Academic literature on the topic 'Monsters, fiction'
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Journal articles on the topic "Monsters, fiction"
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Vorobej, Mark. "Monsters and the Paradox of Horror." Dialogue 36, no. 2 (1997): 219–46. http://dx.doi.org/10.1017/s0012217300009483.
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RésuméL'horreur en art vise à effrayer, bouleverser, dégoûter et terroriser. Puisque nous ne sommes pas normalement attirés par de ielles expériences, pourquoi quiconque s'exposerait-il délibérément a la fiction d'horreur? Noel Carroll soutient que le caractère constant du phénomène de l'horreur en art tient à certains plaisirs d'ordre cognitif, qui résultent de la satisfaction de notre curiosité naturelle à l'ègard des monstres. Je soutiens, quant è moi, que la solution cognitive de Carroll auparadoxe de l'horreur est profondément erronée, étant donné la façon dont les monsters sont représentés dans la fiction d'horreur; j'explore brievement une approche plus prometteuse, qui traite les monstres comme des moyens pour acquerir la connaissance de soi.
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Longo, Angela. "The remaking of tokusatsu monsters." Journal of Adaptation in Film & Performance 16, no. 1 (June 1, 2023): 81–99. http://dx.doi.org/10.1386/jafp_00090_1.
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Since the arrival of Godzilla (1954), the science-fiction genre of tokusatsu started booming its monsters by adapting different DIY techniques. The post-war period defined a collaborative effort between artists who worked within limited creative conditions due to economic restraints. They experimented with unusual materials for making monsters and image techniques to create visual effects on the filmed screen. Sculptors, art students, freelance workers and animators started collaborating to discover ways to produce suitmation and strategies to make the monster seem alive. Specifically, in Toho Studios, the Special Effects Department, directed by Tsuburaya Eiji, helped create a generation of monster-making specialists that spread to other studios. Along with Iizuka Sadao, they produced special effects using the animation stand and animation-related techniques, such as optical composition, to create the monster zigzag gleaming rays that became the staple of tokusatsu monsters. The analogue era of monster-making only starts to change from the Heisei Gamera series (1995–2006), where analogue and digital intertwine and culminate in Shin Godzilla (2016). This article investigates the possibilities of monster creation and adaptation and how this challenge created a space for hybrid images in the contemporary Japanese media landscape.
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Callan, William. "New Law of the Land." Digital Literature Review 10, no. 1 (April 18, 2023): 86–94. http://dx.doi.org/10.33043/dlr.10.1.86-94.
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Monsters are tied to what we consider normal or abnormal in our cultures. Jeffrey Cohen’s “monster theory” states that society places its own anxiety or fear of something or someone who breaks cultural expectations into the monsters they create. The fear we have of these monsters makes them incredibly popular in our cultures. In Cormac McCarthy’s No Country For Old Men, the main antagonist and cold-blooded killer Chigurh fits the mold of the monster theory perfectly in many ways. In the novel, after stealing millions of dollars from a drug deal gone awry, Moss is hunted down by Chigurh ruthlessly. He represents both the fear and desire of our societal norms by rejecting all humanity via his brutality; however, he maintains a playfulness when it comes to deciding his victims’ fates, utilizing coin-flipping to determine whether the victims live or die. By looking at Chigurh through the lens of “monster theory,” we see that he fits the mold of the traditional villain in crime fiction stories, while also managing to surprise readers by just how nefarious he really is. Of course, it would be unwise to assume that Chigurh is without humanity; he is often given shockingly human characteristics to ground him in reality, which makes him and the state of lawlessness he brings about all the more terrifying. What we gain by applying monster theory is seeing how a society’s fear of violent crime is personified; it also lets us attempt to reassure ourselves of our own humanity in comparison to the absolute inhumanity of Chigurh. Through Chigurh, McCarthy has created one of the most memorable and remarkable monsters in crime fiction.
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Higgins, Ryan S. "The Good, the God, and the Ugly: The Role of the Beloved Monster in the Ancient Near East and the Hebrew Bible." Interpretation: A Journal of Bible and Theology 74, no. 2 (April 2020): 132–45. http://dx.doi.org/10.1177/0020964319896307.
