Introduction to Monster Studies

Total Page:16

File Type:pdf, Size:1020Kb

Introduction to Monster Studies Introduction to Monster Studies: Apocalyptic and Post-Apocalyptic Cohen Thesis 3 Monster Literature ♦ Monsters are the harbinger of category crisis ♦ they do not fall into neat categories that are known to us Monster theory ♦ Unnatural creatures 1) Psychological approach ♦ dangerous because they are "disturbing hybrids" (E.g. zombie / vampire ♦ the monster embodies fears of the mind = dead human but alive) ♦ Focus on the personal experience ♦ defy logic and our current knowledge (how did it start? what causes it? ♦ Julia Kristeva’s concept of the abject (in: Powers of Horror: An Essay on how do we stop/kill them?) Abjection) Cohen Thesis 4 ♦ abjection: ♦ Monsters dwell at gates of difference ♦ “the state of being cast off”: the process by which one separates one's ♦ embody "the other" – that is what scares us (E.g. contemporary fears: bad sense of self from that which immediately threatens one's sense of life guy = Russian = alien from outside us) ♦ the process that separates from one's environment what "is not me„ ♦ history itself becomes monster (E.g. heterosexuality vs. homosexuality, ♦ Freud’s concept of the uncanny (related concept) black people) Cohen Thesis 5 2) Historical / Cultural approach ♦ The monster polices borders of the possible ♦ Monsters are inherently connected to the era that creates them ♦ every monster is a double narrative ♦ Michel Foucault: every historical age has its “privileged monster” 1) how it came to be ♦ Jeffrey Jerome Cohen: “Monster Culture. (Seven theses)” 2) what cultural use it serves ♦ Demarcates the borders we cannot cross Cohen thesis 1 ♦ it's always outside society ♦ Monster's body = cultural body ♦ threat of it keeps you in your place or from going somewhere ♦ never just a monster - always signifies something else ♦ not only physical, also social/cultural borders ♦ reflection of fears/anxieties and projection of them ♦ The monster is transgressive, a lawbreaker, it must be destroyed (but the ♦ tied to time/place/feeling of when they were created repressed returns, Freud warns) Cohen thesis 2 Cohen Thesis 6 ♦ The monster always escapes ♦ The fear of monster is really a kind of desire ♦ may escape and and come back; may be killed but would be replaced by ♦ Linked to forbidden practices more ♦ attracts us, we envy its freedom (temporary release from constraints) ♦ Its interpretation depends the culture and time that creates them ♦ acts as alter ego as an alluring projection of the self (an Other self) ♦ same monsters are used over and over again, but they gain different ♦ dangerously entices – we're scared, but we need them meanings each time ♦ do they really exist? if not, how could we? ♦ becoming more good-accepting ♦ part of escapist fantasy (Halloween) ♦ blending lines between good and bad, not black and white – grey ♦ we love them (scary movies, but you're safe) Cohen Thesis 7 The evolution of the vampire narrative ♦ The monster stands at threshold of becoming ♦ The new vampires break into his house and take him ♦ always returns ♦ His fate is execution ♦ bears human knowledge from outside ♦ Reason: these vampires fear him, he has been killing the vampires for 3 ♦ asks us how we perceive world years → “I am Legend” ♦ asks us to reevaluate cultural assumptions on race, gender, sexuality, ♦ “... And suddenly he thought, I'm the abnormal one now. Normalcy was a perception toward differences and tolerance toward its expression majority concept, the standard of many and not the