El terror gótico latinoamericano de Mariana Enriquez como propuesta virtual en el museo Malba: una crítica social y de género by Silvia Beatriz  Fernández

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The Mechanics of Fear: Organic Haunted Houses in American Cinema by Anne-Marie Paquet-Deyris

“…In this respect, even though a direct descendant of a more conventional haunted house film genre, the 1980s family horror imposes a reversal of viewpoints. It actually seems to be reverting to some more classical Hollywood narrative structures after the bloodbaths of the previous decade in horror feasts, such as The Hills Have Eyes (1977) or Dawn of the Dead (1978), which argued then for a new form of society. …”
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‘Some strange monster of the isle’: l’hybride dans The Tempest by Pascale Drouet

“…Then, from a metaphorical point of view, Prospero’s island is regarded as a cabinet of curiosities in which hybrid creatures—of which Caliban is one—fill the castaways with either wonder or horror; Prospero’s project and that of creators of cabinets as “encyclopaedias of the visible world” (Evans’ phrase) may hence be paralleled. …”
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Feminizing a Colonial Epic: On Spofford’s “Priscilla” by Daniela Daniele

“…By shifting her focus from the celebration of the army leader Miles to the disempowered Priscilla who stubbornly claims her freedom in love, Spofford points to the private horrors of colonization in an exemplary feminist apologue filled with domestic sentiments which partakes of what Alide Cagidemetrio defines as a “usable past.”…”
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“When the war is over […] we will all enlist again” (The Lice): W.S. Merwin P(r)o(ph)etic by Hélène Aji

“…This essay takes Kenneth White’s description of “a quiet apocalypse” as a starting point to read the complexities of W.S. Merwin’s poems in The Lice (1967). …”
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