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This article addresses the transfer process of the melancholy tone in Ch. Baudelaire’s translation of Edgar Allan Poe’s “The Raven.” The comparison between both variants of the translation, done respectively in 1853–1854 and 1864, allows us to understand the changes within Baudelaire’s aesthetics. While translating “The Raven,” Baudelaire faces Poe’s idea of a “melancholy tone” as the basis of the poem and its relevance to its general meaning. The article shows how, throughout this process, Baudelaire rebuilds such a melancholy tone by following the structure given by Poe and adding from himself. This endeavor would not only create a new melancholy tone for “The Raven” but also change the way Baudelaire would create the melancholy ambiance in his further works.

RESUMO O ensaio propõe uma releitura do conto “Os óculos de Pedro Antão”, de Machado de Assis, publicado no Jornal das Famílias em 1874. Como ele não foi incorporado por Machado em suas coletâneas, o drama acabou recebendo pouca atenção. Sugere-se que o texto decompõe, de forma paródica, o gênero do romance policial, em possível diálogo com a produção literária de Edgar Allan Poe. Além disso, ao indicar a inépcia analítica do narrador, o Bruxo de Cosme Velho explicita a artificialidade da literatura.

Embora Edgar Allan Poe e Charlotte Perkins Gilman tenham sido discutidos comparativamente, a maioria dos estudos focou mais em suas diferenças do que em suas semelhanças. Muitos estudos focam apenas na escrita feminista de Gilman (1892) ou na loucura de Poe (1843). A maior proximidade já feita dessas duas obras se deu quando Băniceru (2015) discutiu suas similaridades através da domesticidade do gótico. Por isso, o objetivo deste trabalho é analisar um outro tipo de proximidade entre as obras, a partir de uma metáfora que paira sobre os enredos de ambos os contos: a mulher emparedada. Ela aproxima os contos na representação da violência física e psicológica que as mulheres sofreram ao longo do século XIX e ainda sofrem. Para tanto, a análise foi feita através de uma revisão bibliográfica, a partir de um panorama dos contos e de seus autores, bem como das perspectivas críticas da psicanálise e do feminismo para tratar da literatura gótica. Em seguida, foram explorados aspectos da violência doméstica partindo do ponto principal, que são as mulheres presas nas paredes e, por fim, como a liberdade dessas mulheres é representada. As obras de Poe e Gilman não apenas refletem as ansiedades sociais de suas épocas, mas também permanecem relevantes na discussão contemporânea sobre a saúde mental, a violência de gênero e a luta pela liberdade. A literatura gótica, com suas camadas de significado e simbolismo, continua a ser um campo fértil para a exploração das complexidades da condição humana, especialmente no que diz respeito às experiências das mulheres.

The present study investigates the translation of Edgar Allan Poe's tales in Taiwan from post-war to the contemporary era. Despite the huge enthusiasm in translating his works, limited studies have been done on how Poe is translated in the local context. To provide a systematic description on how Poe's tales have been translated between 1950 and 2020, a total of 88 translations of Poe's tales published within the specified time frame have been studied and analyzed, with four different text processing modes identified in the so-called "translation" of Poe: fake translations, local translations, adaptations and repackaged translations. Further analysis of the four modes demonstrates how Poe as a literary sign has been reprocessed and repositioned for various purposes. The intricate interplay between translation and reprocessing gives rise to hybridity, which defines the reception of Poe's tales in Taiwan and reflects how translation as a literary production practice has been appropriated, negotiated, confronted and compromised in this post-colonial context. [ABSTRACT FROM AUTHOR]

A book by a well-known Russian scholar and literary critic Elvira P. Osipova is a collection of essays written by the author at different times and dedicated to the works of the most significant American writers of the 19–20th centuries. The researcher focuses on the problems of philosophical and social views of writers, the connection of their works with the sociocultural context, and their sense of the tradition of American Romanticism and its humanistic emphasis. The essays are presented in chronological order — from Edgar Allan Poe to the writers of the late 20th century, the principle that allows to trace the humanistic emphasis of American literature throughout its two century history.

