The Significance of Mythical Creatures and Their Symbols in the First Six Series of Harry Potter by J.K

Total Page:16

File Type:pdf, Size:1020Kb

The Significance of Mythical Creatures and Their Symbols in the First Six Series of Harry Potter by J.K THE SIGNIFICANCE OF MYTHICAL CREATURES AND THEIR SYMBOLS IN THE FIRST SIX SERIES OF HARRY POTTER BY J.K. ROWLING TOWARD THE STORYLINE AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By BUDI UTOMO TAN SUBEKTI Student Number : 034214044 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2009 THE SIGNIFICANCE OF MYTHICAL CREATURES AND THEIR SYMBOLS IN THE FIRST SIX SERIES OF HARRY POTTER BY J.K. ROWLING TOWARD THE STORYLINE AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By BUDI UTOMO TAN SUBEKTI Student Number : 034214044 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2009 i ‘IDENTITY AND SELF RESPECT ARE NOT TO BE FOUND…. THEY ARE TO BE REVEALED’ BUDI --- 7TH MAY 2009, 13:20 --- iv LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma Nama : Budi Utomo Tan Subekti Nomor Mahasiswa : 034214044 Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul : The Significance of Mythical Creatures and Their Symbols in the First six series of Harry Potter by J.K. Rowling toward the Storyline beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan, me- ngalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan data, mendistribusikannya secara terbatas, dan mempublikasikannya di Internet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin dari saya maupun mem- berikan royalti kepada saya selama tetap mencantumkan nama saya sebagai penulis. Demikian pernyataan ini yang saya buat dengan sebenarnya. Dibuat di Yogyakarta Pada tanggal : 21 Juli 2009 Yang menyatakan (Budi Utomo Tan Subekti) ACKNOWLEDGEMENTS I would like to thank everyone who has helped me until this undergraduate thesis is completed. First, for Thian the Mighty, who allows me to have such a wonderful life. I would not be as I am without all the events that I had been. Thank you to my wonderful family, Papah, Mamah, my Big Brothers and Sister Ko’Ming, Ko’Hue, Ci’Nik and Ko’Nan who keep encouraging, believing and trying their best to make me focus on my works which now had become a reality for me. All my pets in keeping me busy when I am down. I also would like to give my most sincere gratitude for my advisor, Ms. Ni Luh Putu R., S.S., M.Hum., for all suggestions, correction and her trust on me in completing this thesis. I also thank my co-advisor Mr. G. Fajar S.A., S.S, M.Hum for the valuable input and correction for this thesis, and also for all the staff of the university and for the ones in secretariat who have helped me for these long years. Thanks to all Bolo Kurowo (members of angkringanè Ramto) who helped me in doing what I can the most, when I am in doubt and difficult situation. I can not give anything but my friendship to each and one of you.... Last but not least, for my girl, Meme letting me invade her laptop and printer, thank you very much for your love and trust to me. All of you had thought me many new stuffs and experiences in life. I can only hope for the best of all of us in the future. Budi Utomo Tan Subekti v TABLE OF CONTENTS TITLE PAGE ............................................................................................... i APPROVAL PAGE ..................................................................................... ii ACCEPTANCE PAGE ................................................................................ iii MOTTO PAGE ............................................................................................. iv ACKNOWLEDGEMENTS ......................................................................... v TABLE OF CONTENTS ............................................................................ vi ABSTRACT .................................................................................................. vii ABSTRAK .................................................................................................... viii CHAPTER I: INTRODUCTION ................................................................ 1 1. Background of the Study ................................................................. 1 2. Problem Formulation ...................................................................... 5 3. Objective of the Study ..................................................................... 5 4. Definition of Terms .......................................................................... 6 CHAPTER II: THEORETICAL REVIEW ............................................... 9 1. Review of Related Studies ............................................................... 9 2. Review of Related Theories ............................................................. 12 3. Theoretical Framework ................................................................... 24 CHAPTER III: METHODOLOGY ............................................................ 27 1. Object of the Study .......................................................................... 27 2. Approach of the Study ..................................................................... 30 3. Method of the Study ......................................................................... 