In lieu of an abstract, here is a brief excerpt of the content:

• Lovecraft and Matters of Weird Realism: Decadence, Architecture, and Alien Materiality
• Hisup Shin (bio)

Lovecraft and Weird Architecture

In linking H. P. Lovecraft with the resurgence of realism in recent years critics often highlight the writer’s capacity to imagine a landscape that shares no physical properties with the world we inhabit. The utter shock and disbelief voiced by his narrators at the end of his stories reflects their struggle to make sense of a cache of strange shapes, things, and perspectives populating the Lovecraftian fantasy landscape. For Graham Harman, the language of cognitive dissonance in the face of shocking encounters is not merely a rhetorical accoutrement of supernatural genre fiction but an important index of what he calls “weird realism,” a type of realist representation instigated by a sense of a “reality too real to be translated without remainder into any sentence, perception, practical action, or anything else.”¹ In this view, the “remainder” is what emerges from the encounters after language fails, a kind of ghostly presence of thing-in-itself shimmering between the lines, so to speak, “the very embodiment of an anti-pulp writer.”²

For all its quirky novelty value, weird realism continues European modern realism, which Erich Auerbach famously articulates by tracing a line of stylistic development from Stendhal through Balzac to Flaubert, in its pursuit of the unmediated thingness of the world. Narrative in this development is, according to Auerbach, represented as a level of unmediated observation in which “every event, if one is able to express it purely and completely, interprets itself and the persons involved in it far better and more completely than any opinion or judgment appended to it could.”³ In referring to Flaubert’s style as the culmination of realist development, Auerbach suggests that writing can become a vehicle for accurate representation by doing away with its symbolic or mythical [End Page 51] characters.⁴ What weird realism latches onto and radicalizes is this possibility of pure expression, where language can potentially catch a glimpse of thing-in-itself glimmering in the shadow of knowledge and appearances where it resides because it is dislodged from anthropomorphic ways of thinking and describing.

Furthermore, at a time when global capitalism and industrialization are identified as the culprit of a series of planetary crises from biodiversity depletion to global warming, the attempt to push such a realist agenda is not just a literary goal but part of a broadly conceived multidisciplinary effort to heighten our awareness of the ailing planet. The question of whether we humans as a species are able to modify our predatorial modes of existence by reconfiguring the way we relate to the world has been the subject of range of inquires across the humanities and physical and social sciences. The growing interest in Lovecraftian supernatural horror as an important development in twentieth-century US modernism reflects in part the renewed attention to the capacity of literature and arts to imagine a world beyond the instrumental or exploitative frame of human perception and “conducts.” What weird realism offers, then, is a “reconfiguration” of the ailing planet: this planet expresses its own volition through flooding, wildfire, and other shocking, often sublime environmental events rather than silently suffering at the claws of industrial and economic modernization. As one recent critic puts it, the current onslaught of planetary woes, the sign of a new geological epoch called the Anthropocene, is “an opportunity to embrace a new ontology” that requires us to “reconfigure our orientation to the material world.”⁵ It is this new ontology that weird realism aims to represent, a realism that disowns the idea of the human mind as the frame of knowledge and instead regards things themselves as actors enmeshed in a dynamic, often complex web of relationality that goes beyond human measures and interest: “The question is no longer, ‘what must the mind be like for X to be possible?’. . . but rather, ‘what must the world be like for X to be possible?’”⁶

Taking a cue from this ontological approach, this essay explores what Mark Gages terms “the existence of an architecture” in Lovecraft’s writing that is “curious” and “strange” and that challenges notions...

