<abstract xmlns="http://www.w3.org/1999/xhtml"><p>Methodologically connecting at its core the experience-based and interpretation-based aesthetic approach to popular culture/popular art(s) on one hand and the basis-building views of what is called arch-textual thematology on the other, the paper seeks to examine, following its particular embodiment, one of the most stable, recurring and probably therefore one of the most iconic stock characters - the “tortured artist” stock character. This example of a “stereotyped character easily recognized by readers or audiences from recurrent appearances in literary or folk tradition” (<xref ref-type="bibr" rid="j_aa-2019-0010_ref_001_w2aab3b7b3b1b6b1ab1ab1Aa">Baldick, 2008</xref>, p. 317) can be - besides other principal and distinctive examples such as the “mad scientist”, the “lady/damsel in distress” or, let’s say, the “everyman” - witnessed all across culture, including the sub-sphere of popular culture, and the arts. The implied cultural significance and “omnipresence” of the “tortured artist” stock character can be aptly illustrated by Vincent Van Gogh and not only as a real-life tortured artist prototype or even archetype but also as a popular model for numerous and various cultural depictions - from poems by Charles Bukowski through the “moving pictures” of Loving Vincent to an episode of the well-recognized British TV show Doctor Who.</p></abstract>

Methodologically connecting at its core the experience-based and interpretation-based aesthetic approach to popular culture/popular art(s) on one hand and the basis-building views of what is called arch-textual thematology on the other, the paper seeks to examine, following its particular embodiment, one of the most stable, recurring and probably therefore one of the most iconic stock characters - the “tortured artist” stock character. This example of a “stereotyped character easily recognized by readers or audiences from recurrent appearances in literary or folk tradition” (Baldick, 2008, p. 317) can be - besides other principal and distinctive examples such as the “mad scientist”, the “lady/damsel in distress” or, let’s say, the “everyman” - witnessed all across culture, including the sub-sphere of popular culture, and the arts. The implied cultural significance and “omnipresence” of the “tortured artist” stock character can be aptly illustrated by Vincent Van Gogh and not only as a real-life tortured artist prototype or even archetype but also as a popular model for numerous and various cultural depictions - from poems by Charles Bukowski through the “moving pictures” of Loving Vincent to an episode of the well-recognized British TV show Doctor Who.

Doctor Who meets Loving Vincent Van Gogh (A case study of the “tortured artist” stock character in popular culture)

Institute of literary and artistic communication, Faculty of Arts

Constantine the Philosopher University in Nitra

Ars Aeterna

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

Methodologically connecting at its core the experience-based and interpretation-based aesthetic approach to popular culture/popular art(s) on one hand and the...

Doctor Who meets Loving Vincent Van Gogh (A case study of the “tortured artist” stock character in popular culture)

Published Online: Dec 21, 2019

Page range: 55 - 67

DOI: https://doi.org/10.2478/aa-2019-0010

© 2019 Martin Boszorád, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.