standard of just one ♦ asks us why we have created them man.” ♦ we create them from imagination ♦ Who is the monster, then? (traditional vs new narrative) 1) Traditional vampire narrative: Richard Matheson: I Am Legend ♦ Invasion from the inside (body snatcher narratives) ♦ Clear divide between humans (good) and vampires (bad/dangerous) Vampire symptoms: 2) New vampire narrative: ♦ sensitive to garlic, light, mirrors, and holy objects from the faith the ♦ Destabilizing the category of the monster person used to belong ♦ vampires: monsters to Neville; Neville: monster to new vampires ♦ dormant during the day ♦ Bullets do not kill them Monstrosity ♦ Impaling kills them ♦ Demystifying the fantastic ♦ explicable threat; originates from humans not as a psychological threat Autodidactic research: demystification of the vampire but as the result of human error ♦ Isolating vampire germ ♦ The monster is inseparable from its creator ♦ Sun allergy: ensures the survival of the bacterium 1) vampires = Neville’s monsters; Neville = vampire’s monster ♦ Religious symbols + mirror: psychological reaction 2 cultural reading: vampire = culture-specific threat ♦ Garlic: allergic reaction ♦ Impaling anywhere by any sharp object: cutting the gluing effect of the Cultural reading / Conclusion bacteria ♦ Written: in 1956 – era of McCarthyism, “Red Scare” ♦ 2 types identified: 1) living vampires 2) the “true undead” ♦ Humanizing the monster; discarding binarism → criticism of the ♦ Turn: type 3 identified (Ruth): living vampire who looks human paranoid inner affairs politics of McCarthyism ♦ Learned how to survive: taking pills that nourish the vampiris germ & ♦ Spread of vampires as the result of ecological catastrophy (caused by keep it from multiplying and destroying the host bombing) → Cold war: preparations for a possible nuclear world war ♦ New society of such vampires ♦ Diegetic present of the novel: 1976: 200th anniversary of the Declaration ♦ Aggressively killing the “truly dead” vampires of Independence ♦ Cf. Thematic focus: the rise of a new race Marissa Meyer: Cinder Fairy tale rewriting as cultural context ♦ Traditional feminine roles of the fairy tales vs rewritten, feminist roles Loosely based on fairy tales matching a more feminist era Cinder: Cinderella ♦ Changing the character’s level of agency and the outcome of the story: Scarlet: Little Red Riding Hood emphasizing freedom Cress: Rapunzel ♦ Monster as oppressed woman in servitude → liberated woman, Queen of Winter: Snow White her own right, who may choose to marry Kai as her equal in the end (despite her cyborg nature) Setting ♦ New Beijing in Asia as Eastern Commonwealth ♦ Why? Proto-Cinderella story: Chinese “Ye Xian”, 9th century ♦ Humans, cyborgm androids (hierarchy) ♦ Letumosis (Blue Fever) – fatal disease, no cure ♦ Lunars want to conquer Earth ♦ Emperor Kai (Earth) + Queen Levana (Moon) to marry to avoid interstellar war Protagonist ♦ Linh Cinder: cyborg, 2nd-rate citizen in the country, servant in her stepmother’s family, Mechanic Themes: Oppression ♦ Means: mind manipulation + letumosis virus/antidote Otherness / Discrimination, Equality vs inequality ♦ Being a cyborg: metaphorical representation of bodily non-normativity Feminism as female power and female solidarity ♦ Monster in cultural context ♦ Sympathetic deviance: Cinder’s cyborg perspective ♦ Cinder’s path: a process towards inclusivity (from discrimination even by Kai to inclusion as final marriage and claiming throne in later novels) Science and technology ♦ threat vs. assistence and desire (Kai – Cinder romance).