31 CHAPTER IV: ANALYSIS ......................................................................... 34 1. List of the Entire Creatures and their Classification ................... 34 2. Mythical Creatures Symbols ........................................................... 44 3. The Significance of the Mythical Creature and their Representation ........................................................................... 74 CHAPTER V: CONCLUSION .................................................................... 91 BIBLIOGRAPHY ......................................................................................... 94 APPENDICES ............................................................................................... 99 Appendix 1............................................................................................. 99 Appendix 2............................................................................................. 112 Appendix 3............................................................................................. 116 Appendix 4............................................................................................. 120 vi ABSTRACT BUDI UTOMO TAN SUBEKTI. The Significance of Mythical Creatures and Their Symbols in the First Six Series of Harry Potter by J.K. Rowling toward the Storyline. Yogyakarta: English Letters Department, Faculty of Letters, Sanata Dharma University, 2009. This undergraduate thesis analyzes the significance of the mythical creatures, their representation and the symbols that the mythical creatures have in the first six series of Harry Potter adventures by J.K. Rowling. The characters used are the mythical creatures themselves and certainly with the help of some human characters to bold up their usage in the story. The symbols used by each of the creatures are very essential to reveal what the author really wants to say to the reader. This thesis uses theory of character and characterization, symbolism and allegory, and representation theory for the analysis and as the approach it uses new criticism. The analysis is divided into three subchapters based on three problems stated in the problem formulation, and they are: (1) What are the creatures used by Rowling in the first six series? (2) What do the mythical creatures symbolize? and (3) What is the significance of the mythical creatures and their representation toward the storyline? For doing the analysis, the researcher used library research with some steps. First, the researcher used data collecting to get the list of all the creatures mentioned in the story. Later, those creatures were classified into the mythical creatures and the non-mythical creatures. Next, the researcher analyzed the data based on certain classification, actions and events that had been through by the creatures. As the results, the researcher found out that each of the creatures is used to deliver moral values. All of the mythical creatures analyzed have certain usage to the whole story and keep certain symbols used to represent and to show some moral lessons and certain philosophy. Besides to deliver the moral values of the story, they were created to help the characters to improve themselves, to create events, to enrich the conflict, to be the tool to achieve some purposes or goals, to make a clear plot, and to reveal the attitude of other characters in Harry Potter’s adventures. vii ABSTRAK BUDI UTOMO TAN SUBEKTI. The Significance of Mythical Creatures and Their Symbols in the First Six Series of Harry Potter by J.K. Rowling toward the Storyline. Yogyakarta: Jurusan Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma. 2009. Skripsi ini membahas pentingnya makhluk mitos, serta simbol dan representasi mereka dalam enam buku pertama petualangan Harry Potter karya J.K. Rowling. Tokoh-tokoh yang dipakai adalah makhluk mitos dan tokoh manusia untuk memperjelas fungsi mereka didalam cerita tersebut. Simbol-simbol yang digunakan pada tiap makhluk sangat
Recommended publications
  • R2 C1 C2 C1 Beasts
    BEA S T S CREATURE ST TO AG INT WP FEL A/C/E WOUND S STAN C E BOAR 5 (4) 6 (2) 3 (1) 1 4 1 6/0/1 15 R2 S TAT CO C KATR ic E 4 (4) 4 (2) 5 (2) 2 3 1 3/3/2 12 C1 6 X S I 5 (4) 4 ∆ (3) 2 (2) 1 3 1 4/0/1 14 C1 COLD ONE END pp A DRAGON 7 ∆ (8) 8 (3) 5 (2) 8 7 ∆ 6 8/6/6 40 C2 REATURE C FEN B EA S T 6 ∆ (5) 5 ∆ (2) 2 (1) 1 3 1 5/0/1 18 C1 BEA S T Abi L I TY FEN B EA S T Abi L I T I E S Instinctive: Beasts may use Willpower instead of Intelligence Terrifying: A fenbeast has Terror 2. when attempting Observation checks. Fenwalker: A fenbeast may ignore terrain-based manoeuvre penal- BOAR Abi L I T I E S ties and up to two ∆∆ misfortune dice penalties to movement and Fast: Boars require only 1 manoeuvre to move between medium actions performed while in marshy terrain. range and long range, and 2 manoeuvres to move between long and extreme range. Regeneration: A fenbeast in marshy terrain recovers 1 normal wound at the end of each of its End of Turn phases. Regeneration CO C KATR ic E Abi L I T I E S does not work during a round when the fenbeast is wounded by fire. Flight: A cockatrice does not need to perform a manoeuvre to No Will: If a fenbeast is not within extreme range of a controlling disengage from opponents before moving.
