By Barbara Cantalupo
The essays during this assortment have been initially awarded as talks on the Poe reports Association's 3rd foreign Edgar Allan Poe convention: The Bicentennial in October 2009. all of the essays during this quantity take care of Poe's effect on authors from the us and out of the country; moreover, the gathering additionally comprises examples of fundamental texts by means of modern authors whose paintings is at once concerning Poe's paintings or lifestyles: an interview with eastern detective novelist Kiyoshi Kasai and poems by way of Charles Cantalupo.
This quantity comprises interpretative essays on foreign authors whose paintings displays again on Poe’s paintings: Edogawa Rampo from Japan; Lu Xun from China; Fernando Pessoa, Eça de Queirós and Ramalho Ortigão from Portugal; Angela Carter from England; and Nikolai Gogol from Russia. The essays during this assortment supplement and expand a venture began through Lois Vines' Poe overseas (University of Iowa Press, 1999) and take a much wider point of view on Poe's effect with essays on Poe's impression on American authors William Faulkner, Mary Oliver, Joyce Carol Oates, Nathaniel Hawthorne, Herman Melville, and Harriet Jacobs.
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Extra resources for Poe's Pervasive Influence
Also noteworthy in this connection is the apparent popularity with visitors to actual panorama buildings of scenes of Japanese imperial conquest. ) In either case, the island’s dioramic combination of, as Hitomi puts it, “multiple worlds overlapping a single space,” together with his assertion that such overlap may be likened to “the double exposure of a movie” (eiga no nijuu-yaki-tsuke), highlights a multiplicity and a doubleness that are fitting metaphors for the overlapping of cultures, languages, and technologies that characterized both the increasingly cosmopolitan Japan of the 1920s (thanks to what we might loosely call the overlay of Westernization on Japanese culture) and the spaces of Japan’s overseas colonies (thanks to their overlay of Japanization on what we might loosely call their native culture).
Geoffrey Harpham, On the Grotesque: Strategies of Contradiction in Art and Literature. Princeton: Princeton University Press, 1982, 27. 2. Wolfgang Kayser, The Grotesque in Art and Literature. Trans. Ulrich Weisstein. New York: Columbia University Press, 1981, 21. 3. See, for instance, Marina Warner, Monsters of Our Own Making: The Peculiar Pleasures of Fear. Lexington: University of Kentucky Press, 1998, 248–249, on the northward spread of the grotesque from Italy, and the range of artistic expression it occasioned by Hieronymous Bosch, Pieter Bruegel the Elder and others.
BC: Is the Dupin character a composite of Poe’s Dupin and yours, is it someone without a particular identity related to Poe’s character, or is he someone we would recognize as the same Dupin of Poe’s tales? KK: I’ve made a composite of all the representations of similar Dupin characters that have emerged since Poe’s Dupin, but I’ve not gone against the basic characteristics of Poe’s Dupin. I have added George Sand’s characteristics to my Dupin. Did you know that George Sand’s real name is Aurore Dupin?