H.P. Lovecraft

'Nietzsche's Flowers' was presented under the title 'The Poison Garden: Nietzsche's Flowers', at the Australasian Society of Continental Philosophy (ASCP) Conference held at Deakin University, Melbourne, Australia, on 7-10 December 2016. I spoke alongside Amy Ireland and Suzi Elhafez on a themed panel concerning Nietzsche and the Eternal Return.

Unlike nineteenth-century Gothic fiction, which tends to fixate on the past, the haunted and the ghostly, early weird fiction probes the very boundaries of reality - the laws and limits of time, space and matter. Here, unimaginable terrors lurk in hitherto unknown mirror dimensions, calamities in ultra-space threaten to wipe clean all evidence of our universe and experiments in non-Euclidean geometry lead to sickening consequences.

In twelve speculative tales of our universe's mathematics and physics gone awry, this new anthology presents an abundance of curiosities - and terrors - with stories from Jorge Luis Borges, Miriam Allen deFord, Frank Belknap Long and Algernon Blackwood

This article considers the contradictory relationship that Luis Borges had with the work of H. P. Lovecraft. For this reason, the literary features of the argentinian writer will be analyzed through his there are more things tale and it will be proved how he first-hand met the work of Lovecraft to the point that he made a simbiosis of the American writer mythology and his owns. These approaches will be developed on the lovecraftian horror category, which will be ironically treated by Borges.

In Storytelling in the Modern Board Game: Narrative Trends from the Late 1960s to Today, Marco Arnaudo describes how board games can create narratives by using the tools that ludology and postclassical narratology provide. The way narratives emerge from tabletop games is extremely unique and interactive: they are created through the synergy of the game rules, material components, and actions undertaken by players. Board games, treated as transmedial narrative systems in which the text is entangled in various relations with images, sounds, or the ludic aspects of games, can become an area of research in literary studies. The aim of this paper is to demonstrate that a scholar can effectively use knowledge of hypertext novels or ergodic literature to study narrative-oriented board games.

Chapter 5 begins the second part of the book, “Scary Monsters (and Super Creeps).” Whereas the first part focused on the sensational address and direct stimulation of the horror viewer, gamer, and browser, the second half focuses on monsters. This chapter argues for understanding monsters as figures that embody and limit anxieties, and which therefore offer reassuring locations onto which those anxieties can be placed. This argument places the monster-centric “philosophy of horror” of Noel Carroll in dialogue with the explicitly unembodied theory of abjection of Julia Kristeva to understand the importance of this embodiment and limitation to traditional horror: horror is a vehicle for working through anxieties that otherwise are not, or cannot, be articulated. The chapter first establishes the extent to which monstrosity is an essentially formal category—decided by stylistic presentation as much as by biological make-up. It then performs close readings of three recent works that engage with this tradition of monstrous forms to minimize visualization and embodiment and, therefore, the monster function: It Follows (2014), the Paranormal Activity series of films (2007–2015), and the game Amnesia: The Dark Descent (2010).

O artigo propõe-se a discutir, de uma maneira livresca, as influências literárias do escritor norte-americano H.P. Lovecraft – atendo-se unicamente aos seus dois ciclos criativos comumente conhecidos como “O Ciclo dos Sonhos” e “O Cthulhu Mythos” – no processo narratológico do jogo digital Bloodborne. Além de estabelecer o estreitamento das influências estéticas e filosóficas do referido autor, valendo-se dos conceitos antropológicos do imaginário estabelecidos por Bachelard e, a posteriori, aprofundados por Gilbert Durand, buscou-se traçar sucintos e pontuais paralelos concernentes ao isomorfismo de alguns símbolos presentes no jogo com as estruturas antropológicas do imaginário que constelam o regime diurno da imagem – mais especificamente os símbolos teriomórficos e nictomórficos.

