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Rose Wright and Eugene Smith's Edgar Allan Poe Tarot follows the basic structure of the Rider-Waite-Smith (RWS) tarot system. Each of the cards features an illustration by Smith that draws inspiration from and visually adapts an element of Poe's work, depicting imagery, characters, and narrative moments. This tarot deck synthesizes these two distinct and interconnected types of "reading," with the accompanying guide providing both an interpretation of the card's significance drawing on the larger RWS system and critical literary analysis that connects Poe's work to the specific card and its interpretation. The active engagement of reader response presents a wide range of interpretive possibilities and ways of connecting with and responding to Poe's work through visual adaptation and the self-reflection central to the tarot tradition. [ABSTRACT FROM AUTHOR]

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]

Copyright of Revue Académique des Études Sociales et Humaines is the property of Hassif Benbouali University of Chlef 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 analyzes the implications of incestuous perversions in Edgar Allan Poe's 'The Fall of the House of Usher' in relation to the author's most-praised techniques: the unity of effect. Through an in-depth examination of the work and a selection of expressions and descriptions, this essay reflects on how the unity of effect is built and maintained due to the perversity of incest and on how this incestuous union helps create what, consequently, can be considered the unity of affect. Two key elements stand out in this work through which words and deeds are selected to create this unity of affect/effect: characters and setting. As for the characters, through the analysis of the peculiar unity (of affect) between the twins Roderick and Madeline, the shadow of incest is perceived, which eventually destroys the property of the Ushers as well as their entire lineage. As for the setting, its isolation also places into evidence, on the one hand, the unity of effect it brings to the story and, on the other hand, the incestuous relationship between Roderick and Madeline, which simultaneously creates the unity of affect, the concept from which the original scholarly contribution of this article derives. [ABSTRACT FROM AUTHOR]

Many scholars have read Edgar Allan Poe as uniquely enmeshed in an interdisciplinary and intermediary web connecting the visual and practical arts. Poe's prose is intrinsically multimodal and multisensory, a transgression of disciplinary boundaries that leads to a horrific affect. This article examines three of Poe's short stories with attention to the figure of the artist, architect, and author within his fiction, arguing that these characters can be read as exemplars of Poe's aesthetic philosophy laid out in "The Philosophy of Composition." Poe pushes and explores the limits of disciplinary boundaries by showing the various conjunctions and conflations inherent to artistic practice. In his stories, Poe explores what distinguishes literature from other creative endeavors. It is his fascination with the porous nature of artistic boundaries that drives both the form and content of his tales—and it is this very liminality, this porousness, that makes them truly the harbingers of horror as a genre. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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 present paper examines how Cassandra Clare uses Edgar Allan Poe's work to create her own stories in The Dark Artifices saga. She published this trilogy between 2016 and 2018 and used three of Poe's poems as the main source of inspiration for each novel. The first one, Lady Midnight, is based on "Annabel Lee"; the second one, Lord of Shadows, draws from "Dreamland"; and the last one, Queen of Air and Darkness, has "The City in the Sea" as inspiration. Clare uses Poe's poetry both directly as chapter titles, indirectly in the plot, and, in the case of the second and third book, as an introduction to the novel. Furthermore, she uses gothic aesthetics and concepts to make a connection with the American writer. The analysis is approached from a theoretical framework based on Julie Sanders' Adaptation and Appropriation, and Genette's theory of transtextuality. It will analyze how this saga engages with Poe's ideas and aesthetic in this young-adult fantasy story in order to assess whether this new approach to the Gothic is an appropriation of Poe's work, and how it is achieved. [ABSTRACT FROM AUTHOR]

Copyright of Revista Poligramas is the property of Universidad del Valle 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 "The Murders in the Rue Morgue" (1841), Poe invents the detective story in English, introducing his gentleman sleuth Auguste Dupin as he solves the locked-room mystery of two women found brutally murdered in a Paris apartment. In L'Amante Anglaise (1967), Duras revisits the detective form, fictionalizing the true 1949 crime of a woman murdering and dismembering her cousin in Viorne, France. These literary detective stories highlight the powerful but unspoken role of affective experience in driving what appears, on the surface, to be a forensic medical or psychological investigation. In both tales, peculiarity is an affective and cognitive force that, contrary to what the majority of affect literature argues, inherently moves toward resolution and closure. Using peculiarity as an analytical concept, we argue that the concealment / discovery binary must acknowledge its affective origins, breaking a barrier between narrative scholarship and medical practice. [ABSTRACT FROM AUTHOR]

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.)