Recommended publications
  • The Irish Journal of Gothic and Horror Studies 17 (Autumn 2018)
    The Irish Journal of Gothic and Horror Studies 17 (Autumn 2018) Contents ARTICLES Mother, Monstrous: Motherhood, Grief, and the Supernatural in Marc-Antoine Charpentier’s Médée Shauna Louise Caffrey 4 ‘Most foul, strange and unnatural’: Refractions of Modernity in Conor McPherson’s The Weir Matthew Fogarty 17 John Banville’s (Post)modern Reinvention of the Gothic Tale: Boundary, Extimacy, and Disparity in Eclipse (2000) Mehdi Ghassemi 38 The Ballerina Body-Horror: Spectatorship, Female Subjectivity and the Abject in Dario Argento’s Suspiria (1977) Charlotte Gough 51 In the Shadow of Cymraeg: Machen’s ‘The White People’ and Welsh Coding in the Use of Esoteric and Gothicised Languages Angela Elise Schoch/Davidson 70 BOOK REVIEWS: LITERARY AND CULTURAL CRITICISM Jessica Gildersleeve, Don’t Look Now Anthony Ballas 95 Plant Horror: Approaches to the Monstrous Vegetal in Fiction and Film, ed. by Dawn Keetley and Angela Tenga Maria Beville 99 Gustavo Subero, Gender and Sexuality in Latin American Horror Cinema: Embodiments of Evil Edmund Cueva 103 Ecogothic in Nineteenth-Century American Literature, ed. by Dawn Keetley and Matthew Wynn Sivils Sarah Cullen 108 Monsters in the Classroom: Essays on Teaching What Scares Us, ed. by Adam Golub and Heather Hayton Laura Davidel 112 Scottish Gothic: An Edinburgh Companion, ed. by Carol Margaret Davison and Monica Germanà James Machin 118 The Irish Journal of Gothic and Horror Studies 17 (Autumn 2018) Catherine Spooner, Post-Millennial Gothic: Comedy, Romance, and the Rise of Happy Gothic Barry Murnane 121 Anna Watz, Angela Carter and Surrealism: ‘A Feminist Libertarian Aesthetic’ John Sears 128 S. T. Joshi, Varieties of the Weird Tale Phil Smith 131 BOOK REVIEWS: FICTION A Suggestion of Ghosts: Supernatural Fiction by Women 1854-1900, ed.
    [Show full text]
  • The Concepts of Isolation, Loneliness, and Otherness in Selected Adaptations of Frankenstein
    The Turkish Online Journal of Design, Art and Communication - TOJDAC ISSN: 2146-5193, March 2018 Special Edition, p. 142-148 THE CONCEPTS OF ISOLATION, LONELINESS, AND OTHERNESS IN SELECTED ADAPTATIONS OF FRANKENSTEIN Lida Vakili PHD candidate of Performance Studies at Cultural Centre of University Malaya, Kuala Lumpur, Malaysia [email protected] Ghulam Sarwar Yousof Supervisor and Researcher at Cultural Centre of University Malaya, Kuala Lumpur, Malaysia ABSTRACT One of the most recurring characteristics found in monster literature is that of loneliness, and specifically the feelings of isolation which characters are portrayed as suffering. Monsters are often written as fear-inspiring and grotesque, setting them apart from normal society and casting them in the role of ‘other’. This, in turn, leads to them being isolated, which can cause them to act in antisocial and sometimes violent ways. This article explores the sense of loneliness portrayed in selected adaptations of Frankenstein, namely Kenneth Branagh’s 1994 film version, Mary Shelley’s Frankenstein, the X-Files episode “The Post-Modern Prometheus”, and Tim Burton’s Frankenweenie. Taking into consideration the effect of loneliness on creators and creations within these stories, the article looks at how isolation affects the characters, and how it determines the treatment they receive from other sections of society. Keywords: Frankenstein, loneliness, isolation, otherness 1.1 INTRODUCTION One of the most reputable genres of literature is monster literature, which is a combination of both the decent and the wicked, mostly expecting to provoke a sense of fear and horror in its readers by showing malevolent aspects in the shape of a monster (Sanders 150).
