Search

The purpose of this essay is to show the narrator’s use of the male and the queer gaze in three short stories by Edgar Allan Poe: “Berenice: A Tale” (1835), “The Man that was Used Up: A Tale of the Late Bugaboo and Kickapoo Campaign” (1839) and ”The Man of the Crowd” (1845). Through close reading of the stories, I show how the different gazes work, how they are used in the stories and what they lead to. I relate how the visual perspectives function to how narrative development in the stories depend on the gaze, suggesting that whereas the male gaze in the stories by Poe aids in creating violence and misogyny; the queer gaze on the other hand helps in creating alternative worlds, governed by curiosity, empathy and possibility., Syftet med den här uppsatsen är att lyfta fram berättarens användning av the male och the queer gaze i tre noveller av Edgar Allan Poe: ”Berenice” (1835), ”Den förbrukade mannen” (1839) och ”Mannen i mängden” (1845). Med hjälp av närläsning belyser jag hur berättelsens utveckling och narrativ påverkas av perspektiven och dessa skilda sätt att se. Jag föreslår att medan the male gaze hos Poe bidrar till att skapa mörka och destruktiva teman, där våld och misogyni är framträdande element, the queer gaze finns konstant närvarande, skapande alternativa sätt att existera i en värld präglad av nyfikenhet, empati och möjlighet.

This essay explores the sublime aspects in Edgar Allan Poe’s fictional horror, namely "The Tell-Tale Heart" (1843), "The Fall of the House of Usher" (1839) and "The Raven" (1839). The aim is to show that the sublime – an aesthetic experience articulated by Edmund Burke and Immanuel Kant amongst many – can make the reader oscillate between horror and safety. This essay also examines Poe’s works through the lens of Sigmund Freud’s concept of the uncanny to provide a contrasting, more nuanced analysis and understanding. The evidence presented in the analysis shows that Poe’s masterful use of writing techniques, including literary devices such as irony, demonstrates his unparalleled ability to simultaneously terrify and amaze his readers – the core idea of the sublime. Above all, the narrators in Poe’s works play a critical role in conveying the experience of the sublime, as their transgressive actions provide a lens through which the reader can experience both horror, wonder, and incomprehension. Poe’s works involve conflicts between imagination and reason, and rationality and irrationality, as well as the narrow border between the unfamiliar and the familiar – all concepts that tend to evoke both horror and awe. All combined, they have the power to evoke a feeling of the sublime – a concept that could undermine horror and thus make it more pleasurable to read.

This essay is a contribution to literary history that explores Edgar Allan Poe’s criticism of the transcendentalist movement and its key figure Ralph Waldo Emerson through an analysis of the short stories “The Fall of the House of Usher” and “Never Bet the Devil Your Head.” By using genre criticism to define aspects of the Gothic genre, Poe’s criticism through Gothic tropes is studied together with an intertextual reading of the short stories and historical literary objects such as letters, magazines and literary reviews that details his views on transcendentalism. The purpose of this is to see if Poe used his fictional work to criticize his contemporaries. The analysis finds that “Never Bet the Devil Your Head” includes satirical comments on transcendentalist beliefs, as well one instance of specific criticism that targets Ralph Waldo Emerson as a writer - all of which can be connected to Poe’s non-fictional correspondence with fellow literati. In “The Fall of the House of Usher” Poe utilizes aspects of the Gothic genre that function as opposites to common transcendental beliefs.

In his facet as an essayist Edgar Allan Poe developed interesting ideas that correspond to the field of aesthetics. However, these have not been widely disseminated, and even less in Latin America, contrary to his poetic work –better known–, and his prose narrative –which is usually part of the school programs of universal literature–. The present writing intends to recover some of his approaches analyzing his theoretical essay "The Purpose of Poetry", following the trail of his criticism of a bourgeois and masses aesthetic and of an aristocratic and traditionalist aesthetic. With its careful reading we pay tribute to the author, delving into his complex profile, and following his exploration of topics as varied as criticism, the public, reception, poetic creation, the function of art and the poet's social importance. Lastly, his opinion on some outstanding figures of world poetry of his time provides us with a very rich overview of the cultural context of the first half of the 19th century., Edgar Allan Poe, en su faceta de ensayista, desarrolló interesantes ideas que corresponden al campo de la estética. Sin embargo, tales ideas no han sido muy difundidas, y aún menos en América Latina, al contrario de lo sucedido con su labor poética –mejor conocida–, y muy especialmente con su narrativa en prosa –que suele hacer parte de los programas escolares de enseñanza de la literatura universal–. El presente escrito se propone reconstruir y dar a conocer algunos de sus planteamientos a través del abordaje de su ensayo teórico “El propósito de la poesía”, siguiendo el rastro de su crítica a las que, por un lado, llamo una estética burguesa y de masas y, por otro, una estética aristocrática y tradicionalista. Con su lectura atenta podemos rendir un homenaje al autor, ahondando en su complejo perfil, siguiéndolo en la exploración que lleva a cabo de temas tan variados como la crítica, el público, la recepción, la creación poética, la función del arte y la importancia social del poeta. A la vez también podremos informarnos acerca de sus opiniones sobre ciertas figuras destacadas de la poesía mundial de su tiempo, lo cual nos proporciona elementos para situarnos mejor en el contexto cultural de la primera mitad del siglo XIX., En su faceta de ensayista Edgar Allan Poe desarrolló interesantes ideas que corresponden al campo de la estética. Sin embargo, estas no han sido muy difundidas, y menos en América Latina, al contrario de su labor poética –mejor conocida–, y de su narrativa en prosa –que suele hacer parte de los programas de enseñanza de la literatura universal–. El presente escrito se propone recuperar algunos de sus planteamientos analizando su ensayo teórico “El propósito de la poesía”, siguiendo el rastro de su crítica a una estética burguesa de masas y a una estética aristocrática tradicionalista. Con su lectura atenta rendimos un homenaje al autor, ahondando en su complejo perfil y siguiendo su exploración de temas tan variados como la crítica, el público, la recepción, la creación poética, la función del arte y la importancia social del poeta. Por último, su opinión sobre algunas figuras destacadas de la poesía mundial de su tiempo nos brinda un panorama muy rico del contexto cultural de la primera mitad del siglo XIX.