An American icon, Edgar Allan Poe (1809-1849) is famed for his fiendish tales of fear and trembling, and premature burial. He is less well known as a businessperson, let alone a marketing thought leader. Poe, though, was not only an entrepreneurially inclined self-promoter of genius, but he practised prescient marketing principles that are pertinent to present circumstances. In a world where dark tourism, dead celebrities and disinterred brands loom large, Poe's principal principles - perversity, poetry, plagiary, plasticity - are prior portents of marketing precepts. Written in an appropriately literary style, this paper shows that dead men do foretell tales. Of markets dreary. [ABSTRACT FROM AUTHOR]

Revenge is the theme and purpose of Edgar Allan Poe’s “Hop-Frog.” This tale of an enslaved jester who burns his captors alive during a courtly masquerade doubles as a tirade against the exploitative magazine owners, greedy editors, and literary cabals Poe battled throughout his career. Given its blunt biographical overtones and sensationalism, “Hop-Frog” has been considered a minor entry in Poe’s canon. This article suggests otherwise by tracing two unexplored dimensions of the story: first, Poe’s fattist depiction of the ruling class—aligned with his satirical works and the historical origins of fat-shaming in the United States; and secondly, a setting and plot that mimic through their design several technological innovations in vogue during the first half of the nineteenth century, most notably the internal combustion engine. By mechanizing revenge, Poe asserts the superiority of ingenious contraptions over lazy flesh, efficiency over accumulation. Anointing Hop-Frog/himself master of the machine, he imagines a model of literary production that only authors control and refine, in the same way that engineers strived for engines that would accomplish more with less. This model, I contend, finds artistic creation and technological prototyping converging in the antebellum imagination. [ABSTRACT FROM AUTHOR]

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]

This essay argues that Edgar Allan Poe's Eureka (1848) anticipates contemporary cognitive science's theories of embodied cognition, particularly the notion that individuals' minds and bodies are inextricable from their environments. Eureka's cosmology of environmental entanglement, furthermore, surprisingly elucidates detective Auguste Dupin's uncanny "intuitive" knowledge, as imbrication with cosmic processes affords limited, temporary access to extrapersonal knowledge. Dupin, I contend, capitalizes on the interconnectedness of mind and body, self and environment to attune himself to others, and in the process enacts a precursive version of "social mirroring." However, along with the enabling possibilities inherent in such interconnectedness, Poe also illuminates its ontological dangers, as Dupin when intuiting transforms into a semi-abstracted self and loses some of his discrete individuality--without going as far as Poe's mesmerists, whose complete opening to the universe's extrapersonal forces leads to their annihilation as individual beings. I argue that such dangers shadow not only nineteenth-century transcendentalism's cosmic egotism but also twenty-first-century cognitive science's therapeutic agenda. [ABSTRACT FROM AUTHOR]

In 1969, Robert D. Jacobs broke new ground with Poe: Journalist and Critic, the first truly inclusive study of the critical writings that Edgar Allan Poe produced throughout his career. According to Jacobs, those texts could not be understood apart from the journalistic world in which Poe wrote them and without reference to the principles on which he relied while evaluating literary works. Those laws derived from Common Sense philosophy, and of particular importance to Poe, Jacobs argued, was the notion that three faculties—the reason, the moral sense, and the taste—directed mental life. Responsive to pleasure, the taste allowed a person to appreciate art, so Poe's insistence on unity was tied to the belief that all the elements within in a work of literature would please if they had a single, focused effect on the reader. Enlightenment-era psychology was, in short, central to Poe's critical practice, the development of which Jacobs mapped throughout Poe: Journalist and Critic—a work that has become a classic in the field. Attending to Poe's work as a writer for magazines, Jacobs not only stimulated scholarly interest in Poe's critical reviews but also encouraged the examination of his writings as products of nineteenth-century print culture. Seminal in Poe studies, Poe: Journalist and Critic remains useful for anyone who wants to know Poe as he was in life rather than legend. [ABSTRACT FROM AUTHOR]

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]