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Ancient Near Eastern texts teem with horrifying and grotesque beings that pose some significant threat to the cosmos, humanity, and its institutions. Adopting Noël Carroll’s definition, such beings are monsters: interstitial not only physiologically and ontologically, but also cosmically and morally. This essay takes a comparative and literary approach to beloved monsters in Ugaritic, Mesopotamian, and Hebrew Bible texts. It suggests that in Ugarit and Mesopotamia, such monsters play a crucial role in advancing the goals of antipathic heroes while maintaining the integrity of sympathetic deities. It then considers the beloved monster in the Hebrew Bible and its interpretations. Finally, the essay makes note of the phenomenon’s transformation in contemporary speculative fiction. The essay argues that the beloved monster in Ugarit and Mesopotamia keeps together a fragmented cosmos, while in the Hebrew Bible it refracts through the facets in a prismatic God.
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Sum, Robert K. "Rethinking Monstrosity and Subversion in Nnedi Okorafor’s Who Fears Death." East African Journal of Arts and Social Sciences 6, no. 2 (December 14, 2023): 363–74. http://dx.doi.org/10.37284/eajass.6.2.1624.
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The concept of monster or monstrosity is not new in African fiction. Monster characters exist in folklore, fantasy, and horror fiction. In many cases they are cast as villainous, unnatural, and horrific. Monsters are portrayed as conduit for supernatural communication. They are constructed to serve cultural roles of reinforcing conformity and policing boundaries. Monsters are also constructed as subversive characters whose existence is not bound by societal norms and conventions but whose boundless freedom opens up doors to possibilities of wish fulfilment. The above significantly influenced the choice of Nnedi Okorafor’s Who Fears Death, as primary text. Who Fears Death offers multi-perspective approach to concept of monstrosity. There is a cultural perspective where superstitious beliefs and prevailing anxiety influence monstrosity. In the text, this perspective is embodied in the culture of Okeke people. It is a potentially fallible perspective as it can transmute even a morally upright person into a monster. Onyesonwu, for instance, is treated as a monster because she is half-caste. Another perspective ascribes monstrosity to an entity depending on their premeditated actions and attitude. This view holds that monstrous characters subject others to untold misery, inhumanity, and harm usually for selfish reasons. This article borrows Gothic concept of monster and postulations from theorists like Jeffrey Cohen to analyse monstrosity in the selected text Who Fears Death. In Gothic fiction, monster character represent vice, unnatural and deviations from regularity attributed to life and nature. The article finds that monstrosity should not be determined by individual’s propensity, uncanniness, or cultural beliefs but rather by actions and attitude which cause harm, hurt or destruction. The findings also affirm that acts of subversive acts are laudable if it they help undermine oppressive cultural practices
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Pereira, Ana Carolina. "Monsters." After Dinner Conversation 2, no. 1 (2021): 70–82. http://dx.doi.org/10.5840/adc2021217.
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What does it mean to be a monster? How do you teach people to become accustomed to seeing things they don’t initially like or understand? Whose obligation is it to break through stereotypes and create a deeper understanding, the person who is afraid, or the object of their fear? In this work of philosophical short fiction, a mother takes her child out to the park even though there are ongoing rumors of “monsters” that roam their suburban neighborhood. Those fears seem to be true, and seem to imply this is a unique world, as the driver of an ice-cream truck suffers from severe, and grotesque, physical deformities. He says the reason he works a job and goes out in public is to help others get used to seeing “people” like him. On their walk home the narrator is continually concerned about the monsters that lurk in the neighborhood as she questions if leaving the house was a good idea. She feels she is being stalked by one of the monsters as they rush back to their home. They reach relative safety when her husband sees them and brings them onto their property. That’s when she sees, newly spray painted on the garage door of their suburban house “Whites only, negros get out.” Only then do we realize that the “monsters” are those that live all around them as they are the first to integrate their suburban neighborhood. They are the ones forcing others to get used to seeing “people” like them.
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Dasca, Maria. "Una mostra xarona. Una lectura de La <i>"Niña Gorda"</i> (1917), de Santiago Rusiñol." Zeitschrift für Katalanistik 26 (July 1, 2013): 229–48. http://dx.doi.org/10.46586/zfk.2013.229-248.