This article explores the possible influence between certain works by Robert Browning and Edgar Allan Poe, composed and published very close in time, which deal with similar themes and share literary strategies and techniques. Although the possibility that they might have been reading each other’s work is supported by their respective correspondences with Elizabeth Barrett Browning, the similarities between their works could also be attributed to literary experimentation as a means of standing out in a fiercely competitive literary market that had to pander to both popular and critical taste. This article compares the similarities in choice of tone and sensational event, as well as the use of voice in a short list of titles that coincide in both time of publication and topic, to raise the issue of influence in a controversial historical context when plagiarism and radical innovation were equally problematic., El presente artículo explora la posible influencia entre ciertas obras de Robert Browning y Edgar Allan Poe, que fueron compuestas y publicadas en fechas muy cercanas en el tiempo, tratan temas similares y comparten estrategias y técnicas literarias. Aunque la posibilidad de que pudieran haber estado leyendo el trabajo del otro está respaldada por sus respectivas correspondencias con Elizabeth Barrett Browning, estas similitudes entre un cierto número de sus obras también podrían atribuirse a la experimentación literaria como medio para destacar en un mercado literario ferozmente competitivo que debía complacer tanto el gusto popular como el crítico. Este artículo compara las similitudes en la elección del tono y el evento sensacionalista, así como el uso de la voz, en una lista restringida de títulos que coinciden tanto en el tiempo de publicación como en el tema para plantear la cuestión de la influencia en un contexto histórico controvertido cuando el plagio y la innovación radical eran igualmente problemáticos

This article sets out to explore the work of Edgar Allan Poe as an example of transmedia narrative (TN) design. From its original analogue literary medium to the var-ious languages in which Poe’s stories have been told, through comic books and anime, to the various versions of novel stories in film productions, TN involves the construction of story worlds that create expansive and interactive story experiences (Scolari, 2013). Poe’s stories reproduce, adapt and expand his stories, achieving an evolving transmedial fig-ure, which mixes in different interfaces, many online, to participate together in expanding their collective intelligence and participatory culture. The TN emphasise the idea that each platform makes a “unique contribution”, and it is possible to analyse how these dif-ferent entry points to Poe’s stories provide an authentic experience., Este artigo se propõe a explorar o trabalho de Edgar Allan Poe como um exem-plo de design de narrativa transmídia (TN). Desde seu meio literário analógico original até os vários idiomas nos quais as histórias de Poe foram contadas, através de quadrinhos e anime, até as várias versões de histórias novas em produções cinematográficas, TN envolve a construção de mundos de histórias que criam experiências narrativas expansivas e interativas (Scolari, 2013). As histórias de Poe reproduzem, adaptam e expandem suas histórias, alcançando uma figura transmedial em evolução, que se mistura em diferentes interfaces, muitas online, para participar juntos na expansão de sua inteligência coletiva e cultura participativa. A TN enfatiza a idéia de que cada plataforma faz uma “contribuição única”, e é possível analisar como estes diferentes pontos de entrada para as histórias de Poe proporcionam uma experiência autêntica., Este artículo se propone explorar la obra de Edgar Allan Poe como un ejemplo de diseño de narrativa transmedia (NT). Desde su soporte literario analógico original hasta los diversos lenguajes en los que se han contado las historias de Poe, pasando por el comic y el anime, hasta las distintas versiones de historias de novelas en producciones fílmicas, las NT implican la construcción de mundos de historias que crean experiencias de historias amplias e interactivas (Scolari, 2013). Las historias de Poe se reproducen, adaptan y expanden sus historias, logrando una figura transmedial en evolución, que se mixtura en diferentes interfaces, muchas online, para participar conjuntamente en la ampliación de su inteligencia colectiva y cultura participativa. Las NT enfatizan la idea de que cada plataforma hace una “contribución única”, y es posible analizar cómo estos diferentes puntos de entrada a las historias de Poe otorgan una experiencia auténtica.

Edgar Allan Poe’s The Masque of the Red Death has been adapted with both metaphorical and literal representations of death as in Mia van Leeuwen’s devised adaptation performed at the University of Lethbridge in 2022 for A Night at the Grand Guignol: 2022. In the costume and mask design for Prospero and his court members I endeavoured to contribute to the atmosphere of a strange world where nothing mattered except the amusements of an elite group hiding from the terrors of a real-life threat of plague. I also sought to create a unique representation of death, personified, that is both beautiful and terrifying. In this paper I outline the research into the obscure style of theatre used in this production, its connection to Gothic literature, the historical representations of Death in art, and the costume design for the Emcee character, Prospero and his court, and the Death character.

In 1842, one of the shortest but most delicious of Edgar Allan Poe‘s tales was published under the title «Life in Death.» Three years later, it would become «The Oval Portrait,» with the format known nowadays. It depicts the misadventures of a young couple. It also deals with how Art is intermingled in their relationship, causing the final death of the wife. This tragic outcome has a lot to do with blood, but also with painting. In 1976, Gabriel García Márquez first published a story entitled «El rastro de tu sangre en la nieve,» later included in his volume Doce cuentos peregrinos. It also narrates the story of a couple and how the young wife dies tragically. Again, Art is a key element in the story, also provoking the decease of the female, being the mysterious dénouement is a mixture of blood and oil painting, in which both fluids become one. The aim of this article is to show how García Márquez rewrites Poe‘s classical story, expanding its coordinates., En 1842 aparecía publicado uno los cuentos más breves pero más exquisitamente compuestos de la producción de Edgar Allan Poe con el título «Life in Death». Tres años después se convertiría en «The Oval Portrait», con el formato que conocemos en la actualidad. Este texto narra las desventuras de una joven pareja, aunque también departe con el concepto de Arte, que se imbrica en la relación hasta provocar la muerte de la esposa. En 1976, Gabriel García Márquez publicó un cuento titulado «El rastro de tu sangre en la nieve», posteriormente incluido en su colección Doce cuentos peregrinos. Al igual que el caso anterior, narra la historia de una joven pareja en la que la esposa muere trágicamente. De nuevo, el Arte es un elemento clave de la narración, provocando el deceso. En ambos casos, el desenlace es una mezcla de sangre y pintura en la que ambos fluidos se convierten en uno. El objetivo de este artículo es (de)mostrar cómo García Márquez reescribe la historia clásica poeniana, expandiendo sus coordenadas.

I present an updated version of my translation of the poem The Raven, by Edgar Allan Poe, into Brazilian Portuguese, followed by a study on the concepts that guided the practice and comments regarding the creative choices of the process. I open the discussion with the question of untranslatability in poetry; then, I explore the concepts of “transcreation” and “paramorphy”, as proposed by the Brazilian translator Haroldo de Campos; finally, I return to the concepts to address them in the poems The Raven and O Corvo, especially with regard to how the rhythmic, rhymic and alliterative patterns are decisive for the construction of the poem’s meanings. I comment on specific choices made in the process of translation, with extra attention to the paronomastic effects between “Lenore – nevermore” and “Raven – never”, also considering the choices of some previous translations. I argue that the creative attitude on translation of poetry is decisive for the potentiation of effects that are beyond the semantic surface of poetic texts., Apresento uma versão atualizada de minha tradução do poema The Raven, de Edgar Allan Poe, para o português brasileiro, acompanhada de um estudo teórico sobre as concepções que nortearam a prática e amparada por comentários referentes às escolhas criativas desse processo. Abro a discussão com a debatida questão da intraduzibilidade na poesia; prossigo com os conceitos de “transcriação” e “paramorfia”, conforme propostos por Haroldo de Campos; por fim, retomo os conceitos expostos para evidenciá-los nos poemas The Raven e O Corvo, especialmente no que diz respeito a como os padrões rítmicos, rímicos e aliterativos são determinantes para a construção de sentidos do poema. Comento escolhas pontuais feitas no processo de transcriação do poema, com atenção extra aos efeitos de sentido paronomásticos entre Lenore – nevermore e Raven – never e ponderando as escolhas de algumas traduções anteriores. Defendo que a postura criativa na tradução de poesia é determinante para a potencialização de efeitos que fogem à dimensão semântica dos poemas.

