Added to the Open Lovecraft page…

* Eugene Thacker (2012), “Cosmic Pessimism”, Continent, Vol. 2 No. 2, 2012, pp. 66–75. (Lovecraftian philosophy).

* Benjamin Noys (2005), “A Gothic Sinthome? The Case of H.P. Lovecraft”, presented at the conference ‘Gothic Remains: Symptoms of the Modern’, University of Sussex, December 2005. (Examines the possibilites for using Lacan to try to understand Lovecraft. Lacan’s sinthome is a unanalyzable and unspeakable ‘symptom’ of meaning that lies just outside the semiotic triangle, but which might be apprehended via the unconscious in moments of jouissance or sublime awe).

* Michael Umbricht (2013), “Cosmic Inspiration: Lovecraft’s Astronomical Influences” (Nicely illustrated academic Powerpoint presentation from Ladd Observatory at Brown University, as part of NecronomiCon 2013. Illustrates the influence of the Ladd Observatory on Lovecraft’s early life).

Added to the Open Lovecraft page:

* Robert C. Schachel (2006). “The aeon-silent maze of unhuman masonry: Lovecraft’s other places”. (Substantial chapter in the PhD thesis Textual Projections: The Emergence of a Postcolonial Gothic, for the University of Florida, 2006).

* Elena Glasberg (2008), “Who Goes There? Science, fiction, and belonging in Antarctica”, Journal of Historical Geography, 34, 2008, pp. 639–657. (Only mentions Poe and Lovecraft in passing. It does, however, open with a good outline of the pre-war ideological developments in ‘the Byrd view’ of Antarctica between “At The Mountains of Madness” (1931) and “Who Goes There?” (1938), which may be relevant to those considering the reception of “Mountains” in the 1930s and 40s).

* Amy Ireland (2013), “Noise: An Ontology of the Avant-garde”. (Paper for the 2013 conference ‘Modern Soundscapes’ run the Australasian Association of Literature / Centre for Modernism Studies. Examines sound/noise in “At The Mountains of Madness” in order to weigh the claims of two philosophers, Kant and Nick Land, and from this develops ideas about the 20th century avant-garde’s use of noise as an “exaltation of the void and the melting of unstable frontiers”).

* Sonja M. Karlas (2013). Cosmic horror, gothic body and the text: H. P. Lovecraft’s “The Shadow Over Innsmouth”. (Polished paper written as part of a Masters degree. Version of the same paper was later published in Journal for Languages and Literatures of the Faculty of Philosophy in Novi Sadu, Vol.3, No.3, 2013).

* Rui Lopes (2011), “O interprete estupido”, Dos Algarves, No. 20, 2011. (In Spanish. Examines literary characters reacting to strange things — as depicted by Lovecraft, Musil, Pitkin, and Poe).

* Alcebiades Diniz Miguel (2008), “A teratologia multipla: Robert Bloch e o seu bestiario”, Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG, Vol. 2, No. 3, 2008. (In Brazilian Portugese. Appears to be an examination of Lovecraft’s claim that certain peoples and cultures were more suited than others to create fantastic supernatural works. Part of a special issue on Kabala: the weird and magical in Jewish cultural heritage).

Organs Everywhere has a special issue on Cyborgs and Monsters, including Ben Woodard…

* Van Leavenworth (2010), “Reading with Awe and Playing with Terror: Labyrinths in Selected Stories by H.P. Lovecraft and Michael S. Gentry’s Anchorhead“, chapter two in The Gothic in Contemporary Interactive Fictions: Umea Studies in Language and Literature 11, 2010.

* Modesto Gomez Alonso (2012), “H.P. Lovecraft: creencia estetica y asentimiento intelectual”, Taula: quaderns de pensament, Vol. 44, 2012. (In Spanish. Examines the epistemological and aesthetic grounds for Lovecraft’s theory of cosmic horror).

* Vivian Ralickas (2006), “Abjection, sublimity, and the question of the unpresentable in Poe, Baudelaire, and Lovecraft”. (Extract from a PhD thesis at the University of Toronto).