‘Man carries all animals within himself’

2022 ◽  
Vol 71 (1) ◽  
pp. 216-247
Author(s):  
Aneta Georgievska-Shine
Keyword(s):  
Literary Genre ◽  
The Sublime ◽  
Private Collection ◽  
Human Animal ◽  
The Grotesque

This article addresses Rubens’s perspective on the human-animal by focusing on the satyr as one of his favourite mythological characters. This profoundly liminal being appears in a variety of roles throughout his oeuvre, including several paintings that remained in his private collection. In some of them, the satyr is primarily a figure for unbridled lustfulness and sensuality. In many others, however, this hybrid creature appears to hold the key to some of the mysteries of nature itself. Another facet of this analysis concerns the long-standing connection between this mythological character and literary satire. Rubens’s satyr-themed images bear a number of salient qualities of this literary genre as one that destabilizes boundaries: between the beautiful and the repulsive, the tragic and the comical, the sublime and the grotesque.

The Castle of Otranto

2014 ◽  
Author(s):  
Horace Walpole
Keyword(s):  
Middle Ages ◽  
Literary Genre ◽  
The Novel ◽  
Gothic Fiction ◽  
English Novel ◽  
Game Changer ◽  
The Way ◽  
The Grotesque

‘Look, my lord! See heaven itself declares against your impious intentions’ The Castle of Otranto (1764) is the first supernatural English novel and one of the most influential works of Gothic fiction. It inaugurated a literary genre that will be forever associated with the effects that Walpole pioneered. Professing to be a translation of a mysterious Italian tale from the darkest Middle Ages, the novel tells of Manfred, prince of Otranto, whose fear of an ancient prophecy sets him on a course of destruction. After the grotesque death of his only son, Conrad, on his wedding day, Manfred determines to marry the bride–to–be. The virgin Isabella flees through a castle riddled with secret passages. Chilling coincidences, ghostly visitations, arcane revelations, and violent combat combine in a heady mix that terrified the novel's first readers. In this new edition Nick Groom examines the reasons for its extraordinary impact and the Gothic culture from which it sprang. The Castle of Otranto was a game-changer, and Walpole the writer who paved the way for modern horror exponents.

Edgar Allan Poe: The Sublime and the Grotesque

2000 ◽  
Vol 8 (1) ◽  
pp. 67-123
Author(s):  
Frederick Burwick
Keyword(s):  
Edgar Allan Poe ◽  
The Sublime ◽  
The Grotesque

‘And I Listened to the Whistlings and Patterings Outside’

2021 ◽  
pp. 286-306
Author(s):  
Angus Carlyle
Keyword(s):  
Nature Writing ◽  
Leisure Activities ◽  
Sound Art ◽  
Literary Genre ◽  
Philosophical Concept ◽  
The Sublime ◽  
Art Practices ◽  
Spatial Parameters

The notion of the wild is one that has developed a richer currency in recent years, simultaneously enrolled as a branding device for leisure activities and employed to account for the potential planetary consequences of a shift towards the Anthropocene. Noting parallel amplifications of wild sound in both the philosophical concept of the sublime and in the literary genre known as nature writing, this chapter critically accounts for the ways in which creative sound practices have deployed listening and recording to manifest the spatial parameters of the wild. These sound art practices are shown to reveal tensions in terms of any strictly demarcated border between the wild and the cultivated, in terms of the technical assemblages that are taken to the wild and that render what is heard there audible, and in terms of the wild as a space that is to be accessed through solitary, silent and arduous effort.

scholarly journals Nightmare on Shaw Street: Getting Lost in Shorty’s Private Collection

2012 ◽  
Vol 18 (3) ◽  
Author(s):  
Emily Bullock
Keyword(s):  
Popular Culture ◽  
West Coast ◽  
The West ◽  
Non Fiction ◽  
Island State ◽  
Private Collection ◽  
Creative Non Fiction ◽  
Getting Lost ◽  
Small Museum ◽  
The Grotesque

This article discusses the semiotic and affective affordances of a regional museum on the west coast of Australia’s only island state, Tasmania. Shorty’s Private Collection is a small museum displaying items collected from around the region, with a focus on resuscitated mining materials. The owner also creates figures derived from popular culture from these items. The article uses the methodology of creative non-fiction in order to situate the museum within the marginal community that it engages with, and discusses the museum in terms of Bakhtin’s theory of the grotesque and its potential to both establish and challenge dominant conceptions of the local and the limits of semiotic representation.

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