The article develops an idea of chiasmatic image, interpreted here as a new entity that appears in the world thanks to new digital technology. Endowed with a grammar, this image-language implies a characteristic spectrality which affects the visible-invisible relationship and structures the modalities of fruition. Being an ontological hybrid, this new type of image realize the idea in image, the object in event, the artificial in living. This dream-like image, in this case an artwork by Anna Ridler dedicated to The Fall of the House of Usher, is the result of the interaction between GAN and the author and shows the priority of the category of relation in the relationships between human and artificial intelligence.

This article is part of the activities of the Research Group “Poetics and Emerging Textualities: 19th to 21st Centuries” (Universidad Complutense de Madrid, Spain), the Research Group “Multidisciplinary Studies in Literature and Art –LyA–” (Universidad de Castilla-La Mancha, Spain), and the Research Groups’ Network “Aglaya: Cultural Myth-Criticism 2020–2,” sponsored by the regional government of Madrid., In one of his most famous stories ever written, “The Black Cat” (1843), Edgar Allan Poe chose an animal as a protagonist. However, this pet was going to have an afterlife as one of the most devilish creatures created by the pen of the Bostonian. More than a century later, Flannery O’Connor included a story in her MFA Thesis entitled “Wildcat.” Years later, in 1955, her most recognized story, “A Good Man Is Hard to Find,” was published. Both narratives include a cat, in this case not as a main “character,” but as the element that triggers the subsequent tragedy. In 1977, the magazine Cavalier published a short story by Stephen King under the title of “The Cat from Hell.” King’s cat also drives its owner to physical and mental destruction, as Pluto, the wildcat, and Pitty Sing had done before it. This article is based on how three stories (O’Connor’s “Wildcat” -1947- and “A Good Man Is Hard to Find” -1955- and King’s “The Cat From Hell” -1977-) recreate the characters of the anonymous cat and of Pluto in their pages Moreover, this article also intends to prove the influence of Poe’s “The Black Cat” on authors like Flannery O’Connor and Stephen King., Depto. de Estudios Ingleses: Lingüística y Literatura, Fac. de Filología, TRUE, pub

[ES] El proyecto trata la creación de 10 ilustraciones basadas en diversos relatos del autor estadounidense Edgar Allan Poe, conocido renovador de la novela gótica y precursor del relato corto; estas láminas de dibujo pretenden reflejar el lado misterioso y poético de este género, dando un acompañamiento visual a estos escritos. El planteamiento es producir una ilustración por relato en un tamaño A4, que funcionará como página inicial de cada uno de estos, y así mismo como lámina independiente de dibujo. El acercamiento metodológico pensado es que, de forma mayoritaria, se utilice la técnica tradicional de la tinta china con plumilla, y en menor medida el digital, este sobre todo será utilizado para bocetos, retoque y maquetación; esta última será una simulación texto-imagen, que proporcionará un acercamiento a una futura producción editorial., [EN] The project involves the creation of 10 illustrations based on various stories by the American author Edgar Allan Poe, a well-known renovator of the gothic novel and precursor of the short story; these drawing sheets aim to reflect the mysterious and poetic side of this genre, providing a visual accompaniment to these writings. The approach is to produce one illustration per story in A4 size, which will function as the initial page of each story, and also as an independent drawing sheet. The methodological approach is that, for the most part, the traditional technique of Chinese ink with nib will be used, and to a lesser extent digital, which will be used mainly for sketches, retouching and layout; the latter will be a text-image simulation, which will provide an approach to a future editorial production.

This article analyzes three stories by Edgar Allan Poe (The Demon of Perversity, The Black Cat, and The Tell-Tale Heart). These stories have in common the theme of perversity towards the elucidation. We intend to advance from the Deleuzian premise, according to which it is necessary to return to the literary space where the perversities were named. This Analysis intends to obtain some keys to understanding the causes and consequences of perversity and the nature of these literary characters who, in the three stories cited, define themselves asvictims of this condition that incarnates in human beings in the form of a demon. We will be accompanied by the theoretical contributions of Julia Kristeva, Gilles Deleuze, Michel Foucault, François Delaporte, and Claude-Olivier Doron., Este artículo analiza tres cuentos de Edgar Allan Poe (El demonio de la perversidad, El gato negro y El corazón delator). Estos cuentos tienen en común el tema de la perversidad, hacia cuya elucidación pretendemos avanzar desde la premisa deleuziana, según la cual es preciso volver al espacio literario donde fueron nombradas las perversidades, con el fin de obtener algunas claves de comprensión sobre las causas y consecuencias de la perversidad, así como sobre la naturaleza de estos personajes literarios que, en los tres cuentos citados, se autodefinen como víctimas de esta condición que se encarna en los seres humanos bajo la forma de un demonio. Nos acompañarán en este recorrido los aportes teóricos de Julia Kristeva, Gilles Deleuze, Michel Foucault, François Delaporte y Claude-Olivier Doron.

The literary legacy of Edgar Allan Poe has been identified by the popular culture, rather than the historiography, as belonging to the Gothic universe and the horror tales. However, many current studies have noted the variety of topics present in the work of the Bostonian. This is partly due to the training acquired as a literary reviewer when working in several journals and newspapers, and his interest for being well informed about European and Eastern historical and artistic facts and the pioneering scientific discoveries of the 19th century. In this sense, the references to the Fine Arts are constant in his work, being in some cases the very core of his narrations. We intend to examine how, with a careful and expert language, he presents the reader a picture of the ideal collector and his aesthetic principles throughout the tale "The Assignation."

This essay is an ecocritical analysis on William Wordsworths “I Wandered Lonely as a Cloud” and Edgar Allan Poes “Alone”. It investigates the depiction of nature, the space within nature poetry and the common theme of loneliness in the poems. The ecocritical perspective plays the main part of this essay because of the similarity between the ecocriticism and romantic poetry in the upliftment of nature, and the erasure of the dividing line between human and nature. The main material is Timothy Mortons Ecology without nature, Jane Bennetts Vibrant Matter and Scott Knickerbockers Ecopoetics. The results of the essay show how the depiction of nature contributes to the representation of the poet’s emotion and relation to nature and the past. It shows how the space, the distance between human and nature, maintains because we can’t get closer to nature than through figurations, anthropomorphisms. It also shows how the loneliness further establishes the space and is quite different between Wordsworth and Poe, whereas Wordsworth doesn’t feel as alone as Poe because of his closer relation to nature.

