Antes que el guión. Sobre estrafalario/1 de Rafael Azcona

El presente artículo analiza el libro de relatos de Rafael Azcona anunciado en el titulo, con especial detenimiento en la utilización que el autor hace de procedimientos propios del grotesco. Asimismo propone una explicación de la ausencia del nombre de Azcona en las principales historias de literatura española a partir de dos ejes fundamentales: el desvío del canon narrativo hegemónico de posguerra y la divisoria existente entre el campo disciplinario del cine y el de la literatura.

Goya's late masterpiece : head of a monk

Francisco Goya painted few canvases during the last four years of his life spent in France. Several of his late masterpieces have fallen under scrutiny over the past ten years, their authenticity questioned by internationally respected scholars. Goya’s Head of a Monk can be counted among this group of disputed canvases. However, a comparison of the Monk with the artist’s sketchbooks, miniatures and murals created during his time in France as well as his last few years in Madrid indicate that this image as well as its underpainting were created by the master himself toward the end of his career.

Das Teuflische und Groteske in der Kunst.

Mode of access: Internet.

Icones opervm misericordiae cvm Ivlii Roscii Hortini sententiis et explicationibvs : pars prior eorvm qvae ad corpvs pertinent.

Numbers 53-54 omitted in paging.

Das Teuflische und Groteske in der Kunst, mit 103 Abbildungen.

Mode of access: Internet.

The King of Schnorrers : grotesques and fantasies /

The King of Schnorrers.--The semi-sentimental dragon.--An honest log-roller.--A tragi-comedy of creeds.--The memory clearing house.--Mated by a waiter.--The principal boy.--An odd life.--Cheating the gallows.--Santa Claus.--A rose of the Ghetto.--A double-barrelled ghost.--Vagaries of a viscount.--The queen's triplets.--A successful operation.--Flutter-Duck: a Ghetto grotesque.

Das teuflische und groteske in der kunst.

Mode of access: Internet.

Humour and Irony in Dutch Post-war Fiction Film /

This study examines a range of Dutch post-war fiction films and also works as an implicit overview on the basis of types of humour, like low-class comedy, neurotic romances; deliberate camp, homosocial jokes, cosmic irony, grotesque satire.

The works of Edgar Allan Poe.

Tales of the grotesque and arabesque: I. Romances of death. Old-world romance.--II. Tales of conscience, natural beauty, and pseudo-science.--III. Tales of ratiocination and illusion.--IV. Extravaganza and caprice.--V. Tales of adventure and exploration.--Literary criticism: VI. On poetry and the poets.--VII. On novels, essays, and travels. Marginalia.--VIII. The literati. Minor contemporaries, etc.--IX. Eureka, and miscellanies.--X. Poems.--Bibliography (v. 10, p. 273-309)

The works of Edgar Allan Poe : newly collected and edited, with a memoir, critical introductions, and notes /

Includes index.

Essays speculative and suggestive /

v. 1. The philosophy of evolution. On the application of evolutionary principles to art and literature. On some principles of criticism. The provinces of the several arts. On the relation of art to science and morality. Realism and idealism. The model. Beauty, composition, expression, characterisation. Caricature, the fantastic, the grotesque. Notes on style: History and usage of the word; National style.-v. 2. Notes on style: Personal style; The art of style. Democratic art, with special reference to Walt Whitman. Landscape. Nature myths and allegories. Is poetry at bottom a criticism of life? A review of Matthew Arnold's selection from Wordsworth. Is music the type or measure of all art? The pathos of the rose in poetry. A comparison of Elizabethan with Victorian poetry. Appendix.

The effect of inversion on the encoding of normal and “thatcherized” faces

In the "Thatcher illusion" a face, in which the eyes and mouth are inverted relative to the rest of the face, looks grotesque when shown upright but not when inverted. In four experiments we investigated the contribution of local and global processing to this illusion in normal observers. We examined inversion effects (i.e., better performance for upright than for inverted faces) in a task requiring discrimination of whether faces were or were not "thatcherized". Observers made same/different judgements to isolated face parts (Experiments 1-2) and to whole faces (Experiments 3-4). Face pairs had the same or different identity, allowing for different processing strategies using feature-based or configural information, respectively. In Experiment 1, feature-based matching of same-person face parts yielded only a small inversion effect for normal face parts. However, when feature-based matching was prevented by using the face parts of different people on all trials (Experiment 2) an inversion effect occurred for normal but not for thatcherized parts. In Experiments 3 and 4, inversion effects occurred with normal but not with thatcherized whole faces, on both same- and different-person matching tasks. This suggests that a common configural strategy was used with whole (normal) faces. Face context facilitated attention to misoriented parts in same-person but not in different-person matching. The results indicate that (1) face inversion disrupts local configural processing, but not the processing of image features, and (2) thatcherization disrupts local configural processing in upright faces.

