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Basement Heart is a collection of short stories with a goal of documenting the manifestations of rage and how it evolves throughout a woman’s life. In these stories, femininity is explored through the aesthetics of the grotesque. Female protagonists seek to inhabit new definitions of female sexuality that combat tired expectations made by society’s misogynistic and objectifying culture. Often, their feelings of unprovoked grief manifest themselves as pursuits of the flesh, which becomes the underlying heartbeat of each story; themes revolve around sex and obsession and explore what happens when sexual fantasies are realized and lived out in the real world. When characters inhabit their bodies in ways that American culture tells women not to, they become viscerally self-aware and better their understanding of what they want. And doing what they want is all these women care about. The characters in Basement Heart are angry, restless, and at times driven mad by their own lust for control.

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Магистерская диссертация посвящена исследованию поэтики трансгрессии в произведениях современной уральской литературы разных родо-жанровых форм. Материалом исследования стали произведения уральских авторов, являющихся знаковыми фигурами не только для региональной, но и общероссийской литературы: роман Алексея Сальникова «Отдел», пьесы Рината Ташимова и книги стихов Александра Вавилова. В работе исследуются способы репрезентации трансгрессивных феноменов в произведениях современной уральской литературы, выявляется роль и специфика форм трансгрессии в индивидуально-авторских концепциях миромоделирования, определяются сходства и различия приемов изображение трансгрессии в произведениях разных родо-жанровых форм. / The master's thesis is devoted to the study of the poetics of transgression in the works of modern Ural literature of various genre forms. The material of the study was the works of Ural authors who are iconic figures not only for regional, but also for all-Russian literature: Alexey Salnikov's novel «Department», Rinat Tashimov's plays and Alexander Vavilov's poetry books. The paper examines the ways of representing transgressive phenomena in the works of modern Ural literature, reveals the role and specificity of the forms of transgression in the individual author's concepts of world modeling, identifies similarities and differences in the methods of depicting transgression in the works of different genre forms.

In this paper, I study the bodies in Mare Kandre’s two novels Bestiarium (1999) and Xavier (2002), with the help of Mikhail Bakhtin’s theories of the grotesque. I examine the worldview that is portrayed in the novels – focusing on the attitude towards death – and seek answers to the following questions: how do the human bodies look and how do they relate to their surroundings? What does the way they are portrayed say about the world the novels portray? And what role does laughter play in the novels? I also examine the similarity between a grotesque body, and a gothic monster. As a result, I find that one body may exist both in life and death at the same time, that the bodies can merge together, and that the boundaries between body and world may be exceeded. I also find the grotesque abilities of the body not to be threatening, but filled with possibilities. Here, even monsters are not harmful. / I den här uppsatsen undersöker jag kropparna i Mare Kandres två romaner Bestiarium (1999) och Xavier (2002), med utgångspunkt i Michail Bachtins teorier om det groteska. Jag söker svar på hur hans begrepp kan öka förståelsen för den värld som målas upp i romanerna, med ett fokus på inställningen till döden. Jag ställer mig frågor om hur de mänskliga kropparna ser ut och hur de förhåller sig till resten av världen, vad sättet de gestaltas på säger om romanvärlden och vilken roll skrattet spelar i romanerna. Jag undersöker också likheten mellan groteska kroppar och gotiska monster. I min analys visar jag att kropparna i Mare Kandres romaner kan befinna sig både i livet och döden samtidigt, att de ständigt är i rörelse och kan uppgå i varandra. Dessutom kan gränsen mellan kropp och värld upplösas. Jag visar också på att den glädje som kännetecknade medeltidens grotesk bara kan förnimmas, men att de groteska kropparna trots det besitter positiva möjligheter. Inte ens monster måste här besegras, då de inte utgör något hot.

Arising from the complications of an underprivileged and impoverished background this thesis focuses on exposing the grotesque consequences of conflicting ideologies through personal and societal suffering while in search of universal connections to showcase the need for compassion and understanding. My artistic practice is utilized as an entry point to have difficult discussions, a tool for teaching themes of injustice, inequality, and mistreatment. The traumatizing experience of poverty or corruption has the potential to be transmuted into something beneficial. I utilize discarded, low valued, unwanted, and damaged materials in my artmaking to symbolize transfiguration, an advanced state of former self. What seems hideous has its own beauty. What seems rotten and ugly has the potential to be adapted into something beneficial, any suffering we have experienced should not and has not gone to waste. The wisdom and resilience that arose from the experience will serve you in the future. This attempt at an honest, unflinching exploration of self and society is to shift perspectives away from apathy, towards thoughtfulness for other's struggles.