    [Show full text]
  • Confounding Castle Pages 27-28
    As you enter the next room, you hear a rustling in the dark, followed by a hiss. Four eyes peer out of the shadows, watching you. You stand perfectly still, making sure not to move, as a creature steps out into the light and looks you over. At first, it just seems like an odd looking, out of place chicken – perhaps a little bit bigger than other chickens you might have seen, but other than that, just a regular bird. But something about it seems off, and after a moment, you realize what it is – this bird doesn’t have a tail. Then, you realize that you’re wrong. It does have a tail, but its tail is a living snake, a second pair of eyes that stare at you. “What are you doing in my larder?” the creature squawks at you. You explain that you’re just trying to find your way to the Griffin’s tower, and it calms down considerably. “Oh, okay then. I don’t like people poking around in here, but if you’re just passing through it’s no problem. The ladder up into the Clock tower is right over there.” You are ready to leave, but curiosity overtakes you, and you ask the creature what it is. “I shall answer your question,” it hisses, “with a song.” Then, it throws back its bird head and begins to crow. I am the mighty cockatrice I like to eat up grains of rice But I also enjoy munching mice I do not like the cold or ice I’ve said it once and I will say it thrice I am the Cockactrice! I am the Cockatrice! “Myself, along with the Griffin, the Dragon, and a few others, all came to live here with the Wizard.
    [Show full text]
  • Daphne & Talia, Part II: the Manticore's Misadventure
    Daphne & Talia, Part II: The Manticore's Misadventure by Doombeez, Forget everything that you think you know about myths and monsters. ...No, that sounds horribly grandiose. I need to dial it back a little. There comes a time in every person’s life when they see their path set forward for them, illuminated by a glorious light of… glory… No. That isn’t better. Take heed and bear witness, mortals, for you are about to behold a tale like no other! A tale of tragedy, romance, and… um… Oh, hells with it. My name is Talia. I am a manticore and this is the story of how I met the love of my life. Somewhere in all of the world, we manticores have our Prey, the one we are destined to hunt. We do not know how they are chosen or where they come from, but that has always been the way of things. Typically a human—though I did have a cousin who bonded with one of Fae heritage. I’m not sure how different it was; we don’t talk much. I hope she’s doing okay. I’m getting side-tracked, though. I’m trying to collect my thoughts here, and sometimes I just have too many of them! There is no way of knowing when or where you will find your Prey. It will happen when the fates decree that it’s time for you to cross paths. That’s what my mother always told me. My sire was her Prey ages ago, just as it was with her mother and sire, and so on and so forth.
    [Show full text]
  • 2015, Volume 8
    V O L U M E 8 2015 D E PAUL UNIVERSITY Creating Knowledge THE LAS JOURNAL OF UNDERGRADUATE SCHOLARSHIP CREATING KNOWLEDGE The LAS Journal of Undergraduate Scholarship 2015 EDITOR Warren C. Schultz ART JURORS Adam Schreiber, Coordinator Laura Kina Steve Harp COPY EDITORS Stephanie Klein Rachel Pomeroy Anastasia Sasewich TABLE OF CONTENTS 6 Foreword, by Interim Dean Lucy Rinehart, PhD STUDENT RESEARCH 8 S. Clelia Sweeney Probing the Public Wound: The Serial Killer Character in True- Crime Media (American Studies Program) 18 Claire Potter Key Progressions: An Examination of Current Student Perspectives of Music School (Department of Anthropology) 32 Jeff Gwizdalski Effect of the Affordable Care Act on Insurance Coverage for Young Adults (Department of Economics) 40 Sam Okrasinski “The Difference of Woman’s Destiny”: Female Friendships as the Element of Change in Jane Austen’s Emma (Department of English) 48 Anna Fechtor Les Musulmans LGBTQ en Europe Occidentale : une communauté non reconnue (French Program, Department of Modern Languages) 58 Marc Zaparaniuk Brazil: A Stadium All Its Own (Department of Geography) 68 Erin Clancy Authority in Stone: Forging the New Jerusalem in Ethiopia (Department of the History of Art and Architecture) 76 Kristin Masterson Emmett J. Scott’s “Official History” of the African-American Experience in World War One: Negotiating Race on the National and International Stage (Department of History) 84 Lizbeth Sanchez Heroes and Victims: The Strategic Mobilization of Mothers during the 1980s Contra War (Department
