This work focuses on the Cthulhu, a word invented by H. P. Lovecraft and a puzzling sequence of letters that has influenced many works of modern pop culture but is still unfamiliar to most.
This Cthulhu Mythos and the question of the extent to which it can be considered as a series is going to be the object of this work. Over the course of the argumentation this text is going to give a brief overview of the term "intertextuality" in the context of literary studies and establish some useful terms for the analysis of Mythos Literature. Subsequently, a definition of "series" is going to be decided on, as well as the characteristic features of so-called Mythos literature. The theoretical results of these three Chapters are then going to be used in an analysis of a short story of contemporary author Neil Gaiman that employs many of Lovecraft’s inventions and concepts. Thence will be answered the question whether or not Neil Gaiman’s "A Study in Emerald" can be considered to be part of the Cthulhu Mythos.
Howard Phillips Lovecraft, born on August 20, 1890, in Providence, Rhode Island wrote more than sixty stories, most of them short, in his forty-seven years lifespan. His work was almost exclusively published in amateur magazines like "The United Amateur", 6 stories between 1915-1923, and the pulp magazine "Weird Tales", 40 stories from 1925 on until 1941 even after his death. It was also in "Weird Tales" that he published probably his most influential short story "The Call of Cthulhu" which centres around the name-giving deity for his overall Mythos.
Table of Contents
1. INTRODUCTION
2. INTERTEXTUALITY IN THE CONTEXT OF SERIES
3. A DEFINITION OF SERIES
4. ABOUT THE CTHULHU MYTHOS
5. IS NEIL GAIMAN’S A STUDY IN EMERALD PART OF THE CTHULHU MYTHOS?
6. CONCLUSION
Objectives & Core Topics
This work explores the extent to which the Cthulhu Mythos functions as a literary series by examining the theoretical frameworks of intertextuality and seriality, ultimately applying these findings to analyze whether Neil Gaiman's "A Study in Emerald" qualifies as a constituent part of the Mythos.
- Examination of intertextuality as a mechanism for literary analysis and series connection.
- Definition of "series" and "seriality" within the context of narrative structures.
- Identification of characteristic Lovecraftian motifs, including cosmicism and fictional topography.
- Comparative analysis of "A Study in Emerald" against established Mythos conventions.
- Evaluation of the Cthulhu Mythos as a coherent aesthetic and philosophical unity.
Excerpt from the Book
5. Is Neil Gaiman’s a Study in Emerald part of the Cthulhu Mythos?
Now following is the analysis of the short A Study in Emerald by Neil Gaiman. The title suggests correctly, that this story has been strongly influenced by another most popular series of short stories in English language, namely Conan Arthur Doyle’s Sherlock Holmes Stories. The setting is identical to the first Sherlock Holmes story A Study in Scarlet, a veteran of Afghanistan struggling with the aftermath of his mission is looking for accommodation in London and at Baker Street meets his would-be roommate “London’s only consulting detective” (Gaiman 2011, 2). “The first part of the story is in large part directly lifted from A Study in Scarlet” (George 2016, 169), but the many parallels and allusions to Sherlock Holmes detective stories are not going to be discussed any further, instead this work is going to focus on the lovecraftian elements in this text and the question of whether the story is “emerald” enough to be considered as a part of the Cthulhu Mythos Series.
Summary of Chapters
1. INTRODUCTION: This chapter provides an overview of H.P. Lovecraft’s influence on modern pop culture and establishes the research goal of evaluating the Cthulhu Mythos as a series.
2. INTERTEXTUALITY IN THE CONTEXT OF SERIES: This section defines intertextuality through various theorists to understand how texts relate to one another and how they create deeper meaning through logical presuppositions.
3. A DEFINITION OF SERIES: This chapter establishes a formal definition of a series, distinguishing it from serials and exploring how narrative repetition and world-building foster a connection with the audience.
4. ABOUT THE CTHULHU MYTHOS: This chapter analyzes the core motifs of Lovecraft's work—such as cosmicism, fictional topography, and forbidden books—that link his stories into a coherent mythic framework.
5. IS NEIL GAIMAN’S A STUDY IN EMERALD PART OF THE CTHULHU MYTHOS?: This chapter applies the previously defined theoretical framework to Gaiman's short story, concluding that despite various intertextual references, it lacks the essential narrative and atmospheric characteristics of the Mythos.
6. CONCLUSION: The concluding chapter summarizes the main findings and reaffirms that the Cthulhu Mythos functions as an aesthetic and philosophical unity, distinct from other derivative works.
Keywords
Cthulhu Mythos, H.P. Lovecraft, Intertextuality, Seriality, Cosmicism, Neil Gaiman, A Study in Emerald, Literature, Narrative Structure, Horror Fiction, Mythos, Diegetic World, Literary Analysis, Transtextuality, Genre Theory.
Frequently Asked Questions
What is the fundamental objective of this work?
The work aims to determine whether the Cthulhu Mythos can be classified as a "series" by defining the specific characteristics that constitute such a series and testing those criteria against a contemporary literary work.
What are the primary themes discussed in this paper?
The core themes include the mechanics of intertextuality, the structural definition of serial narratives, and the identification of recurrent motifs within the Lovecraftian literary corpus.
Which theoretical approach is utilized?
The author employs literary theory regarding intertextuality (drawing on Riffaterre, Genette, and Porter) and seriality (drawing on Eco and Hagedorn) to build a framework for analyzing Mythos literature.
What is the focus of the main body of the work?
The main body systematically reviews the concept of intertextual reading, defines the attributes of a literary series, characterizes the unique elements of the Cthulhu Mythos, and conducts a case study on Neil Gaiman's fiction.
Which specific short story is used for the practical analysis?
The analysis focuses on Neil Gaiman's "A Study in Emerald" to investigate its inclusion within the Cthulhu Mythos.
How is the "Cthulhu Mythos" defined in this study?
The Mythos is defined not just as the works of Lovecraft, but as a broader, interconnected corpus of literature that shares a consistent mythic framework, geography, and thematic focus.
Does the author conclude that "A Study in Emerald" belongs to the Cthulhu Mythos?
No. While the story is heavily intertextual and incorporates Lovecraftian elements, the author concludes that it deviates too significantly in narrative style and atmosphere to be considered a true Mythos story.
What role does the "Double Model-Reader" play in the author's argument?
The Double Model-Reader concept explains how different readers engage with a series—one through a naive, literal reading and another through an intertextual reading that identifies subtle references and structural patterns.
Why are forbidden books and New England settings important to the Mythos?
These are established as key plot devices that provide consistency and depth to the diegetic world, allowing Lovecraft to build a recognizable, shared environment across multiple stories.
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- Niels Brause (Autor:in), 2018, The Cthulhu Mythos as Series, München, GRIN Verlag, https://www.hausarbeiten.de/document/476848