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Summary: Published in 1917, the novel La “Niña Gorda” by Santiago Rusiñol is one of the few Catalan novels dedicated to the representation of monsters. Conceived as an anti-model of two literary topics, the bovarysm and the “Ben Plantada”, the fiction is a reaction against a series of topics of Eugeni d’Ors’ discourse. Rusiñol uses a direct and realist language, a sense of antiidealist humour and the creation of an “imaginary circus” (that was used by Rusiñol at the end of the XIXth century). La “Niña Gorda” is a transition fiction, written between the “Noucentist” period and the development of the Avant-garde. [Keywords: Catalan narrative; humour; monster; Modernism; Noucentism]
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Marini, Anna Marta, and Sorcha Ní Fhlainn. "Vampire and Monster Narratives: An Interview with Sorcha Ní Fhlainn." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 145–58. http://dx.doi.org/10.37536/reden.2022.3.1825.
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Sorcha Ní Fhlainn is a senior lecturer in film studies and American studies at Manchester Metropolitan University. She specializes in gothic studies, horror cinema, popular culture, and American studies indeed. Her work is focused in particular on vampire and monster narratives. She has published a long list of essays and several books, among which the collections Our Monster Skin: Blurring the Boundaries Between Monsters and Humanity(2010), The Worlds of Back to the Future: Critical Essays on the Films (2010), Clive Barker: Dark Imaginer (2017), and her monograph Postmodern Vampires in Film, Fiction and Popular Culture (2019).
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Predelli, Stefano. "MODAL MONSTERS AND TALK ABOUT FICTION." Journal of Philosophical Logic 37, no. 3 (November 7, 2007): 277–97. http://dx.doi.org/10.1007/s10992-007-9073-z.
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Grigore, Rodica. "Violence and the Masks of Monsters in José Donoso’s Fiction." Theory in Action 15, no. 4 (October 31, 2022): 27–46. http://dx.doi.org/10.3798/tia.1937-0237.2225.
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In his well-known novel The Obscene Bird of Night (El obsceno pájaro de la noche, 1970) Chilean writer José Donoso analyzed the progressive decay of the old and illustrious family of Jerónimo de Azcoitía, but also the general degradation of Chilean society. Nevertheless, the novel implies a symbolic and allegoric level as such: the author discusses, in a direct or subtextual manner, the implications of the masks within the modern world and the meanings of the monstrous creatures populating the hypnotic universe of Rinconada, imagined and made up by Jerónimo in order to shelter and hide his son, Boy. The monsters prove to be different versions of human identity and they also mark the process of modern alienation, expressing the terror determined by the violence in the Latin American world of the 20th century. KEYWORDS: Latin American Literature, Fiction, Identity, Mask, Monster, Violence.
Dissertations / Theses on the topic "Monsters, fiction"
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Liu, Tryphena Y. "Monsters Without to Monsters Within: The Transformation of the Supernatural from English to American Gothic Fiction." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/632.
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Because works of Gothic fiction were often disregarded as sensationalist and unsophisticated, my aim in this thesis is to explore the ways in which these works actually drew attention to real societal issues and fears, particularly anxieties around Otherness and identity and gender construction. I illustrate how the context in which authors were writing specifically influenced the way they portrayed the supernatural in their narratives, and how the differences in their portrayals speak to the authors’ distinct aims and the issues that they address. Because the supernatural ultimately became internalized in the American Gothic, peculiarly within female bodies, I focus mainly on the relationship between the supernatural and the female characters in the texts I examine. Through this historical exploration of the transformation of the supernatural, I argue that the supernatural became internalized in the American Gothic because it reflected national anxieties: although freed from the external threat of the patriarchal English government, Americans of the young republic still faced the dangers of individualism and the failure of the endeavor to establish their own government.
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Murphy, Rashida. "The Historian’s Daughter (A novel); Monsters and Memory (An essay)." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1708.