This paper considers The Masque of the Red Death, a short story by E.A. Poe. Understanding the carnival as mundus inversus (temporary inversion of order) and using the theories proposed by M. Bakhtin or V. Turner, the authors present an interpretation according to which Poe’s ball is indeed an inversion of a ball – an anti-carnival. Furthermore, they do not agree with the allegorical understanding of Poe’s works. Indicating a suggestion made by Poe himself, they choose an interpretation related to Eliade’s concept of symbolism. They also disagree with the theory in which The Masque of the Red Death is the story about the non-existence of God. Referring to other religious interpretations and the problems of time, they present their own biblical conclusion., This paper considers The Masque of the Red Death, a short story by E.A. Poe. Understanding the carnival as mundus inversus (temporary inversion of order) and using the theories proposed by M. Bakhtin or V. Turner, the authors present an interpretation according to which Poe’s ball is indeed an inversion of a ball – an anti-carnival. Furthermore, they do not agree with the allegorical understanding of Poe’s works. Indicating a suggestion made by Poe himself, they choose an interpretation related to Eliade’s concept of symbolism. They also disagree with the theory in which The Masque of the Red Death is the story about the non-existence of God. Referring to other religious interpretations and the problems of time, they present their own biblical conclusion.

I den här uppsatsen undersöks fyra svenska översättningar av Edgar Allan Poes novell ”The Fall of the House of Usher” (1839) ur ett stilistiskt perspektiv. Målet med undersökningen är dels att se hur källtexttrogen respektive översättning är, dels att beskriva de olika översättarstilarna. Översättningsanalysen föregås av en text- och stilanalys, i vilken novellens stilbärande drag exemplifieras och novellens komposition förklaras med hänvisning till Poes teorier om novellkonst. Översättningsanalysens första del ägnas åt översättarnas hantering av källtextens mest framträdande stildrag: upprepningar, hopningar och olika typer av metaforiska uttryck. Den andra delen fokuserar på huruvida översättarna har återskapat den särpräglade effekt som Poe sökte uppnå. Metoden är genomgående kvalitativ och består av näranalyser av utvalda exempel ur källtexten. I studien framkommer att de undersökta översättningarna uppvisar en stor stilistisk spännvidd, som inte kan förklaras av tidpunkten för översättningarna utan snarare tycks bero på översättarnas olika stilideal. Vidare sker en viss normaliseringsprocess i samtliga översättningar, om än i mycket varierande grad.

Статья посвящена одному из узких аспектов поэтики жанра литературного серийного детектива — особенностям введения временных мотивов во вступительной части произведения, экспозиции, с целью продемонстрировать формульную природу этих мотивов, соответствующую формульности самого жанра. Основным методом работы является метод описательной поэтики, примененный к конкретным узким аспектам композиционной и мотивной структуры классического детектива. Большое количество анализируемых произведений делает продуктивным использование в качестве вспомогательного сравнительно-статистического метода, разработанного и апробированного в отечественном литературоведении XX в. (формальная школа 1920–1930-х гг., тартуско-московская школа 1960–1970-х гг., работы Б. Ярхо, Ю. Лотмана, М. Гаспарова и других ученых). Учет количественного фактора (в абсолютных, но главным образом в относительных цифрах в виде процентов) при анализе используемых в детективных экспозициях мотивов и риторических оборотов дает возможность наглядно продемонстрировать различие идиостилей классиков жанра, а также проследить эволюцию того или иного мотива не только в рамках творчества одного писателя, но в некоторых случаях и в развитии жанра в целом. Материалом послужили классические англоязычные литературные детективные сериалы XIX–XX вв. Эдгара Аллана По, Артура Конан Дойля, Агаты Кристи и Рекса Стаута. Изложение результатов проведенного анализа ведется в двух основных аспектах: сначала рассматриваются по отдельности мотивы, составляющие временные координаты в экспозициях, а затем выделяются устойчивые формульные сочетания этих мотивов, скрепляемые зачастую постоянными местоимениями, наречиями и числительными; в первом случае для удобства чтения цитируются переводы, во втором — английские оригиналы. В процессе анализа отчетливо выделяются некоторые авторские особенности использования временных мотивов, что можно объяснить как индивидуальными пристрастиями писателей, так и различиями в литературных установках героев, The article is devoted to one of the particular aspects of the poetics of literary serial detective — it studies the introduction of temporary motifs in the beginning part of the text, the exposition, in order to demonstrate the formula nature of these motifs corresponding to the formula of the genre. Descriptive and statistical methods of research are used. The material include classic English and American XIX–XX centuries detective series: Edgar Allan Poe (three stories about Dupin), Arthur Conan Doyle (works about Sherlock Holmes), Agatha Christie (the series about Poirot and captain Hastings) and Rex Stout (novels about Nero Wolfe and Archie Goodwin), based on the common plot and narrative situation: the narrator is a friend and assistant of the protagonist, detective. The presentation of the results of the analysis is carried out in two main aspects: fi rst, the motives that make up the time coordinates in the expositions (year, time of year, month, day of week, time of day, hours and minutes, meal as a marker of time, reference to historical and biographical events) are considered separately, and then stable formulaic combinations of these motives are distinguished, often fastened by constant pronouns, adverbs and numerals; in the fi rst case, translations are cited in order to make the reading easier, in the second case – the English language originals are provided. The analysis has revealed some author’s peculiarities regarding the use of temporary motives, that can be explained by both individual preferences of writers and differences in the literary attitudes of the heroes narrators. The results of the study can be used by the translators and editors who need to know the particular aspects of the macro-context of detective series when working on their separate parts.

