The Gothic Tradition in HP Lovecraft
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Gothic Modernism: Revising and Representing the Narratives of History and Romance
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2012 Gothic Modernism: Revising and Representing the Narratives of History and Romance Taryn Louise Norman [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the American Literature Commons, Feminist, Gender, and Sexuality Studies Commons, Literature in English, British Isles Commons, and the Literature in English, North America Commons Recommended Citation Norman, Taryn Louise, "Gothic Modernism: Revising and Representing the Narratives of History and Romance. " PhD diss., University of Tennessee, 2012. https://trace.tennessee.edu/utk_graddiss/1331 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Taryn Louise Norman entitled "Gothic Modernism: Revising and Representing the Narratives of History and Romance." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Lisi Schoenbach, Major Professor We have read this dissertation and recommend its acceptance: Mary Papke, Amy Billone, Carolyn Hodges Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Gothic Modernism: Revising and Representing the Narratives of History and Romance A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee Taryn Louise Norman May 2012 Copyright © 2012 Taryn Louise Norman All rights reserved. -
Lovecraft Research Paper Final Draft
Nagelvoort 1 Chris Nagelvoort Professor Walsh Humanities Core H1CS 13 June 2020 Becoming Anti-Human: How Lovecraftian Horror Philosophically Deconstructs Otherness The most horrifying monster is change. Having the comfort and consistency of normality be thrust into the foreign landscape of difference can be petrifying. The dormant mind can lose its sense of self, security, and, worst of all, control. In the horror genre, this is no different. Monsters are frightening because of the difference they impose on us and our identity. Imagining a world ruled by a zombie apocalypse or a ravenous vampire feasting at night may seem unobtrusive, but when the rabid ghoul trespasses the border of detached fiction into the interior of one’s identity, the cliche skeleton seems almost an afterthought. Much more terrifying than the grotesqueness or typicality of these horror villains is how they can turn one’s sense of self and control inside out. It invites the elusive glance inward, asking the subject to wonder if their pillars of psychological safety—identity, family, belief system, home—are very safe at all. This fear of something different is compartmentalized by the psyche as something so alien, so invasive, that it must be something Other. This effect is explored by the stories of Howard Philips Lovecraft, a horror writer whose stories are so bizarre that the average reader is stripped of all their preconceptions about reality and even their sense of self. This special subgenre of horror was pioneered by Lovecraft and is famously called “Lovecraftian horror” but is well known today as cosmic horror: A mesh of horror and science fiction that “erodes presumptions about the nature of reality” (Cardin 273). -
Pandemic: Reign of Cthulhu Rulebook
Beings of ancient and bizarre intelligence, known as Old Ones, are stirring within their vast cosmic prisons. If they awake into the world, it will unleash an age of madness, chaos, and destruction upon the very fabric of reality. Everything you know and love will be destroyed! You are cursed with knowledge that the “sleeping masses” cannot bear: that this Evil exists, and that it must be stopped at all costs. Shadows danced all around the gas street light above you as the pilot flame sputtered a weak yellow light. Even a small pool of light is better than total darkness, you think to yourself. You check your watch again for the third time in the last few minutes. Where was she? Had something happened? The sound of heels clicking on pavement draws your eyes across the street. Slowly, as if the darkness were a cloak around her, a woman comes into view. Her brown hair rests in a neat bun on her head and glasses frame a nervous face. Her hands hold a large manila folder with the words INNSMOUTH stamped on the outside in blocky type lettering. “You’re late,” you say with a note of worry in your voice, taking the folder she is handing you. “I… I tried to get here as soon as I could.” Her voice is tight with fear, high pitched and fast, her eyes moving nervously without pause. “You know how to fix this?” The question in her voice cuts you like a knife. “You can… make IT go away?!” You wince inwardly as her voice raises too loudly at that last bit, a nervous edge of hysteria creeping into her tone. -