    [Show full text]
  • The Monster Chronicles
    THE MONSTER CHRONICLES: The role of children’s stories featuring monsters in managing childhood fears and promoting empowerment. Michelle Alison Taylor B.OccThy (UQ) Submitted for the requirements of the Master of Arts (Research) Faculty of Creative Industries Queensland University of Technology 2010 Keywords: Monsters, children, children’s stories, fears, empowerment ii Abstract: Children’s fascination with monsters is a normal part of childhood development. Children’s literature reflects this with a wealth of stories featuring monsters, ranging from fairy tales to picture books to books for independent readers. These stories can raise concerns from educators, parents and other sections of the community such as political and religious institutions on the basis that they could be disturbing or harmful to children. In contrast, there is evidence to indicate the potential for managing fears and enhancing feelings of empowerment in children through the reading of stories featuring monsters. A reappraisal of these stories from a predominantly therapeutic perspective reveals that they may act as agents of positive change in six ways – catharsis, naming, taming, integration, transformation and moral empowerment. Two of these functions, transformation and moral empowerment, are examined further in three case studies of stories for the older reader that feature monsters, Wolf Brother by Michelle Paver, Monster Blood Tattoo, Book One: Foundling by D.M. Cornish and my manuscript, ‘The Monster Chronicles’. The insights from this research have been used to inform the writing and editing of ‘The Monster Chronicles’ and inherent to that, my goal of creating a children’s story featuring monsters that is sensitive to children’s fears and their desire for empowerment.
    [Show full text]
  • The Monsters Within: Gothic Monstrosity in Dracula, Frankenstein, and Strange Case of Dr
    GRADO EN ESTUDIOS INGLESES – 4º CURSO DEPARTAMENTO DE FILOLOGÍA INGLESA Y ALEMANA Y TRADUCCIÓN E INTERPRETACIÓN The Monsters Within: Gothic Monstrosity in Dracula, Frankenstein, and Strange Case of Dr. Jekyll and Mr. Hyde and its Role in the Nineteenth- Century English Society AUTOR RUBÉN ORTIZ TRUEBA TUTOR MARTIN SIMONSON Curso Académico 2015/2016 Table of contents Abstract ........................................................................................................................ 1 Introduction ................................................................................................................. 2 1. The Gothic Monster and the Nineteenth-Century England ........................................ 4 2. Frankenstein and his Creature: Creation, Destruction and the Man-Made Man ......... 5 2.1. The Science Behind the Creature and Humanity’s Fate....................................... 6 2.2. Ignorance, Humanization and Corruption ............................................................ 8 2.3. A New Approach to the Eternal Question: Who is the Monster of the Story? .... 9 3. Dr. Jekyll and Mr. Hyde: A Game of Masks ............................................................. 13 3.1. Temptation and Humanity’s Fall into Darkness................................................. 14 3.2. The Troglodyte in my Mind ............................................................................... 15 4. Count Dracula and the Foreign Corruption .................................................................... 17 4.1. A Remnant
    [Show full text]
  • Monomaniacal Monstrosity in Hawthorne and Poe Johnathan S
    St. Cloud State University theRepository at St. Cloud State Culminating Projects in English Department of English 3-2017 Monomaniacal Monstrosity in Hawthorne and Poe Johnathan S. Woelfel St. Cloud State University Follow this and additional works at: https://repository.stcloudstate.edu/engl_etds Recommended Citation Woelfel, Johnathan S., "Monomaniacal Monstrosity in Hawthorne and Poe" (2017). Culminating Projects in English. 83. https://repository.stcloudstate.edu/engl_etds/83 This Thesis is brought to you for free and open access by the Department of English at theRepository at St. Cloud State. It has been accepted for inclusion in Culminating Projects in English by an authorized administrator of theRepository at St. Cloud State. For more information, please contact [email protected]. Monomaniacal Monstrosity in Hawthorne and Poe By Johnathan Steven Woelfel A Thesis Submitted to the Graduate Faculty of St. Cloud State University in Partial Fulfillment of the Requirements for the Degree of Master of Arts in English March, 2017 Thesis Committee: Dr. Monica Pelaez, Chairperson Dr. Judith Dorn Dr. Paula Tompkins Abstract Monsters hold a special place in literature and storytelling in cultures all around the world, so much so that every culture, in any time or place, has its own stories involving some type of monster or another. American culture is no exception, but the movement towards monstrosity in literature is nothing new in American culture. This project examines the monstrous traits exhibited by the characters in various short stories by 19th Century American authors Nathaniel Hawthorne and Edgar Allan Poe. Through the lens of David Gilmore’s Monster Theory, presented in Monsters: Evil Beings, Mythical Beasts, and All Manner of Imaginary Terrors, this project shows how Hawthorne and Poe’s monomaniacal characters fit into academic theories of monstrosity as well as the cultural implications of monsters in early American Literature.