This paper is an attempt to describe some ways of seeing Edgar Allan Poe's work through some of its afterlives, many of them literary but also intermedial ones - drawings, paintings, films, plays and musical pieces. Products inspired by the poem "The Raven" will be characterized as adaptation, translation, ekphrasis, transmediation, representation or else - in their new configurations: drawings, concrete poems, films, novels, paintings, charges, comic books, graphic novels, pieces of music and so on. Because Poe's work is so extensive and appreciated - and therefore imitated - a variety of processes can be exemplified. [ABSTRACT FROM AUTHOR]

This article considers how the famous Irish stained glass artist and book illustrator Harry Clarke "translated" the works of Edgar Allan Poe from literature to image with particular attention to the attire worn by the dead brides in Poe's tales "Ligeia" and "Morella." The article takes as its point of departure the theories on the translation of poetry set out by Walter Benjamin in his famous essay "The Task of the Translator" (1921), where he argued that more than revealing what the original is about, the translator should reveal "its manner of meaning," and that in the translation journey, the translator's own language would be broadened and deepened by its contact with the translated one. The article explains how the work of Clarke on Poe can be understood as such a translation, claiming that in addition to enriching his own visual language, Clarke enriched the source text as well, by adding to it a crucial lexicon absent from the original, in the form of the dress of the dead brides of the tales, and that of their lovers, which are a central element of Clarke's images, and unique among those of other visual translators of Edgar Allan Poe. [ABSTRACT FROM AUTHOR]

This article examines the reception of Edgar Allan Poe in modern Persian literature with regard to his fiction and theory of writing. There have been scattered pieces written on Poe's influence on Iranian poets and writers in Persian or English, but this article aims to offer a fairly comprehensive picture of Poe in Iran in general with a focus on his influence or affinities with two leading Iranian authors, Sadeq Hedayat and Sadeq Chubak, as far as female characters are concerned. The article at first surveys how Poe was introduced into Persian literature and then it studies personal, social, political, and historical backgrounds in classical and modern Persian literature that determined men's taking a misogynous approach. A comparative study of representative works of Hedayat and Chubak reveals conscious alignment with Poe's ideas. Confessionary monologues, gloomy atmosphere, and the lack of proper dialogues between men and women mark their writings. The article concludes that although patriarchy has been responsible for these two writers' failures to overcome gender stereotypes, their acquaintance with Edgar Allan Poe had its impact on aggravating such tendencies. [ABSTRACT FROM AUTHOR]

Some news published in The Sun in 1844 reported that a hot air balloon had been able to cross the Atlantic Ocean for the first time. However, what should have been a milestone in the history of mankind was nothing more than a hoax spread by the writer Edgar Allan Poe. Thus, this work aims to analyze the short story "The Balloon-Hoax", emphasizing its origins, its impact and the sources that inspired the author in the creation of a tale that is essential for the science fiction genre. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

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]

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]

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]

Among the psychological interpretations of Edgar Allan Poe's "The Black Cat," trauma theory has yet to make an appearance. However, the confessional nature of the story shifts--via a trauma reading--from an attempt by the narrator to ease his guilt to his attempt to understand what happened to him. "The Black Cat" reveals a man's search to understand how he committed violent acts when trauma and preconceived self-understandings obscure his ability to reconcile his violent actions. The narrator's murder of his wife traumatized him, causing erasures in the timeline and several forms of dissociation. These erasures and dissociations cause an uncanny effect within the story, which show the narrator to be his own doppelganger as well as an instance of the biform. However, these symptoms suggest that the narrator does not have enough critical distance from the events, so telling his tale becomes a form of reliving that does not relieve the confusion he experiences. Ultimately, the narrator's confession does not provide the understanding he hopes for, which places the burden of creating an understanding of the story on the individual reader. [ABSTRACT FROM AUTHOR]

This article, "A Narrow Tale," is a creative response to Poe's work. A short story masquerading as a scholarly article with footnotes, "A Narrow Tale" purports to account for the artistic "failure" of Poe's short story "The Premature Burial" with recently unearthed biographical evidence. [ABSTRACT FROM AUTHOR]

Poe's 'The Masque of the Red Death' turns on the paradox of a privileged elite succumbing to a plague that is ravaging society at large, and from which they believe themselves completely protected. The horror of the story consists not in the devastation of external society – that is taken for granted – but in the abject failure of the elite's supposedly impregnable defences, their faith in which is exposed by the 'Red Death' as utterly delusory. 'Put not your trust in Princes' (Ps. 146.3) takes on an entirely new meaning. [ABSTRACT FROM AUTHOR]

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]