The integration of the author into the cultural context is a two-faceted problem. In the post-information age, literary parody is regarded as a way of socio-cultural communication. The article features the congeniality of two chronologically distant works of science fiction against their contemporary context, namely Edgar Allan Poe’s Ligeia and Loss of Breath vs. Ray Bradbury’s Emissary and There Was an Old Woman. This pioneering research is an attempt to trace how the genre of science-fiction short story changed from the age of European Gothic to the era of mass literature, as well as to define the role of the cultural and social context of the New World in this process. The author reduced the short stories into two conditional pairs to demonstrate the hidden connections between the two sets. The methods of narrative analysis, literary comparison, and the theory of intertextuality revealed a multiple latent presence of other texts. In his Ligeia, E. A. Poe borrowed the genre conventions of the English Gothic novel while parodying the grandiloquent style of the French Romantic literature and the rhetoric of fear typical of the German Gothic style. R. Bradbury, in his turn, imitated the style and subject matter of Poe-esque extravaganzas while parodying the plot composition and artistic language employed by his older contemporary H. P. Lovecraft. Ultimately, the study revealed the evolutionary similarity of the two poetics of parody. In their early career, both Poe and Bradbury mocked the style of popular magazines. Later, both writers came to the parody of the literary classic and focused on high examples of parody art. Poe and Bradbury contributed to the development of the genre of parody in the XIX and XX centuries, respectively. The article marks the ten-year anniversary of Ray Bradbury's death.

Donald Winnicott’s model of the tolerance for paradox offers a new perspective on Edgar Allan Poe’s pieces of literature and on the fact that ambiguous reference in fiction does not result in its being perceived as meaningless. In the present article, I argue that Edgar Allan Poe’s writings sought to resurrect the satisfying illusion of what Donald Winnicott termed “the transitional phase”. In a sense, literature is the space where remnants of the subject’s illusion of totally creative power over things and objects, its sense of omnipotence, must negotiate with and confront the reality principle. By being referential to a world to which it does not refer, fiction sets up the very condition which, according to Winnicott, founds the emergence of the self. Fiction thus may allow readers, in a paradoxical way (by their “non-interfering presence”), to experience the unspeakable as having a voice.

This article tackles fictional renderings of the mechanics of trauma. The analysis is dedicated to the question of what a trauma narrative is and how the subject of/ in trauma is constituted. I begin with the assumption that what we are looking for in a literary work of art is not simply its meaning but the way in which that meaning is produced. All in all, I argue that in disaster zones, defined by the occurrence of the unspeakable, the signifying chain is interrupted, broken. What remains are disconnected things, events, images, and words: thoughts without a thinker, as Wilfred Bion would say. Repression is not possible, since it depends on the signifiers of an inscription, which is impossible in this case. Whereas the repressed unconscious can be defined, with Lacan, as the memory of what we forget, what we are dealing with in the case of catastrophes is a memory of what cannot be forgotten. Any effort to repair this hole in the continuity of the linguistic fabric reveals these creases, despite any attempt at mending. They are the bearers of truth: a-letheia.

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The article reads Miroslav Válek’s (1927 – 1991) poem “Večer [Evening]” published in the poet’s first collection of verse Dotyky ([Touches], 1959) as a deconstructive subversion of lyric tradition – of Ivan Krasko’s (1876 – 1958) symbolist model of the lyric and Edgar Allan Poe’s (1809 – 1849) “The Raven” (1845). The author argues that Válek subverts the tradition by the specific way he tackles the motifs of the night, rain, and raven known in the Slovak poetry mainly from the writing of Ivan Krasko and by the way the poet updates the lyric situation of Poe’s notoriously well-known poem and its central motif. Another aspect that gets subverted is the tragic-elegiac melancholic modality of the poem. The analysis notices the first line of the poem where the night setting is outlined, then moves on to the key image of rain “without melancholy” and the updated motif of the raven. Finally, it discusses the detachment of the speaker from what goes on in the poem – the speaker in the poem is different from the subject affected by emotions and moods modelled in the lines. The reading grasps Válek’s poem and sophisticated subversive deconstruction of the traditional model of symbolic poem concerned with romantic love.

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.

