Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 9

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  monstrosity
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Early 21st-century Serbian exploitation cinema

100%
Pająk P.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2018
|
vol. 23
|
issue 32
EN
Exploitation films are one of the main trends of the Serbian cinema of the beginning of the 21st century, when Serbia enters the second phase of systemic transformation, striving to neutralize the effects of the crisis in the first phase of transformation – towards the end of the 20th century – due to the authoritarian policy of Slobodan Milošević and Yugoslav wars. This non-film context allows better understanding of the phenomenon of these films, which in many respects are a continuation of the cinema of self-balkanization cultivated in the 1990s, and at the same time differ from it, because they do not offer a compromise with difficult transformational reality, but express the need to release the social trauma born of experience of political violence in the Milošević era.
2
Publication available in full text mode
Content available

Trebaju li čudovišta, mutanti i utvare glasati? Monstruozna hrvatska lirika i načelo demokratske jednakosti

100%
Vuković T.
Poznańskie Studia Slawistyczne
|
2019
|
issue 17
285-301
EN
The paper starts from the assumption that Croatian modern lyric, from Matoš to Maleš, is haunted by various monsters, phantoms and mutants, and possessed by ghosts. Phantasmal hair speaks, the body changed by illness acquires autonomy, bird-men, space-twins and angels inhabit the humanized world, the dead seek eternity, the turtle measures itʼs own existence in relation to space and time, and Jesus-fish according to the degree of its own evolutionary transformation, while language cyborgs and hybrid beings are born. The lyric about monsters is itself a monstrous discourse. In this discourse human existence is necessarily contaminated by the abhuman and the parahuman, language includes its own mutations, and the encounter with meaning depends on the ultimate deformation, hybridization and disappearance of meaning. Thus, in the very center of our humanity, in the artistic form that determines the measure of the humanity of our community, questions about what is humane and inhumane, how to determine the boundary between them, and is not the general understanding of humanity always-already determined by oneʼs own inhuman or a-human are raised. Looking at a series of lyric texts, the paper will analyze these relationships and subsequently show their possible political and legal effects. I will refer to theoreticians who read the lyric as a linguistic event and performative type of utterance (J. Culler, P. de Man, B. Johnson, and others) and to thinkers who, to say it simply, perceive the ideas of equality, law and justice as phantasmal, mutated, scandalous or monstrous democracy (G. Agamben, J. Rancière, J. Derrida, J-L. Nancy and others).
3
Publication available in full text mode
Content available

Mary Shelley’s Frankenstein; or, the Modern Prometheus: Friendship, Monstrosity and Radical Otherness

86%
Jeray C.
Anglica. An International Journal of English Studies
|
2016
|
issue 25/1
59-71
XX
This essay looks at the relationship between Victor Frankenstein and his Creature, examining the ethical implications of Victor’s hostility towards the Creature. This problem is considered with reference to the views of various philosophers, ancient and modern, stressing one’s responsibility for the Other and the importance of the Self’s will to befriend another being. It is argued that Shelley indeed presents the Creature as “befriendable.” Such presentation, this article indicates, is a consequence of Shelley’s sympathy for the rejected and persecuted and her insistence on parental responsibility – the ideas actually emphasised in the novel, yet passed over in the 1930’s Hollywood production, as a consequence, permanently affecting the popular image of the Creature.
4
Publication available in full text mode
Content available

Of Cannibals and Witches: Monstrosity and Capitalism at the Onset of Colonial Visual Culture

86%
Racy G.
Review of International American Studies
|
2022
|
vol. 15
|
issue 2
71-94
EN
This article provides preliminary insight into the creation of colonial visual culture. Using visual examples, the author shows how the encounter between European and Amerindian was, at first, apparently deprived of moral judgement, later being increasingly signified through moral and physical monstrosity, especially the female body, which served as an apparatus to assure colonial dominion. Looking mostly at the works of Liègeois artist Theodor de Bry, the author shows how increasing female protagonism may have helped to coin a proper visual culture that mirrored the development of productive force in early capitalism. Assuming that the European colonizer in the fifteenth and sixteenth centuries was still highly informed by Medieval culture, the author quickly retraces how the New World was imagined through cartography, following to the first depictions of the Amerindian and, finally, focusing on de Bry’s work and an argument on capitalism and how visual culture may help us understand its process.
5
Publication available in full text mode
Content available