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This thesis comprises two parts, a novel and an essay. ‘The Historian’s Daughter’ is a work of fiction based on family memories and historical research that speaks to the trauma of abandonment and displacement in an immigrant family living in Australia. The accompanying essay is titled ‘Monsters and Memory’ and is an autoethnographical text which combines theoretical, experiential and embodied research to argue that the inclusion of women’s stories, particularly those of trauma and abuse, must be foregrounded in any exploration of cultural and diasporic memory. Drawing primarily on the work of Said (1978, 1993, 1999, 2001), Bhabha (1990, 1994), Caruth (1995), Kuhn (1999), Metta (2010), Barrett (2010), Reed-Danahay (1997), Ellis (2004), Kapur (2001) and Mohanty (2004), this thesis contributes to current debates in Australia about bicultural identity, refugees and migrants. The novel is located in three countries, India, Iran and Australia, and this allows me to explore the concept of ‘home’ in a rapidly changing world when ‘home’ is no longer a place of refuge and safety. Returning home, therefore, can be fraught with political danger, as in the case of post-revolutionary Iran and post-Rajiv Gandhi assassination India.
This is a novel about what happens to a family when a loving mother abruptly walks out on them. Using a first-person narrative, the novel encompasses the narrator’s abandonment as a child in India, her subsequent relocation to Australia, her relationship with her menacing father and her attempt to locate and rescue her sister from the Islamic Republic of Iran. Using a fractured chronology, the narrative has four sections that loop back and forth as the story unfolds.
My interest in the complexities of voluntary migration or forced exile from so-called Third- World countries to a First-World country such as Australia prompted my immersion in the stories that women told of their experiences of living in a ‘safe’ country. I was consumed by a desire to ‘hear’ women’s voices, in particular, the voices of Indian and Iranian women speaking accented English. I was interested in their responses to particular written texts and whether those stories accurately represented their bicultural ‘belongings.’ Therefore, I initiated a Reading Group and invited them, over an eighteen-month period, to read four published texts written by Indian and Iranian women. The objective was to record the readers’ responses to the literature they read, with an understanding that they would also read ‘The Historian’s Daughter’ as it evolved. As cultural observer, participant and researcher in the study, I was able to discern “multiple layers of consciousness” and to challenge my own beliefs as a first generation immigrant woman in Australia (Ellis & Bochner, 2000; Ellis, 2004; Anderson, 2006).
Reconciling the divide between remaining faithful to memory in all its complexity and slipperiness as well as being mindful of the familial issues involved in recreating events from the past is one of the challenges this thesis grapples with. The dilemma of representing family uncritically is balanced by a desire to reclaim the ‘power of the text to change the world’ and make it a better place (Ellis, 2004). This thesis investigates the power of storytelling as a framework for thinking about the world. I am aware that my personal experiences of race, identity and sexual violence have impacted on both parts of this thesis. It is these experiences, supported by theoretical research, that I offer in the context of providing insights into broader cultural issues within specific immigrant communities in Australia.
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Bigley, James C. II. "As Tall As Monsters." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1396875288.
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Rivera, Alexandra. "Human Monsters: Examining the Relationship Between the Posthuman Gothic and Gender in American Gothic Fiction." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1358.
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According to Michael Sean Bolton, the posthuman Gothic involves a fear of internal monsters that won't destroy humanity apocalyptically, but will instead redefine what it means to be human overall. These internal monsters reflect societal anxieties about the "other" gaining power and overtaking the current groups in power. The posthuman Gothic shows psychological horrors and transformations. Traditionally this genre has been used to theorize postmodern media and literary work by focusing on cyborgs and transhumanist medical advancements. However, the internal and psychological nature of posthumanism is fascinating and can more clearly manifest in a different Gothic setting, 1800s American Gothic Fiction. This subgenre of the Gothic melds well with the posthuman Gothic because unlike the Victorian Gothic, its supernatural entities are not literal; they are often figurative and symbolic, appearing through hallucinations. In this historical context, one can examine the dynamic in which the "human" is determined by a rational humanism that bases its human model on Western, white masculinity. Therefore, the other is clearly gendered and racialized. Margrit Shildrick offers an interesting analysis of the way women fit into this construction of the other because of their uncanniness and Gothic monstrosity. Three works of American Gothic fiction--George Lippard's The Quaker City, Edgar Allen Poe's "Ligeia," and Charlotte Perkins Gilman's "The Yellow Wallpaper" portray these gendered power dynamics present within the posthuman Gothic when applied to the American Gothic; the female characters are either forced by patriarchy into becoming monstrous, or they were never fully human in the first place.