Através de ferramentas empíricas e teóricas, o estudo abordará tacitamente a premissa em que o enredo do jogo se debruça. Uma vez apresentado a sumarização do argumento, parte-se para o estreitamento das similaridades entre a obra literária concebida por Lovecraft (e suas respectivas influências) com o game em questão. Depois, far-se-á necessário evidenciar os conceitos paradigmáticos arraigados à corrente cosmicista do autor que, de uma maneira ora sutil, ora patente, permeiam todo o enredo do jogo. Por fim, o estreito parentesco dos símbolos de maior relevância presentes ao longo de toda a narrativa de Bloodborne serão brevemente estudados sob a perspectiva bachelardiana do regime diurno da imagem.

PALAVRAS-CHAVE: imaginário; literatura; jogos digitais; percurso narratológico; H.P. Lovecraft; Durand; Bachelard; regime diurno da imagem.

Salomon saith: There is no new thing upon the earth. So that as Plato had an imagination, that all knowledge was but remembrance; so Salomon giveth his sentence, that all novelty is but oblivion. FRANCIS BACON: Essays, LVIII A Londra, all'inizio del mese di giugno del 1929, l'antiquario Joseph Cartaphilus, di Smirne, offrí alla principessa di Lucinge i sei volumi in quarto minore (1715-1720) dell'Iliade di Pope. La principessa li acquistò; e in quell'occasione scambiò qualche parola con lui. Era, ci dice, un uomo consunto e terroso, grigio d'occhi e di barba, dai tratti singolarmente vaghi. Si destreggiava con scioltezza e ignoranza in diverse lingue; in pochi minuti passò dal francese all'inglese e dall'inglese a una misteriosa mescolanza di spagnolo di Salonicco e portoghese di Macao. Nell'ottobre, la principessa seppe da un passeggero dello Zeus che Cartaphilus era morto in mare, nel tornare a Smirne, e che l'avevano seppellito nell'isola di Ios. Nell'ultimo tomo dell'Iliade trovò questo manoscritto. L'originale è redatto in inglese e abbonda di latinismi. La versione che offriamo è letterale. I A quanto ricordo, le mie prove cominciarono in un giardino di Tebe Hekatompylos, quand'era imperatore Diocleziano. Avevo militato

ABSTRACT: The objective of this paper is to place Borges' short story "There are More Things" (TMT) as a pastiche that includes Lovecraft's technique to write supernatural horror. Its originality resides in identifying the sources of Lovecraft's work that could have been read by Borges and in pointing out specific and general references in "There are More Things" to Lovecraft's short stories. The method uses Lovecraft's supernatural horror theory. The conclusions state how Borges included in TMT the eight characteristics considered by Lovecraft as essential in writing a weird tale.
RESUMEN: El objetivo de este ensayo es ubicar el cuento "There are More Things" de Borges como un pastiche que incluye la técnica para escribir horror sobrenatural de Lovecraft. Su originalidad radica en la identificación de las fuentes de la obra de Lovecraft que podría haber leído Borges y en señalar referencias específicas y generales a cuentos de Lovecraft en "There are More Things". El método utiliza la teoría del horror sobrenatural de Lovecraft. Las conclusiones indican cómo Borges incluyó en tmt los ocho elementos que Lovecraft consideró esenciales para escribir una weird tale.
PalabRas clave: Borges; Lovecraft; Weird tale; Sobrenatural; Hipotexto; Horror cósmico.

H.P. Lovecraft is considered one of the most influential and important speculative writers of the 20th century. Despite the eugenic concerns inherent in many of his stories, much of his output has not been analyzed against the pervasive “scientific racism” of his time. This thesis looks at Lovecraft’s depictions of women and sees them as strongly related to eugenic thought, representing in various ways the biological dangers associated with unfit women. Lovecraft’s women embody the worries of miscegenation, show the results of the unfit giving birth, and ultimately showcase the collapse of society under the weight of monstrous Others. Therefore, though Lovecraft does not feature many women in his stories, he nevertheless manages to construct them as agents of biological chaos, much in the same way eugenicist thought commonly portrays unfit women as highly dangerous to the fabric of the nation.

This paper suggests how the ‘weird fiction’ of H.P. Lovecraft might be mobilised within secondary English classrooms to examine aspects of visual literacy, literary style, narrative form and intertextuality. The approach that is outlined is characterised, after Lovecraft’s famous monster, as a ‘Cthulhuic literacy’ and is framed by Multiple Literacy Theory that positions learning as intrinsically relational and encourages teachers to use affect positively to enhance textual practice (Masny & Cole, 2009). Affect is put to work in the classroom as an organising principle, beginning with the choice of text to be used and continuing through the particular ways in which teacher and students work with the selected text.