Denna uppsats undersöker gotiska teman som melankoli, isolering, galenskap och död i verk av Edgar Allan Poe och Howard Phillips Lovecraft. Utgångspunkt är följande forskningsfråga: På vilket sätt framträder melankoli, isolering, galenskap och död i de olika verken, samt vilka är likheterna och skillnaderna mellan hur temana framkommer? Metoden är grundad i tematisk analys, intertextualitet och komparation. De verk som analyseras i uppsatsen är Poes The Fall of The House Usher, Ligeia och Berenice. Verk av Lovecraft som analyserats är Cthulhu, The Color out of Space, The Tomb och Polaris. Resultaten visar att alla teman finns närvarande i verk av båda författarna, men att de tar olika former. Poes melankoli är till exempel mycket närmare hans karaktärer än Lovecrafts melankoli, som är mer kopplade till miljöer och objekt. Vidare visar undersökningen bland annat också att Poe inte fokuserar på fysiska dödsbeskrivningar utan på andra typer av död. Lovecrafts dödsbeskrivningar å andra sidan är mer externa och kopplade till monster., This essay examines the presence of what is considered to be gothic themes such as melancholy, isolation, madness and death in works of Edgar Allan Poe and Howard Phillips Lovecraft. The following research question was formulated: In what way do melancholy, isolation, madness, and death appear in the various works, and what are the similarities and differences between how the themes emerge? Methods of thematic analysis, intertextuality and comparison are used. The works analysed in the essay are Poe’s The Fall of The House Usher, Ligeia and Berenice. The works analysed are also Lovecraft’s The call of Cthulhu, The Colour out of Space, The Tomb and Polaris. The results show that all the themes are present in works by both authors, but that they take different forms. Poe’s melancholy is for example much closer to his characters than Lovecrafts melancholy, which are more connected to environments and objects. The study also shows among other things, that Poe does not focus on physical death descriptions but on other types of death. Lovecraft's death descriptions on the other hand, are more external and linked to monsters.

Gender roles have been so prominent in this generation. People always see gender differences in different aspects and try to find who has greater ability between male and female. Thus, this study compares the reading comprehension of the two different genders on the literary pieces written by Edgar Allan Poe. This study utilized the quantitative method specifically the comparative research design. In this study, a sample of 80 senior high school students from a certain University are randomly selected in which 40 of them are males and another 40 are females. The data gathered are analyzed using Ttest for independent samples. The findings reveal that there is a significant difference in the comprehension skills between the two (2) genders. Moreover, the results revealed that female students are superior in comprehending the literary pieces by Edgar Allan Poe compared to their counterparts. The findings explicate that female students established a higher level of understanding on the literary pieces and give the teachers an idea for them to come up with various strategies or differentiated instruction in order to address the existing differences between the gender groups.

Despite being one of the most influential writers of his era, Edgar Allan Poe led a mostly tragic life of impoverishment and personal failures and tragedies. This essay explores to what extent this affected Poe’s writing, by examining the portrayals of the emotions of grief and sorrow in some of Poe’s work, via close-reading. Further, the essay contains a shorter biographical analysis of Poe’s life and work, in order to establish a connection between the two. The meaning of the emotions of grief and sorrow within Poe’s works are discussed, and connected to Poe’s biography. The results show that Poe’s works are sometimes converging with tragedies from his own life, his personal tragedies and his stories featuring death, grief and sorrow converge on several occasions throughout his intense career.

El presente trabajo pretende acercar la literatura universal inglesa a los lectores de Educación Primaria y Secundaria desde el disfrute de la lectura de Edgar Allan Poe. Para ello, se ha partido, en primer lugar, del estudio de la producción editorial de los cuentos del autor norteamericano. Los títulos encontrados se han catalogado atendiendo a su edición (lecturas graduadas, textos íntegros, adaptados y en lectura fácil) y a las características de los lectores. En segundo lugar, esta visión panorámica de la oferta editorial de Poe ha servido para el diseño de distintas propuestas didácticas destinadas a estas etapas., The present work aims to bring English universal literature closer to Primary and Secondary Education readers through the enjoyment of reading Edgar Allan Poe’s works. To do this, firstly we have started from the study of the editorial production of Poe’s short stories. The titles found have been classified according to their type of edition and the characteristics of the readers. Secondly, this panoramic view of Poe's editorial offer has served to design different didactic proposals for these stages.

The present text is inserted in the comparative studies, theorized by authors such as Tânia Carvalhal and Haroldo de Campos, and focus on the interpretation made by Fellini of the short-story “Don't Wager Your Head to the Devil” (written by Edgar Allan Poe in 1850), entitled “Toby Dammit” (released in 1968), in which the main character meets a fantastic death in Rome. It is sought to, therefore, analyze the way in which the tale written by Poe – the acclaimed author who wrote some of the most relevant books in the fantastic genre defended by Todorov in books such as “Introdução à Literatura Fantástica” (2008) and “Os Gêneros do Discurso” (2003) – is represented by the italian movie director. It is also reflected upon the concept of loyalty in the field of Interarts Studies, and the misrepresented views the common folk has of the works called “adaptations”, works which are based in a hierarchical tradition of the arts. This study is based on scholars like Andrade (2007), Ferreira (2010) and Silva (2011) and acclaimed authors such like Cortazar (2013), Roas (2014) and Fellini (1996) himself. Methodologically, it’s based in Even-Zohar (1990) and the already mentioned Carvalhal (2006)., O presente texto está inserido na esfera dos estudos comparados entre literatura e cinema, buscando aporte teórico em autores como Tânia Franco Carvalhal (2006) e Haroldo de Campos (2006), e reflete sobre a transcriação feita por Fellini do conto “Nunca Aposte sua Cabeça com o Diabo” (escrita por Edgar Allan Poe em 1850), intitulado Toby Dammit (1968), no qual a personagem-título do filme encontra uma morte fantástica em Roma pelas mãos de uma figura demoníaca. Busca-se, dessa forma, analisar de que modo o conto de Poe – autor aclamado pela crítica e possuidor de obras representativas do gênero fantástico defendido por Todorov em obras como Introdução à literatura fantástica (2008) e em Os gêneros do discurso (2003) – é lido pelo diretor italiano e de que forma é representada a figura do demônio em ambas as obras. Reflete-se também sobre a problemática do conceito de fidelidade no campo dos Estudos Interartes e visões deturpadas para com as obras chamadas “adaptações”, visões estas baseadas em uma tradição hierárquica das artes. Este estudo tem respaldo em estudiosos como Andrade (2007), Ferreira (2010) e Silva (2011) e autores aclamados como Cortazar (2013), Roas (2014) e o próprio Fellini (1996). Metodologicamente, embasa-se em Even-Zohar (1990) e na já citada Carvalhal (2006).

Though the cinematic genre of horror was not designated until the twentieth century, elements of this genre have appeared onstage since the time of the Greeks. Theatre history is rife with examples of theatrical ghosts and horrors, whose ever-changing representation indicates society's evolving relationship to and expectation for horror onstage. In 2019, Virginia Tech presented the installation Poe's Shadows, which combined elements of traditional theatre, original art, and innovative technology to present an immersive experience of Edgar Allan Poe's work. This production was a unique collaborative work that combined the creative labor of both faculty and students, while also invoking past horror theatre techniques and technologies. The properties of the Cube performance space allowed the Poe's Shadows creative team to imitate hand-cranked panoramas, magic lantern shows, and shadow plays, while also using sound effects and narration that combined elements of theatrical tradition and ghost shows. By studying the history of Poe's Shadows, as well as the reception of the installation, one can see how the theatre's evolving relationship with horror is effected by audience demand and expectation, as well as newly available technologies.