In examining Malaysian literature in light of the global canon, one cannot miss the numerous parallelisms between literary works by Tunku Halim bin Tunku Abdullah and Edgar Allan Poe. Both writers are preoccupied with grotesque realities of mentally deranged individuals, and similarly visualize the darkness and animality of human consciousness. This article aims at conducting a comparative analysis of the dynamics of personality and of the psyche of fictional characters in selected short stories by the two writers. To this end, the study draws upon Jung's notions of the Shadow and the Individuation to explore the key psychological motives behind the characters' behaviour patterns, as well as to examine their level of subjectivity and agency in harnessing the same motives. Notwithstanding the seemingly different ways of presenting the narrative patterns of the characters' journey towards Individuation, the selected stories are marked with similar examples of characters' failures in the process of self-realization. While some characters remain trapped in the obscure and perplexing world of the Shadow, others achieve a minimal level of maturity as they begin to realize their own being. In the case of Halim's stories, however, the characters are additionally held back by cultural and structural forces that constantly affect their realities. It is concluded that this particular difference accounts for Halim's uniquely hybrid style of writing that merges Western horror genre with more local folklore. [ABSTRACT FROM AUTHOR]

There is no doubt that "Berenice" is one of Poe's most disturbing stories; much of this disturbance lies upon its "too horrible" subject--Poe's words--in tune with the aesthetics of the grotesque that were present in certain publications of the nineteenth century. This grotesque component substantially increased the "graphicality" that characterizes Poe's style by attracting the attention of many visual artists, ranging from some renowned illustrators who were Poe's contemporaries, to some popular present-day comic-book artists, including Richard Corben, who provided two original interpretations of the tale. By drawing on a selection of visual renderings of Poe's tale, this study looks at how the grotesque survives throughout all these adaptations, revealing the tale's complexity, and even, in some cases, opening up new possible readings of the text. As will be shown, all these new works result in an interesting array of approaches to the woman protagonist; however, two perspectives have prevailed in the visual interpretation of "Berenice" since the nineteenth century: more idealistic or more grotesque. The final results will always depend on the artists' personal perceptions, but they sometimes have also been determined by certain external circumstances--such as the Comics Code Authority, in the case of comic books. [ABSTRACT FROM AUTHOR]

Metaphors, which are thought to be the products of the genius particularly, have been used for decorative purposes since Aristotle. However, Lakoff and Johnson's groundbreaking work Metaphors We Live By (1980) has revolutionized the concept of metaphor, and the authors have argued that metaphor is actually a means of cognitive and analytical comparison which reveals human thought in order to understand the world. Metaphor bears richness, variety and innovation. This paper benefits from Lakoff and Johnson's Conceptual Metaphor Theory in order to interpret the metaphorical reflections in the Irish poet W.B. Yeats's imagist poetry. When producing metaphors one can benefit from the associations of target domain and source domain, thus, abstract concepts are described via concrete concepts. Hence there is mapping between two domains: the abstract target domain and the concrete source domain. W. B. Yeats worked as a Member of Congress in the Irish Free State in 1922 and he won the Nobel Prize for literature in 1923. He is known to be the cultural leader and a great poet in the 20th century. Yeats describes abstract concepts through symbols in his imagistic poems, which are actually similar to the mapping between the abstract and concrete in the Conceptual Metaphor Theory. In this paper source domain and target domains are determined in 5 selected imagist poems in order to understand how Yeats transforms complex abstract concepts into concrete concepts in his mind and to discuss the mapping between target and source domains. [ABSTRACT FROM AUTHOR]

This study investigates the contribution of the sense of the uncanny to the intensification of mystery in Edgar Allan Poe's short story titled "Morella" using Freudian ideas as a backcloth. This paper aims to look at how Poe makes use of the psychodynamics of the characters at the intersection of the (m)other, death and the uncanny. In this sense, typical of Poesque literature is that his work is marked by tales of horror, mystery, the macabre, and morbid imagery; the sense of the uncanny is an indispensable part of a plotline which includes semantic loopholes and narrative ruptures. The unnamed male narrator of the story offers a retrospective account of his past memories from his marriage to Morella up to the death of his daughter, which reveals that this unreliable narrator suffers from a psychic regression by establishing intrasubjectivity with his wife. Using Freudian epistemology, this paper will also discuss the ways in which how the mysterious bond established between this couple generates its uncanny effect. Such a reading of the short story is especially useful because although much has been written on Poe's representation of women and death, this paper aims to open up a discursive space to discuss the operations of the psychodynamics of characters within the framework of the Freudian uncanny, which has not received adequate scholarly attention from psychoanalytic circles. [ABSTRACT FROM AUTHOR]