    [Show full text]
  • Why Reading Twilight Could Kill You Carolyn Eve Friedman University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Honors Scholar Theses Honors Scholar Program Spring 5-11-2013 Sinking Your Teeth into Popular Culture: Why Reading Twilight Could Kill You Carolyn Eve Friedman University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/srhonors_theses Part of the American Literature Commons, and the Modern Literature Commons Recommended Citation Friedman, Carolyn Eve, "Sinking Your Teeth into Popular Culture: Why Reading Twilight Could Kill You" (2013). Honors Scholar Theses. 291. https://opencommons.uconn.edu/srhonors_theses/291 Friedman 1 Sinking Your Teeth into Popular Culture: Why Reading Twilight Could Kill You By: Carolyn Friedman Friedman 2 Sinking Your Teeth into Popular Culture: Why Reading Twilight Could Kill You “Popular fiction” as a general object of study has rarely been explored, in part because it is often subsumed under the umbrella of popular culture. This is a mistake: just as film and television have developed their own approaches that reflect the unique social, cultural, political, and industrial dimensions of each medium, so popular fiction should occupy its own critical space. – Matthew Schneider-Mayerson, "Popular Fiction Studies: The Advantages of a New Field" In the field of literary criticism, we often find hundreds of dissertations on the classics written by authors such as James Joyce or Shakespeare. It is rare, however, to find serious discussion of “popular” contemporary authors. The critics have defined this subgenre of fiction and declared a war on it. The common definition of what we consider popular fiction varies, many scholars simplifying it to what they deem “bad” literature.
    [Show full text]
  • The Concepts of Isolation, Loneliness, and Otherness in Selected Adaptations of Frankenstein
    The Turkish Online Journal of Design, Art and Communication - TOJDAC ISSN: 2146-5193, March 2018 Special Edition, p. 142-148 THE CONCEPTS OF ISOLATION, LONELINESS, AND OTHERNESS IN SELECTED ADAPTATIONS OF FRANKENSTEIN Lida Vakili PHD candidate of Performance Studies at Cultural Centre of University Malaya, Kuala Lumpur, Malaysia [email protected] Ghulam Sarwar Yousof Supervisor and Researcher at Cultural Centre of University Malaya, Kuala Lumpur, Malaysia ABSTRACT One of the most recurring characteristics found in monster literature is that of loneliness, and specifically the feelings of isolation which characters are portrayed as suffering. Monsters are often written as fear-inspiring and grotesque, setting them apart from normal society and casting them in the role of ‘other’. This, in turn, leads to them being isolated, which can cause them to act in antisocial and sometimes violent ways. This article explores the sense of loneliness portrayed in selected adaptations of Frankenstein, namely Kenneth Branagh’s 1994 film version, Mary Shelley’s Frankenstein, the X-Files episode “The Post-Modern Prometheus”, and Tim Burton’s Frankenweenie. Taking into consideration the effect of loneliness on creators and creations within these stories, the article looks at how isolation affects the characters, and how it determines the treatment they receive from other sections of society. Keywords: Frankenstein, loneliness, isolation, otherness 1.1 INTRODUCTION One of the most reputable genres of literature is monster literature, which is a combination of both the decent and the wicked, mostly expecting to provoke a sense of fear and horror in its readers by showing malevolent aspects in the shape of a monster (Sanders 150).