    [Show full text]
  • The Unicorn, the Gorgon the Manticore La Boheme
    UNIVERSITY OF WASHINGTON OPERA THEATRE PRESENTS gian . .. carlo ~ ~ . menotti THE UNICORN, THE GORGON and " ."" . THE MANTICORE or The Three Sundays of A Poet (A Madrigal Fable) giacomo (third act only) puccini LA BOHEME (in commemoration of the centennial of the composers birth) Jun 3 4, 1958 • 8:00 p.m. • Meany H.II R-III (/2 77) 2< K # 2- (If 7g) The Unicorn, The Gorgon and The Manticore OR THE THREE SUNDAYS OF A POET (A Madrigal Fable for Chorus, Dancers and Nine Instruments) Music and Libretto by Gian Carlo Menotti Choreography by Martha Nishi/ani THE SCHOOL OF MUSIC OPERA STAFF DANCERS: Conductor and Director." . " Stanley Chappie The Count and Countess" ,. .. Louis Roedel and Carolyn Peterson Stage Director" Ralph Rosinbwn Their Son.. .. ... , .. ,. Susan L),) Choreographer "" " ,Martha Nishitani The Mayor and His Wife, ",Linden Chlarson and Barbara Lacy ­ Stage Manager. , '" ,,, Howa,rd Nelson The Doctor and His Wife.. ,William Sohns and Marjorie Carrigan Repeoteur "" ... , ., Bill Clarke Man in the Castle (The Poet). , ,.,. , John P. Stipanela The Virgin ",.'., . Midge Bowman The Unicorn. '" ,Ron Galbreath The Gorgon, ",. ,.Robert Kingston THE SCHOOL OF DRAMA PRODUCTION STAFF The Manticore. .. .. '. .. .. Midge Bowman Courtesy of Glenn Hughes, Executive Director The Dwarf ..Carol Lynn Chong Art Director and Tem.nica1 Supervisor" ... ...... , .. ".John Ashby Conway The Nursemaids and Pages , ,Mary Capps and Irene Johnston Assistant Art Director". """""'"'' " "" .. " .. ".. .. ""." "",, ""..Alanson Davis Technical Director,." .... , ......... " .. " " ,Warren C. Lounsbury Costumier Crider CHAMBER CHOIR DIRECTED BY MIRIAM TERRY • Assistant Costumier, . " .. .Larry Zirkle Wayne Aller W jJliam Marvin Properties , , .... ,,, .,,. Don Adams Lora Lee Brown Donald Moynan Electrician ,Norman Boulanger Gloria Bryson Vera Neufeld Scene Technicians .
    [Show full text]
  • The Integration of Mythical Creatures in the Harry Potter Series
    University of Hawai‘i at Hilo HOHONU 2015 Vol. 13 orange eyes. (Stone 235) Harry's first year introduces the The Integration of Mythical traditional serpentine dragon, something that readers Creatures in the Harry Potter can envision with confidence and clarity. The fourth year, however, provides a vivid insight on the break Series from tradition as Harry watches while “four fully grown, Terri Pinyerd enormous, vicious-looking dragons were rearing onto English 200D their hind legs inside an enclosure fenced with thick Fall 2014 planks of wood, roaring and snorting—torrents of fire were shooting into the dark sky from their open, fanged From the naturalistic expeditions of Pliny the mouths, fifty feet above the ground on their outstretched Elder, to the hobbit's journey across Middle Earth, necks” (Goblet 326). This is a change from the treasure the literary world has been immersed in the alluring hoarding, princess stealing, riddle loving dragons of presence of mythical and fabulous creatures. Ranging fantasy and fairy tales; these are beasts that can merely from the familiar winged dragon to the more unusual be restrained, not tamed. It is with this that Rowling and obscure barometz, the mythical creature brings with sets the feel for her series. The reader is told that not it a sense of imagined history that allows the reader to everything is as it seems, or is expected to be. Danger is become immersed in its world; J.K Rowling's best-selling real, even for wizards. Harry Potter series is one of these worlds. This paper will If the dragon is the embodiment of evil and analyze the presence of classic mythical creatures in the greed, the unicorn is its counterpart as the symbol of Harry Potter series, along with the addition of original innocence and purity.