This article suggests that the rise of the new journalism of the penny press during the antebellum America constituted an inescapable reference point and challenge for Poe and Hawthorne, for its emergence radically transformed the context and the course of the early phases of their careers and needs to be examined as a fundamental component of their literary visions. To illustrate that, the article focuses on the ways in which the penny press reverberates in Hawthorne’s and Poe’s fictional temporalities. In fact, their works seem to respond to the new regimes of time that were being introduced by the rise of daily newspaper that was booming in the 1830s, forming the framework within which the two writers’ construction of their authorial figures took shape. Centering primarily on the writings of the early phase of their careers, the article retraces the repeated and central appearances that news and the newspaper make in the writings of Hawthorne and Poe, suggesting how their responses to the manifold temporalities in which they were imbricated were key to the development of their different literary conceptions and authorial figures.

Este estudio tiene como objetivo analizar las directrices de la composición literaria de cuentos adoptadas por Adolfo Bioy Casares. Para eso, se evalúan los tránsitos del escritor por los proyectos estéticos de Edgar Allan Poe y Antón Chéjov, que, desde las perspectivas de Charles Kiefer y Ricardo Piglia, consisten en referencias nucleares para la escritura del cuento a partir del siglo XIX. A partir del examen de los movimientos emprendidos por Bioy Casares entre las premisas adoptadas por Poe y Chéjov, se sustenta que el argentino acaba por delinear lo que se denomina como una poética portulana del cuento.

In my discussion of a selection of Poe's tales, I intend to reveal the latent Kleinian dynamics which abound in texts that pivot on the dialectic between aggression and reparation: the narrative can be thought of as negotiating the representation of phantasies which are deployed to avoid intolerable anxiety, requiring most often than not a withdrawal from reality. The texts under analysis seem to play out with acute awareness the pain of fragmentation and disintegration and the ambivalent phantasies arising from the need to mitigate the pain of the internal situation. Poe's characters' traumatic encounters will foreground the struggle, fraught with ambivalence, to separate from and discern that which is other. [ABSTRACT FROM AUTHOR]

The goal of my article is to familiarise the reader with the notions of ‘non-linear temporality’ and ‘non-linear temporal experience.’ Based on studies of memory and neurobiology, I would like to highlight that episodic memory is a narrative process, and the past-present-future trichotomy is a bias, which can be overruled in so-called ‘non-neurotypical’ states of mind, such as trauma-induced shock and psychological illness. Edgar Allan Poe’s characters often present symptoms of psychological illnesses undefined in the early/mid-19th century with surprising accuracy, among them displaying common symptoms of NLTE (Non-Linear Temporal Experience). I aim to outline how these experiences are manifest in the particular context of his short fiction. [ABSTRACT FROM AUTHOR]

Copyright of Miscelánea: A Journal of English & American Studies is the property of Miscelanea: A Journal of English & American Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 1928, filmmaker Jean Epstein produced La Chute de la Maison Usher: a masterpiece of Gothic cinema. It is an adaptation of two of Edgar Allan Poe’s short stories, “The Fall of the House of Usher” and “The Oval Portrait”. The study of this intersection of Jean Epstein and Edgar Allan Poe has led to the production of a triptych (a suite of three films): I Work for the Devil, Tonight You Belong to Me, and The Night-Side of Nature. The project explores a theory-in-action known as “photogénie”, and how this method might be used and updated to invigorate experimental cinema in the twenty-first century.

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.

In a story entitled “Le chevalier double” and published in 1840, Théophile Gautier stages the duel between a medieval knight and his double, who represents a part of himself, a diabolical part whose origin lies in a mysterious adultery. Hovering between the fairy tale and the fantastic, this story is contemporary to Poe’s “William Wilson”, and echoes some earlier works, by E.T.A. Hoffmann and Washington Irving in particular, but also draws on a more distant tradition which dates back to seventeenth-century Spain. Poe and Gautier gave different results and meanings to the duels of their characters: this paper proposes a reflection on this difference, and more generally on the theme of the duel with the double. [ABSTRACT FROM AUTHOR]

Edgar Allan Poe’s eerie short story “The Facts in the Case of M. Valdemar” is a particularly noteworthy example of the sublime, a psychological state in which one is overwhelmed by the magnitude of that which is perceived by the mind. Valdemar exemplifies the sublime in that his death has somehow been suspended in time because he was under hypnosis as part of a medical experiment at the moment of his passing. However, the story also draws particular attention to the means by which insight into the nature of death is acquired by the hypnotist who narrates the story. For a more comprehensive understanding of the sublime experience, one may turn to the psychoanalytic theory of Jacques Lacan and the postmodernist work of Slavoj Žižek, which lead to the conclusion that the dramatic chain of events in “Valdemar” is an example of the sliding signifier, and, moreover, that the instability of the signifier may explain the sublime effect.