中文翻译：

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洛夫克拉夫特和怪异现实主义：颓废、建筑和外星物质

代替摘要，这里是内容的简短摘录：

• 洛夫克拉夫特和怪异现实主义：颓废、建筑和外星物质
• Hisup Shin（生物）

洛夫克拉夫特和奇怪的建筑

在将HP Lovecraft 与近年来现实主义的复兴联系起来时，评论家们经常强调作者能够想象出与我们居住的世界没有任何物理属性的景观。他的叙述者在他的故事结束时表达的完全震惊和难以置信反映了他们努力理解大量奇怪的形状、事物和观点，这些奇异的形状、事物和观点充斥着洛夫克拉夫特式的幻想景观。对于格雷厄姆哈曼来说，面对令人震惊的遭遇时认知失调的语言不仅是超自然类型小说的修辞装备，而且是他所谓的“怪异现实主义”的重要指标，一种由“现实太真实了，无法无余地翻译成任何句子、感知、实际行动或其他任何东西。”¹在这种观点下，“剩余”是在语言失败后的相遇中出现的东西，一种在字里行间闪烁的自在之物的幽灵般的存在，可以说，“是反低俗作家的化身。 ” ^2个

怪诞现实主义尽管具有古怪的新奇价值，但它延续了欧洲现代现实主义，埃里希·奥尔巴赫 (Erich Auerbach) 在追求世界的无中介物性时，通过追溯从司汤达到巴尔扎克再到福楼拜的风格发展路线，著名地阐述了这一点。根据奥尔巴赫的说法，这种发展中的叙事被表示为一种无中介观察的水平，在这种观察中，“每个事件，如果能够纯粹和完整地表达它，就会比任何意见更好和更完整地解释自己和参与其中的人。或附加在其上的判断力。” ³在将福楼拜的风格称为现实主义发展的顶峰时，奥尔巴赫建议，通过消除其象征性或神话性，写作可以成为准确表达的工具 [结束第 51 页]人物。⁴怪异现实主义抓住并激进化的是这种纯粹表达的可能性，在这种可能性中，语言有可能瞥见事物自身在它所在的知识和表象的阴影下闪烁，因为它脱离了拟人化的思维和描述方式.

此外，在全球资本主义和工业化被确定为从生物多样性枯竭到全球变暖等一系列地球危机的罪魁祸首之际，推动这种现实主义议程的尝试不仅是一个文学目标，而且是广泛构想的多学科努力的一部分提高我们对病态星球的认识。我们人类作为一个物种是否能够通过重新配置我们与世界的联系方式来改变我们掠夺性的生存模式，这一问题一直是人文科学、物理和社会科学领域广泛研究的主题。作为 20 世纪美国现代主义的一个重要发展，对洛夫克拉夫特式超自然恐怖的兴趣日益增长，部分反映了人们重新关注文学和艺术的能力，以想象一个超越人类感知和“行为”的工具性或剥削性框架的世界。那么，怪异现实主义提供的是对病态星球的“重新配置”：这个星球通过洪水、野火和其他令人震惊的、通常是崇高的环境事件来表达自己的意志，而不是在工业和经济现代化的利爪下默默地受苦。正如最近的一位评论家所说，当前行星灾难的袭击是一个称为人类世的新地质时代的标志，是“拥抱新本体论的机会”，它要求我们“重新配置我们对物质世界的定位”。往往会升华环境事件，而不是在工业和经济现代化的利爪下默默受苦。正如最近的一位评论家所说，当前行星灾难的袭击是一个称为人类世的新地质时代的标志，是“拥抱新本体论的机会”，它要求我们“重新配置我们对物质世界的定位”。往往会升华环境事件，而不是在工业和经济现代化的利爪下默默受苦。正如最近的一位评论家所说，当前行星灾难的袭击是一个称为人类世的新地质时代的标志，是“拥抱新本体论的机会”，它要求我们“重新配置我们对物质世界的定位”。⁵怪异现实主义旨在表现的正是这种新的本体论，这种现实主义否认人类思维是知识框架的观念，而是将事物本身视为参与者，这些参与者陷入了超越人类衡量标准的动态的、通常是复杂的关系网络中和兴趣：“问题不再是，'头脑必须是什么样子才能使 X 成为可能？'”。. . 而是‘世界必须是什么样子才能使 X 成为可能？’” ⁶

从这种本体论方法中汲取灵感，本文探讨了马克·盖奇 (Mark Gages) 在洛夫克拉夫特 (Lovecraft) 的作品中所说的“建筑的存在”，即“好奇”和“奇怪”并挑战观念……