Supernatural Elements Research Articles

Magical Realism and Marvellous Realism: the duality of the Supernatural in Pedro Páramo

This article explores the relationship between magical realism and marvelous realism in Juan Rulfo's Pedro Páramo, highlighting how the supernatural blends with everyday life in Comala. Based on the reflections of Naiara Araújo, Lorena Almeida, and Irlemar Chiampi, the study examines the dynamics of life and death, memory and forgetfulness that permeate the narrative. Magical realism, characterized by the natural coexistence of the living and the dead, contrasts with marvelous realism, which emphasizes mystery and reverence for the unknown. The analysis reveals how Rulfo constructs a literary universe that transcends the fantastic, creating a unique experience that reflects Latin American culture and imagination. The presence of supernatural elements, far from being merely decorative, is deeply rooted in the region's beliefs, traditions, and tensions. Thus, the work offers a reading that dialogues with both the concrete and the symbolic, emphasizing the complexity of human and spiritual relationships in the Latin American context. Through this duality between the two realisms, Pedro Páramo emerges as a landmark in world literature, challenging the boundaries between the real and the imaginary.

Willing Suspension of Disbelief in August Wilson’s ‘‘The Piano Lesson’’

Using supernatural elements in literature is a common phenomenon. The most discussed Black playwright, August Wilson (1945-2005), introduces supernatural elements in his works to deepen the exploration of African-American experiences and cultural heritage. Incorporating supernatural elements adds a rich layer of meaning and symbolism to Wilson’s work. They symbolize the characters' internal and external conflicts, enhancing their emotional and psychological complexity. They often reveal the characters' desires, fears, and past traumas that drive their actions and decisions. Wilson’s play “The Piano Lesson” (1987) subtly and symbolically uses supernatural elements. The present study sheds light on: Why and how did Wilson use the technique of "Willing suspension of disbelief” in his play “The Piano Lesson”? Because of the “Willing suspension of disbelief” technique, readers and audience do not question the credibility of the incidents and events in ‘‘The Piano Lesson.’’ The use of ghosts and supernatural elements contributes significantly to this play's dramatic power and intrigue. As much as they successfully keep the audience and the readers engaged, they create such an atmosphere on stage that the audience is made to believe what they see on stage.

"The Role Of Magical Realism In Shaping African American Identity In Toni Morrison's Novel"

This research paper embarks on a captivating exploration of the profound and intricate narrative technique of magical realism within the literary world of renowned American author Toni Morrison. We delve into the mystical realms created by Morrison in her novels, transcending the boundaries between the ordinary and the extraordinary. Through a comprehensive analysis of select novels, such as "Beloved," "Song of Solomon," and "Jazz," this paper uncovers the deep-rooted themes, motifs, and symbolism that enhance the reader's understanding of the African-American experience.Morrison's exceptional ability to seamlessly blend the real with the mystical invites readers into a world where the boundaries between the natural and the supernatural are blurred, offering unique insights into the complexities of human existence. In this journey, readers encounter characters grappling with supernatural occurrences, symbolic animals, and ghostly entities, all of which unveil profound insights into the intricacies of life. The six keywords that guide this exploration are Toni Morrison, magical realism, African-American literature, cultural symbolism, supernatural elements, and narrative technique.

SILENT CRIES OF INDO-PAKISTANI WOMEN AS PORTRAYED IN NAGA-MANDALA AND KALA MEDA BHES, A COMPARATIVE ANALYSIS OF TWO FEMINIST PLAY

“One is not born a woman, but rather becomes one. Gender is not a stable identity but a performative act constituted by repeated societal norms” (Butler, 1990). The paper under analysis pertains to the two fresh and ground-breaking plays Naga-Mandala and Kala Meda Bhes by Indian and Pakistani playwrights who are quite successful and prolific writers in the arena of South Asian Literature. The aim of this study is to discover the shushed and quietened voices of women in the both plays in one way of the other. The paper is based on a qualitative research with the use of textual method and discourse analysis particularly on both the plays with the help of websites, poems, dictionaries and papers to support this research. The paper will trigger the feminist elements and identity of the Indo-Pakistani women with comparative analysis. Researchers may comprehensively draw two conclusions from this paper i.e. The suppression of the female genders due to male patriarchy in Indo-Pakistani Society and the lack of logical reasoning, supernatural elements and superstitions in both the society as represented in both the plays under-discussion.