This Paper Examines the Role of Media Technologies in the Horror
Monstrous and Haunted Media: H. P. Lovecraft and Early Twentieth-Century Communications Technology James Kneale his paper examines the role of media technologies in the horror fic- tion of the American author H. P. Lovecraft (1890-1937). Historical geographies of media must cover more than questions of the distri- Tbution and diffusion of media objects, or histories of media representations of space and place. Media forms are both durable and portable, extending and mediating social relations in time and space, and as such they allow us to explore histories of time-space experience. After exploring recent work on the closely intertwined histories of science and the occult in late nine- teenth-century America and Europe, the discussion moves on to consider the particular case of those contemporaneous media technologies which became “haunted” almost as soon as they were invented. In many ways these hauntings echo earlier responses to the printed word, something which has been overlooked by historians of recent media. Developing these ideas I then suggest that media can be monstrous because monstrosity is centrally bound up with representation. Horrific and fantastic fictions lend themselves to explorations of these ideas because their narratives revolve around attempts to witness impossible things and to prove their existence, tasks which involve not only the human senses but those technologies de- signed to extend and improve them: the media. The remainder of the paper is comprised of close readings of several of Lovecraft’s stories which sug- gest that mediation allowed Lovecraft to reveal monstrosity but also to hold it at a distance, to hide and to distort it. -
The Intellectual Functions of Gothic Fiction
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 1977 FEARFUL QUESTIONS, FEARFUL ANSWERS: THE INTELLECTUAL FUNCTIONS OF GOTHIC FICTION PAUL LEWIS Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation LEWIS, PAUL, "FEARFUL QUESTIONS, FEARFUL ANSWERS: THE INTELLECTUAL FUNCTIONS OF GOTHIC FICTION" (1977). Doctoral Dissertations. 1160. https://scholars.unh.edu/dissertation/1160 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or “target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. -
Cthulhu Monsters a Field Observer's Handbook of Preternatural Entities
--- S. PETERSEN'S FIELD GUIDE TO Cthulhu Monsters A Field Observer's Handbook Of Preternatural Entities Paintings and Descriptions From the Cthulhu Mythos As Created by H.P. Lovecraft, With Augmentations for Today Sandy Petersen Tom Sullivan Lynn Willis with Peter Dannseys E.C. Fallworth L.N. Isinwyll Ivan Mustoll Chaosium Inc. Publication 5105 The 27 Most Frequently Encountered Monsters Howard Phillips Lovecraft 1890 - 1937 t PETERSEN'S Field Guide To Cthulhu :Monsters A Field Observer's Handbook Of Preternatural Entities Sandy Petersen conception and text TOIn Sullivan 27 original paintings, most other drawings Lynn ~illis project, additional text, editorial, layout, production Chaosiurn Inc. 1988 The FIELD GUIDe is p «blished by Chaosium IIIC . • PETERSEN'S FIELD GUIDE TO CfHUU/U MONSTERS is copyrighl e1988 try Chaosium IIIC.; all rights reserved. _ Similarities between characters in lhe FIELD GUIDE and persons living or dead are strictly coincidental . • Brian Lumley first created the ChJhoniwu . • H.P. Lovecraft's works are copyright e 1963, 1964, 1965 by August Derleth and are quoted for purposes of ilIustraJion_ • IflCide ntal monster silhouelles are by Lisa A. Free or Tom SU/livQII, and are copyright try them. Ron Leming drew the illustraJion of H.P. Lovecraft QIId tlu! sketclu!s on p. 25. _ Except in this p«blicaJion and relaJed advertising, artwork. origillalto the FIELD GUIDE remains the property of the artist; all rights reserved . • Tire reproductwn of material within this book. for the purposes of personal. or corporaJe profit, try photographic, electronic, or other methods of retrieval, is prohibited . • Address questions WId commel11s cOlICerning this book. -
Cthulhu Lives!: a Descriptive Study of the H.P. Lovecraft Historical Society
