Herbert West — Reanimator
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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 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). -
Pandemic – Reign of Cthulhu Is a Cooperative Game
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. -
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 -
Battle of the Books 2018 an Eagle in the Snow by Michael Morpurgo England, 1940
Battle of the Books 2018 An Eagle in the Snow by Michael Morpurgo England, 1940. Barney’s home has been destroyed by bombing, and he and his mother are traveling to the countryside when German planes attack. Their train is forced to take shelter in a tunnel and there, in the darkness, a stranger ― a fellow passenger ― begins to tell them a story about two young soldiers who came face to face in the previous war. One British, one German. Both lived, but the British soldier was haunted by the encounter once he realized who the German was: the young Adolf Hitler. The British soldier made a moral decision. Was it the right one? Finest Hours: The True Story of a Heroic Sea Rescue by Michael J. Tougias and Casey Sherman On the night of February 18, 1952, during one of the worst winter storms that New England has ever seen, two oil tankers just off the shore of Cape Cod were torn in half. With the storm in full force and waves up to 70 feet high, four coast guardsmen headed out to sea in a tiny lifeboat to come to the rescue. They were the only hope for the stranded sailors. Despite incredible obstacles, these brave men risked their lives, remembering the unofficial Coast Guard motto: You have to go out, but you do not have to come back. This is a fast- paced, uplifting story that puts young readers in the middle of the action. It's a gripping true tale of heroism and survival in the face of the elements. -
Lovecraft Patrons
Lovecraft Patrons Subclasses Specific to Various Great Old Ones of the Cthulhu Mythos By Zach Hitzeroth DUNGEONS & DRAGONS, D&D, Wizards of the Coast, Forgotten Realms, the dragon ampersand, Player’s Handbook, Monster Manual, Dungeon Master’s Guide, D&D Adventurers League, all other Wizards of the Coast product names, and their respective logos are trademarks of Wizards of the Coast in the USA and other countries. All characters and their distinctive likenesses are property of Wizards of the Coast. This material is protected under the copyright laws of the United States of America. Any reproduction or unauthorized use of the material or artwork contained herein is prohibited without the express written permission Sampleof Wizards of the Coast. file ©2020 Wizards of the Coast LLC, PO Box 707, Renton, WA 98057-0707, USA. Manufactured by Hasbro SA, Rue Emile-Boéchat 31, 2800 Delémont, CH. Represented by Hasbro Europe, 4 The Square, Stockley Park, Uxbridge, Middlesex, UB11 1ET, UK. Note on Expanded Spell Lists Player's Handbook Only Spells Spells marked with an asterisk are from Xanathar's 4th Level: fabricate Guide to Everything. If your DM does not allow these spells, alternate spells from the Player's Handbook can be found at the end of each subclass. Abhoth Also known as the Source of Uncleanliness, Abhoth is an Outer God depicted as an ooze or slime from which monsters and unnamable horrors crawl from. Followers of Abhoth tend to spread disease and carry oozes around with them to symbolize their patron. Expanded Spell List Abhoth lets you choose from an expanded list of spells when you learn a warlock spell. -
H. P. Lovecraft-A Bibliography.Pdf
X-'r Art Hi H. P. LOVECRAFT; A BIBLIOGRAPHY compiled by Joseph Payne/ Brennan Yale University Library BIBLIO PRESS 1104 Vermont Avenue, N. W. Washington 5, D. C. Revised edition, copyright 1952 Joseph Payne Brennan Original from Digitized by GOO UNIVERSITY OF CALIFORNIA L&11 vie 2. THE SHUNNED HOUSE. Athol, Mass., 1928. bds., labels, uncut. o. p. August Derleth: "Not a published book. Six or seven copies hand bound by R. H. Barlow in 1936 and sent to friends." Some stapled in paper covers. A certain number of uncut, unbound but folded sheets available. Following is an extract from the copyright notice pasted to the unbound sheets: "Though the sheets of this story were printed and marked for copyright in 1928, the story was neither bound nor cir- culated at that time. A few copies were bound, put under copyright, and circulated by R. H. Barlow in 1936, but the first wide publication of the story was in the magazine, WEIRD TALES, in the following year. The story was orig- inally set up and printed by the late W. Paul Cook, pub- lisher of THE RECLUSE." FURTHER CRITICISM OF POETRY. Press of Geo. G. Fetter Co., Louisville, 1952. 13 p. o. p. THE CATS OF ULTHAR. Dragonfly Press, Cassia, Florida, 1935. 10 p. o. p. Christmas, 1935. Forty copies printed. LOOKING BACKWARD. C. W. Smith, Haverhill, Mass., 1935. 36 p. o. p. THE SHADOW OVER INNSMOUTH. Visionary Press, Everett, Pa., 1936. 158 p. o. p. Illustrations by Frank Utpatel. The only work of the author's which was published in book form during his lifetime. -