Industrialization revolutionizes human life and engenders anthropocentrism. Edgar Allan Poe ruminates on the repercussions of anthropocentrism in his stories and speculates about a posthumanist world. “The Imp of the Perverse” challenges the prevailing standard of reason and compels us to discover the underlying world that brings current situations into existence and legitimizes perverse phenomena. The three examples of the perverse, namely, circumlocution, procrastination, and abyss obsession, outline the latent coordinates of human identity: species, time, and space. The fourth instance recapitulates the three coordinates and features underdeveloped aspects. The abrupt ending of the story (“but where?”) plunges readers into textual instability. “MS. Found in a Bottle” continues the journey of the suspended plunge: anthropocentric departure, disoriented temporality, multidimensional space. The juxtaposition of these two stories illuminates Poe’s reflections on anthropocentric hubris and posthumanist speculation.

O objetivo deste artigo é fazer uma leitura dos contos “Sombra” (1986 [1835]), de Edgar Allan Poe, e “O louco da sombra” (2005 [1944]), de Bernardo Élis, por meio de uma proposta comparatista, na qual áreas do conhecimento como Estudos Culturais, História, Ciências Sociais se encontram de forma a possibilitar um melhor engajamento do texto literário. Separadas por décadas e países diferentes, as narrativas se aproximam na medida em que levam seus leitores a questionamentos universais e atemporais, a saber: o medo, a indiferença e o aniquilamento. A conclusão aponta para o fato de que são as diferentes possibilidades de leitura do texto literário que fomentam estudos e perspectivas outras na área da Literatura Comparada.

In a story entitled Le chevalier double and published in 1840, Théophile Gautier stages the duel between a medieval knight and his double, who represents a part of himself, a diabolical part whose origin lies in a mysterious adultery. At the turn of the fairy tale and the fantastic, this story is contemporary of Poe’s William Wilson, and echoes some earlier works, by E.T.A. Hoffmann and Washington Irving in particular, but also draws on a more distant tradition, which dates back to seventeenth-century Spain. Poe and Gautier gave different results and meanings to the duels of their characters: this paper proposes a reflection on this difference, and more generally on the theme of the duel with the double.

Copyright of Turcology Research is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article reads Miroslav Válek's (1927 - 1991) poem "Večer [Evening]" published in the poet's first collection of verse Dotyky ([Touches], 1959) as a deconstructive subversion of lyric tradition - of Ivan Krasko's (1876 - 1958) symbolist model of the lyric and Edgar Allan Poe's (1809 - 1849) "The Raven" (1845). The author argues that Válek subverts the tradition by the specific way he tackles the motifs of the night, rain, and raven known in the Slovak poetry mainly from the writing of Ivan Krasko and by the way the poet updates the lyric situation of Poe's notoriously well-known poem and its central motif. Another aspect that gets subverted is the tragic-elegiac melancholic modality of the poem. The analysis notices the first line of the poem where the night setting is outlined, then moves on to the key image of rain "without melancholy" and the updated motif of the raven. Finally, it discusses the detachment of the speaker from what goes on in the poem - the speaker in the poem is different from the subject affected by emotions and moods modelled in the lines. The reading grasps Válek's poem and sophisticated subversive deconstruction of the traditional model of symbolic poem concerned with romantic love. [ABSTRACT FROM AUTHOR]

Semiotics as a comprehensive branch seeks for meaning production process generated by the interrelations of signs, and therefore, may allow examining any discipline. One of those disciplines is literature. The significance of the present study is to draw attention to the analysis of formative structures of a narrative, using analysis tools of literary semiotics and narratology. Accordingly, examining both abstract and concrete fine details of a text, this study aims at investigating how the sense of horror was invoked by Edgar Allan Poe in one of his horror stories, “The Cask of Amontillado”. The methodology of the study, improved by French semiotician, Algirdas Julien Greimas, comprises the analysis of three semantic layers: the discursive, narrative and deep levels. Also, the tools of narratology have been utilized at the discursive level to examine the actors and time in the story, thereby making this an interdisciplinary study. In doing so, the pre-determined semiotic methodology has made it possible to obtain information both on the authorial techniques and the text itself. According to the findings gathered through a semio-narrative analysis, it can be suggested that transformations from beginning to the end of the story regarding characters, space and time have taken place from good to evil, life to death or bright to dark. This further highlights Edgar Allan Poe’s achievements in the creation of horror stories.

