Journal articles on the topic 'Double deixis'

Dans La mémoire tatouée, Abdelkébir Khatibi subvertit le réel en le tressant au rêve, au fantasme et au drame, d’où l’enchâssement de plusieurs genres dans le roman (essai, poésie, théâtre). Essai et roman mettent en scène l’aliénation du colonisé et d’une génération entière, déracinée, et donc rivée à un double langage. La tentative du je consiste à représenter l’intellectuel colonisé pour s’insurger contre sa propre aliénation. L’autobiographie se dit par éclatement et par cris. Son analyse nécessite une bonne connaissance de la trajectoire de l’auteur afin de situer la prise de parole de l’écrivain dans le cadre de sa deixis sociale. Le présent article examine donc le parcours intellectuel de Khatibi en matière de dispositions, de positions et de prises de positions en vue de saisir le portrait autobiographique tel que transfiguré par l’auteur et par la tricherie de l’écriture.

Stylistic research on film discourse is growing; however, studies rarely take into consideration cinema’s complex message resulting from the combination of the verbal and visual codes. This article proposes a multimodal analysis of Italian auteur Antonioni’s When Love Fails to show how dialogue artfully interacts with elements of the mise-en-scène. The short film, part of a 1953 compilation, is an inquiry into the reality of suicide through the narratives of five women who at one point of their lives attempted suicide. Introducing and orchestrating the stories is a male voice-over and an invisible journalist/interviewer. The study analyses the women’s recollections from a narrative approach and follows how, through their self-presentation strategies, the five survivors project their identity. Not all narratives and narrators are the same; some are interviewer-orchestrated, while two display a better control of their narratives and stronger authorship, which are interpreted here as signs of greater agency. The narrative styles of the more autonomous narrators are various: the creation of vectors and deictic centres through the use of deixis and gaze accompanied by camera movement, and the use of reported speech that construes a complex double plane narrative revolving around the switch from the verbal to the visual plane. In conclusion, the study demonstrates that a stylistic multimodal approach offers a viable tool for a richer understanding of cinema’s semiotic by providing an interface between the levels of verbal and visual communication.

The Keck II Deep Imaging Multi-Object Spectrograph (DEIMOS) is a general purpose, faint object, multi-slit, double-beam spectrograph which offers wide spectral coverage, high spectral resolution, high throughput, and long slit length on the sky. This powerful instrument will be the principal optical spectrograph on the Keck II telescope. DEIMOS is optimized for faint-object spectroscopy of individual point sources, low-surface-brightness extended objects, or widely distributed samples of faint objects on the sky. To obtain high resolution (∼ 1 å) and wide spectral coverage (up to 5000 å) the spectrograph uses wide angle cameras and large CCD detectors with many pixels.This paper describes some of the work being carried out to obtain the CCD detectors required for the DEIMOS spectrograph. In addition, results are presented on the fabrication and characterization of a 4k × 2k three-side buttable CCD produced by Orbit Semiconductor, a silicon foundry in San Jose, California. This CCD was fabricated to test the ability of Orbit to produce high quality scientific CCDs with the characteristics required for detectors to be used in DEIMOS and other optical instruments of the Keck Observatory.

Girders with singly symmetric sections are more efficient and economical then the double symmetric sections. However, the theoretical moment calculations for singly symmetric sections are not an easy task. The difficulty comes from some of the evaluation of torsion properties. Current AISC specifications [1, 2] are not provided the theoretical formulas for the critical moment curves of singly symmetric girders. In AISC specification [1], which revisions the residual stress design to influence the limiting buckling moment strength. This study introduces the singly symmetric girders design methods with theoretical and design manual, and compared the limiting buckling moment with the specification of AISC [1, 2]. It will enable practicing engineers to perform more in-depth evaluation in their routine deigns.

Two Nematodirus parasites from Oreamnos americanus from Alberta, Canada, were studied, namely Nematodirus maculosus and Nematodirus becklundi n.sp. Nematodirus becklundi is characterized by the length of the cephalic vesicle being less than double the width, the number of denticles on the corona radiata less than 40, the absence of narrow lateral longitudinal ridges in the anterior part of the body, the absence of a notch between the dorsal and lateral bursal lobes, and the spicules' fused parts (shafts excluded) being shorter than their shafts. Opposite features characterize N. maculosus with which it was probably confounded. In contrast with recent data from the literature, the synlophe of N. maculosus is characterized by a variable number of ridges at the level of the deirids, but always greater than 16.

Abstract:The Dioscuri – Castor and Pollux – are among the most epiphanic of gods, frequently appearing in battle or to sailors struggling at sea. On Chios, a festival called the Theophania was founded in the third century BC to commemorate an epiphany of the twin gods. Indeed, their appearance at the Sicilian battle of the River Sagra c. 540 BC was so well known in Greek – and Roman – culture that it was invoked as a proverbial example of epiphanic manifestation in Cicero’s De natura deorum (2.1.13); as such, it was the model for several Graeco-Roman battle epiphanies featuring the Dioscuri and their horses, from Postumius’ victory at Lake Regillus in 496 BC to Constantine’s at the Milvian Bridge in AD 312. The numerous battle epiphanies of antiquity have been gathered and assessed by previous scholars (Pfister 1924 and Pritchett 1979). This article posits a new approach to the material, arguing that, because of their fame and ubiquity, epiphanies of the Dioscuri provided a model through which to explore both the validity and visual authority of divine manifestation. The conjuring of divine presence through the physical semeia of the gods is also an important element of the portrayal of the Dioscuri in image form. Representations of these epiphanic gods cover a spectrum of iconicity, ranging from highly anthropomorphized ‘re-enactments’ of their epiphanies (such as the sculptures set up in the Roman forum to commemorate the Lake Regillus victory) to metonymic denotations of their presence in the form of their polos hats, and sub-iconic depictions of twin stars. This combination of corporeal and cosmic semeia provides a sophisticated commentary upon the cognitive dilemmas raised by epiphany: what kind of bodies do the gods have, how do they reveal these forms to mortals, and how are we to recognize and identify them? As deities defined by dualism – mortals and immortals, gods and heroes, men and stars – the Dioscuri provide a particularly potent model for exploring such issues, for both ancient thinkers and modern scholars of epiphany.

AbstractMany difficulties and perplexities in Isa 28:1-22 can be resolved by reading the text as a condemnation of the Judeans’ seeking protection from Assyria by means of a covenant with one of Egypt’s major deities, the mother goddess Mut. Her close association with the Egyptian throne would have given her the “right” to make a covenant; her protective aspect explains why those in distress would seek her; her motherhood explains why the Judeans who seek her are characterized as children; the prominence of drunkenness and flowers in her cult explains the appearance of those elements in Isaiah 28. She also was associated with the underworld as a protectress of the dead, and it is likely that her name sounded very much like the Hebrew word , “death”, making Isaiah’s double entendre a natural play on words. Other features of the text such as the overwhelming flood refer to the Neo-Assyrians; Isaiah warns that Egypt and Mut cannot protect Judah from their assault.