This thesis involves a close-reading of how Edgar Allan Poe writes the body and how bodies operate as discursive spaces to explore identity, sexuality, gender, and society and are constructed and deconstructed. Consideration is given to how Poe challenges, destabilizes, and problematizes notions of the body exacerbated by abnormal bodies absenting themselves via death, decay, or prosthetics and the meaning that is gathered around either their conjunction or disjunction. The introduction gives an overview of relevant Poe criticism and a rationale for this project. Chapter II explores how Poe’s treatment of the body-proper and identity in “How to Write a Blackwood Article” and a “Predicament.” Chapter III looks at the body object in “Ligeia,” “The Fall of the House of Usher,” and “Berenice.” Chapter IV investigates how the body politic functions in “The Man of the Crowd” and “The Man that Was Used Up.”

Ett uråldrigt hus med murkna tegelstenar som är täckta med mossa träder fram ur mörkret. Murgrönan sträcker sig över fasaden och döljer de tomma fönstren. Ett litet torn med spetsiga spiror höjer sig över taket och bryter byggnadens redan bristande proportioner. Ett stenvalv inramar en massiv träport med excentriska inristningar och förskräckliga maskaroner. Dörrens groteska portklappar är orörda. Ett blekt, blodigt ansikte uppenbarar sig bakom ett fönster på andra våningen, men försvinner omedelbart. Syftet med denna uppsats är att undersöka det hemsökta huset som motiv i Aurora Ljungstedts Hin Ondes hus (1853) och Mats Strandbergs Hemmet (2017). Detta genomförs med Edgar Allan Poes ”The Fall of the House of Usher” (1839) som mönsterberättelse för jämförelsen av motivet i de två svenska skräckromanerna. Uppsatsen sätter Hin Ondes hus och Hemmet i dialog med varandra med fokus på representationen av det hemsökta huset. Jag analyserar specifika element och passager som är relevanta för att jämföra den funktion som arkitekturen har för att väcka skräck, samtidigt som jag utforskar den relation som uppstår mellan det hemsökta huset och karaktärerna i båda romanerna. I denna uppsats diskuterar jag hur det är möjligt att injaga skräck i dessa berättelser genom arkitekturen. Det är husets mörka arkitektur, dess antropomorfiska drag och förskräckliga fasad, samt dess trånga rum och hemliga valv som upprör berättarjaget och påverkar invånarna genom att skapa en känsla av fasa som gradvis stegras och övergår till renodlad skräck. Men det är inte bara husets fysiska struktur som framkallar skräck. Det hemsökta huset fungerar också på ett psykologiskt plan, då arkitekturen verkar förkroppsliga karaktärernas psyke. Ett starkt förhållande uppstår mellan huset och karaktärerna, där huset fungerar som den fysiska spelplatsen där hemsökelsen äger rum men gestaltar samtidigt invånarnas instabila psykiska tillstånd., The aim of this thesis is to analyse the motif of the haunted house in Aurora Ljungstedt’s Hin Ondes hus (1853) and Mats Strandberg’s Hemmet (2017). In order to compare the motif in these two Swedish novels, Edgar Allan Poe’s short horror story “The Fall of the House of Usher” (1839), which works as a frame for my comparative study. In this thesis, I try to analyse and interpret and Hin Ondes hus and Hemmet by focusing on the representation of the haunted house. Through a close reading of some relevant passages and elements within both novels, as well as in Poe’s short story, I compare the function of architecture to evoke and create an horror atmosphere, as well as researching the psychological relationship that is established between the haunted house and the characters in both novels. With this perspective in mind, I try to discuss whether it is possible to provoke terror through architecture. It seems that the house’s gloomy architecture, its anthropomorphic features and its dreadful façade, as well as its narrow, dark rooms and secret vaults, shocks and at times revolts the narrator and/or characters, and influences its guests by arousing a sense of fear that gradually intensifies and turns into absolute terror. However, it is not only the house’s physical structure that evokes horror. The haunted house functions also on a psychological level, as architecture appears to embody the characters’ own psyche. A strong and deep relationship develops between the house and its guests, in which the house works as the concrete setting where the haunting takes places, whilst it also becomes an abstract representation of the unstable psychological state of the characters.

New England has the special specifics caused by her historical and cultural heritage and also a recognizable image in mass culture. Existence of such factor as the rich literary heritage including beating stereotypes about New England allows to speak about a possibility of creation of the concept of the tour across the region connected, on the one hand, with the culture of the historic area and, on the other hand, based on the stereotypes existing in mass consciousness about New England, first of all the horrors connected with culture in which special role was played by «founding fathers» of a genre: Edgar Allan Poe, Howard Phillips Lovecraft and Stephen King, whose works are also connected with the mystical region., Новая Англия обладает особой спецификой, обусловленной ее историческим и культурным наследием, а также узнаваемым образом в массовой культуре. Наличие такого фактора, как богатое литературное наследие, в том числе обыгрывающее стереотипы о Новой Англии, позволяет говорить о возможности создания концепции тура по региону, соотносящегося, с одной стороны, с культурой исторической области и, с другой стороны, основывающегося на существующих в массовом сознании стереотипах о Новой Англии, в первую очередь связанных с культурой ужасов, особую роль в которой сыграли «отцы-основатели» жанра: Эдгар Аллан По, Говард Филлипс Лавкрафт и Стивен Кинг, чьи произведения также связаны с этим мистическим регионом.

Burton Pollin argues that, despite Edgar Allan Poe‟s evident legacy in Stephen King‟s fiction, Poe‟s influence on the writings of this author from Maine has often been overlooked and even ignored by Poe scholars. Pollin suggests that King‟s most acclaimed horror novel The Shining (1977) was mostly inspired by Poe‟s gothic tales “The Masque of the Red Death” and “The Fall of the House of Usher.” Taking Pollin‟s premise as a point of departure, this article aims to retrace examples of transtextuality – to use Gérard Genette‟s term − between King‟s novel The Shining and some of Poe‟s gothic tales, thus following Pollin‟s initial proposal, but with the view to analyse different passages from King‟s novel in comparison with other Poe‟s tales that have been hardly mentioned in relation to The Shining., Burton Pollin defiende que, pese al evidente legado que Edgar Allan Poe atesora en la ficción de Stephen King, la influencia que Poe ha ejercido en las obras del escritor de Maine a menudo ha sido menospreciada o includo ignorada por parte de los estudiosos de la obra de Poe. Pollin sugiere que la novela de terror más aclamada de King, El resplandor (1977), fue inspirada principalmente por los relatos góticos de Poe “La máscara de la muerte roja” y “La caída de la casa Usher.” Tomando la premisa de Pollin como punto de partida, este artículo pretende identificar ejemplos de transtextualidad – utilizando el término de Gérard Genette – entre la novela de King “El resplandor” y relatos de Poe, siguiendo la propuesta inicial de Pollin, pero con el objetivo de analizar diferentes pasajes de la novela de King comparándolos con otros relatos de Poe que apenas han sido mencionados en relación a El resplandor.