Wort-case scenarios depicted in literary works may function to mourn and warn people about the real situation, such as the spread of COVID-19 that has altered worldwide life drastically. This study offers a reflection on the current pandemic time through a close reading of selected American classic literary works. The imagination of fear, isolation, and mask-wearing in Edgar Allan Poe’s short stories is resonant with the new expressions of the COVID-19 pandemic. Three short stories by Poe, i.e., ‘The Masque of the Red Death’, ‘The Cask of Amontillado’, and ‘The Sphinx’ are chosen for examination using the thematic analysis method. Repeated reading of the short stories shows that parallels can be drawn between these stories and today’s phenomenon about anxiety, social restriction, and health protocols. What can be implied from the analysis are as follows: (1) Fear of the disease results in the characters’ added distress, (2) The characters’ aberrant behaviour as to overprotect themselves is exacerbated by the dreadful situation, and (3) Poe’s obsession with dread and death to shock the readers can be historically traced through his own inner predicaments, ill-health, and the 1832 Cholera contagion. In conclusion, the findings resonate with the COVID-19 epidemic’s upshots.

Crime fiction originated in the mid-nineteenth century, at a time of great positivistic confidence in thepotential of human knowledge. Edgar Allan Poe’s short stories are considered as the beginning of thegenre, and his character Auguste Dupin is the first modern literary detective. F. M. Dostoevsky did notwrite crime novels because the elements of the genre present in his novels participate in the constructionof a different kind. However, this paper will try to look in more details at the key differences betweenDostoevsky and the classical rules of crime fiction, on the example of the novel “Crime and Punishment”.A deeper understanding of these differences reveals the limits of the genre, while in Dostoevsky onecan recognize one of the early critiques of the fundamental principles and world picture that the genrerepresents.

ABSTRACTFrom the perspective of “new aesthetics,” a trend of post-theoretical criticism, this paper looks back at some of the achievements of Influence Study (French school) in comparative literature, in particular those who are quite similar to the works of Jean-Marie Carré and Marius François Guyard. The two research areas mentioned above share a concern with the emotion of a text as well as its effect and transmittability. Bearing this in mind, this paper studies the indirect influence of Edgar Allan Poe on Han Mac Tu (Vietnam) through the intermediary Charles Baudelaire and considers the chain of “affective contagion.” This is a case of interesting and complex indirect influence cited by the critic Hoai Thanh as early as 1942 in Vietnam.

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

In Edgar Allan Poe’s short story The Cask of Amontillado, Fortunato’s captivity by Montresor in the middle of a carnival with no explanation amazes readers and leaves many unanswered questions in readers’ minds, thereby leading to reductionist interpretations of the story. Each of these readings leaves some elements in the story in ambiguity, failing to integrate them into a totalizing interpretation of the story. The reading of the story in relation to the Freudian concept of the uncanny, however, helps us to understand the motive behind the murder, by revealing the unconscious mechanisms at work. In light of this, this study argues that as a murder story involving the cruel death of a helpless victim on the surface level, The Cask of Amontillado is based on what is left unsaid in the narrative. It arouses the sense of the uncanny, as what Montresor says on the conscious level in the guise of the heimlich turns out to be, on the unconscious level, actually a phantasy of acting out the repressed wishes that he had pushed back to the darkest recesses of his psyche because of their disturbing threat to his egotistical unity. [ABSTRACT FROM AUTHOR]

Copyright of Synergies Chili is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article tackles fictional renderings of the mechanics of trauma. The analysis is dedicated to the question of what a trauma narrative is and how the subject of/in trauma is constituted. I begin with the assumption that what we are looking for in a literary work of art is not simply its meaning but the way in which that meaning is produced. All in all, I argue that in disaster zones, defined by the occurrence of the unspeakable, the signifying chain is interrupted, broken. What remains are disconnected things, events, images, and words: thoughts without a thinker, as Wilfred Bion would say. Repression is not possible, since it depends on the signifiers of an inscription, which is impossible in this case. Whereas the repressed unconscious can be defined, with Lacan, as the memory of what we forget, what we are dealing with in the case of catastrophes is a memory of what cannot be forgotten. Any effort to repair this hole in the continuity of the linguistic fabric reveals these creases, despite any attempt at mending. They are the bearers of truth: a-letheia. [ABSTRACT FROM AUTHOR]