Surveying the biodiversity of entomopathogenic nematodes in Zulia and Falcón states, north-western Venezuela, two populations of a newSteinernemaspecies were isolated from soil samples. Morphological, morphometric and molecular data indicate that the new species belong to the ‘bicornutum-group’ ofSteinernema. The new species can be separated from the other species of the group due to the size and shape of their spicules, which are the shortest within the group, and the presence of prominent deirids in the male of both generations at basal bulb level. Lateral field with eight ridges at mid-body of which submarginal ridges are less distinct, but the third and sixth ridges eventually become wider posteriorly to form the last two ridges. Female possesses small but distinct double epiptygmata and anal swellings present in 50% of the specimens. Phylogenetic analyses of thebicornutum-group based on both ITS and D2-D3 regions showed a clear separation of the new species from all other species. We describe these two populations and designate them asSteinernema papillatumn. sp.

Information and knowledge have never been produced so rapidly. Production that finally does not communicate, nor does it act, nor does it have the positive effects that are desired of transference to society. Hyperactivities, fascism, various pathologies, and contradictions, went into such an enterprise. And along with the most daring technological and scientific advances, an unmentionable barbarity is advancing in an overwhelming way. The planetary dangers that result from this production that is not communicated and which we often only become aware of do not cease to threaten us every day and insistently knock on the door. An ambiguous and dangerous global context makes us recover a hypothesis that is more than fifty years old. Proposed by Bateson with a very wide reach the concept of "double bind" helps us to think the relationship between education knowledge and politics.ResumoNunca se produziu tanto e tão aceleradamente informação e conhecimento. Produção que finalmente não se comunica, nem age, nem tem os efeitos positivos que se desejam de transferência para a sociedade. Hiperatividades, fascismos, patologias variadas, contradições e impasses entravam tamanho empreendimento. E a par dos avanços tecnológicos e científicos mais ousados uma barbárie inominável avança de forma avassaladora. Os perigos planetários que resultam desta produção que não se comunica e de que só amiúde nos tornamos conscientes não deixam de nos ameaçar todos os dias e bater com insistência à porta. Um contexto global tão ambíguo e perigoso faz-nos recuperar uma hipótese com mais de cinquenta anos. Proposta por Bateson com um alcance bastante vasto, o conceito de duplo impasse ou “double bind” ajuda-nos a pensar a relação entre educação, conhecimento e política.Keywords: Communication, Contradiction, Double bind, Populism.Palavras-chave: Comunicação, Contradição, Duplo impasse, Populismo.ReferencesBATESON, G. Vers une écologie de l’esprit. (Vol. 1 e 2), Paris: Seuil, 1980.BATESON, G.; RUESCH, J. Communication et société. Paris: Seuil, 1988.DELEUZE, G.; GUATTARI, F. L’Anti-Œdipe. Paris: Minuit, 1972.DELEUZE, G.; GUATTARI, F. Mille plateaux. Paris: Minuit, 1980.DELEUZE, G.; GUATTARI, F. O que é a Filosofia?. Lisboa: Presença, 1992.DELEUZE, G. Crítica e clínica. Lisboa: Ed. Século XXI, 2000.WATZLAWICK, P.; BEAVIN, J. H.; JACKSON, D. D. Pragmatics of human communication. A study of interactional patterns, pathologies and paradoxes. New York: W.W. Norton & Co, 1967.WATZLAWICK, P.; WEAKLAND, J.; FISCH, R. Changements: paradoxes et psychothérapie. Paris: Seuil,1975.

AbstractIn tracing a discourse history for the emergence and enregisterment of Bozal, a Cuban speech style that robustly indexes the historical persona of the African slave, this paper proposes that such discourse “genealogies” are more accurately reconstructed not through a linear, teleological metaphor of “speech chains” but through a more reticulated, multiply stranded web of interdiscursive connections. Bozal, in contemporary Cuba, characterizes the voices of African deities and spirits of the dead who possess their devotees to speak during folk religious ceremonies. I consider a deeper history of theatrical “blackface” influences on religious performances of spirit possession, a discourse history that destabilizes facile notions of “authentic, African” cultural sources in Cuba. I argue that rather than reflecting direct memories ofactualspeech by African-born slaves, once upon a time, Bozal's enregisterment began with, and always involved, double-voiced representations of imagined social types—what recent scholarship has described as “mock” forms disparaging the speech of racialized Others. The “Bozal slave” was a figure caricatured for comedic effect, proliferating into a whole set of stock theatrical characters, some of which became focal points for building nationalist sentiment in mid-nineteenth-century Cuba. The lesson for understanding the role of Bozal or any “Africanizing” voice in performance today is clear: we must always consider the mediating effects of metacultural practices in shaping our understanding of the social meaning of speech styles.

Purpose. We aimed at studying the traditions and world views of the Andronovo population of the steppe bronze. Due to the absence of direct written sources and zoo-anthropomorphic pictorial tradition on the subject, the burial practice of the Andronovo population, whose detailing presupposes the existence of extensive mythological ritual knowledge concentrated in the worldview sphere, is the foreground of research as the main informative base. Results. The earliest evidence that specifies certain aspects of the worldview of the ancient society appears at the dawn of the Andronovo era. The finds of stone and bronze maces are curious, which, obviously, marked the patrimonial military aristocracy, closely connected with the cult of the military deity. Of great interest are paired and double burials in which a man and woman were buried. It can be assumed that such a burial rite is a practical realization of the sacred marriage, the participants of which are heterosexual twins, close in content to Yama-Yami or Yima-Yimak. Regular reproduction in the funeral practice of the ritual of twin burials indicates that the heterosexual twins were given a significant place in the religious and mythological system of the ancient society. A certain place in the system of religious priorities was occupied by twins of the same sex, in particular males, such as, for example, the Vedic Ashvins. Double burials of the deceased of the same sex in specially prepared burial chambers, where skeletons of different sexes are usually located, are excluded, which excludes their marriage relations and makes us see in the ritual contemplated a twin, possibly, a ritual burial. There was another, more complex and rare rite of the triple burial, which includes a woman occupying the central place and two men located on each side. Such triple burials symbolize the triune image of the goddess and two twins, obviously the elder and younger, widespread in Indo-European mythology. Conclusion. Based on the well-known mythology of the funeral rite reproduced in the ritual, a whole series of sacred actions are observed pointing to the developed cults of various deities close to the Indo-Iranian pantheon and playing a fundamental role in the religious mythological representations of the ancient society. However, it should be borne in mind that the polytheism of antiquity is a dynamically changing system rather than a static, «petrified» structure, which visually demonstrates the successive stages of the social and economic development of the society itself.