De-Dehumanising the Autistic Other Between the Image of “Beast” and “Being” in J. K. Rowling’s ‘Fantastic Beasts and Where to Find Them’ - Screenplay and Book

86%
Ouzaa I., Meberbeche F. S.
Academicus. International Scientific Journal
|
2023
|
vol. 14
|
issue 27
20-41
EN
The representation of autism in literature is a novelty of a delicate sense for what impact it can have on readers. Autism shows more frequently in the lines ofYoung-Adult fiction (YA), a genre known for its large audiences, which makes contemplating the image of an autistic person, as an actual character or a theme, either a means of access or a block to public awareness of the spectrum, respectively. The selected YA fiction works for this paper are Fantastic Beasts and Where to Find Them, as screenplay (2018) and book (2001). The screenplay is not an adaptation of the book, but a background to the times when a character wrote his study book on the beasts that surrounds his environment. In the works, the use of terms like “monster” and “beast” seems to refer to a dehumanised image of the represented, which raises questions on why the writer would allude readers to relate autism to monstrosity; is she maintaining the habit of using illness as a narrative thematic tool or does she suggest otherwise? In order to formulate a ground for these inquiries, we will visit the text in relation to Lacan and Derrida’s thoughts on “Subjectivity” and how it defines fellowship from alterity and monstrosity. The objective of this research is to investigate the representation of autism in Rowling’s screenplay while backing up with examples from the book to see how far it meets the real or contrastingly contributes to reinforcing another stereotypical other.
6
Publication available in full text mode
Content available

Czy w "Strachopolis" Doroty Wieczorek straszy?

72%
Slany K.
Creatio Fantastica
|
2017
|
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.
7
Publication available in full text mode
Content available

Miasta Lovecraftiańskie

72%
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.
8
Publication available in full text mode
Content available

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

58%
Migdał A. M.
|
2022
|
vol. 5
|
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.
9
Publication available in full text mode
Content available

Diabeł straszniejszy niż go malują. Lęk przed diabłem w XIII-wiecznym zbiorze Vie des peres

58%
Gorecka-Kalita J.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
|
2022
|
vol. 17
|
issue 2
63-77
EN
The article analyses the vision of the devil in the selected tales of the Vie des peres, a collection of pious tales from the thirteenth century, freely inspired by patristic literature and medieval exempla. The period in which the collection was written, the thirteenth century, bridges the gap between the early and late Middle Ages: it is a time when the perception of the devil is changing, and he is becoming increasingly feared. The analysis focuses mainly on four stories in which the devil is at the centre of the story, and in which his very image is a source of fear and a key element of the story: ‘Devil’s Mouth’, ‘Devils Vision’ and two versions of ‘Devil’s Image’. The vision of the devil in these stories coincides with the teratological vision that is dominant in the iconography, to which the stories directly allude. The message of these stories is generally positive: the protagonists almost always manage to overcome their fears and free themselves from the power of the devil. In this way, the authors avoid the trap of Manichaeism: the devil, despite his cunning and sophistication, is in the end only a caricature of an angel, unable to oppose God effectively. The fear of the devil appears several times on the pages of Vie des peres, but it is the message of hope that dominates.
FR
L’article analyse la vision du diable dans les contes choisis de la Vie des peres, recueil de contes pieux du XIIIe siècle, librement inspiré de la littérature patristique et des exempla médiévaux. La période de la rédaction du recueil, le treizième siècle, marque la transition entre le haut et le bas Moyen Âge : c’est une époque où la perception du diable évolue et où celui-ci devient de plus en plus redouté. L’analyse se focalise surtout sur quatre récits dans lesquels le diable est au centre de l’histoire, et où son image même est source de peur et élément clé du récit : « Gueule du diable », « Vision de diables » et deux versions d’« Image du diable ». La vision du diable dans ces histoires coïncide avec la vision tératologique qui domine dans l’iconographie, à laquelle les histoires citées font d’ailleurs directement allusion. Le message de ces histoires est généralement positif : les protagonistes parviennent presque toujours à surmonter leurs peurs et à se libérer du pouvoir du diable. Les auteurs évitent ainsi le piège du manichéisme : le diable, malgré sa ruse et sa sophistication, n’est finalement qu’une caricature d’ange, incapable de s’opposer efficacement à Dieu. La peur du diable apparaît à plusieurs reprises sur les pages de la Vie des peres, mais c’est le message d’espoir qui domine.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.