A Sephardic female odyssey: homecoming in Ruth Knafo Setton’s The Road to Fez

ABSTRACT Moroccan Jewish writer Ruth Knafo Setton’s novel, The Road to Fez, challenges the Eurocentric silencing of Sephardic female agency. Setton depicts a reverse exile through her main character, Brit, whose return to Morocco subverts the dispossession and uprooting of the Moroccan Sephardim following their forced exile. Central to Setton’s novel is an effort to put emphasis on the Moroccan Judeo-Islamic landscape and mythology. In re-vindicating Moroccan Jewish-Muslim heritage, The Road to Fez further questions the exclusion of Sephardic female voices in Eurocentric readings of Jewishness. Setton presents an alternative Jewish perspective through Moroccan Judeo myths and legends. This article analyzes Setton’s magical realist integration of Moroccan spirituality and superstition into her narrative as an attempt to de-Orientalize the Sephardic female experience. The article argues that Setton incorporates supernatural elements like spell-making and “djnoun” into a realistic setting to express the rich mosaic of Sephardic Moroccan culture and to destabilize pan-Arabist, Zionist and colonial occlusions of Arab Judeo identity.

Analisis Persepsi Penonton Tentang Fenomena Mistis Dalam Film Badarawuhi di Desa Penari

In this research, the researcher investigates how the audience understands and interprets aspects of mystical phenomena contained in the movie "Badarawuhi di Desa Penari". These mystical phenomena can include various elements, such as local beliefs, myths, or spiritual practices presented in the context of the story. The research will focus on how the representations of local traditions and social norms presented in the movie influence the audience's perception of the culture. In knowing the perception, the researcher uses Alex Sobur's cognitive theory to explore the meaning that exists in the audience. The research method used is a qualitative descriptive method that allows a more detailed explanation of the principles found. The data was collected through in-depth interviews in person and online via WhatsApp with the informants. This research reveals that continuous exposure to horror films can influence viewers' perception and increase their susceptibility to believing in the supernatural elements portrayed in these movies. However, it is crucial to acknowledge that individual beliefs vary and should be respected. Horror films can serve as a window into the cultural beliefs and practices surrounding supernatural phenomena in different societies. Therefore, it is paramount to always respect and value the local beliefs of the community, regardless of one's location.

Echoes of the gothic: transmedia reinterpretations of Edgar Allan Poe’s legacy in independent films and video games

This study critically examines the development of audiovisual and interactive content that draws on Edgar Allan Poe’s oeuvre, with a particular focus on the interplay of transmedia storytelling and gothic elements within these narratives. Utilizing summative content analysis and non-participant observation, this research investigates five films and five independent video games that reinterpret Poe’s literary themes. The results underscore the necessity of incorporating Mythos, Topos, and Ethos in adaptations to faithfully evoke the profound emotional resonance and explore the psychological and existential dilemmas inherent in Poe’s works. Our analysis reveals distinct narrative strategies in cinema and video games: while horror predominates in film, integrating supernatural elements to evoke fear, video games predominantly leverage noir, crafting complex crime narratives infused with cynicism and dark ambiance. Additionally, the study highlights how gothic elements of abjection and sublimity are leveraged to navigate themes of mortality, morality, and the uncanny, thereby ensuring the continued relevance of Poe’s legacy in contemporary media landscapes. This adaptation process not only preserves the essence of Poe’s narrative but also dynamically engages a modern audience through innovative transmedia platforms, illustrating the enduring impact of his work on popular culture.

Representasi Pelecehan Seksual Dalam Konsep Film Horor Religi Pada Film Qorin (2022)

The development of horror films in Indonesia continues to demonstrate innovation over time. One significant example is the film "Qorin" (2022), which introduces Islamic nuances with its storyline about mischievous jinn resembling humans. This research employs a qualitative approach to depict the social phenomena presented in the film, focusing on the levels of reality, representation, and ideology within scenes of harassment. Data collection methods involve observation, literature review, and documentation. The analysis, using John Fiske's semiotics, reveals reflective representations in the depiction of symbols conveying meaning. Horror films, including "Qorin," often depict supernatural elements, death, or mental illness, with antagonistic characters representing evil. With a duration of 109 minutes, "Qorin" provides audiences with an opportunity to comprehend that sexual harassment can occur in various situations and to anyone. Through this film, society is made aware of the diverse forms of sexual harassment, which may not have been recognized previously. Thus, horror films like "Qorin" serve not only as entertainment but also as a means to convey important social messages.