Shortly after his accidental transformation into an ass, Lucius attempts to return to his human form by grabbing some roses decorating a statue of the patron goddess of the quadrupeds, Epona. But his servulus feels outraged at the sacrilegious act. Jumping to his feet in a temper and acting as a faithful defender of the sacred place, he addresses his former human owner as a new ‘Catiline’ (Apul. Met. 3.27): Quod me pessima scilicet sorte conantem servulus meus, cui semper equi cura mandata fuerat, repente conspiciens indignatus exurgit et: ‘quo usque tandem’ inquit ‘cantherium patiemur istum paulo ante cibariis iumentorum, nunc etiam simulacris deorum infestum? Quin iam ego istum sacrilegum debilem claudumque reddam.’My attempt was frustrated by what seemed to be the worst of luck: my own dear servant, who always had the task of looking after my horse, suddenly saw what was going on, and jumped up in a rage. ‘For how long’, he cried, ‘are we to endure this clapped-out beast? A minute ago his target was the animals' rations, and now he is attacking even the statues of deities! See if I don't maim and lame this sacrilegious brute!’A self-evident instance of parody, the servant's words ironically reformulate one of the most familiar texts of Republican oratory, the famous opening of Cicero's first invective against Catiline, delivered before the assembled senate in the Temple of Jupiter Stator on 8 November 63 b.c.: the substitution of a low and familiar word such as cantherium for Catilinam underpins the comic undertone of the entire passage, imbued with further reminiscences of Cicero. Scholars debate whether the servant's verbal attack against Lucius is a parodic adaptation of Cicero's opening invective or rather a spoof on Catiline's paradoxical reading of Cicero's phrase in Sallust (Sall. Cat. 20.9). It is safer to assume a case of double imitation, not unusual in Apuleius' work.

ABSTRACT We present an extensive study of the Sagittarius II (Sgr II) stellar system using MegaCam g and i photometry, narrow-band, metallicity-sensitive calcium H&K doublet photometry and Keck II/DEIMOS multiobject spectroscopy. We derive and refine the Sgr II structural and stellar properties inferred at the time of its discovery. The colour–magnitude diagram implies Sgr II is old (12.0 ± 0.5 Gyr) and metal poor. The CaHK photometry confirms the metal-poor nature of the satellite ([Fe/H] CaHK = −2.32 ± 0.04 dex) and suggests that Sgr II hosts more than one single stellar population ($\sigma _\mathrm{[FeH]}^\mathrm{CaHK} = 0.11^{+0.05}_{-0.03}$ dex). Using the Ca infrared triplet measured from our highest signal-to-noise spectra, we confirm the metallicity and dispersion inferred from the Pristine photometric metallicities ([Fe/H]spectro = −2.23 ± 0.05 dex, $\sigma _\mathrm{[Fe/H]}^\mathrm{spectro} = 0.10 ^{+0.06}_{-0.04}$ dex). The velocity dispersion of the system is found to be $\sigma _{v} = 2.7^{+1.3}_{-1.0} {\rm \, km \,\, s^{-1}}$ after excluding two potential binary stars. Sgr II’s metallicity and absolute magnitude (MV = −5.7 ± 0.1 mag) place the system on the luminosity–metallicity relation of the Milky Way dwarf galaxies despite its small size. The low but resolved metallicity and velocity dispersions paint the picture of a slightly dark-matter-dominated satellite ($M/L = 23.0^{+32.8}_{-23.0}$ M⊙ L$^{-1}_{\odot }$). Furthermore, using the Gaia Data Release 2, we constrain the orbit of the satellite and find an apocentre of $118.4 ^{+28.4}_{-23.7} {\rm \, kpc}$ and a pericentre of $54.8 ^{+3.3}_{-6.1} {\rm \, kpc}$. The orbit of Sgr II is consistent with the trailing arm of the Sgr stream and indicates that it is possibly a satellite of the Sgr dSph that was tidally stripped from the dwarf’s influence.

The object of the study is the texts about Tan-varp-ekva, «the tendon twistress», recorded during the 20th c. The majority of the full-text tales has been recorded from the northern Mansi (Lyapin River Basin, Upper Lozva), some folklore stories have been published for various groups of Khanty (Yugan, Middle Ob, Berezovo, Kazym, Upper Purov, Shurishkar); the Nenets legend about the old woman-Sihirtia stands out. The tales mostly split into two plots: the first one is associated with the prohibition to spin veins at night, the second — with changeling and kidnapping of children. The analysis of the key points of the legends has been carried out, the position of the Ob-Ugorsk forest spirit among similar images of the Komi and Russians has been determined. The authors suggest that the village of Lombovozh (Lyapin Mansi) became the place of creation of the folklore storyline, linking it to the presence of a large archaeological site, a medieval settlement. The spread of the legend of Tan-varp-ekva among other Mansi and Khanty groups was the result of migrations. The main plot of the story refers to the introduction of regulations by the Ob Ugrians on inclusion of a daughter-in-law, young women into the foreign cult community. The story with a silver cup explains the rules of entry of a newly manufactured or brought from the outside object into the sphere of worship in the Ob Ugrians. Tan-varp-ekva in the role of a female deity could act as the patro-ness of needlework, as, for the Ob Ugrians, twisting of deer tendon threads was a traditional female work. The stories about Tan-varp-ekva are similar to those of many Russian fairy tales, ballades about mythical spin-stresses, as well as bans on needlework during the night and transition time. Her image has a lot in common with Baba Yaga and with the character of Yoma — her double in Komi (forest spirits, creatures of the lower world, kidnappers of children, cannibals, treasure keepers, treasure givers, «spinning» deities). The motifs of killing and eating of daughter-in-law by the spinstress of tendons can be an allusion of the rite of transition to a new family, when the girl «died» for her former family and left the protection of the spirits-keepers of her family. The popular-Christian layer of views of the Russians and Komi provides material for comparative analysis of mythological con-cepts of Slavic and Finn-Ugric peoples, who for a long period experienced mutual influence on ethnocultural tradi-tions. The function of Tan-varp-ekva as a «twister of tendons» can be secondary, borrowed from neighboring populations, for example, from the Komi, who, together with Orthodoxy, accepted and adapted the popular-Christian beliefs of the Russians.