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Seligo, Carlos. "The origin of science fiction in the monsters of botany : Carolus Linnaeus, Erasmus Darwin, Mary Shelley /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/9361.
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Boge, Chris. "Outlaws, fakes and monsters doubleness, transgression and the limits of liminality in Peter Careyś recent fiction." Heidelberg Winter, 2009. http://d-nb.info/994723989/04.
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Girval, Edith. "L'art de la fiction chez Aphra Behn (1640-1689) : une esthétique de la curiosité." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030047.
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La critique récente sur Aphra Behn (1640-1689) a montré d’une part que ses courts romans entretiennent des liens privilégiés avec le champ de la philosophie naturelle montante et d’autre part, que le monstrueux ou l’exotique sont des motifs privilégiés de ses œuvres. Ce travail vise à mettre en lien ces deux différentes approches, en établissant la centralité de la notion de curiosité dans la fiction d’Aphra Behn. La curiosité est une notion ambivalente au XVIIe siècle qui, bien qu’elle continue à porter des connotations négatives d’origine chrétienne et médiévale, s’est vue revalorisée par la philosophie naturelle. A la même époque, la notion de curiosité suscite également un regain d’intérêt de la part des théoriciens du roman ; Behn se positionne dans le débat esthétique et épistémologique de son temps en revendiquant une mimesis originale du vrai absolu, qui refuse d’intéresser son lecteur par une curiosité pour les choses familières, et choisit de représenter l’extra-ordinaire. Behn tente de discriminer entre une « bonne » et une « mauvaise » curiosité, pour se poser en curieuse et en collectionneuse avisée, mais continue d’entretenir des liens avec une culture plus populaire de la curiosité, celle des spectacles de foires. Le « cabinet de curiosité littéraire » que construit Aphra Behn privilégie des figures de monstres atypiques, qui permettent d’inventer une forme romanesque curieuse et transgressiveRecent research on Aphra Behn has shown the link between the scientific prose of the period and Behn’s narrative fiction, while other scholars have underscored the importance of bodily and moral deformity in her works. Drawing on these apparently heterogeneous studies, this project aims at providing a global aesthetic framework for Behn’s fiction. The epistemological context of the late seventeenth century offers a stimulating insight in Behn’s fiction, especially through the notion of “curiosity”. This notion is at the centre of both the scientific and literary concerns of the period; the growing interest in natural philosophy progressively rehabilitates curiosity – which had been an object of scorn in the Augustinian tradition – first by valuing curiosity as the ideal attitude of the “scientist”, and by having curiosities as its major object of study – the rare, new, and unusual objects of the Wunderkammern replacing the “universal” objects of study of the Medieval and Renaissance science. At exactly the same time, in the literary field, the notion of curiosity undergoes a redefinition, in a somewhat similar fashion to that which occurs in the scientific field, shifting from the “generalities” of idealized romance to a new conception of curiosity in the emerging genre of the novel. Behn advocates for a radical mimesis of truth and extraordinary curiosities. At the time when Aphra Behn writes her fictional texts, curiosity is therefore a polysemic notion, whose unity can nonetheless be found in a set of specificities: curiosity is concerned, both in science and in literature, with the emotions/reactions of the “curious” scientist or reader; it is what leads us to experiment, and it comes from a desire for knowledge. But curiosity is also a transgressive desire: the distinction between two types of curiosity, a “good” and a “bad” curiosity, is central in Behn’s discourse. The parallel between Behn’s fascination with curiosities and the scientific episteme of her time is obvious in the numerous descriptions of exotica in Oroonoko, as the narrator explicitly compares the objects she shows to those which form part of the Royal Society repository, but the rest of Behn’s fiction is also concerned with this preoccupation with curiosity: in several of her other works, moral irregularities are conjoined with ‘natural’/physical irregularities which belong to the realm of curiosities. The various transgressions depicted in Behn’s fiction can therefore be seen as “curiosities”; Behn’s work can be read as a sort of Wunderkammern, as she herself seems to suggest when she wishes her novels were “esteem’d as Medals in the Cabinets of Men of Wit” – novelists collect and experiment on human nature just as natural philosophers do with nature (and art) in the cabinets of curiosities. But in her fiction Behn actually goes beyond the conventional notion of the cabinet of curiosities, by insisting on moral and physical monstrosity. In underlining the importance of the realm of curiosity in Behn’s fiction, this study aims at showing the specificity of her aesthetics and the originality of her conception of the novel; as she states in the preface to Oroonoko, writers, like painters, are supposed to “erase” defects: by deliberately choosing not to idealize nature, men, or society, and by choosing to systematically depict deformity and exceptions instead (rather than exemplary individuals), Aphra Behn invents her own conception of the novel, a sensationalist aesthetic of the “strange and novel”
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Österman, Solborg Amanda. "Librarians are vicious monsters, but canalso recommend a good read : En analys av alternativa bibliotekarieframställningar iscience fiction-litteratur." Thesis, Umeå universitet, Sociologiska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-102691.
