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1

La mujer kafkiana y su doble monstruoso en el gótico andino: Análisis del cuento “Las Voladoras”, de Mónica Ojeda

100%

Araújo-Nieto L.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2023

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vol. 33

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issue Special Issue

202-214

XX

Mónica Ojeda (Guayaquil, 1988) is an Ecuadorian writer whose literature is linked to the horror in its multiple forms. Furthermore, Las Voladoras (2020), included Ojeda in a new literary genre called Andean Gothic, a category where horror and Latin American myths convey. This paper analyzes how Ojeda adapts the disposition of the narrative elements to the Andean folklore. Moreover, it studies Ojeda’s reconstruction of the female monster by introducing the figure of a woman and its double, a hybrid between witch and animal, in order to create an alter ego effect. This article addresses how this narrative maneuver links Ojeda to Franz Kafka (1883–1924) and his vision of the monster in society.

2

Niedorośli wobec grozy – dziecięcy bohaterowie horrorów dla młodych odbiorców

88%

Urbańczyk-Tulik L.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

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2017

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issue 7 "Pomiędzy dziećmi i dorosłymi. Przekraczanie granic w literaturze dla dzieci i młodzieży"

81-96

EN

Popularity of horror story for adult readers contributed to the fact that in the years 2000-2015 increased a number of children’s books referring to the horror novel and incredible story. The transfer of formula is connected with the repetition of motifs, parody, using the gallery of monsters. Children’s heroes of horror for immature audience are confronted with anxiety represented by monsters, experiencing numerous adventures, oscillating between horror and comic. New experiences lead to gain valuable skills and meeting with monsters leads to self -acceptance and self-development.

3

Of Monsters, Myths and Marketing: The Case of the Loch Ness Monster

88%

Moir J., University A., James Moir is a senior lecturer in sociology at the University of Abertay with a research interest in the application of discourse analysis across a range of topics. This has included an examination of the discursive constructions of tourism as visual experience e. s. a. r.

Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre

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2015

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vol. 3

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issue 1

EN

This paper examines the status of the Loch Ness Monster within a diverse body of literature relating to Scotland. Within cryptozoology this creature is considered as a source of investigation, something to be taken seriously as a scientific or quasi-scientific object to be studied and known, particularly in light of its elusive nature. In terms of mythology the creature is bound up with Scottish cultural identifications through references to a rugged wilderness landscape and to iconic, if stereotypical, images of tartanry, bygone castles, and folklore. Both sets of ideas have been used with great effect to generate a diversity of literature: from books and scientific papers that chronicle the sightings and “hunt” for the creature as well the possible case for it being a line of long-surviving plesiosaurs, through to children’s literature that deals with the mythic element that is so often used to appeal to childhood imagination, and on to a plethora of tourist marketing booklets and brochures.

4

Evil and the Human/Animal Divide: From Pliny to Paré

63%

Long K. P.

Dialogue and Universalism

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2014

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issue 1

103-114

EN

One striking difference between humans and animals, at least in ancient and medieval thought, is the human capacity for evil. In his Natural History, Pliny portrays elephants and some other animals as superior to humans, arguing that they do not harm their own kind. Elephants are particularly ethical, refusing to harm other creatures, even at the peril of their own lives. The monstrous human races are described in neutral terms. Caesar, on the other hand, is portrayed as a destructive if admirable monster that has destroyed many millions of human lives. This representation of the animal and the half-human monster as morally admirable or at least neutral is modified by Saint Augustine and subsequent theologians who associate the animal and the monstrous with the divine, the human with imperfect knowledge and character.

5

Czy w "Strachopolis" Doroty Wieczorek straszy?

63%

Slany K.

Creatio Fantastica

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2017

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issue 1(56)

7-23

EN

The article Are There Monsters in Dorota Wieczorek’s Strachopolis? analyzes selected elements of the topos of fear in the aponymous IBBY-awarded children’s novel. The author is interested in the contemporary version of the topoi of fear embedded in the landscape of globalized existence affected by the phenomenon of supermarketization and consumerism. In the article, the topic of fear highlighted by Wieczorek, is reinterpreted through the prism of a number of sociological theories, notably, Marc Augé’s concept of non-places, Zygmunt Bauman’s postmodern construct of “liquid life”, and Jeffrey J. Cohen’s cultural theory of monster. In Wieczorek’s novel, “monster” is a social metaphor for the excluded whom Bauman has called homo sacer. Their societal degradation in the fairy-tale futuristic metropolis is conditioned upon the post-panopticon power, exercised as persecution of the “Other’s” ethnic and gender identity. The excluded are thus outsiders, if not the discarded “social pariahs”. Besides presenting the sociological and cultural theme of the monstrum, the article further discusses the strategy of carnivalization put forward by Bachtin. This shift leads to the victory of the Others-Monsters as subjects within the liquid modernity. It makes the novel intriguing both on the textual and didactic plane.