    [Show full text]
  • Famous Warsaw Legends
    Famous Warsaw Legends Photo Main figure Description The Warsaw Mermaid Statue Presented as half fish and half woman. Images of a mermaid have been used on the crest of Warsaw as its symbol. From the middle of 14th century. Legend tells that once upon a time two mermaid sisters swam to the shores of the Baltic Sea from their home in the depths. They were truly beautiful, even though they had fish tails instead of legs. One of them decided to swim further towards the Danish straits. Now she can be seen sitting on a rock an the entry to the port of Copenhagen. The second swam to the seaside town, Gdańsk. And then, up the Vistula River (…)then she came out of the Water (…) to rest. She liked it so much that she decided to stay. The fishermen who used to live in this area noticed that when they were fishing, someone was agitating the waters of the Vistula River , tangling their nets and freeing fish from their traps. They decided to catch the culprit and get even with him once and for all. But when they heard the enchanting song of the mermaid, they gave up Polish Mermaid their plans and came to love the beautiful woman-fish. From that time, every evening, she entertained them with her wonderful singing. But one day, a rich merchant strolling on the banks of the Vistula River caught sight of the little mermaid. He decided to catch her and keep her as a prisoner, and then make money by showing her at fairs.
    [Show full text]
  • The Senses in Early Modern England, 1558–1660
    The senses in early modern England, 1558–1660 Edited by Simon Smith, Jacqueline Watson, and Amy Kenny MANCHESTER 1824 Manchester University Press Simon Smith, Jackie Watson, and Amy Kenny - 9781526146465 www.manchesteruniversitypress.co.ukDownloaded from manchesterhive.com at 09/27/2021 05:33:41PM via free access The senses in early modern England, 1558–1660 Simon Smith, Jackie Watson, and Amy Kenny - 9781526146465 Downloaded from manchesterhive.com at 09/27/2021 05:33:41PM via free access MUP_Smith_Printer.indd 1 02/04/2015 16:18 Simon Smith, Jackie Watson, and Amy Kenny - 9781526146465 Downloaded from manchesterhive.com at 09/27/2021 05:33:41PM via free access MUP_Smith_Printer.indd 2 02/04/2015 16:18 The senses in early modern England, 1558–1660 edited by simon smith, jackie watson and amy kenny Manchester University Press Simon Smith, Jackie Watson, and Amy Kenny - 9781526146465 Downloaded from manchesterhive.com at 09/27/2021 05:33:41PM via free access MUP_Smith_Printer.indd 3 02/04/2015 16:18 Copyright © Manchester University Press 2015 While copyright in the volume as a whole is vested in Manchester University Press, copyright in individual chapters belongs to their respective authors, and no chapter may be reproduced wholly or in part without the express permission in writing of both author and publisher. Published by Manchester University Press Altrincham Street, Manchester M1 7JA www.manchesteruniversitypress.co.uk British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data applied for isbn 978 07190 9158 2 hardback First published 2015 The publisher has no responsibility for the persistence or accuracy of URLs for external or any third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.
    [Show full text]
  • Knights&Knaves
    K NIGHTS & K NAVES TABLE OF CONTENTS Introduction 2 Skills 2 Combat 6 Equipment 8 Miscellaneous 10 Magic and Spells 11 The Setting 13 Bestiary 17 HOW THIS PDF IS ORGANIZED CHARACTER CREATION If you're new to this game, it might help to know First, get an idea for what kind of character you're that learning how to play requires only that you read the going to want to play, write a short background for the PDF in order. The first section of the PDF covers gameplay character, including their goals and motivations (you'll mechanics, including character creation, the attribute and probably want more than one goal for each character and skill system, combat, and equipment. The second section a different motivation for each goal), and a short covers the optional rules to include magic in the setting. description of the character. Then, you're going to want to The third section covers the setting itself, all the way from make your characters statistics (attributes, skills, and the world and cosmology to key places of interest and equipment) reflect your description and background. You important figures from throughout its history. The fourth start with 30 Experience Points (EP) to do this, which and final section of this PDF covers the bestiary, which must be spent on developing the character before the includes stats for common NPC archetypes, wild animals, game begins. EP is used to increase your characters monsters, and even alternatives to sentient races that the attributes and skills. players can play as instead humans, which the PDF assumes you'll be playing by default.