LOVECRAFT, H. P. Beyond the Wall of Sleep. Pine Cones, 1919.
“Beyond the Wall of Sleep” de H.P. Lovecraft foi escrito e publicado em 1919 na edição de outubro da Pine Cones. Em 1934 houve uma republicação em The Fantasy Fan e em março de 1938 na Weird Tales.

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It is trusted that Effects of Love Binding Spells is a sort of powerful spell which makes a steady association between two individuals. These affection spells are used to wipe out the odds of separation in your relationship.
How Love Binding Spells Work

English title: "Doom Messiah": Myth in the Religious Narratology of Science Fiction and Superhero Comics

| Abstrakt:
Diese Masterarbeit beschäftigt sich mit der Verwendung von Mythen in Science Fiction- und Supermenschencomics. Für dieses Unterfangen wird die Storyline Memento Mori aus der Marvel Comics-Serie 'New Avengers' (2013–2015) unter Federführung des Comicautors Jonathan Hickman herangezogen. Dieser verarbeitet in der Argumentation des Autors mythische Strukturen und Mythenästhetiken über die Vermittlung zweier Science Fiction-Werke ('When Worlds Collide' und 'God Emperor of Dune'), um über das Unterhaltungsmedium Comic eine lebens- bzw. moralphilosophische Diskussion zum Wert des menschlichen Lebens im Angesicht eines todbringenden, sinnlosen Universums anzustellen (d. i. kosmischer Pessimismus). Dafür übernimmt Hickman in Teilen narrative Strukturen aus dem Flutmythos und dem Chaoskampfmotiv (z. B. aus dem babylonischen Schöpfungsbericht), um die Erfahrung einer Menschendämmerung (d. i. die endzeitliche Erwartung des baldigen Aussterbens der Menschheit) zu allegorisieren. Anhand einer Kombination aus religionsästhetischen, -anthropologischen und -geschichtlichen Methoden, die der Autor hier als 'narrative Religionssemiotik' zusammenfasst, untersucht die Arbeit verschiedene Ebenen der Mythenverwendung in Medien. Darunter werden neben dem Produktionsumfeld des Comicautors die genrespezifischen Kommunikationsmöglichkeiten von Science Fiction- und Superheld_innengeschichten in der Analyse berücksichtigt. Die Arbeit legt zudem besonderen Wert auf eine eingehende, kritische Betrachtung der akademischen Mythenbegriffsbildung und plädiert letztlich für eine erzähltheoretische Wende der Mythenforschung in der zeitgenössischen Religionswissenschaft.

| Abstract:
This Master's thesis examines the deployment of myths in the narrative structure and rhetoric of superhero comics within the genre of science fiction. Written by Jonathan Hickman from 2012 to 2015, the Marvel Comics 'Memento Mori' storyline from the New Avengers series is taken as a case study. The central hypothesis is that Hickman uses the mythic structures of the Mesopotamian creation and deluge myths as metaphors to express a worldview here articulated as 'Menschendaemmerung' (the 'Twilight of Humanity'). In his philosophical discussion about morals and the worth of human life in a senseless, misanthropic universe, Hickman's debt to Mesopotamian myth is facilitated by science fiction authors such as Frank Herbert ('Dune'), Philip Wylie and Edwin Balmer ('When Worlds Collide'). This thesis further examines Hickman's mythic semiotics with methods adapted from ethnographic writing, aesthetics of religion, and history of religion. Through this methodological mixture, the research takes a heightened interest in genre-specific modes of communication in science fiction comics peopled with superheroes. By doing so, the thesis advances a critical, pluralistic approach to the definition of myth and argues for a narrative turn for the study of myth within the field of religious studies.

Niesamowitość lokuje się na obrzeżach kategorii psychoanalitycznej i estetycznej. Jako taka pojawia się już w eseju Freuda Niesamowite. Gdy w tej postaci weszła w obręb badań literackich, spotkała się z zainteresowaniem na tyle dużym, że z czasem zaczęła funkcjonować jako nieformalne określenie gatunku.