6

PRZEKROCZYĆ GRANICĘ: MONSTRUM FRANKENSTEINA Z POWIEŚCI MARY WOLLSTONECRAFT SHELLEY

51%

Gemra A.

Rocznik Lubuski

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2016

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vol. 42

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issue 2

153-165

EN

The novel titled "Frankenstein" (published in 1818) written by Mary Wollstonecraft Shelley is one of the earliest and the most important piece of writing where the problem of the human - nonhuman appears. It is the problem of the being whose existence raises doubts of ethical and ontological origin. The reason for this is that this kind of creature is the source of existence of many different entities - not only of the human kind. While reading the novel by Shelley the questions about the limits of knowledge, life and death are posed, however, the most important thing here is that it calls for the definition of what it means to be human, for the definition of the word "humanity".

PL

Powieść Frankenstein (1818) Mary Wollstonecraft Shelley jest jednym z najwcześniejszych i najważniejszych utworów, w których pojawia się problem człowieka nie-człowieka: bytu, którego istnienie budzi wątpliwości natury etycznej i ontologicznej. Nosi on bowiem w sobie istnienia wielu stworzeń – nie tylko ludzi. Lektura powieści Shelley każe stawiać m.in. pytania o granice nauki, życia i śmierci – a przede wszystkim o istotę człowieka, o definicję człowieczeństwa.

7

Image féminine difforme – entre superstitions et réalité. À propos des images rendues monstres à travers l’iconographie médiévale

51%

Migdał A. M.

Eruditio et Ars

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2022

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vol. 5

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issue 2

9-45

EN

The plentiful literature and the iconography devoted to the subject of incredible creatures, known form Antiquity, widespread during the Middle Ages and up to the modern period, often refer to a female human being transformed into, based on different interpretations, a creature with animalistic characteristics recognized as “monster”. In this context the disposition to “re-present”, resulting from the ability to create new images inspired by the unusual, is closely related to the indirect thought process of which imagination, as an intermediary between the sensual experience and the image projected by mind, is an intrinsic element. In consequence the dissimilarity results in distortion of the image, including the depictions which stigmatize the image of a woman, which alienate this image through mystifying reality – in particular, the nature of the phenomenon, un-investigated, obscured or hidden, in medieval society, pathological conditions.

8

The Ultimate Post-humanist Nostalgia in the TV Show Being Human US: Monstrous Home as an Allegory of the Human

51%

Kolbuszewska Z.

Roczniki Humanistyczne

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2018

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vol. 66

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issue 11: Anglica. Zeszyt specjalny

113-124

EN

This article interrogates a tension between post-humanist and humanist modalities of home created by hybrid monsters featured in the TV show Being Human US: a ghost, vampire and a werewolf (pair). The uncanny home emerges as a palimpsest of architectural and allegorical space, while the monstrous cohabitation gives rise to an allegorical model of the human; a model that wistfully gestures at the utopian vision of the future post-humanist world, and is simultaneously pulled back by the nostalgically traditional humanist conception of the person. By living together, the ghost, the vampire, and the werewolf function as an ensemble that dramatizes the humanist notion of what it means to be human. However, the humanity invoked in the TV show is interrogated from the point of view of critical post-humanism, which is based on the notion of the “post-human” that indicates a perspective where the abiding question of what it means to be human is not only addressed and re-articulated, but also critically assessed and transcended towards an as-yet-unrealizable utopia, promoting altogether new, post-speciesist, post-animist, or even post-global (in the sense of cosmic) ways of inhabiting the world. The momentary utopia of the monstrous cohabitation provides evidence that post-humanist utopian model of a human person is feasible; yet, only if “the impurity” of post-human creatures also becomes a part of the definition of the post-humanist human—a human who is a monster.

PL

Artykuł dyskutuje napięcie występujące między humanistyczną a post-humanistyczną perspektywą przedstawienia domu stworzonego przez hybrydyczne potwory w serialu telewiuzyjnym pt. Być człowiekiem, wersja amerykańska: ducha, wampira, oraz parę wilkołaków. Niesamowity dom postrzegany jest jako palimpsest przestrzeni architektonicznej i symbolicznej, a współistnienie monstrów daje asumpt do wyłonienia się alegorycznego modelu człowieka; modelu, który nie bez nostalgii za humanistyczną przeszłością, zapowiada utopijną wizję przyszłego post-humanistycznego świata. Żyjąc we wspólnocie, duch, wampir i para wilkołaków funkcjonują jako asemblaż dramatyzujący humanistyczną koncepcję tego, czym jest człowiek. Jednak człowieczeństwo, którego poszukują bohaterowie serialu badane jest z perspektywy krytycznego post-humanizmu, opierającego się na pojęciu post-człowieka przywołującym i transformującym pytanie o to, co to znaczy być człowiekiem i w jaki sposób człowieczeństwo może być krytycznie ocenione i przekroczone w kierunku jeszcze nie zrealizowanej utopii. Krytyczny post-humanizm propaguje całkowicie nowe, post-gatunkowe, post-animistyczne, oraz post-globalne (tzn. kosmiczne) sposoby zamieszkiwania świata. Chwilowo zrealizowana utopia współistnienia potworów stanowi dowód na to, że utopijny post-humanistyczny model człowieka może funkcjonować, ale po warunkiem, że “nieczystość” post-humanistycznych stworzeń zostanie użyta do zdefiniowania post-humanistycznego człowieka — człowieka, który jest potworem.