Background, problems and innovations of the study. The modern Puppet Theater in Poland is a phenomenon that is very difficult for definition and it opposes its own identification itself. Problems here start at the stage of fundamental definitions already. In English, the case is simpler: “doll” means a doll, a toy, and “puppet” is a theatrical puppet, as well as in French functions “poupée” and “marionette” respectively. In Polish, one word serves both semantic concepts, and it is the reason that most identify the theater of puppets with theater for children, that is a big mistake. Wanting to get out of this hassle, some theaters have thrown out their puppet signage by skipping their own names. Changes in names were intended only to convey information to viewers that in these theaters do not always operate with puppets and not always for the children’s audience. In view of the use of the word “animation” in Polish, that is, “vitalization”, and also the “animator”, that is, “actor who is animating the puppet”, the term “animant” is suggested, which logically, in our opinion, is used unlike from the word “puppet”. Every subject that is animated by animator can be called an animant, starting with classical puppets (glove puppets, cane puppets, excretory puppets, silhouette puppets, tantamarees, etc.) to various plastic shapes (animals, images of fantastic creatures or unrelated to any known), any finished products (such as chairs, umbrellas, cups), as well as immaterial, which are animated in the course of action directed by the actor, either visible to viewers or hidden. In short, the animator animates the animant. If the phenomenon of vitalization does not come, that is, the act of giving “the animant” the illusion of life does not occur, then objects on the stage remain only the requisite or elements of scenography. Synopsis of the main material of the study. In the past, puppet performances, whether fair or vernacular, were seen by everyone who wanted, regardless of age. At the turn of the XIX–XX centuries, the puppet theater got divided into two separate areas – theater for adults and the one for children. After the war, the professional puppet theater for adults became a branch of the puppet theater for children. In general, little has changed so far. The only puppet theater that plays exclusively for adults is “Theater – the Impossible Union”, under the direction of Mark Khodachinsky. In the Polish puppet theater the literary model still dominates, that is, the principle of starting to work on the performance from the choice of drama. There is no such literary work, old or modern, which could not be adapted for the puppet theater. The only important thing is how and why to do it, what significance carries the use of animants, and also, whether the applying of animation does the audience mislead, as it happens when under the name of the puppet theater at the festival shows performances that have nothing in common with puppets / animations. What special the puppet theater has to offer the adult audience? The possibilities are enormous, and in the historical perspective may be many significant achievements, but this does not mean that the masterpieces are born on the stones. The daily offer of theaters varies, and in reality the puppet theaters repertoire for adults is quite modest. The metaphorical potential of puppets equally well justifies themselves, both in the classics and in modern drama. The animants perfectly show themselves in a poetry theater, fairy-tale, conventional and surrealistic. The puppet theater has an exceptional ability to embody inhuman creatures. These can be figures of deities, angels, devils, spirits, envy, death. At the puppet scenes, also animals act; come alive ordinary household items – chairs, umbrellas, fruits and vegetables, whose animation gives not only an interesting comic effect or grotesque, but also demonstrates another, more empathic view of the whole world around us. In the theater of dolls there is no limit to the imagination of creators, because literally everything can became an animant. You need only puppeteers. The puppet theater in Poland, for both children and adults, has strong organizational foundations. There are about 30 institutional theaters (city or voivodship), as well as an increasing number of “independent theaters”. The POLUNIMA, that is, the Polish branch of the UNIMA International Union of Puppets, operates. The valuable, bilingual (Polish–English) quarterly magazine “Puppet Theater” is being issued. The number of puppet festivals is increasing rapidly, and three of them are devoted to the adult puppet theater: “Puppet is also a human” in Warsaw, “Materia Prima” in Krakow, “Metamorphoses of Puppets” in Bialystok. There is no shortage of good dramas for both adults and children (thanks to the periodical “New Art for Children and Youth” published by the Center for Children’s Arts in Poznan). Conclusions. One of the main problems is the lack of vocational education in the field of the scenography of the puppet theater. The next aspect – creative and now else financial – the puppet show is more difficult, in general more expensive and more time-consuming in preparation than the performance in the drama theater. Actor-puppeteer also gets a task those three times heavier: to play live (as an actor in a drama theater), while playing a puppet and with a puppet. Consequently, the narrative of dramatic story on the stage is triple: the actor in relation to the viewer, the puppet in relation to the viewer, the actor in relation to the puppet. The director also works double – both the actor and the puppet should be led. It is necessary to observe the effect that arises from the actions of both stage partners. So the second threat seems to be absurd, but, alas, it is very real – the escape of puppeteers from puppets. The art of the puppet theater requires hard work, and by its nature, it is more chamber. This art is important for gourmets, poets, admirers of animation skills, as well as the searchers for new artistic ways in the theater, in wide understanding. Fortunately, there are some real fans of the puppet theater, and their admiration for the miracle of animation is contagious.

Five theses about sign systems and articulation: It is shown that although most sign systems with single articulation (mathematics, predicate logic and sheets of music) lack deictic reference, the artificial language Ro has deixis. Double articulation of natural languages gives redundancy necessary for the performance in real time of the messages. In general, meaning is to be anchored to rhetorical situation, but mathematics and logic is not anchored and the meaning is consequently always generic. Natural sign systems have four types of meaning that are metacommunication of each other: conceptual meaning, propositional meaning, informational meaning and interactional meaning.

The idea advanced in the paper is to theorize the mechanisms of autobiographicality in Stephen Dixon’s novels that are viewed as a radical renewal of autobiographical narrative, where the modality of disappearance/return of the subject produces a new mode of life-writing. We propose the term “autobiographical transgression” to capture the essence of this renewal started by three representative figures – John Barth, Stephen Dixon, and Joseph Heller that can be reduced neither to autobiography as a genre, nor to “transgressive autobiography” as its generic variant. Dixon finds a new form for representing autos. He creates the character with the name-deixis I. that personifies a fiduciary subject, thus, suggesting a provocative restatement of postmodernist generic problems. In the novels I. and End of I. the autobiographical hero I. exists simultaneously as a metaphor of the author’s presence in the text, as the subjective author’s I and as a character in the novel − an objectified, semi-functional, distancing I. The transplanting of life experience manifests itself in a special kind of repersonalization and double coding of the traditional autobiographical subject.

This article discusses popular yamauba motifs and themes in Japanese legends and folk tales. Yamauba, the Japanese witch, is one of the well-known figures of Japanese folklore. It belongs to the world of monsters and spirits called yōkai 妖怪 that inhabit Japanese myths and legends and that have been explained as personifications of supernatural phenomena originally venerated as deities. A close examination of yamauba motifs shows that yamauba, too, is linked with ancient beliefs regarding fertility and agricultural production as well as with the cult of sacred mountains. In its various appearances, the yamauba, like many other Japanese yōkai, is distinguished by a double character ranging from a fearful monster bringing misfortune to humans to a spirit bringing good luck to those who help her. An analysis of Japanese folk tales thus offers insights into the deeper layers of traditional Japanese folk culture and belief.