From its onset, the Gothic has attempted to challenge established norms and conventions, either for sensational effects or to question their homogenizing and reductive tendencies. The questioning or reinforcing of received notions of femininity in Gothic fiction has been much debated by critics, with the concept of masculinity coming second. The present paper discusses normative masculinity as it was perceived in the 19th century and how E.T.A. Hoffmann, Edgar Allan Poe and Guy de Maupassant challenge its validity by creating male characters who adopt a hysterical, almost feminine voice, contesting the belief that hysteria was a “female malady”. The characters expose their unconventional masculinity, which resists the model of the ‘ganzer Mann’ in Germany, ‘marketplace man’ in US and the ‘conjugal heterosexual’ in France.

The paper comments on our new translations of E.A. Poe’s “The Tell-Tale Heart” (1843) and “The Black Cat” (1843). The introductory section reviews retranslation theories since the birth of the so-called Retranslation Hypothesis. We consider Lawrence Venuti’s idea of retranslation as best fitting our strategy. According to his point of view, each retranslation is, in fact, a reinterpretation. Besides correcting or debating other translations of Poe, we preserved what we thought to be insightful and eloquent in them. Our major objective was to retain the cognitive obstacles, the contradictory meaning of Poe’s prose, rather than to avoid its ambiguity, discrepancies, and repetitiveness. The non-native reader’s verdict, his or her assessment of the narrators’ sanity at the moment of crime and the validity of their post-crime narratives, would largely depend on the translator’s effort to savor both gothic undertones and numerous indications of mental instability in Poe’s tales. Such indications allowed numerous critics to diagnose the narrators with a variety of mental disorders. Another goal of our translations was to savor a distinctiveness of Poe’s prose, its affectiveness – the diction and phrasing of the oral spontaneous speech of “The Tell-Tale Heart” narrator and the penned account given in “The Black Cat”. We made it a point to preserve where possible the authorial syntax and punctuation i.e. the numerous dashes, as well as italicized words and phrases, in order to project a tone of voice and sketch the psychological contours of the characters, especially that of the first narrator, whose pathological reactions could be caused by external or delusory sensory overload.

[Book reviews - Michael Chabon, Wonder boys, tr. it. a cura di L. Crepax e M. Crepax, Rizzoli, Milano 2002 Edgar Allan Poe, La filosofia della composizione, a cura di L. Lunari, testo inglese a fronte, La Vita Felice, Milano 2012]

RESUMO A tempestade ocupou lugar de destaque nos contos de Edgar Allan Poe, especialmente por se tratar de um fenômeno conveniente à produção de um locus horrendus, um lugar tenebroso por meio do qual seria possível despertar em seus leitores os efeitos pretendidos. No entanto, antes do movimento romântico do século XIX, o incidente marítimo, enquanto tópica, mostrou-se recorrente em diferentes gêneros retórico-poéticos, especialmente nos exemplares épicos. Pretende-se, nesse artigo, mapear algumas descrições de tempestades para, em seguida, termos condições de analisar a maneira como Poe imitou essa tradição para a elaboração de um conto em particular, intitulado “Manuscrito encontrado em uma garrafa” (“Manuscript found in a bottle”), publicado em 1833.

1. Introduction The present paper aims to conduct a comparative study of two Iranian and American forerunners of modern fiction. The study which is the first of this kind as far as the two authors are concerned, contends that “A Man in Cage” by Sadeq Chubak reveals similarities to Edgar Allan Poe’s “The Pit and the Pendulum” although the former does not lose its artistic independence. 2. Methodology The approach which is adopted in this study is Jungian and it is hoped to prove that it is possible to find more or less similar reactions to similar human issues in life and literature based on an archetypal perspective. 3. Findings and discussion The archetype of mother studied in this paper and applied on the two stories reveals a sad fact that most male authors adopt more or less similar patriarchal strategies in their writing regardless of time and place. 4. Conclusion It is revealed how archetypes which are universal symbols can be objectified in different ways under different circumstances. In the conclusion there are some Jungian suggestions to solve this problem and modify a sexist perspective towards female-related issues.

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.