PRINCIPLES OF INTERPRETATION OF BIBLICAL PROPHETIC TEXTS

Prophetic texts form a special category of written texts with a complex symbol system that makes them difficult to interpret. While it may be true that the supernatural elements of prophecy lie beyond the scope of scientific understanding, even after a rigorous scientific analysis of a prophetic text, it retains its status as a complex semiotics sign. To understand its meaning, an interdisciplinary and integrative approach is necessary. This article aims to propose a general strategy for the interpretation of prophetic texts that takes into account both linguistic and extralinguistic factors. It can more accurately extract the meaning embedded in the symbols utilized in prophecies.

Revisiting B.B. Mdledle’s isiXhosa translation of <i>Macbeth</i> (1959): Prophecy, tragedy and history

The isiXhosa translator of Shakespeare’s Macbeth, B.B. Mdledle, introduces the play as intlekele (a tragedy), and goes on to discuss characteristics of the genre; he cites Fate and Fortune as two forces that are vital ingredients of tragedy. The role of the witches’ equivocal prophecies is key here. In Mdledle’s Transkei (Eastern Cape), the issue of prophesying was taken very seriously – not least because of the prophets Makhanda, alias Nxele, and Nongqawuse, who plunged the region into untold disaster in the nineteenth century. This article also considers Mdledle’s UMacbeth (1959) as a form of intsomi (fable or cautionary tale), both for schoolchildren and for older readers. Furthermore, it relates the supernatural elements in Macbeth to Mdledle’s views as a Christian and to African cultural paradigms.

Power and Inequality in Emily Bronte’s Wuthering Heights

Wuthering Heights novel was written by Emily Bronte. It was published by T.C. Newby in 1947.Wuthering Heights was a famous novel from the Victorian era. The novel’s story telling method was innovative in that time. The novel is filled with love, revenge, nature, social class and passion. Super natural elements also present in this novel. The plot follows Earnshaws who lived in Wuthering Heights and Lintons who lived in Thrushcross Grange, respectively. Mr. Earnshaw had two children, Catherine and Hindly, and adopted Heathcliff as his own. Hindly illtreats the gothic protagonist Heathcliff. Catherine and Heathcliff fell in love but the family refused to marry due to his lower caste status. The vital theme of this novel is power and inequality. The tale concludes with Heathcliff exacting his retribution on the next generation of the two families. Nelly, Heathcliff’s servant, witnessed the story silently throughout the entire novel.

Gothic Elements in Nathaniel Hawthorn’s The House of the Seven Gables

Nathaniel Hawthorne’s The House of Seven Gables is a novel. It explores the decay of morals, the desire for money, and evil in society, these themes are used through gothic elements in the novel. The major theme of the story is the sins of one generation. To support the theme, the author explores aggrandizement, mystery, uncertainty, horror, and dread. Hawthorne uses the theme of gothic and incorporates supernatural elements. These effective elements focus on the human spirit, where fear and horror reside within the human mind.

Gothic Folklore as a Primordial Stimulation: Understanding of Cultural Inferences of North-East India Prevalent in Bhaskar Hazarika’s Kothanodi

Native or the urban legends are often found to be under a garb of mysticism. From the legends to the lullabies, a certain level of eerie atmos is much sought for in these inferences. Bhaskar Hazarika’s 2015 film Kothanodi (The River of Fables) handpicks a collection of grandma tales intended to rejuvenate the lost stories of Assamese legends and folklore. The four intertwined narratives successfully transfer us to a world of mystery and cynicism. Infused with supernatural elements, these stories try to inculcate a sense of morality within the audiences. In a society dominated by evil forces, four distinct women from different walks of life are seen battling their own demons. A sense of unrestrained trepidation envelops the entire screenplay in a society that has been ruptured by the demons of their inner self. Inspired by the tales of Burhi Aair Sadhu (Grandma’s Tales), a popular compendium of folk stories by Lakshminath Bezbaroa, Kothanodi brings out the traditional indigenous folktales of Assam. This paper intends to shed light upon the layers of induced meaning behind each of the stories told. The gothic and the supernatural intervention and their importance in a compelling storytelling process are to be focused on. The presence of ecology and superstations in the folk tales is distinctly observed here. Finally, the precedence of good over evil forces comes out as the moralistic preaching of this project.