El presente trabajo pretende acercar la literatura universal inglesa a los lectores de Educación Primaria y Secundaria desde el disfrute de la lectura de Edgar Allan Poe. Para ello, se ha partido, en primer lugar, del estudio de la producción editorial de los cuentos del autor norteamericano. Los títulos encontrados se han catalogado atendiendo a su edición (lecturas graduadas, textos íntegros, adaptados y en lectura fácil) y a las características de los lectores. En segundo lugar, esta visión panorámica de la oferta editorial de Poe ha servido para el diseño de distintas propuestas didácticas destinadas a estas etapas., The present work aims to bring English universal literature closer to Primary and Secondary Education readers through the enjoyment of reading Edgar Allan Poe’s works. To do this, firstly we have started from the study of the editorial production of Poe’s short stories. The titles found have been classified according to their type of edition and the characteristics of the readers. Secondly, this panoramic view of Poe's editorial offer has served to design different didactic proposals for these stages.

A literatura viaja para outros tempos e lugares e, no percurso, é afetada por mutações e reavaliações. O entendimento tradicional dessas alterações em termos da apropriação de um significado original a ser reinterpretado no momento da recepção relega a segundo plano as condições estruturais do objeto original que possibilitam reapropriações. A ênfase na reprodução do sentido no momento da recepção tende a preservar a autonomia tanto do autor que produz como da obra executada. O conceito foucauldiano de “absence d’oeuvre”, ao propor um vazio na origem da obra, abre caminho para um entendimento das condições de possibilidade da viagem do literário e das transgressões e revalorizações que a acompanham. A viagem da obra literária de Edgar Alan Poe ilustra exemplarmente a ocorrência dessas mutações transgressivas.

This paper deals with the question of retaining Edgar Allan Poe's writing style in Graded Reader Publications. Poe's writing style is characterized in the first chapter, the style of Graded Readers in the second chapter. In the last chapter, the original version of Poe's short story "The Black Cat" is compared to its simplified version, graded according to the language levels of Penguin Graded Readers. The aim of this analysis is to determine whether Poe's unique writing style and his original intention are retained in the adapted versions of his works., Bakalářská práce se zabývá otázkou zachování autorského rukopisu Edgara Allana Poea ve zjednodušených publikacích, tzv. Graded Readers. Poeův typický styl psaní je charakterizován v úvodní kapitole, styl Graded Reader Publications v kapitole druhé. Závěrečná kapitola je věnována textové analýze originálu Poeovy povídky "Černý kocour" ("The Black Cat") a jeho zjednodušené verze (upravené v rámci vydavatelství Penguin Readers), s cílem zjistit, do jaké míry tato adaptace vyhovuje Poeovu původnímu autorskému záměru., Fakulta filozofická, Dokončená práce s úspěšnou obhajobou

L’œuvre d’Edgar Allan Poe a exercé une influence profonde sur celle d’Anne Hébert. Cette dernière a été, dans sa jeunesse, une lectrice assidue des œuvres de l’écrivain américain, à l’instar de plusieurs écrivains canadiens-français qui l’ont précédée, notamment Octave Crémazie, Émile Nelligan et Hector de Saint-Denys Garneau. Cet article tente d’explorer cette dimension importante de l’américanité de l’œuvre d’Anne Hébert en mettant en lumière quelques-unes des ressemblances entre cette œuvre et celle d’Edgar Allan Poe : le recours au fantastique, l’esthétique gothique, le rôle dévolu au fait divers, l’imaginaire de la fin, la réflexion sur la poésie, etc. L’étude de ces ressemblances permet de jeter un éclairage nouveau sur certains aspects essentiels de l’œuvre d’Anne Hébert, en les situant justement dans le contexte nord-américain de leur genèse.

The bachelor thesis is concerned with the contrastive analysis of Stephen King’s The Shining and the main features of the Horror and Gothic Genre. Moreover, it also addresses if Edgar Allan Poe’s style of narrative had an important influence in the writing of this bestseller novel. In the theoretical part of the thesis, the biographies of Stephen King and Edgar Allan Poe are included together with an introduction to the Horror Genre. The main part of the thesis centers its attention on the contrastive analysis of Edgar Allan Poe’s adaptation of Gothic elements and both The Masque of the Red Death by E. A. Poe and Stephen King’s The Shining, providing a deeper analysis on the last best-seller writing., Este proyecto de fin de carrera se centra en el análisis comparativo de El Resplandor por Stephen King y las principales características del género de terror gótico. El estilo de escritura de Edgar Allan Poe supuso una gran influencia en King a la hora de redactar y crear esta novela de éxito internacional. En la parte teórica del proyecto se incluyen las biografías de ambos escritores junto a una introducción y características de los géneros gótico y de terror. Sin embargo, el análisis principal se centra en la comparación tanto de la adaptación personal de Poe sobre los elementos Góticos, el cuento La Máscara de la Muerte Roja de E. A. Poe y El Resplandor de Stephen King, dando más relevancia al análisis de esta última gran obra literaria., Departamento de Filología Inglesa, Grado en Estudios Ingleses

The paper is devoted to the research how altered states of consciousness and mental disorders influence the poetry of Edgar Allan Poe. This article pays particular attention to the fact that special aspects of the author’s mentality and temper are always reflected in his poems and stories., Статья посвящена исследованию влияния измененных состояний сознания и психических расстройств на творчество Эдгара Аллана По. В статье подчеркивается, что особенности психики и характера автора всегда находят свое отражение в его произведениях.

«La larva» es uno de los cuentos de Rubén Darío que suele clasificarse como fantástico. Aunque poco estudiado, este relato breve condensa diversas tradiciones literarias, referencias mitológicas, material autobiográfico y algunos de los rasgos más señalados de la escritura del poeta. El trabajo propone un recorrido por las fuentes textuales y temáticas que nutren al texto, así como un análisis actualizado a partir de su condición de «cuento sobrenatural», confrontándolo al mismo tiempo con otros ejemplos parejos de la prosa de Darío. La revisión del relato destaca aspectos que a menudo han quedado en penumbra, y expone un nivel de complejidad que habitualmente se escamotea a los relatos de este tenor., «La larva», by Rubén Darío, has been always classified as one of his fantasy tales. Scarcely studied, this short story connects with a variety of literary traditions, mythological motifs, autobiographical material and some of the author’s most widely known writing traits. This article presents an itinerary throughout the textual and thematic sources that nourish Dario’s text and compares it with other similar examples of his prose. Also, by regarding “La larva” as a “supernatural short story”, the paper provides an updated analysis of one of Dario’s less known pieces of narrative. This renewed approach highlights features that have often been overshadowed and displays a level of complexity rarely appreciated in stories of its kind.