9

Monstrosity – Illness – Wound: Uncanny Interconnections in Deborah Levy’s "Hot Milk"

51%

Kisiel A.

ER(R)GO: Teoria – Literatura – Kultura

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2023

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issue 47

199-214

PL

Sofię Papastergiadis, bohaterkę powieści Deborah Levy pt. Gorące mleko, zdają się otaczać liczne potwory i potworności. Po pierwsze, jej apodyktyczna, potworna matka cierpi na równie potworną tajemniczą chorobę, ze względu na którą kobiety decydują się na podróż do Almerii, w nadziei na znalezienie odpowiedzi i możliwej terapii. Po drugie, przebywając w Andaluzji, Sofia jest wielokrotnie atakowana przez meduzy; spotkania z nimi okazują się bolesne, ale i uzależniające. Po trzecie, Sofia mierzy się z własnymi wątpliwymi intencjami, pochopnymi decyzjami i mrocznymi fantazjami, ujawniającymi się, na przykład, w toksycznych, choć zmysłowych, romansach. Powyższe przykłady potworności zmuszają Sofię do przyjrzenia się jeszcze jednemu potworowi: jej samej. W niniejszym artykule, chciałabym podjąć się interpretacji nominowanej do nagrody Bookera powieści Levy, w której z użyciem psychoanalizy i krytyki feministycznej przyjrzę się temu, jak dyskurs choroby nakłada się z dyskursem potworności. Mając na uwadze, że w Gorącym mleku choroba i potworność uczestniczą w strategiach zaciemniania oraz objawiania znaczenia, pragnę zbadać, jakie mogą mieć one konsekwencje dla głównej bohaterki oraz jej relacji z innymi postaciami.

EN

Sofia Papastergiadis – the protagonist of Deborah Levy’s Hot Milk – seems to be encircled by various monstrosities. First, her overbearing, monstrous mother suffers from an equally monstrous unidentifiable illness, because of which the two women travel to Almería, seeking answers and potential therapy. Second, while in Andalusia, Sofia is often attacked by Medusae/jellyfish, which is a painful, yet uncannily addictive experience. Third, the protagonist is puzzled with her own doubtful motivations, hasty decisions, and dark fascinations, resurfacing, for instance, in a pursuit of toxic, but sensual, affairs. All of these drive Sofia to investigate yet another monster: one residing inside her. In this article, I propose a reading informed by psychoanalysis and feminist criticism which aims at tracing how the discourse of illness interweaves with that of monstrousness in Levy’s Booker-shortlisted bildungsroman. Keeping in mind that disease and monstrosity engage in an interplay of secrecy and revelation in the novel, I wish to study the implications of that for the protagonist and her relationships with others.

10

Semiotyka twarzy kata i ofiary

38%

HENDRYKOWSKI M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2016

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vol. 18

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issue 27

354-364

EN

Semiotics of the hangman and victim’s faces Murderous ideologies drive and fabricate innumerable forms of social falsehood. One of the objects of the perfidious falsification of reality generated in the totalitarian system is the human face. Drawing on classics of Polish and world cinema, and also on the memory of culture, Marek Hendrykowskis study contains a semiotic analysis of the deep structures of images, which present the executioner-victim based on violence executioner as a variant of inter-human relations in totalitarian systems.

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La mujer kafkiana y su doble monstruoso en el gótico andino: Análisis del cuento “Las Voladoras”, de Mónica Ojeda

Niedorośli wobec grozy – dziecięcy bohaterowie horrorów dla młodych odbiorców

Of Monsters, Myths and Marketing: The Case of the Loch Ness Monster

Evil and the Human/Animal Divide: From Pliny to Paré

Czy w "Strachopolis" Doroty Wieczorek straszy?

PRZEKROCZYĆ GRANICĘ: MONSTRUM FRANKENSTEINA Z POWIEŚCI MARY WOLLSTONECRAFT SHELLEY

Image féminine difforme – entre superstitions et réalité. À propos des images rendues monstres à travers l’iconographie médiévale

The Ultimate Post-humanist Nostalgia in the TV Show Being Human US: Monstrous Home as an Allegory of the Human

Monstrosity – Illness – Wound: Uncanny Interconnections in Deborah Levy’s "Hot Milk"

Semiotyka twarzy kata i ofiary