Paradise lost: A classical epi

John Milton's "Paradise Lost" stands as a monumental work in the canon of English literature, embodying the classical epic tradition with its grand scope, profound themes, and poetic mastery. This abstract delves into the quintessential characteristics that classify "Paradise Lost" as a classical epic. The narrative unfolds against the cosmic backdrop of Heaven, Hell, and Earth, exploring the consequences of Adam and Eve's disobedience and their subsequent expulsion from the idyllic Garden of Eden. Milton weaves a tapestry of theological inquiry, grappling with the complexities of free will, theodicy, and the nature of God. The poem introduces a heroic protagonist in Adam, whose choices shape the destiny of humanity. Divine intervention, epic battles, and supernatural elements contribute to the poem's grandeur, while Milton's elevated language and incorporation of classical and biblical allusions elevate it to the status of an enduring masterpiece. "Paradise Lost" serves not only as an epic retelling of the biblical Fall but also as a didactic exploration of moral and spiritual themes, making it a timeless work that continues to captivate readers and scholars alike.

De las leyendas de Gustavo Adolfo Bécquer a los cuentos de Emilia Pardo Bazán

"The aim of this paper is to make a comparative study between Gustavo Adolfo Bécquer’s legends and some of Emilia Pardo Bazán’s tales. For this purpose, a conceptualization of the terms legend, tale and legendary tale is elaborated in order to determine their similarities and differences. In order to establish the points of convergence and divergence between the stories of the Sevillian author and the author from A Coruña, we start from the articulation of the tales, their way of incorporating supernatural elements and their common influences, that is, Spanish and European legends, the tales of Edgar Allan Poe and some Spanish writers of the first half of the 19th century.Keywords: Spanish literature; unreality; modern short story; fantastic; gothic"

Шекспировская традиция в современном британском романе: Йен Макьюэн

Ian McEwan (born 1948), one of the most outstanding contemporary British writers, is brought to the literary forefront thanks to the current social, ethical issues and aesthetic virtues of his works and belonging to the New Time British Gothic tradition whose foundations were laid by Shakespeare and his younger contemporaries (John Webster, John Ford, et al.). One finds basic topoi of literary Gothic in their tragedies: horror as an inescapable component of human existence; evil and villains who violate the moral norm in society; castle as a setting; fatal secret; supernatural element; motives of violence, revenge, adultery, incest and most importantly — of God and devil. Of course, Shakespeare is multiform and is not limited to Gothic. Like Shakespeare, who as a tragedian started with a “bloody tragedy” (Titus Andronicus) and then used its techniques in his great tragedies, McEwan began with a “thriller” (The Сement Garden, 1978), based on the motifs of fatal secret and incest. His later novel Nutshell (2016) is a modern version of Shakespeare’s Hamlet written in line with the realities of the 21st century. “Intertextual game” (usual for postmodernism) is not the main thing for McEwan here. Nutshell is his aesthetic-philosophical declaration of the adherence to Shakespeare’s tradition. In this novel, he creates the image of his time and shows that civilization has achieved tremendous scientific and technological success over four centuries, but human nature hasn’t changed. Despite all the historical and sociocultural differences, the image of the world in McEwan’s novels is similar to the world of Shakespeare’s tragedies — cold, full of horror and death, abandoned by God.

Borobudur cultural landscape : a madilog discourse

Borobudur, an ancient monument renowned as a prominent tourist attraction for years, has traditionally been scrutinized through the lens of mystical logic, with prevailing discussions revolving around spiritual influences and supernatural elements. This perspective posits that every aspect of Borobudur, from its construction to its purpose, is intrinsically linked to spiritual motivations. However, a departure from this mystical logic emerges in contemporary research studies that delve into Borobudur's facets through various disciplines such as geography, geology, architecture, and astronomy. This shift aims to explore the cultural landscape of Borobudur during its construction in the eighth century from a different standpoint. In a departure from the mystical approach, this study adopts Tan Malaka's Madilog method to present a fresh perspective on Borobudur's cultural landscape. Through this alternative approach, the study unveils a compelling revelation: Borobudur's cultural landscape development aligns significantly with sustainable and economic sustainability principles. Contrary to the prevailing mystical narratives, Tan Malaka's Madilog sheds light on the pragmatic aspects of Borobudur's construction era, emphasizing a connection to broader concepts of sustainability and economic viability. This nuanced exploration broadens our understanding of Borobudur and highlights the importance of considering diverse methodological approaches to unlock the multifaceted dimension of this historical monument.

