REDEN [Nueva época] - Volumen 03, Número 1, 2021REDEN [Nueva época] - V3, N1,2021http://hdl.handle.net/10017/503972024-03-29T10:35:12Z2024-03-29T10:35:12ZAmerican influence and representation in Japanese manga and anime: BNHA's All MightOrrù, Maricahttp://hdl.handle.net/10017/504662023-12-14T16:31:11Z2021-01-01T00:00:00ZAmerican influence and representation in Japanese manga and anime: BNHA's All Might
Orrù, Marica
When talking about manga, we are typically referring to Japanese comics. The term is often mistaken and used interchangeably with the word anime, which contrarily to the written comics refers to the animated adaptations of Manga or to original animation products. Since 1970, Japanese Manga and Anime have experienced an unprecedented popularity, introducing an innovative way of telling stories and portraying reality eventually absorbed into our Western culture. This article examines the animated series adaptation of Kohei Horikoshi's Boku No Hero Akademia, paying particular attention to one of the main characters: All Might.
2021-01-01T00:00:00ZSchizoid masculinity and monstrous interiors in American haunted house narrativesGorrill, Kerryhttp://hdl.handle.net/10017/504782023-12-14T16:31:11Z2021-01-01T00:00:00ZSchizoid masculinity and monstrous interiors in American haunted house narratives
Gorrill, Kerry
In this article, I propose that the haunted house narrative, so central to American Gothic, has itself mutated in response to a backdrop of post-millennial social, political and financial collapse in a manner quite different to developments in the rest of the Gothic literary world. The narrative strand which has emerged presents the reader with a new form of the Gothic male protagonist, whom the British psychologist R.D. Laing would describe as a ‘schizoid’ subject (Laing 17). Fragile, failing and fragmenting, he escapes a failing career, marriage and parenthood by removing his family to a quasi-domestic space which promises repair. Often combining work and home, the house rises up to meet the male schizoid, not merely as the traditional Gothic setting, but as a sentient being; a monster in its own right. His entrapment in this new Gothic labyrinth that is constantly shifting, expanding and shrinking, provides a performative stage on which the schizoid male is forced into an existential crisis beyond the trauma of spousal and parental failure, ultimately forcing him to confront what it is to exist in space and time.
A reaction to the rise of neo-liberalism and toxic masculinity, this type of narrative embraces the multiplicity of the Gothic’s new forms and is evident in texts such as Steve Rasnic Tem’s Deadfall Hotel (2012), Mark Z. Danielewski’s House of Leaves (2000), Thomas Ligotti’s The Town Manager (2008), Jac Jemc’s The Grip of It (2017) and Shaun Hamilll’s A Cosmology of Monsters (2020). Developing from their deeper roots in the Calvinist Gothic tradition of Hawthorne, Brockden Brown and Poe via the midcentury works of Stephen King and Robert Marasco, these new post- millennial narratives provide a space in which notions of masculine subjectivity are fundamentally challenged
2021-01-01T00:00:00ZGhosts of Britain: a hauntological approach to the 21st-century folk horror revivalAlberto Andrés, Calvohttp://hdl.handle.net/10017/504772023-12-14T16:31:11Z2021-01-01T00:00:00ZGhosts of Britain: a hauntological approach to the 21st-century folk horror revival
Alberto Andrés, Calvo
This article aims at investigating the American folk horror revival of the 2010s, focusing on texts such as Ari Aster’s Midsommar (2019) or Robert Eggers’s The VVitch (2015). This survey of the folk horror revival will inevitably lead us to the genre’s past, particularly to the so-called Unholy Trinity, comprised by three films released in Great Britain during the late 1960s and early 1970s. This temporal and geographical dislocation will be situated against a larger background of cultural production, arguing that the appearance of the folk horror revival sheds some light on the debate on nostalgia and pastiche as the predominant artistic modes under late capitalism. The notion of hauntology, as explored by Jacques Derrida, Mark Fisher, or Katy Shaw, will be used throughout the essay in order to provide a firm theoretical ground on which this debate can take place.
2021-01-01T00:00:00ZWriting the grotesque body in Jesmyn Ward’s "Salvage the Bones"Psilopoulou, Katerinahttp://hdl.handle.net/10017/504602023-12-14T16:31:11Z2021-01-01T00:00:00ZWriting the grotesque body in Jesmyn Ward’s "Salvage the Bones"
Psilopoulou, Katerina
In her work, Jesmyn Ward has revitalized the Southern Gothic tradition and its tropes to better reflect the realities of Black American life in the 21st century. This essay explores the reconfiguration of the grotesque body in Ward's sophomore novel, Salvage the Bones, which follows an impoverished Black family in Mississippi in the days leading up to Hurricane Katrina. In contrast to her literary predecessors, Ward defines the grotesque as a state of debility imposed on Black bodies and then deemed uniquely problematic to them as a class and race, rather than the result of centuries of structural oppression. As such, she understands the trope as encompassing far more than bodily or intellectual difference, the way in which it was previously utilized by Southern writers like William Faulkner and Carson McCullers. Instead, Ward theorizes the grotesque as a biopolitical state, in which populations that do not conform to the status quo, and specifically the dominant capitalist mode of production and consumption, are driven to the margins and their lives deemed expendable.
2021-01-01T00:00:00Z