CTHULHU LIVES!: A DESCRIPTIVE STUDY OF THE H.P. LOVECRAFT HISTORICAL SOCIETY J. Michael Bestul A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Dr. Jane Barnette, Advisor Prof. Bradford Clark Dr. Marilyn Motz ii ABSTRACT Dr. Jane Barnette, Advisor Outside of the boom in video game studies, the realm of gaming has barely been scratched by academics and rarely been explored in a scholarly fashion. Despite the rich vein of possibilities for study that tabletop and live-action role-playing games present, few scholars have dug deeply. The goal of this study is to start digging. Operating at the crossroads of art and entertainment, theatre and gaming, work and play, it seeks to add the live-action role-playing game, CTHULHU LIVES, to the discussion of performance studies. As an introduction, this study seeks to describe exactly what CTHULHU LIVES was and has become, and how its existence brought about the H.P. Lovecraft Historical Society. Simply as a gaming group which grew into a creative organization that produces artifacts in multiple mediums, the Society is worthy of scholarship. Add its humble beginnings, casual style and non-corporate affiliation, and its recent turn to self- sustainability, and the Society becomes even more interesting. In interviews with the artists behind CTHULHU LIVES, and poring through the archives of their gaming experiences, the picture develops of the journey from a small group of friends to an organization with influences and products on an international scale. -
The Weird and Monstrous Names of HP Lovecraft Christopher L Robinson HEC-Paris, France
names, Vol. 58 No. 3, September, 2010, 127–38 Teratonymy: The Weird and Monstrous Names of HP Lovecraft Christopher L Robinson HEC-Paris, France Lovecraft’s teratonyms are monstrous inventions that estrange the sound patterns of English and obscure the kinds of meaning traditionally associ- ated with literary onomastics. J.R.R. Tolkien’s notion of linguistic style pro- vides a useful concept to examine how these names play upon a distance from and proximity to English, so as to give rise to specific historical and cultural connotations. Some imitate the sounds and forms of foreign nomen- clatures that hold “weird” connotations due to being linked in the popular imagination with kabbalism and decadent antiquity. Others introduce sounds-patterns that lie outside English phonetics or run contrary to the phonotactics of the language to result in anti-aesthetic constructions that are awkward to pronounce. In terms of sense, teratonyms invite comparison with the “esoteric” words discussed by Jean-Jacques Lecercle, as they dimi- nish or obscure semantic content, while augmenting affective values and heightening the reader’s awareness of the bodily production of speech. keywords literary onomastics, linguistic invention, HP Lovecraft, twentieth- century literature, American literature, weird fiction, horror fiction, teratology Text Cult author H.P. Lovecraft is best known as the creator of an original mythology often referred to as the “Cthulhu Mythos.” Named after his most popular creature, this mythos is elaborated throughout Lovecraft’s poetry and fiction with the help of three “devices.” The first is an outlandish array of monsters of extraterrestrial origin, such as Cthulhu itself, described as “vaguely anthropoid [in] outline, but with an octopus-like head whose face was a mass of feelers, a scaly, rubbery-looking body, prodigious claws on hind and fore feet, and long, narrow wings behind” (1963: 134). -
Human Monsters: Examining the Relationship Between the Posthuman Gothic and Gender in American Gothic Fiction Alexandra Rivera
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2019 Human Monsters: Examining the Relationship Between the Posthuman Gothic and Gender in American Gothic Fiction Alexandra Rivera Recommended Citation Rivera, Alexandra, "Human Monsters: Examining the Relationship Between the Posthuman Gothic and Gender in American Gothic Fiction" (2019). Scripps Senior Theses. 1358. https://scholarship.claremont.edu/scripps_theses/1358 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. HUMAN MONSTERS: EXAMINING THE RELATIONSHIP BETWEEN THE POSTHUMAN GOTHIC AND GENDER IN AMERICAN GOTHIC FICTION by ALEXANDRA RIVERA SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR KOENIGS PROFESSOR MANSOURI APRIL 26, 2019 Acknowledgements I would like to thank my thesis readers, Professor Koenigs and Professor Mansouri, for working with me on developing this topic and helping strengthen my ideas. Thank you Professor Koenigs for always pushing me to take my writing further and to really dig deep into the subject of study. I am also deeply grateful for my parents, Ken and Maria Rivera, and their love and encouragement during the thesis process. I would also like to thank my friends and loved ones, especially Willow Winter, for supporting and believing in me. Finally, I have to thank my cats Grayson and Gracie for boosting my morale and helping me power through the late nights of writing. -
Errata for H. P. Lovecraft: the Fiction