Through the lens of the horror film and the fairy tale, this thesis explores the notion of the grotesque as a boundary phenomenon—a negotiation of what is self and what is other. As such, it locates the function that the monstrous and the grotesque have in the formation of a personal and social identity. In asking why we take pleasure in the perverse, I explore how permutations of guilt, victimhood, and desire can be actively rewritten, in order to construct a stable sense of self.

Qu’advient-il lorsqu’un dramaturge à succès se glisse dans la peau d’un chroniqueur? Comment se manifeste alors l’influence du modèle théâtral sur sa prose narrative? À une époque où la question des genres canoniques semble dépassée et où les notions d’intergénéricité et d’hybridation paraissent plus aptes à expliquer les pratiques esthétiques contemporaines, nous avons choisi de nous intéresser aux différentes modalités d’inscription de la théâtralité dans les « Chroniques du Plateau Mont-Royal » de Michel Tremblay. Notre premier chapitre se penche sur les manifestations ostensives de la théâtralité dans les six récits. Grâce au recours à des figures comme l’hypotypose et à certains procédés de distanciation comme la mise en abyme, l’adresse au lecteur et l’aparté, le lecteur assiste à une mise en œuvre récurrente du dispositif spectaculaire. Notre deuxième chapitre porte sur les procédés de dramatisation du romanesque. À travers un mouvement impétueux qui fait alterner et même cohabiter le comique et le tragique, le réel et le fantastique, le sublime et le grotesque, l’excès et le manque, l’auteur pratique non seulement le mélange des genres et des tonalités au sein de son œuvre, mais fait appel à divers procédés qui visent à produire la catharsis chez le lecteur. Notre troisième chapitre dégage les modalités de théâtralisation de la parole romanesque. Par la mise en place d’un double régime discursif, qui oscille entre l’effacement de l’énonciation auctoriale et la pulsion rhapsodique, l’auteur donne à voir une parole romanesque qui reflète les grands enjeux de l’écriture dramatique contemporaine. / What happens when a successful playwright attempts to play the part of a chronicler? How does the influence of the theatre manifest itself in his narrative prose? At a time when the question of the canonic genres seems to have become obsolete and where the notions of intergenericity and hybridism seem more apt at explaining modern esthetical practices, we chose to target the various ways in which theatricality inscribes itself in Michel Tremblay’s Chroniques du Plateau Mont-Royal. Our first chapter looks at the ostensive manifestations of theatricality in the six stories. Through recourse to figures such as hypotyposis and other distancing processe, like mise en abyme, the address to the reader and the aside, the reader witnesses a recurrent manifestation of the spectacular device. Our second chapter targets the dramatization process of the novelistic. Through an impetuous movement that makes comic and tragic, reality and fantasy, sublime and grotesque, excess and lack alternate and even cohabit, the author claims not only a mix of genres and tonality within his works but he also provokes an outbidding of processes which aim at triggering a catharsis within the reader. Our third chapter outlines the theatricality modes of the novelistic voice. Through the implementation of a double discursive regime which oscillates between the author’s self-effacement and enunciation and rhapsodisation, the writer’s novelistic word reflects the great stakes of contemporary playwriting.

What if every craving that you ever felt stayed with you forever? Suppose facades couldn’t exist, and what should only be the deepest, densest core of a desire was formed into a mass, a body. Its will matching yours in its physical presence. I make creatures that are embodiments of emotions. In this study I mainly focus on desires and inhibitions surrounding romance. I explore anatomical structures and how material make-up can directly reflect emotional character. In this exploration, the materiality of clay allows for a thorough manipulation of the composition of the creatures. In this I am also able to manipulate the material properties of clay to reflect states of existential discomfort, pushing the limits of material structure and stability. The final presentation of these creatures are as specimens of inhibitions, drawing in the viewer with empathy and repulsion as a fantastic other.

The present thesis explores works of Pavel Růžek and Jerzy Pilch, its central focus being the analysis and interpretation of their approach towards one's own biography and one's identity as a writer. Although both authors come from the same generation, they address different literary traditions and construct different poetics. What they have in common, however, are literary motifs rooted in their biographies, such as alcoholism, the mythology of childhood, [the existence of] "fateful places," even particular types of women or other characters (including animals). Additionally, the thesis scrutinises the position of both writers in the consciousness of Polish and Czech readership along with their place on the two literary markets.