    [Show full text]
  • Frankenfiction: Monstrous Adaptations and Gothic Histories in Twenty -First -Century Remix Culture
    Frankenfiction: Monstrous Adaptations and Gothic Histories in Twenty -First -Century Remix Culture Doctor of Philos ophy in English Literatur e, 2017 Megen de Bruin -Molé School of English, Communication and Philosophy Cardiff University ii Thesis Summary In the twenty -first century, the remix, the mashup, and the reboot have come to dominate Western popular culture . Consumed by popular audiences on an unprecedented scale , but often derided by critics and academics, these texts are the ‘monsters ’ of our age —hybrid creations that lurk at the limits of responsible consumption and acceptable appropriation . Like monsters , they offer audiences the thrill of transgression in a safe and familiar format , mainstreaming the sel f- reflexive irony and cultural iconoclasm of postmodern art . Like other popular texts before them, remixes, mashups, and reboots are often read by critics as a sign of the artistic and moral degeneration of contemporary culture. This is especially true within the institutions such remixes seem to attack most directly : the heritage industry , high art, adaptation studies, and copyright law. With this context in mind, in this thesis I explore the boundaries and connections betwee n remix culture and its ‘ot hers ’ (adaptation, parody, the Gothic, Romanticism, postmodernism ), asking how strong or tenuous they are in practice. I do so by examining remix culture ’s most ‘monstrous ’ texts: Frankenfic tion s, or commercial narrative s that insert fantastical monsters (zomb ies, vampires, werewolves, etc.) into classic literature and popular historical contexts. Frankenfiction is monstrous not only because of the fantastical monsters it contains, but because of its place at the margins of both remix and more established modes of appropriation .
    [Show full text]
  • Scope and Mission – Electronic Research Journal of Literature ERJ Literature Aims to Publish Papers on Literature of Any Area of the World
    Scope and Mission – Electronic Research Journal of Literature ERJ Literature aims to publish papers on Literature of any area of the world. As Literature is any collection of written works, writing considered to be an art form or any single writing deemed to have artistic or intellectual value is included in literature work. Therefore the scope of the Journal falls but is NOT LIMITED to fiction, non-fiction, poetry, prose. novel, short story, drama; of any historical periods, aesthetic features or genre. Linguistic, Stylistic, CD Analysis etc. of any piece of literature is also acceptable. To elaborate further, authors can submit manuscripts not only about the classic three forms of Ancient Greece, poetry, drama, and prose, but about Academic history Adult literature, Adventure, Alien invasion Alternative history Anti-Nicene Antinovel Apocalyptic Apocrypha Apologetics Aporetic Atompunk Autobiographical novel Autobiography Autograph Ballad, Bhagavad Gita Biblical theology Bildungsroman Biographical novel Biography, Biopunk Bizarro fiction Blessing/Curse Body horror British literature Buddhist texts Burlesque Comedy, Campus novel Campus murder mystery Canonical criticism Ceremonial Chant Children's literature Christian devotional literature Christian fiction Christian literature Christian science fiction Christology Class S Classic, Climate fiction (cli-fi) Clockpunk Comedy Of Manners, Comedy, Comic fantasy Comics/graphic novel, Commentary Confession Contemporary Christian fiction Contemporary fantasy Contemporary slave narrative Contemporary,
    [Show full text]
  • Bachelor Thesis Dorian Gray As a Modern Monster
    LUNA Ylva Emilie Furuseth Bachelor Thesis Dorian Gray as a Modern Monster Lektorutdanning i språkfag med fordypning i engelsk 2017 1 Samtykker til tilgjengeliggjøring i digitalt arkiv Brage JA ☒ NEI ☐ 2 NORWEGIAN ABSTRACT Tittel: Dorian Gray som et moderne monster Forfatter: Ylva Emilie Furuseth År: 2017 Sider: 24 Emneord: bokanalyse, psykologi, filosofi, moraler, monster Sammendrag: Bildet av Dorian Gray er en mye diskutert filosofisk skrekk-roman av den kjente poeten og dramatikeren Oscar Wilde. Figuren Dorian Gray er både tidløs og minneverdig når det kommet til hans ytring av uhyrlighet og de moralske implikasjonene fortellingen hans tilbyr. Gjennom en nøye lesning av romanen håper denne oppgaven å diskutere og vise frem de forskjellige sidene ved Dorian Grays monster, samt innflytelsene og konteksten i omstendighetene hans, som hjalp til å skape monsteret. 3 ENGLISH ABSTRACT Title: Dorian Gray as a Modern Monster Author: Ylva Emilie Furuseth Year: 2017 Pages: 24 Keywords: book analysis, in-depth reading, psychology, philosophy, morals, monster Summary: The Picture of Dorian Gray is a much discussed philosophical horror novel by famed poet and playwright Oscar Wilde. The character of Dorian Gray is both timeless and memorable in his exhibitions of human monstrosity and the moral implications his story holds. Through this in-depth reading this thesis hopes to discuss and illuminate the different aspects of Dorian Gray’s monstrosity and nature, as well as the circumstantial influences and context that helped create the monster. 4 PREFACE The subject of monsters in literary works has always held a great fascination to me. Although all literature inevitably aims to reflect society and humanity in a way that will profusely affect the reader, no genre or expression seems to accomplish this as well as horror and its attributed monsters.