The Haunts and Hauntings of HP Lovecraft
Reanimating Providence: The Haunts and Hauntings of H. P. Lovecraft Isaac Schlecht To H. P. Lovecraft, one of the founding masters of American horror, Providence, Rhode Island was not just his lifelong home, but the inspiration for his greatest fl ights of fi ction — a vista at the border of light and dark, magic and science, hope and fear. With Lovecraft as our guide, we embark on a haunting journey through the Providence of not just his life — but our own. http://dl.lib.brown.edu/cob Copyright © 2010 Isaac Schlecht Written in partial fulfi llment of requirements for E. Taylor’s EL18 or 118: “Tales of the Real World” in the Nonfi ction Writing Program, Department of English, Brown University. Reanimating Providence: The Haunts and Hauntings of H.P. Lovecraft Isaac Schlecht October 2010 To H.P. Lovecraft, one of the founding masters of American horror, Providence, Rhode Island was not just his lifelong home, but the inspiration for his greatest flights of fiction—a vista at the border of light and dark, magic and science, hope and fear. With Lovecraft as our guide, we embark on a haunting journey through the Providence of not just his life—but our own. I never can be tied to raw, new things, For I first saw the light in an old town, Where from my window huddled roofs sloped down To a quaint harbor rich with visionings. Streets with carved doorways where the sunset beams Flooded old fanlights and small window-panes, And Georgian steeples topped with gilded vanes— These were the sights that shaped my childhood dreams. -
A STUDY of NIHILISM and SCIENTIFIC UPHEAVAL Brandon L
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CSUSB ScholarWorks California State University, San Bernardino CSUSB ScholarWorks Electronic Theses, Projects, and Dissertations Office of Graduate Studies 3-2014 THE DYNAMICS OF XENOGENETICS AND SECTRANRIANISM IN LOVECRAFTIAN HORROR: A STUDY OF NIHILISM AND SCIENTIFIC UPHEAVAL Brandon L. Matsalia California State University San Bernardino, [email protected] Follow this and additional works at: http://scholarworks.lib.csusb.edu/etd Recommended Citation Matsalia, Brandon L., "THE DYNAMICS OF XENOGENETICS AND SECTRANRIANISM IN LOVECRAFTIAN HORROR: A STUDY OF NIHILISM AND SCIENTIFIC UPHEAVAL" (2014). Electronic Theses, Projects, and Dissertations. Paper 6. This Thesis is brought to you for free and open access by the Office of Graduate Studies at CSUSB ScholarWorks. It has been accepted for inclusion in Electronic Theses, Projects, and Dissertations by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. THE DYNAMICS OF XENOGENETICS AND SECTRANRIANISM IN LOVECRAFTIAN HORROR: A STUDY OF NIHILISM AND SCIENTIFIC UPHEAVAL _____ A Thesis Presented to the Faculty of California State University, San Bernardino _____ In Partial Fulfillment of the Requirements for the Degree Master of Arts In English Composition _____ by Brandon Linn-Spendi Matsalia March 2014 THE DYNAMICS OF XENOGENETICS AND SECTRANRIANISM IN LOVECRAFTIAN HORROR: A STUDY OF NIHILISM AND SCIENTIFIC UPHEAVAL _____ A Thesis Presented to the Faculty of California State University, San Bernardino _____ by Brandon Linn-Spendi Matsalia March 2014 Approved by Dr. Chad Luck, Committee Chair, English Dr. David Carlson, Committee Member © 2014 Brandon Linn-Spendi Matsalia ABSTRACT The purpose of this thesis project is to affix the attention of Lovecraftian scholarship on the oft ignored racism that pervades many of H.P. -
The Gothic Tradition in HP Lovecraft