Topic: polymorphic iconography in Egyptian religious iconography - special and separate types of mixed, theriomorphic and combined images / icons / forms, always with animal heads, double pairs of wings, phallus, and other magical symbols. Archaeological evidence: images appear on small size flat amulets, papyri fragments (also serving as amulets), bronze statuettes and magical healing statues. Textual evidence: lack of distinctive proper names Place: Egypt, without special area of provenance Date: Late Period (7th – 4th centuries BC), Ptolemaic and Roman Periods (from 4th century BC) Important terms:Pantheistic as an idea of all-embracing god (Pantheos)ba as an emanation / form / manifestation of a god, significantly associated with the image of the god. The animals were ba of gods.bau - strength, power, good and bad at the same time, affecting the whole world, and humans in particular. With the help of magic bau can be manipulated, to ensure people health and success. DeitesBes – Egyptian god – demon, present in magical context, protector of maternity, life, music, safety, with strong solar interpretation, often depicted as a dwarfTutu (Tithoes) – popular especially as Ptolemaic and Roman Egypt deity; main role was to repel negative powers and to protect people in danger; depicted as sphinx with mixed animal and magical attributesLamashtu – female Mesopotamian goddess / demon, who preys on mothers and children, depicted in magical context with animal elementsPazuzu – male Babylonian and Assyrian demonic god with rather beneficent, magical role, depicted with animal elementsNine–Shaped (Enneamorfos) – figure present in written Greek Magical Papyri, defined as composed of nine forms, especially of animal origin with magic function and Egyptian genesis Key problem: distribution of polymorphic iconography in other cultures, parallels, influences on the visual level (codification of symbols) and also on the ideological level (magical activity hidden / symbolised in a representation) Question of the talk: to define potential influences in the Near Eastern perspective - is the polymorphic idea specific to one culture or common to all ancient religious thinking about deities?

Weapons as Sign of Prestige, Ritual Attribute, and Indicator of Mutual Contacts in Barbaricum in Late Pre-Roman and Roman Periods. Not only had had weapons the practical, martial functions, but they had also played an important role in the construction and expression of the image, status in the society, identity, and mythology of the social category of warriors (Fig. 1). Swords and spears in legends and myths have their names and ‘personality’ (Fig. 2). Their symbolic functions explain the particular treatment of weapons in magic or ritual contexts, in burials or in bog offerings. Importance of weapons as indicators of social status, prestige, and also certain magical or religious content, is clearly visible in the rituals of the Germanic societies of Barbaricum in the Late Pre-Roman and Roman Period. The Przeworsk culture materials are highly suitable for such studies, as the burial rites of that culture involved depositing large numbers of weapons in graves. Another, complementary source of information, are written sources; most important among them is “Germania“ by Tacitus.For the Przeworsk culture population the main and most important part of military equipment was aspear. This is confirmed by the archaeological finds: spearheads are the most numerous militaria found in burials. According to “Germania“, weapons were treated as indicators of free warriors and strong carriers of symbolic meanings. That is why the heads of shafted weapons (spears and javelins) are often decorated. The types of ornamentation were adapted from Celts – richly decorated specimens are known from the La Tène culture (Fig. 3)– but, most probably, executed by local smiths (Fig. 4:1). Spearheads dated to the Roman Period, were often decorated with incised zigzags (Fig. 4:6). Agroup of artefacts with inlaid ornament of special signs and complicated motifs (circles, crescents, triskelions, triangles, double forks) are known from the Roman Period (Figs. 4:2–5). One cannot comprehend their meaning today, but the repetitiveness of certain motifs may indicate that this type of ornament was not accidental, but had aparticular meaning. Some of these signs are similar to Sarmatian tamgas, what could be aresult of various contacts and interactions with the Sarmatian people. Afew artefacts were equipped with runic inscriptions (Fig. 4:8), which could be aname of the owner, or name of the weapon, or of the smith, who manufactured it. Besides these spectacular ornaments, there are less visible but important marks placed on sockets. Some spearheads were provided with small holes on socket joints, which could have been used to fix some organic pennants (Fig. 4:7). The signs placed on heads were probably supposed to fulfil amagical, protective function, maybe increasing effectiveness of the weapon. The richly decorated spears probably also had aspecial use in some ritual practices, during gatherings, things, maybe weddings, and brotherhood pledges. They could have served as military standards.Shields were most probably also decorated, but organic materials – wood and leather – could survive only in very specific conditions e.g. bogs. From other sites only metal fittings are known. Ceremonial shields with bosses, grips or edge fittings made of precious metals, often with additional decorations, come from the graves of local aristocrats (Fig. 5:1). Interesting is the fact of decorating grips – that is the elements of ashield invisible from the outside (Fig. 5:2).Asword remained an elite, important, and, perhaps, expensive weapon. Celtic swords and scabbards were very richly decorated with ornaments of great aesthetic value, and at the same time having asignificant symbolic meaning, e.g. adragon pair motif, which, probably, performed an apotropaic function, but could have also been asign of having belonged to aspecific elite of warriors, asymbol of rank and military successes (Fig. 6). Roman swords were sometimes decorated with inlay – mainly depictions of deities: Mars and Victoria, or symbols of victory, such as wreath or palm branch, clearly visible only by the person holding the sword. They probably served as amagical protection (Fig. 7:1, 2). One of the most interesting motifs reflecting aspecific aesthetics and symbolism of the military elite are stylised representations of ravens. Like other animals, which accompany the battle, feeding on the dead, they were guides on the way to Valhalla (Figs. 7:3, 4).Despite the obvious differences in the panoply of warriors of various groups or tribes, recorded as differences of archaeological cultures, it is difficult to clearly state to what extent the type of used weapons could be asign of identity, belonging to aspecific ethnic group. An interesting proof that Roman armourers respect the preferences of their clients is aunique scabbard of unknown provenience, now in the Römisch-Germanisches Zentralmuseum in Mainz. It has arich figural decoration divided into fields, two of which: with agriffon and arider, are of east Celtic or Thracian origin. The other representations are in the Roman style: afigure of anude deity and arepresentation of an emperor (Fig. 8). It may be treated as aspecial gift produced in the Roman workshop for aCeltic or Thracian ally.In the armament of the Przeworsk culture, apart from the obvious imports from the Roman Empire, one can point to military items from other regions inside the Barbaricum. e.g. from Scandinavia. Exchange of weapons, ceremonial gifts, could result in acquisition of ‘foreign’ items. Inter-tribal contacts of military elites, mostly retinues, are confirmed also by the Tacitus’ Germania. An excellent example of the mobility of groups of warriors is the extremely interesting small grave field dated to the Late Pre-Roman Period, in Mutyn (northern Ukraine).Indication of contacts of the military elites are the ceremonial weapons clearly suggesting the high status of the owner/user. As an example can serve shields from the Early Roman Period with rich decoration of elaborated silver fittings known from the Przeworsk culture, northern Germany, Denmark, and Norway (Fig. 9).The association of certain types of military objects with specific regions has become the basis for attempts to recreate certain historical events. This is especially true of finds from Danish bog deposits in which, at least in some stages of use, weapons of the defeated invaders were laid.An extremely interesting example of aunique weapons, that allows to trace long--distance contacts, are very specific spearheads, the blades of which were made of fragments of broken swords mounted in acut socket. The manufacturing technique itself – inserting the blade into aslot cut in the socket – is known from Hunnic-Sarmatian sites from southern Russia, Caucasus, and western Kazakhstan (Fig. 10). Re-making asword into aspearhead possibly had more than just apractical reason – the aim was to preserve the damaged sword, perhaps avaluable heirloom. Reforging of abroken precious sword into aspear is mentioned in the saga of Gísli Súrsson.Weapons played important role in burial rites, as an indicator of social status, and had perhaps also acertain magical or religious meaning. Avery interesting procedure – intentional depositing of the remains of one deceased inside amuch earlier grave – was observed in the burial ground in Oblin, distr. Garwolin. The care taken in burying agreat warrior/leader, whose rank is confirmed by the exceptional set of weapons, in aburial of agreat warrior/leader from the earlier times, indicates the importance of the military elites (Fig. 11).The military equipment deposited in graves was, in accordance with the burial rites, destroyed, yet the form and degree of the damage was different (Fig. 12). The phenomenon of ritual destruction of weapons has been the subject of many analyses and various attempts have been made to explain it e.g. as practice to avoid stealing valuable items or to protect from the coming back of ‘living dead’. The most likely explanation is ‘killing’ the object, so that it could advance to the afterlife with its owner.Another interesting ritual observed at the Przeworsk culture cemeteries is sticking spearheads (originally spears) in the walls or bottom of grave pits or piercing the burned bones in an urn. The meaning of such ritual is not clear: maybe it was away to connect the dead with the underground realm of the death or prevent them from coming back as ‘walking dead’? Another, less convincing possibility is that the shafts of the stuck spears were left above, to mark the grave (Figs. 13, 14:1–5). Arare practice was observed in the Late Pre-Roman time – asword was carefully placed along the very edge of the grave pit, forming aborder between the filling of the grave and sand outside (Fig. 14:6). Shields also served as important element of aburial rite. Shield-bosses were found, placed spike down beneath an urn or, in other cases, they covered the vessel, what, probably can be understood as magical protection (Fig. 14:7–9). At the Przeworsk culture burial grounds shield-bosses were sometimes used as containers for remains of the deceased, small pieces of grave goods, and burned bones, so they functioned as urns (Fig. 15). Unique finds of helmets, one from Siemiechów, distr. Łask, other two from the cemetery Mutyn in Ukraine also served as urns (Fig. 16).As aresult of ritual treatment should be interpreted finds of fragments of broken weapons deliberately placed in graves, often burials of small children. The apotropaic meaning of those artefacts in graves seems most obvious, however the pars pro toto interpretation is not impossible. In the cemetery in Opatów, distr. Kłobuck, in grave 1186, achild was furnished with niello inlaid box-shaped chape of Roman scabbard, which most probably was treated as an amulet (Fig. 17:1). In some cases the primary function of weapons was changed. In afew female burials the strips of the chain-mail with attached miniatures of shields and tools were found. They can be treated as parts of women’s attire, but it is more probable that ring-mail fragments were used as amulets (Fig. 17:2, 3).Another special treatment of weapons as the ‘rite matter’ are finds of offerings. Military equipment was deposited in bogs, lakes or rivers – and is interpreted as offerings for gods. Finds from rivers are not numerous, in most cases represented by single swords, some with scabbards and some without. Most probably this idea was adopted, among many others, from the Celts (Fig. 18).