    [Show full text]
  • Monstous Figurations. Notes for a Feminist Reading
    TESIS DOCTORAL Monstrous Figurations. Notes for a Feminist Reading Autor: Virginia Fusco Director/es: Carmen González Marín DEPARTAMENTO DE HUMANIDADES: FILOSOFÍA , LENGUAJE Y LITERATURA (ÁREA DE FILOSOFÍA) Getafe, diciembre de 2015. TESIS DOCTORAL MONSTROUS FIGURATIONS. Notes for a Feminist Reading Autor: Virginia Fusco Director: Carmen González Marín Firma del Tribunal Calificador: Firma Presidente: Vocal: Secretario: Calificación: Getafe, de de to Lina, Attilio, Matteo and Goran ACKNOWLEDGEMENT In the course of this intellectual venture, I have received the support and advice of a number of people who made this thesis possible and guided me throughout these years as a PhD Candidate in Madrid. First and foremost, I am deeply grateful to my PhD supervisor, Carmen González Marín. She has been a source of inspiration and has generously provided me with meaningful insights on Feminism and Philosophy. She has been a mentor and a true friend till the end. I would also like to thank Antonio Gómez that has been generously reading this work and invited me years ago to participate in a research seminar during which key questions about monstrosity were raised and then addressed in the present work. Furthermore, this research project has been greatly enriched by countless conversations with a number of colleagues and friends. I would like to especially thank Rosi Braidotti that welcomed my in Utrecht as a visiting scholar at the very end of my project. In the short months she co-supervised me, she made an indelible impression on me, both as a feminist philosopher and as a person. Very special thanks go to Valentina Longo for her faith in me, her feedback and for a number of sleepless nights she spent watching zombies and vampires on the small screen.
    [Show full text]
  • Dr. Steve Zani
    Monsters in Literature and Philosophy: Vampires, Zombie and Bears, Oh My! “No one need wonder at the existence of a literature of cosmic fear. It has always existed, and always will exist.” H. P. Lovecraft One of the things I like to point out to my Child and Adolescent Literature class is that children's books—but really all books—aren't about their “manifest” content. What I mean is— when you have a book about space aliens, and how a twelve-year-old child fights off invasion by learning to use an X-Niner Quark space-weapon or something, the book isn't teaching a lesson for children about what they need to learn for when the real life space beetles come and invade the planet. That's never going to happen. Or, at least we hope that's never going to happen. Or at least, really, the chances are so small of that happening in our lifetime that we don't need to write books to prepare for it. So, really, what are these stories doing? The purpose of these stories is teaching some other, allegorical or structural message. This is why one always needs to remember to read the Bible, for example, allegorically and not just literally. Jesus didn't tell the story of the Prodigal Son presumably just for that one guy in his audience who coincidentally has two sons, and one of them ran off, and that one son is coming home. “Here's a story for you, one father who just so happens to be in this one situation." No, we all assume that the story clearly is intended for a larger audience, with a larger message.
    [Show full text]