe sahip olarak, trajedinin panzehiri işlevine sahiptir.

Grotesque in Puccini’s work as a sign of a Modernist type of thinking

The relevance and scientific novelty of research are determined by those facts, that in Ukrainian music scientific and nonfiction community is common view about Puccini as a mostly 19th century composer and as a typical representative of romanticism and verism. Such approaches are outdated, conservative and not fair, then need review and rethink.Methodology of research: In article has been used deductive method in combination with historical and cultural approach, as well as the image-intonation analysis method.Findings and conclusions. Grotesque is one of artistic signs of modernity within the era of modernism, for prove of what some examples are offered from create practice of twenties century’s composers — Gustav Mahler, Dmitry Shostakovich, Paul Hindemith, Ernst Krenek, Maurice Ravel. In the article features of grotesque were considered, they are specific offshoot of common sphere of comic imagery, with reference to leading Ukraine (Оlgа Sоlomonova) and foreign (Frances Connelly) scientists. Some facts of existence of grotesque elements in the works of Puccini’s central creative period — “Тosca” аnd “Маdama Butterfly” have been traced. They are connected with a stage production preceded by assimilation with art potential of this figurative sphere. Presence of grotesque’s imagery in Puccini’s Trittico (1918) has been widespread. This phenomenon of grotesque elements has been detected and traced in detail in special form embodied in its intonation’s presentation that was definite as the line of grotesque crescendo. A wide range of dramaturgy’s functions of the grotesque figurative sphere has been analyzed in Trittico and its correlation with leading lyric sphere has been established.The significance of the research. Rising of artistic interest to late Puccini by the side of grotesque figurative sphere is described as a manifestation of modernist type of thinking, which tends to semantic multiplicity, voluminous compositional vocabulary and modern vocal language.

Laughter as a direction of Marc-André Hamelin’s composer searches.

Laughter as a direction of Marc-André Hamelin’s composer searches.

Grotesque Deconstruction of Oficial Colonial and Postcolonial Latin-American Identities From Valle-Inclan’s Tirano Banderas to Silviano Santiago’s Cosmopolitismo do pobre

This article explores the deconstructive function of grotesque elements in contemporary Spanish and Ibero-American Literature. Starting with Tirano Banderas. Novela de Tierra Caliente (1926), a highlight in Valle-Inclan’s esperpento aesthetics, mocking what authors as Bakhtin or Foucault pointed out as “official truths”, both collective and individual. It is argued that grotesque representation establishes a subversive relation when confronted with epic or tragic modes, as established by aristotelic-horatian and dogmatic poetics. This may shed some light on the relation between grotesque structure and critical deconstruction, from the so-called Baroque era up until modernist and postmodernist essay, such as it is the case of one of the most thoroughly sophisticated contemporary writers in Brasil, Silviano Santiago, whose collection of essays O Cosmopolitismo do Pobre (2004) is the third pillar of our analysis.

Grotesque Deconstruction of Oficial Colonial and Postcolonial Latin-American Identities From Valle-Inclan’s Tirano Banderas to Silviano Santiago’s Cosmopolitismo do pobre

This article explores the deconstructive function of grotesque elements in contemporary Spanish and Ibero-American Literature. Starting with Tirano Banderas. Novela de Tierra Caliente (1926), a highlight in Valle-Inclan’s esperpento aesthetics, mocking what authors as Bakhtin or Foucault pointed out as “official truths”, both collective and individual. It is argued that grotesque representation establishes a subversive relation when confronted with epic or tragic modes, as established by aristotelic-horatian and dogmatic poetics. This may shed some light on the relation between grotesque structure and critical deconstruction, from the so-called Baroque era up until modernist and postmodernist essay, such as it is the case of one of the most thoroughly sophisticated contemporary writers in Brasil, Silviano Santiago, whose collection of essays O Cosmopolitismo do Pobre (2004) is the third pillar of our analysis.

“Delusion of Modern Man” A Study of Grotesque Elements in Poe’s The Fall of the House of Usher

The age of Enlightenment and the industrial revolution both affected people to doubt many old beliefs and form a new mentality. Man disregarded the spiritual side, imagination, and fantasy; the dominant concepts in society became logic, fact and science. This led to the death of the spiritual side in people. It turned to be a worrying subject to Intellectuals during the nineteenth century. In The Fall of the House of Usher, Poe attacks modern man’s misconception believing that he can find an explanation to every phenomenon in the universe according to science and logic. He manages, through using grotesque elements, such as mystery, distortion, and the supernatural, to make the protagonist disregard his old belief and realize that cosmic, immeasurable, and, infinite powers do exist. This article aim is to analyse the story showing how the writer invested the elements of grotesque to create a broken fearful world which provokes horror inside the reader; to make him feel the possibility of having a similar experience to the one his protagonist has gone through.

O (dez)iluzji oraz drogach i bezdrożach przeznaczenia w "Ofierze królewny" Jana Lemańskiego

The article analyses the phenomenon of identity crisis in a “modern man” (“at the threshold of modernity”). Lemański employs a fairy-tale convention, the result, however, is an anti-fairy-tale (to use Anna Czabanowska – Wróbel’s term). Irony, laughter or grotesque elements suggest that the literary intention of the author of Bajki was an interesting commentary on reality (critics, including Zenon Przesmycki, pointed the renaissance of fairy tales found in modernist literature). Lemański’s work is characterised by a somewhat careless approach to the form, which becomes the principle describing the world represented. The theme of destiny, the topos of wandering as well as initiation themes match the fairy-tale convention, albeit processed in an interesting way.

Gothic and Grotesque in James Hogg’s The Mysterious Bride

The word Gothic refers back to the Dark ages in England. The Roman civilization was ruined by the Goths who were the barbarians at that time. As a result of the destruction of Roman Empire, the whole civilization underwent ignorance and darkness. Nowadays, the word Gothic has a variety of meaning and applications. Gothic novels portray exaggerated scenes, haunted castles, monsters and vampires. Scottish Gothic literature started after 1800. This paper will focus on one of the Scottish short stories by James Hogg, “The Mysterious Bride”. Some elements of Gothic and grotesque such as transgression of boundaries, suspense, uncanny and supernatural being are discussed within this short story in order to indicate Hogg’s main intention to use Gothic and grotesque elements in “The Mysterious Bride”. Among all the elemnts in Gothic and grotesque, this paper will mainly apply the presence of the opposites, uncanny, abnormal beings and supernatural events to James Hogg’s “The Mysterious Bride”.