May 14, 2025
The Contemporary Gothic, Catherine Spooner
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The Contemporary Gothic, Catherine Spooner
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Do you think there's something wrong with me?
Raffaella Cerullo and Otherness
My Brilliant Friend (2018-2024) // Elena Ferrante, Those Who Leave, Those Who Stay // Barbara Creed, The Monstrous Feminine
Essays on the "Gothic" "The Grotesque", "Monstrous", "Otherness" and a general deeper dive into all:
Chaos Incarnate: The Paradox of Grotesque Corporeality
The Grotesque in American Literature: Origins and Peculiarities
Rough Notes on Ruskin’s Idea of the “Grotesque,” and the Gothic in the Postmodern Age
Grotesque images and carnival culture in the tradition of Ovid
My Proper Flesh": hybridity and the grotesque in Renaissance landscape design
The Cult of the Monstrous: Caricature, Physiognomy, and Monsters in Early Modern Italy
The Logic of Grotesques in Renaissance Art: Marian Figuration at the Limits of Representation
Paradigms of Renaissance Grotesques
C. Pavel, ”Political monsters in Greek art”, in: E. Wolff (ed.), Monstres et monstrosités, de l’antiquité à nos jours, en Occident et en Orient, L’Harmattan, Paris 2022, 67-80.
Jessica Maratsos, Review of The Grotesque in Western Art and Culture: The Image at Play, by Frances S. Connelly
Rejecting and Embracing the Monstrous in Ancient Greece and Rome
Introduction: Monster Theory and Classical Myth
Beauty and the beast: art and its passion for the beautiful, the ugly, and the sublime
How to Look at Monsters: Staging Female Bodies from the Periphery of the Seventeenth-Century Spanish World in Baroque Portraiture and Hapsburg Collections
The Body Re-Imagined: The Bizzarie di Varie Figure and Performative Cycles of Prints in Seventeenth-Century Florence
Domestication in the Theater of the Monstrous: Reexamining Monster Theory
"The Grotesque and the French Revolution," in: Rudi Risatti, Stefan Hulfeld, Andrea Sommer (eds.), Grotesk! Ungeheuerliche Künste und ihre Wiederkehr (Vienna: Hollitzer 2022), 211–233 [Uncorrected Proofs]
"Geo-bio-politics of the Gothic: On the Queer/Inhuman Dislocation of Spanish/English Subjects and their Others (For A Definition of Modernity as an Imperialist Geobiopolitical Fracture)." 1616: Anuario de literatura comparada 4 (2014): 153-67.
Rethinking hybrid 'monsters': how notions of 'self' versus 'other' and the ordering of chaos in Renaissance conceptual frameworks led to the transformation and decline of the grotesque decorative form and the radical marginalization of the Mexican codex
Monstrous Encounters: Feminist Theory and the Monstrous
(PDF) Missing Links and Non/Human Queerings: an Introduction
Monsters and the Monstrous: Ancient Expressions of Cultural Anxieties
(I am in no way saying I believe everything in any of these because I haven't even had the chance to read all of these, I simply found them interesting upon skimming and thought I'd share for anyone else interested in reading these sorts of things. While I might not agree with everything of any writer etc, peoples, I think it's still a fascinating thing to explore deeply any perspective, especially one different from my own in some ways. I will make a separate post on some of my fav quotes on the topics from my skimming of them later and attach it. Please do feel free to make this a conversation and share your own favorite quotes, posts, etc expressions in general on the topic. Thank you!)
Cocteau Twins: Otherness (1995)
Eye On Axis :: @eyeonaxis :: A cup of tea somewhere in Iran | Unknown photographer
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“Humans are tuned for relationship. The eyes, the skin, the tongue, ears, and nostrils—all are gates where our body receives the nourishment of otherness.” ― David Abram, The Spell of the Sensuous: Perception and Language in a More-Than-Human World
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
“Foreign to Olympus, a stranger coming to the city from the mysterious landscapes of the sea, the mountains, or the east, Dionysus, the god who subverted the traditional structures of the sacrifice, was at the same time the privileged son of Zeus, the first cousin of the king of Thebes — his native city — and the god who offered to man the possibility of establishing the most intimate communication with the sacred by means of enthusiasm and possession. The very being of Dionysus is the focal point of all of the important contradictions which human reason is unable to bear alone: between identity and otherness, presence and absence, imagination and reality, the absolute and nothingness, power and fragility, life and death, eternity and transition. An irruption of the sacred into the world, of the miracle at the heart of day-to-day life, of the irrational in the center of the city, he is the very paroxysm of tragic tension.”
—Jean-Pierre Darmon, from Mythologies by Yves Bonnefoy (translated by Wendy Doniger)
Soy la que no pertenece.
_ He vivido en tantos lugares que no soy nativa en ninguno. Ni siquiera en el lugar donde nací. —¿De dónde sos? Vos no sos de aquí. —¿De dónde eres? Tú no eres de aquí. —Where are you from? You're not from here. —Di dove sei? Non sei di qui. —D'où viens-tu? Tu n'es pas d'ici. —Woher kommst du? Du bist nicht von hier. El gesto que expulsa. O la rudeza de una curiosidad expresada de forma primitiva, sin cuidado. “No encajás en mi molde, así que te marco como ajena.” Lo dicen como si fuera una observación neutral, pero no lo es. Es la forma en que amurallan las fronteras de lo reconocible y lo desconocido. La forma en que alguien estrecho intenta decidir qué pertenece y qué no. El acento. Las palabras usadas. El lenguaje. Las pausas. El color de piel. El color de ojos. El color de lo que debe ser. “No sos de acá” no siempre significa origen. A veces significa otra cosa: no te reconozco autoridad, no te concedo voz, no acepto que sepas de esto más que yo, no tolero que exista algo fuera de mi molde. Y ahí queda claro que el problema nunca fue mi pertenencia. Fue su necesidad de reducir el mundo a lo que les resulta familiar. No me parezco a la caricatura que llevás en la cabeza y eso te confunde. Mi pertenencia no la define tu ignorancia ni tu necesidad infantil de meter a la gente en moldes. Yo no necesito que me reconozcas. Vos necesitás achicar el mundo hasta que te entre en la cabeza. Y como no encajo, me querés volver ajena. ¡Qué cosa tan pequeña'. Sos apenas otro prejuicio con voz. Porque lo que te pasa no es lucidez. No es percepción fina. No es verdad. Es otra cosa: una reacción vieja y rudimentaria frente a lo desconocido, a lo nuevo. Algo casi reptiliano. Detectás la diferencia y la tratás como amenaza. No entendés, no te ponés en duda, no ampliás tu idea de mundo: expulsás. Y yo no tengo por qué achicarme para caber en esa pobreza. Porque ahí sí, ahí no pertenezco.