Thematically, in Edgar Allan Poe’s fiction, the concept of principium individuationis (principle of individuation) is a complex system of topics and interconnected elements, involving the notions of rational being, national and cultural identities, and social role. The purpose of this essay is to examine comparatively the idea of principium individuationis in “Morela” (1835) and others works by Poe, according to the studies undertaken by David Halliburton (1973), Martin Roth (1979), and Beverly R. Voloshin (1996)., RESUMOTematicamente, na fição de Edgar Allan Poe, o conceito de principium individuationis (princípio de individuação) é um sistema complexo de tópicos e elementos interconectados, envolvendo as noções de ser racional, identidade nacional e cultural, e papel social. O propósito deste estudo é examinar comparativamente a ideia de principium individuationis no conto Morela e em outros ensaios de Poe, segundo estudos de David Halliburton (1973), Martin Roth (1979) e Beverly R. voloshin (1996).

“The Tell – Tale Heart” by Edgar Allan Poe is a short story written in the genre of horror. It describes the committing of murder and then confessing it due to being tormented by guilty conscious. The paper aims to analyze the story thoroughly including its themes and literary and rhetorical devices. The methodology used for the paper is discourse analysis which essentially reveals socio- psychological characteristics of the protagonist who is an unnamed person, telling a tale about a crime he committed to prove that he is not insane. The paper discusses in detail various aspects of the story which are directly or indirectly connected to the motives and psychological impulsions behind committing the crime by the protagonist. The paper concludes that the story has been written to provide a study of paranoia1 and mental deterioration.

Excerpt from Borges’s Poe: The Influence and Reinvention of Edgar Allan Poe in Spanish America (University of Georgia Press, 2016)

In Against the Double Blackmail, his recent collection of essays on the contemporary global crisis, Slavoj Žižek argues that what we need is a Wiederholung of Europe. He writes, “through a critical engagement with the entire European tradition, one should repeat the question, ‘What is Europe?,’ or, rather, ‘What does it mean for us to be Europeans?,’ and, in doing so, formulate a new vision.” In this paper, I explore how such a retrieval-through-repetition of “Europe” is already taking place in the set of traits, marks and other traces carved by the footsteps of refugees and asylum seekers in their passage from the south to the north. If, in Žižek’s book, the “European tradition” is synecdochically presented as the twin figures of Edgar Allan Poe and Mary Shelley, this is because, foreclosing in advance all possibility of escape, these writers staged the original Northern fantasy to which today’s refugees assert their rights. It turns out that “Dream-Land” or Ultima Thule was, from the outset, a logic of inscription. From this perspective, the act of seeking refuge would be a form of “thinking through one’s feet,” as Lacan once scandalously put it, with the text being emplotted as “Europe” the unconscious of that thought.

The study focuses on Czech and Hungarian translations of the poem, The Raven. It also discusses the relation of these translations to the theory of translation, in selected Czech and Hungarian translations of The Raven. It confronts both with the contemporary translation usage (e.g. the role and subjectivity of the translator), and within the context of the target literature, literary traditions, as well with their implementation in the translation practices. Translations of The Raven have been published since the mid-19th century in both Czech and Hungarian languages; contemporary translations are no exception. At the present moment, more than 20 translations of the poem are available in both languages. The national aspect has, ever since Romanticism played an important role in the formation of the Czech and Hungarian literature, been significantly promoted even in translation practices. However, in the Hungarian environment there appears to be a more significant element, as a consequence of several external factors. In terms of language, there is a factor of linguistic differences obviously in contrast to the Slavic world and to the other Slavic literature. However, this is contradicted by certain tendencies in the translations of The Raven, since in the translated texts, compared to Hungarian translations, we see the national tradition and context more explicitly and powerfully present in the Czech variants., Cette étude se concentre sur les traductions tchèques et hongroises du poème The Raven. On réalise une comparaison entre les deux versions et des concepts actuels de la traduction tels que le rôle et la subjectivité du traducteur. On met en relation aussi ces traductions avec le contexte de la littérature ciblée, les traditions littéraires et la pratique de la traduction. Les traductions de The Raven ont été publiées en tchèque et hongrois depuis le milieu du 19ème siècle ; on évoque ici des traductions contemporaines de l’œuvre, à l’heure actuelle on trouve plus de 20 traductions du poème dans ces langues. Étant donné que le romantisme a joué un rôle important dans la formation de la littérature tchèque et hongroise, l’aspect national a été considérablement encouragé, même dans les pratiques de traduction. Cependant, dans le contexte hongrois, cet aspect se considère plus fort en raison de plusieurs facteurs externes. En ce qui concerne les langues, il existe des différences linguistiques évidemment en contraste avec le monde slave et avec l’autre littérature slave. Néanmoins, cela peut se contredire par certaines tendances dans les traductions de The Raven, puisque dans la comparaison entre les traductions hongroises et les tchèques, on observe que la tradition et le contexte national sont plus explicites et présents dans les variantes tchèques., El presente estudio se centra en las traducciones al checo y al húngaro del poema El cuervo. En este se comparan ambas versiones con el uso traductivo contemporáneo (p. ej., el papel y la subjetividad del traductor) y, dentro del contexto de la literatura meta y las tradiciones literarias, con su implementación en la práctica traductiva. Desde mediados del siglo XIX se han publicado traducciones de El cuervo tanto en húngaro como en checo, incluimos aquí también las traducciones contemporáneas. Actualmente, existen más de 20 versiones del poema en ambas lenguas. Puesto que el Romanticismo jugó un papel importante en la formación de la literatura checa y húngara, el aspecto nacional ha sido muy promovido, incluso en la práctica traductiva. No obstante, como consecuencia de varios factores externos, parece que hay un elemento más significativo en el contexto húngaro. En términos del idioma, existe un factor de diferencias lingüísticas que está obviamente en contraste con el mundo eslavo y con la otra literatura eslava. Sin embargo, algunas tendencias en las traducciones de El cuervo contradicen esto puesto que, en los textos traducidos, en comparación con las traducciones al húngaro, se puede observar que la tradición y el contexto nacional son más explícitos y están muy presentes en las variantes checas.

Emotional intensities do not only pertain to the ‘inner life’ of individuals; they are also to be found, as the saying goes, ‘in the air,’ i.e. as shared atmospheres that envelope and affect us. Such affective atmospheres are omnipresent in Edgar Allan Poe’s short story “The Fall of the House of Usher” (1839). The house in the story is not only enshrouded in an atmosphere of its own; the entire plot is focused on the ways in which this atmosphere affects the characters. Informed by these recent theories on affect, the essay analyzes Poe’s short story and proposes a number of new concepts for affect theory.

Excerpted from Emron Esplin and Margarida Vale de Gato, eds., Translated Poe (Bethlehem, PA: Lehigh University Press, 2014).