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.". [ABSTRACT FROM AUTHOR]

This paper aims to analyze Edgar Allan Poe’s fiction and poems from a psychoanalytic perspective. The Romantic writer’s short tragic life was governed by his Oedipus complex and a strong death drive as the result of his traumatic experiences at an early age. He witnessed his mother’s battle with tuberculosis, which was followed by her death. Throughout his entire life, he has searched for a mother figure. In his works, Poe revives his mother in his portrayals of female characters in the forms of vampires. These characters and all their experiences in his writings appear as uncanny reflections from his unconscious, which he had a strong grasp on long before Sigmund Freud researched and theorized these terms. Resulting from a strong death wish, Poe’s narrators, who are mere reflections of himself, create dark, tomb-like settings where they isolate themselves from reality or consciousness, focusing on the female vampire figures who they admire. However, these figures also horrify Poe as they are the embodiments of death itself. In creating these undead women, Poe expresses his strong desire to reunite with his dead mother and endeavors to uncover the link between life and death, a secret that the female holds. This research focuses on Poe’s short stories “Berenice”, “Ligeia”, “Morella” and “The Fall of the House of Usher” in addition to various of his poems. [ABSTRACT FROM AUTHOR]

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

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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. [ABSTRACT FROM AUTHOR]

This study aims to contribute to the understanding of Pessoa's incorporation of English language and literature in his own writing, looking specifically at his relationship with the American poets Edgar Allan Poe and Walt Whitman. The focus will be on the Portuguese poet's borrowings from models derived from both, namely a sort of translation of prosody and tropes – what I call 'overwriting' – that fuelled his 'oceanic' impetus. This impetus surfaces in a few related modernist concepts that Pessoa sought to poeticise – sensacionismo, vertiginismo, dynamismo, atlantismo – for which the wave stood as metaphor and prosodic unit. Starting from the observation that poets engage in translational operations in order to assert and/or project themselves, I follow Nikolaou's assumption of 'autobiographical arcs' in 'instances of literary ventriloquism' (2006, 23) to explore Pessoa's repeated return to compositions such as Poe's 'The Bells' or Whitman's 'Crossing Brooklyn Ferry'.* [ABSTRACT FROM AUTHOR]

Three decades after American author Edgar Allan Poe laid down the foundations for the detective genre in the 1840s with his "tales of ratiocination," native detective stories began to appear on Russian literary scene. Among them were those written by Aleksandr Andreevich Shkljarevskij today known as "the father of Russian detective fiction." This article provides a short overview of Poe's literary influence as well as of the conditions that brought about the onset of Russian detective fiction. It offers an extensive comparative analysis of short stories by the mentioned "fathers" and identifies many similarities in their poetics. Finally, by looking into the characteristics of American Romanticism and Russian Realism that constitute the sociocultural backgrounds of the authors, it proposes answers to questions stemming from the difference in the aspect of analysis they emphasize. [ABSTRACT FROM AUTHOR]

The most relevant illustrated editions of Poe's works published in Spain in the 1930s and 1940s are analyzed, with special attention paid to the political circumstances and censorship that affected their production. The relationship between the illustrations and the texts will be interpreted in this light. [ABSTRACT FROM AUTHOR]

This paper examines the relationship between medical technology and liminal states of "undeath" as presented in "The Facts in the Case of M. Valdemar" and the real-life case of Jahi McMath, who was maintained on life support for over four years following a diagnosis of brain death. Through this juxtaposition, "Valdemar" comes to function as a modern fable, an uneasy herald of medical technology's potential to create liminal states between life and death. The ability to transgress these boundaries bears a cost, however: both Valdemar and Jahi McMath lose the autonomy to direct their respective narratives. Yet, their utterances "from beyond the grave" highlight the precarious nature of their position and the ethical concerns therein. Poe's literary performance of "undeath" therefore serves to caution real-life cases in which life support is used to sustain an individual reported to be brain-dead. Such application of life-sustaining technology complicates the fundamental binary of life/death, allowing its subjects to resist textual closure. Even as Poe's work represents an imaginative interrogation of the scientific enterprise, this nineteenth-century story holds a mirror to contemporary medical practice, inviting a reconsideration of the ethics, language, and power relations surrounding the fraught relationship between death and medical technology. [ABSTRACT FROM AUTHOR]

