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1
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Zawsze będzie miejsce na badania nad Lovecraftem

100%
Joshi S. T., Bukowczan-Rzeszut A.
Creatio Fantastica
|
2016
|
issue 3-4(54-55)
53-57
EN
A conversation with S.T. Joshi, one of the most prominent experts in Lovecraft studies.
2
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Muzyka otchłani. Kwestia natury w Muzyce Ericha Zanna Howarda Phillipsa Lovecrafta

89%
Kowalczyk B.
Forum Poetyki
|
2021
|
issue 24
180-193
EN
The article analyzes Howard Phillips Lovecraft’s short story The Music of Erich Zann, with a view to presenting the conflict between modernity and nature in Lovecraft’s works. The text in question, along with supplementary texts, provides information that allows us to reformulate the perception of Lovecraft’s works, or more precisely, the category of “supernatural horror.”
PL
W artykule przeanalizowano opowiadanie Howarda Phillipsa Lovecrafta Muzyka Ericha Zanna i ukazano obecny w tej literaturze konflikt pomiędzy nowoczesnością a naturą. Omawiana praca, wraz z tekstami uzupełniającymi, dostarcza informacji pozwalających przeformułować sposób postrzegania literatury Lovecrafta, a ściśle rzecz ujmując, kategorii „nadnaturalnego horroru”.
3
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Haunting Poe’s Maze: Investigative Obsessions in the Weird Fictions of Stefan Grabiński and H. P. Lovecraft

75%
Pyrka P.
Avant
|
2017
|
vol. 8
|
issue 2
EN
The article is a comparative reading and analysis of selected works by two eminent authors of weird fiction, Stefan Grabiński and Howard Phillips Lovecraft, the goal of which is to trace two (independent) trajectories of development of ideas concerning “weird” story writing, as established, in pre-modern context, by Edgar Allan Poe. The two authors appear to suffer from a combination of tragically inherent inability to write “like” Poe, with a haunting desireto do so. Exhibiting understanding of the Poesque discourse, they are driven to invent strategies to cope with the resulting textual neuroses-a way out of the discursive “maze” of Poe’s craft, a way that is always already shut.Where Lovecraft’s “mechanistic materialism” finds its expression in an indifferent cosmos, populated by alien beings, whose influence seems to be inscribed in the fabric of his textual realities, Grabiński’s sense of “amazement” is deployed internally, with psychological constructs overshadowing the “objective” reality. Both discourses, however, spring from one tradition of horror, and from the unexorcised trace of Poe’s spectre. The two authors’ ambivalent relation with modern sensibilities results in a series of obsessive investigationsinto the ideological underpinnings of art, philosophy and science.
4
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Lovecraft i religia

75%
Joshi S. T., Wąsowicz M.
Creatio Fantastica
|
2016
|
issue 3-4(54-55)
7-17
EN
The article was originally published as a chapter in S.T. Joshi’s book Lovecraft and a World in Transition: Collected Essays on H. P. Lovecraft (New York: Hippocampus Press 2014, pp. 187-195). The presented version was kindly provided to „Creatio Fantastica” by the Author without any copyright fee and translated into Polish by Magdalena Wąsowicz.
5
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Haunting Poe’s Maze: Investigative Obsessions in the Weird Fictions of Stefan Grabiński and H. P. Lovecraft

75%
Pyrka P.
Avant
|
2017
|
vol. 8
|
issue 2
EN
The article is a comparative reading and analysis of selected works by two eminent authors of weird fiction, Stefan Grabiński and Howard Phillips Lovecraft, the goal of which is to trace two (independent) trajectories of development of ideas concerning “weird” story writing, as established, in pre-modern context, by Edgar Allan Poe. The two authors appear to suffer from a combination of tragically inherent inability to write “like” Poe, with a haunting desireto do so. Exhibiting understanding of the Poesque discourse, they are driven to invent strategies to cope with the resulting textual neuroses-a way out of the discursive “maze” of Poe’s craft, a way that is always already shut.Where Lovecraft’s “mechanistic materialism” finds its expression in an indifferent cosmos, populated by alien beings, whose influence seems to be inscribed in the fabric of his textual realities, Grabiński’s sense of “amazement” is deployed internally, with psychological constructs overshadowing the “objective” reality. Both discourses, however, spring from one tradition of horror, and from the unexorcised trace of Poe’s spectre. The two authors’ ambivalent relation with modern sensibilities results in a series of obsessive investigationsinto the ideological underpinnings of art, philosophy and science.
6
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Miasta Lovecraftiańskie

63%
Olkusz K.
Creatio Fantastica
|
2016
|
issue 3-4(54-55)
39-49
EN
The paper Cities of Lovecraft traverses a number H. P. Lovecraft’s works in order to outline the cityscape of the titanic and the monstruous—that is shown as an epitomy of Lovecraft’s depiction of the gothic city. Spaces forgotten, hidden, concealed and, thereby, treacherous and weird, compose a pivotal component of creating both the world and the atmosphere of gothic fiction—as they realise a bipartite model of the world divided into the known and the unknown. Lovecraftian worlds are claimed here to be contructed in this very way, featuring forgotten, titanic cities of architecture never seen and origin—unbeknownst to any of the protagonists. Alongside those titanic (sunken, undiscovered, otherworldy) or isolated (such as Inns­mouth) metropolies those of human origin reside, no less, however, affected by the evil and unnatural phenomena instigating—both on topographical and psychological plane—deformations and abnormalities. Those liminal enclaves  of decay signify the entering of the forbidden frontier and stepping over the threshold of “normality”—which results in character’s wondering astray in the secret or degenerated urban mazes, overwhelmed by their grandeur.  Theis scenery becomes, therefore, a key element for (re)presenting a world tainted by the Ancient Evil—surving, in a way, as a fellow character in the narrative.
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