Doubleness on the New York Contemporary Experimental Stage: Bodies and Technology by Emeline Jouve

“…Intermediality, or the co-presence or superimposition of different artistic media, creates dual bodies: technological monsters that are half-human and half-video, grotesque minotaurs at once men and puppets. A “place for viewing,” theatre, theatron, is turned by artists into a showcase displaying post-human bodies. …”
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“Magic Portraits Drawn by the Sun”: New Orleans, Yellow Fever, and the sense(s) of death in Josh Russell’s Yellow Jack by Owen Robinson

“…In ways comparable to the horrors of Hurricane Katrina and its aftermath in 2005, the series of yellow fever epidemics that devastated New Orleans through the nineteenth century were also the result, in part, of the city’s geographical position, its unforgiving climate, and the policies of interested parties; the fever’s awful death toll was likewise accompanied by a grotesque array of sights, sounds and smells. This article will focus upon Josh Russell’s 1999 novel Yellow Jack, which provides a complex portrait of the mid-nineteenth-century city, its fever epidemics, and its conflicting narratives. …”
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Les codes du factice dans Big Fish de Tim Burton by Anne-Marie Paquet-Deyris

“…The opening sequence visually inscribes on screen the grotesque and magical figures of its hyperbolic stories. …”
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Écriture et trauma dans “The Giant Wistaria” : Quand Charlotte Perkins Gilman revisite le gothique by Paule Lévy

“…Far from being seen as a radical uprooting from Europe and a miraculous renewal in the New World, the Founding of the Nation is depicted as a grotesque transplantation of patriarchal injustice and arbitrariness.This remarkably effective tale, may also be seen as a young writer’s attempt to carve out a “Room of [her] Own” within the American “House of Fiction”. …”
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‘Dolls in Agony’: Vernon Lee in Southern Spain by Leire Barrera-Medrano

“…This essay thus examines the relatively unnoticed visit that Lee made to Southern Spain and suggests that, besides its disturbing character, the grotesque Spanish Catholicism that Lee found in 1889 resulted in fruitful productivity: it contributed to shape Lee’s pacifist aesthetic conscience and awakened her imagination.…”
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THE CONFLUENCE OF SCIENCE AND ARTISTIC INSPIRATION IN GYÖRGY LIGETI’S MUSICAL THINKING by Attila FODOR

“…He manifested during his an opened attitude towards (almost all kind of) music, though his output is basically dominated by several – extremely personal – dichotomies, which ultimately demonstrate a fundamental duality of his personality: science-art, craft-intuition, calculus-emotion, presence-distance, mechanic-kaleidoscopic, grotesque-absurd, manipulation-ecstasy. Our study tries to find out the roots of these dichotomies, mainly through his writings and memories. …”
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El Madrid de la Bestia : l’apocalypse urbaine d’Álex de la Iglesia by Diane Bracco

“…Through the deployment of strategies of grotesque distortion, de la Iglesia invites us to see in his filmic re-elaboration of the metropolis the metonymy of a Spain that has lost all its points of reference: while taking possession of the urban landscape, integrated into a spectacular production, de la Iglesia lifts the veil on the paradoxes of a postindustrial society which longs for modernization, at the dawn of the third millennium, although it still harbours the residues of a dictatorial past that the advent of democracy has not enabled to eradicate.…”
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PROTECTING THE HARMONY – THOUGHTS ON THE MARGIN OF ANGI ISTVÁN’S BOOK ABOUT AESTHETIC PIETY (ANGI ISTVÁN: A HARMÓNIA MARAD, PARTIUM KIADÓ, NAGYVÁRAD, 2013) by Attila FODOR

“…While these books develop certain aspects of the author’s well-known grotesque-transcendent aesthetic system, including its adaptation to the modern and contemporary musical art, the esthetician returns in this jubilee publication to the main subject of the already mentioned book entitled The holiest music. …”
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PLATONAS, CARROLLIS, WITTGENSTEINAS IR KRIPKE APIE PRIVAČIOS KALBOS GALIMYBĘ by Saulenė Pučiliauskaitė

“…This conclusion is in agreement with the irony of Plato and the grotesque wit of Carroll. From the proof of the impossibility of "private language" it follows, that logically "private world" is also impossible. …”
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‘We’re All Mad Here’: Alienation, Madness, and Crafting Tom Waits by Nadia López-Peláez Akalay

“…This section will also include Tom Waits’ depiction of some characters as grotesques, as they form the limits of societal acceptance. …”
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Proust’s Ruskin: From Illustration to Illumination by Emily Eells

“…These two figures are likened to ‘noble grotesques’ here, as they correspond to Ruskin’s definition of an allegorical figure conveying an inexpressible truth through symbolism. …”
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