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Uppsatsens syfte är att studera framställningar av manliga bibliotekarier i science fiction-litteratur, analysera vad dessa framställningar förmedlar för föreställningar om bibliotek och biblioteksverksamhet, samt att analysera de manliga bibliotekariernas koppling till maskuliniteter. Titlarna som analyseras är fyra romaner; Audrey Niffeneggers Tidsresenärens hustru, Dmitrij Gluchovskijs Metro 2033, Jules Vernes Paris i tjugonde seklet, och Jasper Ffordes Uppslukad – En fängslande historia om Torsdag Nesta, samt en podcast; Welcome to Night Vale och en tv-serie; Buffy – the vampire slayer. Resultatet av analysen är att ett flertal av de valda titlarna ger enövervägande negativ bild av biblioteket som en exkluderande samhällsinstitution samt är vidarerelaterat till de sätt på vilka bibliotekarierna i de olika titlarna konstrueras som maskulina. Tre olika kategorier framkom särskilt tydligt under analysen; bibliotekarien som monster/mutant, bibliotekarien som sexuellt avvikande, och bibliotekarien som lärdomsgigant och väktare av kunskapen. Dessa ger tillsammans en bild av biblioteksinstitutionen som odemokratisk gentemot användaren och elitistisk. Befinner sig besökaren inom den skara med legitimerad tillgång till biblioteket så kan bibliotekarierna vara till stor nytta och hjälp.
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Lan, Kuo-Wei. "Technofetishism of posthuman bodies : representations of cyborgs, ghosts, and monsters in contemporary Japanese science fiction film and animation." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/40524/.
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The thesis uses a feminist approach to explore the representation of the cyborg in Japanese film and animation in relation to gender, the body, and national identity. Whereas the figure of the cyborg is predominantly pervasive in cinematic science fiction, the Japanese popular imagination of cyborgs not only crosses cinematic genre boundaries between monster, disaster, horror, science fiction, and fantasy but also crosses over to the medium of animation. In regard to the academic research on Japanese cinema and animation, there is a serious gap in articulating concepts such as live-action film, animation, gender, and the cyborg. This thesis, therefore, intends to fill the gap by investigating the gendered cyborg through a feminist lens to understand the interplay between gender, the body and the cyborg within historical-social contexts. Consequently, the questions proposed below are the starting point to reassess the relationship between Japanese cinema, animation, and the cyborg. How has Japanese popular culture been obsessed with the figure of the cyborg? What is the relationship between Japanese live-action film and Japanese animation in terms of the popular imagination of the cyborg? In particular, how might we discuss the representation of the cyborg in relation to the concept of national identity and the associated ideology of “Japaneseness”, within the framework of Donna Haraway's influential cyborg theory and feminist theory? The questions are addressed in the four sections of the thesis to explore the representation of the gendered cyborg. First, I outline the concept of the cyborg as it has been developed in relation to notions of gender and the ‘cyborg' in Western theory. Secondly, I explore the issues in theorising the science fiction genre in Japanese cinema and animation and then address the problem of defining science fiction in relation to the phenomenon of the cyborg's genre-crossing. Finally, I provide a contextualising discussion of gender politics and gender roles in Japan in order to justify my use of Western feminist theory as well as discuss the strengths and limitations of such an approach before moving, in the remainder of the thesis, to an examination of a number of case studies drawn from Japanese cinema and animation.