MAGIC AND SPELL IN FANTASY: HISTORICAL CONTEXTS OF SUPERNATURAL ELEMENTS IN FANTASY GENRE NARRATIONS

This paper will examine the usage and functions of the magic concept in fantastic narrations with the consideration of importance of supernatural in history.Magic and spell are different versions of supernatural. Theyall represent different structures of society in certain historical periods of humanity. While magic highlights the primitive era of civilizations, spell& occultism became important with the invention of writing. Defining and analyzing the supernatural types will also help to understand power relations, consensus reality and dominant ideology in society. With the acknowledgments of supernatural types in history, paper will make a study of fantastic genre in order to find the link between usage of supernatural in narrations and their political – economicalrelations.Paper will ask the question of does analyzing the supernatural elements in narration help to understand texts discourse? and in the conclusion section it will try to give an answer. As a version of supernatural, magic has a link with matriarchy.Till witch hunt, magic can be accepted as a way of resistance of women against to patriarchy. In this point, paper will investigate of the connection between the usage of magic in fantasy and matriarchal theory.

Fairy Tale Sources and Rural Settings in Dario Argento’s Supernatural Horror

This article examines three of Dario Argento’s supernatural horror films (Suspiria, Phenomena, and Dark Glasses) and their use of fairy tale imagery and narratives, which distinguishes them from murder-mystery-oriented giallo films. In them, Argento locates his characters, rather than in urban environments, in rural spaces (forests, fields, mountains) where the supernatural elements of their stories blossom. Suspiria represents a primarily aesthetic exploration of parallels between fairy tales and contemporary horror, while Phenomena uses these two modes to examine the conflict between the rational and irrational, the natural and the supernatural. Dark Glasses initially appears to be one of his more traditional gialli, but it abandons these tropes with a simplified plot evoking the story of “Little Red Riding Hood”; this shift is accomplished by moving the action of the film out of Rome and into the dark forests of the countryside. Dark Glasses, I argue, therefore represents a self-conscious move to unite in a single film the two major strands of Argento’s filmography and to expose some fundamental elements of his general cinematic approach—namely, the unique capacity of stylized aesthetics and irrational elements to convey the experience of very real, human terror and evil.

AT THE ORIGINS OF BRITISH GOTHIC: SHAKESPEARE’S TRAGEDIES TITUS ANDRONICUS AND MACBETH

The study of the most ‘bloody’ Shakespeare’s dramas — his first tragedy Titus Andronicus (1588–1593, staged 1594) and the last of his four great tragedies, Macbeth (1606) — makes clear the presence and gradual sophistication of the gothic vector in his work, and reveals topoi that have become universals of Gothic literature. Among them are horror as an inescapable component of human existence; evil and villains who violate the moral norm and the balance in society and nature; victim heroines; mysterious, supernatural element; demonized past; and most importantly — the theme of God and devil. Titus Andronicus is considered here in a new perspective as a ‘tragedy without a hero’ and as a gothic grotesque with elements of the comic, which are supposed to dilute the atmosphere of horror but only intensify it. Shakespeare retained the ‘horror aesthetics’ in Macbeth, a play about ‘the drug of power’, but he transferred the source of evil, that shakes society and nature, into the consciousness of man. The metaphysical view of life is strong in Shakespeare’s tragedies, but there is no single religious ideology as in the poetry of Dante. Poet, sensitive to various trends which fed the air of the early Modern period, Shakespeare conveyed the unsteady atmosphere of life in the late 16th — early 17th century. The sources of horror in his tragedies one can find in historical and literary tradition (Ovid, Seneca, chronicles), but first of all — in the social and cultural discourse of the epoch. Following the tradition of Shakespeare who was the key figure of English literary mainstream, Gothic authors of the late 18th — early 19th centuries (H. Walpole, A. Radcliffe, W. Beckford a.o.) legitimized their own, considered marginal, genre.