    [Show full text]
  • What Is a Boggart Hole?1 Simon Young ISI, Florence (Italy)
    What is a Boggart Hole?1 Simon Young ISI, Florence (Italy) INTRODUCTION The boggart—a word of uncertain origins (OED, ‘Boggard, -art’; Nodal and Milner 1875, 126; Wright 1898–1905, I, 326)—was once a much feared bogey in the midlands and the north of England. By the nineteenth century it had come to be associated, above all, with what might be called a ‘greater Lancashire’: the County Palatine, the south Pennines and the northern fringes of Cheshire and Derbyshire. Relative to the amount of writing that survives, most of it from the 1800s and much in Lancashire dialect, the boggart is perhaps Britain’s most understudied supernatural creature. This is true of the nineteenth century (Thornber 1837, 38, 99–104 and 329–34; Harland and Wilkinson 1867, 49–62; 1873, 10–12 and 141– 42; Hardwick 1872, 124–42; Bowker 1883, 27–36, 52–58, 63–72, 77–82, 131–39, 152–58, 174–88, 212–20 and 238–42; McKay 1888), and of recent years (Billingsley 2007, 69–74; Turner-Bishop 2010; Roberts 2013, 95–105; Young 2014b). Boggart place-names have particularly been neglected. In fact, there is, to the best of the present writer’s knowledge, no study of boggart toponyms, despite the existence of tens of boggart place-names, many still in use today.2 1 I would like to thank John Billingsley, David Boardman, Ffion Dash, Anna Garrett, Richard Green, Denise Jagger, Stephen Lees, Wendy Lord, Eileen Ormand and the anonymous reviewer for help with the writing and with the improvement of this article.
    [Show full text]
  • Black Shuck's Lesson in the Anthropocene Jonathan
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Apollo Hounded out of time: Black Shuck’s Lesson in the Anthropocene Jonathan Woolley Division of Social Anthropology, University of Cambridge, United Kingdom. Abstract: Drawing in nightmares, shadows and loneliness, this article follows a rarely- trodden and difficult path across the shifting geology of Norfolk; a track marked by fleeting glimpses and horrible signs of the deadly consequences of deep time and human choice. The subject of fascination for folklorists, cryptozoologists and the general public alike; in East Anglia stories abound of a huge, devilish hound, with saucer-shaped eyes and followed by the demonic stench of sulphur; Black Shuck. Pursued by - rather than pursuing - footprints in the mud, whispered stories from isolated places, and the mysteriously mutilated corpses of deer, this ethnographic description considers the significance of encounters with this phantasm for recent debates surrounding the proper understanding of the beginning of the Anthropocene, and the implications of this for our sense time and responsibility. In this era of unprecedented human power over the natural world, the Shuck - the mere sight of whom brings death - still haunts us; his chthonic presence reminding us of the inexorable, yet unpredictable power of death. By attending the monstrous, spectral ambiguity of the Shuck, and his ability to reformulate the landscape of East Anglia as a social space, this article explores the how coeval quality of the longue durée of deep time, and the haunting rupture entailed by the prospect of our own mortality, can enchant, rather than blunt, our sense of human responsibility in the Anthropocene.
    [Show full text]
  • Grandioso Gosling
    Cine El PrimEr HombrE En la luna Sección Especial Cine El PrimEr HombrE En la luna C O R A Z Ó N DE MÉXICO Miembro SER [ Socio Estratégico REFORMA ] VIERNES 9 / NOVIEMBRE /2018 CANCÚN, Q. ROO, MÉX. AÑO II NÚMERO 734 $10.00 Proyectos fallidos GrGranandidiososoo GoGoslslinging Reforma Agencia Foto: Se enfatiza lo increíble- adrianaadriana Se enfatiza lo increíble- fernández mentemen peligrosote peligroso que era que ser era ser califernándezfica: 3 astronauta —pocos vivían pa- califica: 3 astronauta —pocos vivían pa-A pesar de que fue un compromiso de campaña, Enrique Peña Nieto no cumplirá con la entrega de la obra del Puente Bojórquez en @adriana99 ra contarlo— y de ahí, la atrac- Cancún, ni la Marina de Cozumel que se quedó al 22 por ciento de construcción. @adriana99 tiva imagenra contarlo que se— pr yoye dect aah deí, la atrac- Siempre ha habido un primer estostiva nave imagengantes queespaciales: se proye cta de hombre:Siempre elha que habido se adentr un primeró eminen estetoss cient naveíficogans que,tes ade-espaciales: máshombre: allá de el la quemonta señ a,adentr cru- ó más, emineneran hombrestes cient deífi accicosón. que, ade-Peña Nieto metió tijera o incumplió obras comprometidas para QR zmásó primero allá deun rlaío, montadespuésñ a,un cru-Hay más,muchos eran momen hombrestos de de acción. oczóé pano.rimero Un p rimerun río, hombre despu enés un tensióHayn y peligr muchoso, enmarcados momen tos de en una producción de primera. buscaocéano. de Unlo desconocido. primer hombre De en tensión y peligro, enmarcados un explorador así nos habla El Para encarnar a esos hé- en una producción de primera.
    [Show full text]