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositorio Documental de la Universidad de Valladolid FACULTAD de FILOSOFÍA Y LETRAS DEPARTAMENTO de FILOLOGÍA INGLESA Grado en Estudios Ingleses TRABAJO DE FIN DE GRADO The Gothic Tradition in H.P. Lovecraft: An Analysis of “The Call of Cthulhu” Olivia Fernández Ozores Tutora: Marta Gutiérrez Rodríguez 2015-2016 VºBº: ABSTRACT Gothic Literature awakened in the eighteenth century. It first appeared in Great Britain as a rebellion against the Neoclassical period, which no longer satisfied the needs of the readers nor the wants of the different writers. The Gothic style arrived to the American continent in the last part of the eighteenth century. It was first rejected due to American pragmatism; however, writers soon began to adjust the Gothic literary characteristics to their own cultural features. One of the most recognized American Gothic authors from the twentieth century was Howard Phillips Lovecraft. His work “The Call of Cthulhu” is a clear exponent of the American Gothic trend. The purpose of this essay is to elaborate a detailed study of the previously mentioned Lovecraft’s short story and provide a thorough analysis of the main characteristics by which it is considered a key work of American Gothic literature. Keywords: Gothic, American literature, literature of terror, H.P. Lovecraft, “The Call of Cthulhu”, horror. La literatura gótica emerge en el siglo dieciocho. Aparece por primera vez en Gran Bretaña como reacción contra los ideales del período Neoclásico que ya no satisfacían ni las necesidades de los lectores ni los requerimientos de los escritores. -
The Colour out of Space Lovecraft, Howard Phillips
The Colour Out of Space Lovecraft, Howard Phillips Published: 1927 Categorie(s): Fiction, Horror, Short Stories Source: Wikisource 1 About Lovecraft: Howard Phillips Lovecraft was an American author of fantasy, horror and science fiction. He is notable for blending elements of science fiction and horror; and for popularizing "cosmic horror": the notion that some concepts, entities or experiences are barely comprehensible to human minds, and those who delve into such risk their sanity. Lovecraft has be- come a cult figure in the horror genre and is noted as creator of the "Cthulhu Mythos," a series of loosely interconnected fictions featuring a "pantheon" of nonhuman creatures, as well as the famed Necronomicon, a grimoire of magical rites and forbidden lore. His works typically had a tone of "cosmic pessimism," regarding mankind as insignificant and powerless in the universe. Lovecraft's readership was limited during his life, and his works, particularly early in his career, have been criticized as occasionally ponderous, and for their uneven quality. Nevertheless, Lovecraft’s reputation has grown tremendously over the decades, and he is now commonly regarded as one of the most important horror writers of the 20th Century, exerting an influence that is widespread, though of- ten indirect. Source: Wikipedia Also available on Feedbooks for Lovecraft: • The Call of Cthulhu (1926) • At the Mountains of Madness (1931) • The Dunwich Horror (1928) • The Shadow out of Time (1934) • The Shadow Over Innsmouth (1931) • The Whisperer in Darkness (1930) • The Haunter of the Dark (1936) • Supernatural Horror in Literature (1938) • Dreams in the Witch-House (1932) • Dagon (1919) Copyright: This work is available for countries where copyright is Life+70. -
Disciples of the Outer Gods Homebrewed Cthulhu Mythos Themed Options for Dnd 5Th Edition
Disciples of the Outer Gods Homebrewed Cthulhu Mythos Themed Options for DnD 5th Edition While not everybody worshiping or studying these eldritch Foreword entities is a raving cultist, long-term exposure to unearthly The purpose of this document is to provide alternative powers and being in contact with even the unconscious mind character building options themed around H.P Lovecraft's of such utterly alien beings is not something a mortal mind is Cthulhu Mythos. It originally started as a list of alternative built to handle, eventually rendering the person insane by warlock patrons based on Lovecraft's Outer Gods, but after conventional standards, although in truth it is perhaps more some positive feedback I decided to expand the scope to accurate to say that they have merely come to see the cover other classes as well, giving them specialization related universe from a very different point of view, one that might to serving or fighting eldritch horrors. actually be closer to the true nature of existence. Now, I know the traditional Lovecraftian horror isn't very compatible with a game like DnD, as one of the major themes of Lovecraft's stories was the insignificance and New Warlock Patrons: The powerlessness of humans, which goes out of the window Outer Gods when the player characters are all powerful heroes. However, The PHB already has the Great Old One patron, which is even during Lovecraft's own times the Mythos was used as a your generic Lovecraftian horror as a warlock patron, but I backdrop for multiple kinds of stories: Lovecraft's own wanted to create ones based on particular well-known deities “Dreamland” stories could be adapted to a fantasy game of Lovecraft's mythos.