The Gothic is not always suited to women’s emancipation, but it is very well suited to women’s anger, and all other instances of what Barbara Creed (3) would refer to as ‘abject’ femininity: excessive, uncanny and uncontained instances that disturb patriarchal norms of womanhood. This article asserts that the conventions of the Gothic genre are well suited to expressions of women’s rage; invoking Sarah Ahmed’s work on the discomforting presence of the kill-joy in order to explore how the often-alienating processes of uncensored female anger coincide with contemporary notions of the Monstrous Feminine. This should not suggest that the Gothic is a wholly feminist genre - one need only look to Jane Eyre to observe the binarised construction of Gothic women as either ‘pure’ or ‘deviant’: virginal heroine or mad woman in the attic. However, what is significant about the Gothic genre is that it often permits far more in-depth, even sympathetic explorations of ‘deviant femininity’ that are out of place elsewhere.Indeed, the normative, rationalist demand for good health and accommodating cheerfulness is symptomatic of what Queer Crip scholar Katarina Kolářová (264) describes as ‘compulsory, curative positivity’ – wherein the Monstrousness of deviant femininity, Queerness and disability must be ‘fixed’ in order to produce blithe, comforting feminine docility. It seems almost too obvious to point to The Yellow Wallpaper as a perfect exemplar of this: the physician husband of Gillman’s protagonist literally prescribes indolence and passivity as ‘cures’ for what may well be post-partum depression – another instance of distinctly feminine irrationality that must be promptly contained. The short story is peppered through with references to the protagonist’s ‘illness’ as a source of consternation or discomfort for her husband, who declares, “I feel easier with you now” (134) as she becomes more and more passive.The notion of men’s comfort is important within discussions of women’s anger – not only within the Gothic, but within a broader context of gendered power and privileged experience. Sara Ahmed’s Killing Joy: Feminism and the History of Happiness asserts that we “describe as happy a situation that you wish to defend. Happiness translates its wish into a politics, a wishful politics, a politics that demands that others live according to a wish” (573) For Ahmed, happiness is not solely an individual experience, but rather is relational, and as much influenced by normative systems of power as any other interpersonal process.It has historically fallen upon women to sacrifice their own happiness to ensure that men are comfortable; being quiet and unargumentative, remaining both chase and sexually alluring, being maternal and nurturing, while scrupulously censoring any evidence of pregnancy, breastfeeding or menstrual cycles (Boyer 79). If a woman has ceased to be happy within these terms, then she has failed to be a good woman, and experiences what Ahmed refers to as a ‘negative affect’ – a feeling of being out of place. To be out of place is to be an ‘affect alien’: one must either continue feeling alienated or correct one’s feelings (Ahmed 582). Sociologist Arlie Russell Hochschild uses the analogy of a bride feeling miserable at her wedding, obliging herself to bring her feelings in-line with what is expected of her, “Sensing a gap between the ideal feeling and the actual feeling she tolerated, the bride prompts herself to be happy” (Hochschild 61).Ahmed uses to the term ‘Kill Joy’ to refer to feminists – particularly black feminists – whose actions or presence refuse this obligation, and in turn project their discomfort outwards, instead of inwards. The stereotype of the angry black woman, or the humourless feminist persist because these women are not complicit in social orders that hold the comfort of white men as paramount (583); their presence is discomforting.Contrary to its title, Killing Joy does not advocate for an end to happiness. Rather, one might understand the act of killing joy as a tactic of subjective honesty – an acknowledgement of dis-ease, of one’s alienation and displacement within the social contract of reciprocal happiness. Here I use the word dis-ease as a deliberate double entendre – implying both the experience of a negative affect, as well as the apparent social ‘illness’ of refusing acquiescent female joy. In The Yellow Wallpaper, the protagonist’s passive femininity is ironically both the antithesis and the cause of her Monstrous transformation, demonstrating an instance of feminine liminality that is the hallmark of the Gothic heroine.Here I introduce the example of Lily Frankenstein, a modern interpretation of the Bride of the Creature, portrayed by Billie Piper in the Showtime series Penny Dreadful. In Shelley’s novel the Bride is commissioned for the Creature’s contentment, a contract that Frankenstein acknowledges she could not possibly have consented to (Shelley 206). She is never given sentience or agency; her theoretical existence and pre-natal destruction being premised entirely on the comfort of men. Upon her destruction, the Creature cries, “Are you to be happy while I grovel in the intensity of my wretchedness?” (Shelley 209). Her first film portrayal by Elsa Lanchester in James Whale’s The Bride of Frankenstein (1936) is iconic, but brief. She is granted no dialogue, other than a terrified scream, followed by a goose-like hiss of disgust at Boris Karloff’s lonely Creature. Kenneth Branagh’s Mary Shelley’s Frankenstein (1994) merges the characters of Elizabeth and the Bride into the same doomed woman. After being murdered by the Creature, she is resurrected by Frankenstein – and consequently fought over by both. Her inevitable suicide is her one moment of tragic autonomy.Penny Dreadful is the first time that the Bride has been given an opportunity to speak for herself. Lily’s character arc is neither that of the idealised, innocent victim, nor is she entirely abject and wanton: she is – quite literally – two women in one. Before she is re-animated and conditioned by Victor Frankenstein to be the perfect bride, she was Brona, a predictably tragic, Irish street-walker with a taste for whisky and a consumptive cough. Diane Long Hoeveler describes the ambiguous duality of the Gothic feminine arising from the fantasies of middle-class woman writing gothic fiction during the 19th century (106). Drawing upon Harriet Guest’s examination of the development of femininity in early Gothic literature, Hoeveler asserts that women may explore the ‘deviant’ pleasures of wanton sexuality and individualistic, sadistic power while still retaining the chaste femininity demanded of