Crueldad, simulacion, absurdo y amenaza: Barbarie del drama moderno y tradicion hermetica en los esperpentos de Ramon del Valle-Inclan

The purpose of this dissertation is to demonstrate that the esperpentos by the Spanish playwright Ramón del Valle-Inclán (1866–1936), represent a culminating moment of theatrical precepts of modern European drama, while perpetuating the ancient esoteric traditions of the Iberian Peninsula. Focusing on four plays—Los cuernos de Don Friolera (1920), Luces de Bohemia (1921), Las galas del difunto (1926) y La hija del Capitán (1927)—the research elucidates how this interpretation furthers understanding of the process that embraces the anti-realistic clamours during the initial decades of the XX century, up to the subsequent climax of the aesthetics of Cruelty, Absurdity, Simulation, and Menace. ^ In search for an ideal scenic language capable of reflecting the grotesque character and mystical essence of the esperpentos, this project examines the most significant works of philosophers from the hermetic tradition such as Plato, Pithagoras, Aquinas, and Flamel. Other important authors are Éliphas Lévy and H. P. Blavatsky, two personalities of great preponderance in the spiritual effervescence and occultist apotheosis at the turn of the 20th century. Finally, the mystical ideas of Spanish philosopher Roso de Luna and the psychological works on alchemy and magic by Jung find their conceptual correspondence in Valle-Inclán's aesthetic manifesto, La lámpara maravillosa. ^ The ultimate objective of this dissertation is to provide a proposal for a mise en scène of the esperpentos, aesthetically based on the simultaneous scenarios of the New Stagecraft and conceptually inspired by the mystical principles of the hermetic tradition. The comparative approach of this study establishes a dialogue between modernity and the esoteric tradition that results in a new Koncept for their representation, providing a simultaneous scenario, far from realistic theatre, and more coherent to house the magical substance of the esperpentos. ^

Expérience précaire du monde et représentation de la poésie dans La fissure de la fiction et Désâmé de Patrice Desbiens

Diverses œuvres de poésie moderne et contemporaine mettent en scène le rapport à l’écriture d’un sujet lyrique. Une telle problématique trouve une incarnation particulièrement intéressante dans l’œuvre de Patrice Desbiens, notamment dans certains de ses textes des années 1990 et 2000, où elle apparaît avec plus d’acuité. Pourtant, sa pratique auto-réflexive a fait l’objet de très peu de recherches. Afin d’éclairer le rapport qu’entretient Patrice Desbiens avec l’écriture et avec la poésie, ce mémoire s’intéresse à deux de ses textes, soit La fissure de la fiction (1997) et Désâmé, (2005) en accordant davantage d’espace au premier, que je considère comme un texte-charnière dans la production poétique de Desbiens. Dans un premier temps, mon travail présente ainsi la précarité qui caractérise le protagoniste de La fissure de la fiction et, sous un autre angle, le sujet lyrique de Désâmé. Dans cette optique, la figure du poète est étudiée dans La fissure de la fiction à la lumière de la reprise ironique du mythe de la malédiction littéraire et du sens que la réactualisation de ce mythe confère au personnage dans ce récit poétique. Dans un second temps, ce mémoire s’attache à montrer que la cohérence et la vraisemblance des univers mis en scène dans La fissure de la fiction et Désâmé sont minées. C’est à l’aune de ces analyses que peut ensuite être envisagé le rôle d’une poésie qui, en dernière instance, comporte malgré tout un caractère consolateur, en dépit ou en raison de l’esthétique du grotesque, tantôt comique, tantôt tragique, dans laquelle elle s’inscrit et que nous tâcherons de mettre en lumière.

La gárgola en la cultura visual actual

La gárgola ha poblado desde antiguo las cornisas de los edificios religiosos y civiles, sirviendo de evacuación para el agua y para diferentes misiones según las distintas interpretaciones. Su gran componente simbólico hace de ella un reclamo muy interesante para el mundo audiovisual actual. De entre las manifestaciones encontradas, estudiaremos la visión de la gárgola en estos medios y valoraremos su adecuación o no a la visión medieval. Mediante la aparición de la gárgola medieval en el mundo actual en forma de personajes y ornamentos, y gracias a la aplicación de imágenes actuales a las nuevas gárgolas, podemos realizar un recorrido visual y simbólico alrededor de las distintas visiones que la cultura actual realiza de ellas. Pero no podemos quedarnos ahí, es necesario relacionar estas nuevas visiones y significaciones con las originales, para establecer si se ha hecho un uso correcto de la imagen, o se ha roto la estructura del símbolo primigenio.