Próba potraktowania literatury niesamowitej jako samodzielnego typu rodzi dwa zasadnicze problemy, rozważane w niniejszym artykule. Po pierwsze: jakie cechy dystynktywne przejawiać miałby taki gatunek? Czy w jego obrębie znajdują się tylko teksty prozaiczne, czy też możemy mówić o niesamowitej poezji, tworzonej często przez tych samych pisarzy (np. Edgara Allana Poego czy H.P. Lovecrafta)? Jakie cechy dodatkowe wykształca literatura niesamowita i w jaki sposób służą one eksponowaniu niesamowitości rozumianej jako kategoria estetyczna?

Drugi problem polega na zakreśleniu granic literatury niesamowitej, czyli jej odróżnieniu od literatury fantastycznej, fantastyczno-naukowej, horroru, weird fiction, literatury gotyckiej i innych gatunków pokrewnych, w obrębie których motywy niesamowite, lub powierzchownie uchodzące za niesamowite, mogą się pojawiać.

Ustosunkowanie się do obu tych kwestii warunkuje możliwość nakreślenia historii literatury niesamowitej, której bardzo ogólny zarys zamyka esej.

Il presente saggio è apparso originariamente, con il titolo «Sulla natura lunare di Shub-Niggurath: dalla mythopoeia di Howard Phillips Lovecraft a "The Moon-Lens" di Ramsey Campbell», sul numero monografico "Neo-Gothic. Hybridizations of the Imaginary" (vol. 35, 2018, pp. 48-68) – coordinato da Giovanni Magliocco – della rivista di letteratura universale e comparata "Caietele Echinox", diretta da Corin Braga ed edita a Cluj-Napoca (Romania) dal Centro di Ricerca sull’Immaginario "Phantasma" (ISSN 1582-960X). Viene riproposto in questa sede con alcuni tagli, con due doverosi approfondimenti alle note 28 e 102 (il primo storico-traduttivo, il secondo tematico-comparatistico) e con altre modifiche e integrazioni di lieve entità. Soprattutto, è qui ripubblicato in concomitanza con la prima traduzione italiana integrale - sempre a cura di Valentina Sirangelo - del racconto di Ramsey Campbell «The Moon-Lens» (1964), il quale viene trattato nella seconda parte dell'analisi.

Haunted houses constitute a widespread narrative theme. We often encounter ghostinfested habitations in folk tales and literary works the world over and throughout the centuries. An etho-biological background might perhaps be responsible for his frequency and universality. The first part of this paper is dedicated to studying how this theme unfolds in Roman-Ellenistic culture, where it is treated both as a comical motive and as a topic for serious philosophical investigation. In the second part, I turn to modern literature and explore H.P. Lovecraft's multifarious and up until now underestimate variations on the theme.

Questo studio indaga la natura della weird fiction, con l'intento di contestualizzarla e darne una definizione. A partire da un inquadramento storico della letteratura del soprannaturale e delle sue tendenze evolutive, l'analisi punta a superare la concezione di weird come termine legato esclusivamente ai pulp magazines statunitensi dei primi anni del Novecento. L'obiettivo è dimostrare che il weird è un modo narrativo a sé stante, adoperato anche al di fuori della ristretta categoria dei pulp, e derivato da alcuni assunti della letteratura più comunemente nota come "fantastica". Il lavoro è diviso in due parti: la prima, teorica, approfondisce l'esistenza e le ragioni del weird come modo letterario; la seconda applica quest'ottica modale ad alcuni testi selezionati tra le opere di tre autori di primo Novecento: Howard Phillips Lovecraft, Stefan Grabin'ski e Jean Ray.

The use of the theme of alienation and/or isolation is the very cause of the grotesqueness. As the society alienates or isolates people the weirdness start to begin, it might be the weird personality of the characters or it might be their new habitat.

A short investigation on the possible roots of the name "Cthulhu", as the most legendary creation of Lovecraft's horror fiction. Also included is an exploration of the astrological and stellar meanings of the "Elder Sign", as designed by Lovecraft himself.