Edgar Allan Poe's eerie short story "The Facts in the Case of M. Valdemar" is a particularly noteworthy example of the sublime, a psychological state in which one is overwhelmed by the magnitude of that which is perceived by the mind. Valdemar exemplifies the sublime in that his death has somehow been suspended in time because he was under hypnosis as part of a medical experiment at the moment of his passing. However, the story also draws particular attention to the means by which insight into the nature of death is acquired by the hypnotist who narrates the story. For a more comprehensive understanding of the sublime experience, one may turn to the psychoanalytic theory of Jacques Lacan and the postmodernist work of Slavoj Žižek,, which lead to the conclusion that the dramatic chain of events in "Valdemar" is an example of the sliding signifier, and, moreover, that the instability of the signifier may explain the sublime effect. [ABSTRACT FROM AUTHOR]

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

O conto A máscara da morte rubra (1842), de Edgar Allan Poe (1809-1841), embora tenha sido publicado há quase dois séculos, revela inquietações da sociedade contemporânea: o fantasma das máscaras; o isolamento e/ou o confinamento social; o contágio e o recorrente medo da morte. Posto isso, o presente artigo propõe uma leitura do conto em questão, com base nas reflexões teóricas acerca do fantástico, especialmente as de Lovecraft (2008), de Todorov (2008), de Freud (2010) e de Roas (2014). A análise constatou que cada teoria em particular converge a um ponto comum: a ocorrência do medo.

In the current Covid-19 crisis, masks have become a ubiquitous sight in social situa- tions. As visual signifiers of both protection and containment, they emblematize the very risk which they serve to prevent. Departing from the multiple functions of the mask in Edgar Allan Poe’s “The Masque of the Red Death” — a story published dec- ades before the emergence of modern virology — this paper reads recent fictionaliza- tions of pandemics as diagnostic tools of larger social, political, and cultural shifts. Taking Poe’s story as a programmatic blueprint, my interest is particularly in the cor- relation between (narrative) representation and political power in contexts of illness. Given that minorities are often disproportionally affected by, and blamed for, epidem- ics, my analysis targets not only the discursive and semantic strategies of “outbreak narratives” (Priscilla Wald), but the complicity of these strategies in notions of cultural difference. Through the trope of the mask, I argue, the nexus of “the visible and invis- ible” that Foucault sees at the heart of modern medicine can be reconceptualized along narratological lines. In addition to more detailed analyses of Ling Ma’s Severance (2018) and Lawrence Wright’s The End of October (2020), my reading of pandemic fiction also relies on novels by Michael Crichton, Philip Roth, Louise Erdrich, and Emma Donoghue, among others.

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Starting from the 18th century, writers began using Gullah in different stories and plays, and speculated about its origins. Gullah is an American English-based creole spoken along the coast of Georgia, South Carolina and in the Sea Islands. It is also known as Sea Island Creole or Geechee. Several American writers have used this creole in their writings. This paper focuses on the way Edgar Allan Poe used Gullah as a literary dialect, in the short story The Gold-Bug, to render the speech of Jupiter, an old Negro slave. The first part of the paper presents phonological and morphosyntactic features that have been attested in Gullah. The second part of this study analyzes the phonological and morphosyntactic features found in the speech of Jupiter and attempts to demonstrate that Jupiter used the regional superstrate variety of Gullah, as expected from house servants. It will also be shown that Jupiter’s speech also contains many features found in Gullah’s sister variety, African American Vernacular English. Starting from the 18th century, writers began using Gullah in different stories and plays, and speculated about its origins. Gullah is an American English-based creole spoken along the coast of Georgia, South Carolina and in the Sea Islands. It is also known as Sea Island Creole or Geechee. Several American writers have used this creole in their writings. This paper focuses on the way Edgar Allan Poe used Gullah as a literary dialect, in the short story The Gold-Bug, to render the speech of Jupiter, an old Negro slave. The first part of the paper presents phonological and morphosyntactic features that have been attested in Gullah. The second part of this study analyzes the phonological and morphosyntactic features found in the speech of Jupiter and attempts to demonstrate that Jupiter used the regional superstrate variety of Gullah, as expected from house servants. It will also be shown that Jupiter’s speech also contains many features found in Gullah’s sister variety, African American Vernacular English. [ABSTRACT FROM AUTHOR]

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).