them by their bourgeois upbringings. As both innocent victim of patriarchy and Monstrous Feminine, the construction of the gothic heroine simultaneously criminalises and deifies women.I assert that Penny Dreadful demonstrates the blurring of these boundaries in such a way that the fantasy of the sympathetic, yet Monstrous Gothic Feminine is launched out of the parlours of bored Victorian housewives into a contemporary feminist moment that is characterised by a split between respectable diplomacy and the visibility of female rage. Her transition from coerced docility and abject, sexualised anger manifests in the second season of the show. The Creature – having grown impatient and jealous – comes to collect his Bride and is met with a furious refusal.Lily’s rage is explosive. Her raw emotion is evidently startling to the Creature, who stands in astonishment and fear at something even more monstrous and alien than himself – a woman’s unrestrained anger. For all his wretched ‘Otherness’ and misery, he is yet a man - a bastard son of the Enlightenment, desperate to be allowed entrance into the hallowed halls of reason. In both Shelley’s original novel and the series, he tries (and fails) to establish himself as a worthy and rational citizen; settling upon the Bride as his coveted consolation prize for his Monstrous failure. If he cannot be a man as his creator was, then he shall have a companion that is ‘like’ him to soothe his pain.Consequently, Lily’s refusal of the Creature is more than a rejection – it is the manifestation of an alien affect that has been given form within the undead, angry woman: a trifecta of ‘Otherness’. “Shall we wonder the pastures and recite your fucking poetry to the fucking cows?” She mocks the Creature’s bucolic, romantic ideals, killing his joyful phantasy that she, as his companion, will love and comfort him despite his Monstrousness (“Memento Mori”).Lily’s confrontation of the Creature is an unrestrained litany of women’s pain – the humiliation of corsetry and high heels, the slavery of marriage, the brutality of sexual coercion: all which Ahmed would refer to as the “signs of labour under the sign of happiness” (573). These are the pains that women must hide in order to maintain men’s comfort, the sacrificial emotional labours which are obfuscated by the mandates of male-defined femininity. The Gothic’s nurturance of anger transforms Lily’s outburst from an act of cruelty and selfishness to a site of significant feminine abjection. Through this scene Hochschild’s comment takes on new meaning: Lily – being quite literally the Bride (or the intended Bride) of the Creature – has turned the tables and has altered the process of disaffection – and made herself happy at the expense of men.Lily forms a militia of ‘fallen’ women from whom she demands tribute: the bleeding, amputated hands of abusive men. The scene is a thrilling one, recalling the misogyny of witch trials, sexual violence and exploitation as an army of angry kill joys bang on the banquet table, baying for men’s blood (“Ebb Tide”). However, as seems almost inevitable, Lily’s campaign is short-lived. Her efforts are thwarted and her foot soldiers either murdered or fled. We last see her walking dejectedly through the London fog, her fate and future unknown.Lily’s story recalls an instance of the ‘bad feminism’ that nice, respectable, mainstream feminists seek to distance themselves from. In her discussion of the acquittal of infamous castatrix Lorena Bobbitt, poet Katha Pollitt (65-66) observes the scramble by “nice, liberal middle-class professional” feminists to distance themselves from the narratives of irrational rage that supposedly characterise ‘victim feminism’ – opting instead for the comforting ivory towers of self-control and diplomacy.Lily’s speech to her troops is seen partly through the perspective of an increasingly alarmed Dorian Gray, who has hitherto been enjoying the debauched potential of these liberated, ‘deviant’ women, recalling bell hooks’ observation that “ultimately many males revolted when we stated that our bodies were territories that they could not occupy at will. Men who were ready for female sexual liberation if it meant free pussy, no strings attached, were rarely ready for feminist female sexual agency” (41). This is no longer a coterie of wanton women that he may enjoy, but a sisterhood of angry, vengeful kill-joys that will not be respectable, or considerate of his feelings in their endeavours.Here, parallels arise between the absolutes drawn between women as agents or victims, and the positioning of women as positive, progressive ‘rational’ beings or melancholic kill-joys that Ahmed describes. We need only turn to the contemporary debate surrounding the MeToo movement (and its asinine, defensive response of ‘Not All Men’) to observe that the process of identifying oneself as a victim has – for many – become synonymous with weakness, even amongst other feminists. Notably, Germaine Greer referred to the movement as ‘whinging’, calling upon women to be more assertive, instead of wallowing in self-victimisation and misandry, as Lily supposedly does (Miller).While Greer may be a particularly easy strawman, her comments nonetheless recall Judith Halberstam’s observations of prescriptive paternalism (maternalism?) within Western feminist discourse. His chapter Shadow Feminisms uses the work of Gayatri Spivak to describe how triumphalist narratives of women’s liberation often function to restrict the terms of women’s agency and expression – particularly those of women of colour.Spivak’s Can the Subaltern Speak? asserts that the colonial narratives inherent within white feminists’ attempts to ‘save’ non-Western women are premised upon the imagined heroicism of the individual, which in turn demands the rejection of ‘subaltern’ strategies like passiveness, anger and refusal. She asks, “does the category of resistance impose a teleology of progressive politics on the analytics of power?” (9). Put more simply, both Halberstam and Spivak beg the question of why it is necessary for women and other historically marginalised groups to adopt optimistic and respectable standards of agency? Especially when those terms are pre-emptively defined by feminists like Greer.Halberstam conceptualises Shadow Feminisms in the melancholic terms of refusal, undoing, failure and anger. Even in name, Shadow Feminism is well suited to the Gothic – it has no agenda of triumphant, linear progress, nor the saccharine coercion of individualistic optimism. Rather, it emphasises the repressed, quiet forms of subversion that skulk in the introspective, resentful gloom. This is a feminism that cannot and will