Errata for H. P. Lovecraft: The Fiction The layout of the stories – specifically, the fact that the first line is printed in all capitals – has some drawbacks. In most cases, it doesn’t matter, but in “A Reminiscence of Dr. Samuel Johnson”, there is no way of telling that “Privilege” and “Reminiscence” are spelled with capitals. THE BEAST IN THE CAVE A REMINISCENCE OF DR. SAMUEL JOHNSON 2.39-3.1: advanced, and the animal] advanced, 28.10: THE PRIVILEGE OF REMINISCENCE, the animal HOWEVER] THE PRIVILEGE OF 5.12: wondered if the unnatural quality] REMINISCENCE, HOWEVER wondered if this unnatural quality 28.12: occurrences of History and the] occurrences of History, and the THE ALCHEMIST 28.20: whose famous personages I was] whose 6.5: Comtes de C——“), and] Comtes de C— famous Personages I was —”), and 28.22: of August 1690 (or] of August, 1690 (or 6.14: stronghold for he proud] stronghold for 28.32: appear in print.”), and] appear in the proud Print.”), and 6.24: stones of he walls,] stones of the walls, 28.34: Juvenal, intituled “London,” by] 7.1: died at birth,] died at my birth, Juvenal, intitul’d “London,” by 7.1-2: servitor, and old and trusted] servitor, an 29.29: Poems, Mr. Johnson said:] Poems, Mr. old and trusted Johnson said: 7.33: which he had said had for] which he said 30.24: speaking for Davy when others] had for speaking for Davy when others 8.28: the Comte, the pronounced in] the 30.25-26: no Doubt but that he] no Doubt that Comte, he pronounced in he 8.29: haunted the House of] haunted the house 30.35-36: to the Greater -
Herbert West — Reanimator
DARK ADVENTURE RADIO THEATRE: HERBERT WEST — REANIMATOR Written by Sean Branney and Andrew Leman Based on "Herbert West — Reanimator" by H. P. Lovecraft Read-along Script June 18, 2013 ©2013 by HPLHS Inc. All Rights Reserved. NOTICE: This script is provided as a convenience only to DART listeners to follow along with the recorded show. It is not licensed for professional or amateur performance of any kind. Inquiries regarding performance rights should be sent to [email protected] 1 INTRO 1 SFX: static, radio tuning, snippet of ‘30s song, more tuning, static dissolves to: Dark Adventure Radio THEME MUSIC. ANNOUNCER Tales of intrigue, adventure, and the mysterious occult that will stir your imagination and make your very blood run cold. MUSIC CRESCENDO. ANNOUNCER (CONT’D) This is Dark Adventure Radio Theatre, with your host Erskine Blackwell. Today’s episode: H.P. Lovecraft’s “Herbert West -- Reanimator!” THEME MUSIC DIMINISHES. The sound of MOANING, BUBBLING CHEMICALS, and FUNEREAL MUSIC underneath. ERSKINE BLACKWELL A brilliant medical student dreams of bringing life to the dying, and to the dead. How far will he go to achieve his dream? Will his genius unlock the secrets of life and death, or will boundless ambition twist his noble purpose into something monstrous? A few piano notes from the FORHAN’S TOOTHPASTE JINGLE. ERSKINE BLACKWELL (CONT’D) You know, folks, nothing says success quite like a bright radiant smile. And for truly gleaming teeth, there’s no better toothpaste than Forhan’s, now with new Radiol! It’s the very latest thing: a safe extract of radium, scientifically developed in the finest medical laboratories of Europe. -
MASARYK UNIVERSITY BRNO American Gothic Fiction: Vampire
MASARYK UNIVERSITY BRNO FACULTY OF EDUCATION DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE American Gothic Fiction: Vampire Romances Final thesis Brno 2012 Supervisor: Author: PhDr. Irena Přibylová, Ph.D. Mgr. Jitka Čápová Declaration I hereby declare that I have written this final thesis myself and that all the sources I have used are listed in the bibliography section. Hradec Králové 13 August 2012 …………………………………………… Mgr. Jitka Čápová Acknowledgements: I would like to thank to PhDr. Irena Přibylová, Ph.D. for her time, patience and valuable advice. I would also like to thank to my family for their support. Table of Contents 1. Introduction ......................................................................................................................................... 1 2. Theory ................................................................................................................................................. 2 2.1 Gothic ................................................................................................................................................ 3 2.2 Romance ............................................................................................................................................ 5 2.3 Conclusion ......................................................................................................................................... 9 3. Analysis ............................................................................................................................................