Background: To help shed light on the peculiar circumstances surrounding the death of the famed macabre and mystery writer, poet, editor, and literary critic, we explored the potential role of depression in the life and death of Edgar Allan Poe via his written language.Method: Using computerized language analysis, we analyzed works from Poe's corpora of personal letters (N = 309), poems (N = 49), and short stories (N = 63), and investigated whether a pattern of linguistic cues consistent with depression and suicidal cognition were discernible throughout the writer's life, particularly in his final years. Building on past work, language scores were collapsed into a composite depression metric for each text. Data from each work type was subsequently compiled and graphed into a single plot by year, with scores exceeding the 95th percentile (p < 0.05) considered statistically significant and treated as potential depressive episodes.Results: Significant, consistent patterns of depression were not found and do not support suicide as a cause of death. However, linguistic evidence was found suggesting the presence of several potential depressive episodes over the course of Poe's life - these episodes were the most pronounced during years of Poe's greatest success, as well as those following the death of his late wife.Limitations: Given the sampling method, it is not possible to establish direct causality; results should be considered informed but tentative.Conclusion: This investigation demonstrates the utility of language analysis for capturing disruptive/maladaptive emotional responses to life events. [ABSTRACT FROM AUTHOR]

The article presents an analysis of the short story "Three Sundays in a Week" by Edgar Allan Poe. Topics include reason that Richard Kopley detects personal innuendos in the story, the problem of locality and privileged place which Poe treated in a comic way in relation to time in his romantic comedy, and analysis of the proverbial meaning of the story.

This study argues that Nāzik al-Malāʾikah's poetics—as indicated in her "Introduction" to her collection Shaẓāyā wa-ramād and her book Qaḍāyā al-shiʿr al-muʿāṣir —is in conversation with the famous American poet, critic, and short story writer Edgar Allan Poe's poetics. This affinity has not been properly noted by critics, as their discussions have been limited to issues of form, content, or borrowings from Poe's poems. This article argues that al-Malāʾikah's elaborations on Poe are more profound than hitherto assumed since they articulate a different kind of formal poetics altogether. The chief characteristics of this poetics can be identified as sound/rhythm, concision, refrain (or repetition, with variation). While these innovative instances are foundational in her literary criticism, her poetry also conveys other venues of indebtedness and conversation. [ABSTRACT FROM AUTHOR]

Edgar Allan Poe's use of the term 'sublime' is somewhat mysterious, and there is therefore a longstanding tradition of calling on outside theories of this notion to understand it. One of these is that of Immanuel Kant. It is this tradition that will be under scrutiny here. Indeed, virtually all the critics who have used Kant's sublime to understand Poe's have done so on the basis of what the German philosopher called the 'dynamic sublime'. But just as important to his theory is the 'mathematical sublime'. This article will argue that the mathematical sublime needs to be re-injected into analyses of Poe's understanding of this notion, and will propose one avenue for doing so: a comparison of a passage from Kant's paragraphs on the mathematical sublime and Poe's tale 'The Sphinx'. The article will further argue that such a reincorporation of this other sublime into analyses and conceptions of the notion reveals a much more material Poe. [ABSTRACT FROM AUTHOR]

This article considers the biases of the popular press, the first mass-print medium, alongside the biases of gender and professionalism in Edgar Allan Poe's early 1840s detective fiction. In the tales 'The Murders in the Rue Morgue', 'The Mystery of Marie Rogêt' and 'The Purloined Letter', detective C. Auguste Dupin develops unmatched analytical and professional capabilities through his extensive reading of print media and his familiarity with the protocols of the nineteenth-century penny press. Based on the model of the New York Sun, these cheap publications popularized women's gruesome deaths and cruel misfortunes for profit. In Dupin's media environment, women are always-already victims without the means or opportunity to speak for themselves, maintain steady employment, or find shelter from the exploitative practices of the commercial press. Men like Dupin, on the other hand, stand to build professional skills, wealth and fame the more they study and replicate the practices of their print media environment. Reading Poe's representation of gender inequity as an extension of the penny press and middle-class professionalism complicates previous assessments of Dupin (by Marshall McLuhan and literary scholars alike) as an inclusive literary figure that invites reader participation. [ABSTRACT FROM AUTHOR]