not let go of its traumas or its pain, because it should not have to (Halberstam, Queer Art 128-129).Thus, the Monstrousness of female rage is given space to acknowledge, rather than downplay or dismiss the affective-alienation of patriarchy. To paraphrase scholars Andrew Smith and Diana Wallace, the Gothic allows women to explore the hidden or censured expressions of dissatisfaction and resentment within patriarchal societies, being a “coded expression of women’s fears of entrapment within the domestic and within the female body” (Smith & Wallace 2).It may be easy to dismiss the Gothic as eldritch assemblages of Opheliac madness and abject hyperbole, I argue that it is valuable precisely because it invites the opening of festering wounds and the exploration of mouldering sepulchres that are shunned by the squeamish mainstream; coaxing the skeletons from the closet so that they may finally air their musty grievances. As Halberstam states in Skin Shows: Gothic Horror and the Technology of Monsters, the Gothic represents the return of the repressed and thus encourages rather than censors the exploration of grief, madness and irrationality (Skin Shows 19). Accordingly, we may understand Lily’s rage as what Halberstam would refer to as a Monstrous Technology (21-22) – more specifically, a technology of the Monstrous Feminine: a significant site of disruption within Gothic narratives that not only ‘shows’ the source of its abjection, but angrily airs its dirty laundry for everyone to see.Here emerges the distinction between the ‘non-whinging’, respectable feminism advocated by the likes of Greer and Lily’s Monstrous, Gothic Feminism. Observing a demonstration by a group of suffragettes, Lily describes their efforts as unambitious – “their enemies are same, but they seek equality” (“Good and Evil Braided Be”). Lily has set her sights upon mastery. By allowing her rage to manifest freely, her movement has manifested as the violent misandry that anti-suffragists and contemporary anti-feminists alike believe is characteristic of women’s liberation, provoking an uncomfortable moment for ‘good’ feminists who desperately wish to avoid such pejorative stereotypes.What Lily offers is not ethical. It does not conform to any justifiable feminist ideology. She represents that which is repressed, a distinctly female rage that has no place within any rational system of belief. Nonetheless, Lily remains a sympathetic character, her “doomed, keening women” (“Ebb Tide”) evoking a quiet, subversive thrill of solidarity that must be immediately hushed. This, I assert, is indicative of the liminal ambiguity that makes the Monstrous Feminine so unsettling, and so significant.And Monsters are always significant. Their ‘Otherness’ functions like lighthouses of meaning. Further, as Jeffrey Jerome Cohen (6) reminds us, Monsters signify not only the fragile boundaries of human subjectivity and discourse, but also the origins of the alterity that defines them. Like the tragic creature of Shelley’s masterpiece, Monsters eventually follow their creators home to demand an explanation – their revenant terror demands accountability (Cohen 20). What Lily exemplifies does not have to make others comfortable, and it is under no obligation to remain within any standards of ethics. To return one last time to Halberstam, I argue that the Monstrosity manifested within female rage is valuable precisely because it because it obliges us “to be unsettled by the politically problematic connections history throws our way” (Halberstam, Queer Art 162). Therefore, to be angry, to dwell on traumatic pasts, and to revel in the ‘failure’ of negativity is to ensure that these genealogies are not ignored.When finally captured, Victor Frankenstein attempts to lobotomise her, promising to permanently take away the pain that is the cause of her Monstrous rage. To this, Lily responds: “there are some wounds that can never heal. There are scars that make us who we are, but without them, we don’t exist” (“Perpetual Night and the Blessed Dark”). Lily refuses to let go of her grief and her anger, and in so doing she fails to coalesce within the placid, docile femininity demanded by Victor Frankenstein. But her refusal is not premised in an obdurate reactionism. Rather, it is a tactic of survival. By her own words, without her trauma – and that of countless women before her – she does not exist. The violence of rape, abuse and the theft of her agency have defined her as both a woman and as a Monster. “I’m the sum part of one woman’s days. No more, no less”, she tells Frankenstein. To eschew her rage is to deny its origin.So, to finish I ask readers to take a moment, and dwell on that rage. On women’s rage. On yours. On the rage that may have been directed at you. Does that make you uncomfortable?Good.ReferencesAhmed, Sara. “Killing Joy: Feminism and the History of Happiness.” Signs: Journal of Women in Culture and Society 35.3 (2010): 571-593.Cohen, Jeffrey Jerome. “Monster Culture (Seven Theses).” Monster Theory: Reading Culture. Ed. Jeffrey Jerome Cohen. Minnesota: U of Minnesota P, 1996. 3-25.Creed, Barbara. The Monstrous Feminine: Film, Feminism, Psychoanalysis. New York: Routledge, 1993.“Ebb Tide.”. Penny Dreadful. Showtime, 2016.“Good and Evil Braided Be.” Penny Dreadful. Showtime, 2016.Halberstam, Judith. Skin Shows: Gothic Horror and the Technology of Monsters. USA: Duke UP, 1995.———. The Queer Art of Failure. USA: Duke UP, 2011.Hoeveler, Diane. “The Female Gothic, Beating Fantasies and the Civilizing Process.” Comparative Romanticisms: Power, Gender, Subjectivity. Eds. Larry H. Peer and Diane Long Hoeveler. Columbia, SC: Camden House, 1998. 101-132.hooks, bell. Communion: The Female Search for Love. USA: Harper Collins, 2003.Kolářová, Kristina. “The Inarticulate Post-Socialist Crip: On the Cruel Optimism of Neo-Liberal Transformation in the Czech Republic.” Journal of Literary & Cultural Disability Studies 8.3 (2014): 257-274.“Memento Mori.” Penny Dreadful. Showtime, 2015.Miller, Nick. “Germaine Greer Challenges #MeToo Campaign.” Sydney Morning Herald, 21 Jan. 2018.“Perpetual Night/The Blessed Dark.” Penny Dreadful. Showtime, 2016.Pollitt, Katha. “Lorena’s Army.” “Bad Girls”/“Good Girls”: Women, Sex & Power in the Nineties. Eds. Nan Bauer Maglin and Donna Perry. New Brunswick: Rutgers UP, 1996. 65-67.Shelley, Mary. Frankenstein, Or the Modern Prometheus. Australia: Penguin Books, 2009 [1818].Spivak, Gayatri. “Can the Subaltern Speak?” Marxism and the Interpretation of Culture. Eds. Cary Nelson and Lawrence Grossberg. Chicago: U of Illinois P, 1988.Smith, Andrew, and Diana Wallace. “The Female Gothic: Now and Then”. Gothic Studies 6.1 (2004): 1-7.