The grotesque justin edwards rune graulung pdf download

In these areas, diverse cultural artifacts emerge as participants in a collective mode of display. As a hermeneutic framework for making these connections, I employ theories of the grotesque, a concept rooted in the Renaissance reception of Nero's Domus Aurea. Around , antiquarians uncovered the subterranean ruins of the structure, and in these "grottoes" they marveled at wall paintings they named grottesche. Artists such as Pinturicchio and Raphael emulated these ancient forms to create a new artistic style, which over the centuries became broadly associated with the strange and fantastic as it developed into what we now call the grotesque.

In my work, I define the grotesque as a mode of representation that disrupts normative ways of comprehending the world. It provides a comprehensive analysis of the reasons behind the extensive use of such a favoured mode of expression. These essays contribute to an assessment of the links between the grotesque, the gothic and the fantastic, and, more generally, the genres and aesthetic categories which the 19th-century grotesque fed on, like caricature, the macabre and tragicomedy.

This study naturally adopts as its theoretical basis the works of key theorists and critics of the grotesque: namely, Victor Hugo, Charles Baudelaire and John Ruskin in the 19th century, and Mikhail Bakhtin, Wolfgang Kayser, Geoffrey Harpham and Elisheva Rosen in the 20th century.

This new book examines the varieties of the grotesque in the work of some of the most original playwrights of the last three decades including Enda Walsh, Philip Ridley, Tim Crouch and Suzan-Lori Parks , focusing in particular on ethical and political issues that arise from the use of the grotesque.

Since the Renaissance the term has been used for anything from the fantastic to the monstrous, and been associated with many artistic genres, from the Gothic to the danse macabre. Shun-Liang Chao's new study adopts a rigorous approach by establishing contradictory physicality and the notion of metaphor as two keys to the construction of a clear identity of the grotesque. With this approach, Chao explores the imagery of Richard Crashaw, Charles Baudelaire, and Rene Magritte as individual exemplars of the grotesque in the Baroque, Romantic, and Surrealist ages, in order to suggest a lineage of this curious aesthetic and to cast light on the functions of the visual and of the verbal in evoking it.

The series Studies in Comparative Literature ranges widely across comparative and theoretical topics in literary and translation studies, accommodating research at the interface between different artistic media and between the humanities and the sciences. Enter the email address you signed up with and we'll email you a reset link.

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