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Lemon, Kiersty. "The Infectious Monster: Borders and Contagion in Yeti and Lágrimas en la lluvia." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5734.
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Monsters are disruptive characters, who cross boundaries and blend categories. They come in various kinds: Non-human monsters, such as Dracula, created-by-human monsters like Frankenstein, human monsters like Hitler, and more-than-human monsters such as the X-men. These monsters can either be dangerous or helpful to humanity. Dangerous monsters appear as infectious, viral forces, while helpful monsters are inoculative forces for positive change. In either case, they penetrate the borders set up between normatively separate categories. Critics and authors have long realized the connection between heroes and monsters, often portraying them as necessary to one another, as two sides of a single coin. However, this analogy is lacking, because it does not allow for the possibility that a single character can display varying degrees of both heroism and monstrosity. Mario Yerro and Bruna Husky present such characteristics in Yeti and Lágrimas en la lluvia, as evidenced by their physical appearance, their relations to scapegoats, the porosity of species and other boundaries, and the decisions they make in regards to the Other.
Books on the topic "Monsters, fiction"
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Muntean, Michaela. Monsters, monsters! [Racine, Wis.]: Western Pub. Co. in conjunction with Children's Television Workshop, 1987.
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1920-1992, Asimov Isaac, Greenberg Martin Harry, Waugh Charles, and Copyright Paperback Collection (Library of Congress), eds. Monsters. New York: New American Library, 1988.
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Yolen, Jane. Creepy monsters, sleepy monsters: A lullaby. Somerville, Mass: Candlewick Press, 2011.
Find full textBook chapters on the topic "Monsters, fiction"
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Howells, Coral Ann. "Monsters and Monstrosity." In Contemporary Canadian Women's Fiction, 125–42. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9781403973542_7.
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Soccio, Anna Enrichetta. "Victorian Frankenstein: From Fiction to Science." In Monsters and Monstrosity, edited by Daniela Carpi, 131–40. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110654615-008.
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Ganteau, Jean-Michel. "Exposed: Dispossession and Androgyny in Contemporary British Fiction." In Monsters and Monstrosity, edited by Daniela Carpi, 141–54. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110654615-009.
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Tredell, Nicolas. "Writing the Unthinkable: Einstein’s Monsters (1987)." In The Fiction of Martin Amis, 80–96. London: Macmillan Education UK, 2000. http://dx.doi.org/10.1007/978-1-137-19344-5_7.
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Nadal, Marita. "Southern Gothic: The Monster as Freak in the Fiction of Flannery O’Connor." In Monsters and Monstrosity, edited by Daniela Carpi, 205–18. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110654615-013.
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Musharbash, Yasmine, and Ilana Gershon. "Introduction." In Living with Monsters, 15–29. Earth, Milky Way: punctum books, 2023. http://dx.doi.org/10.53288/0361.1.02.
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This introduction addresses how anthropological scholarship on monsters poses distinct epistemological challenges not shared by other humanities scholarship on monsters. Anthropologists are living among and writing about fieldwork interlocutors who believe that monstrous beings exist, when often their colleagues do not, placing anthropologists in an ontological bind. By turning to ethnographic fiction, anthropologists are able to explore a different scholarly stance towards this quandary. We discuss the ways in which monsters often are liminal beings both in time and in place. We outline how thinking alongside monsters allows a vantage point for criticizing contemporaneous power relationships and the lingering effects of colonialisms.
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Pulliam, June. "Blood and Bitches: Sexual Politics and the Teen Female Lycanthrope in Young Adult Fiction." In Speaking of Monsters, 239–51. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137101495_22.
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Gittinger, Juli L. "The Alien-Other: Monsters, Mutants, and Othered Bodies." In Personhood in Science Fiction, 179–214. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-30062-3_7.
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Seligo, Carlos. "The Monsters of Botany and Mary Shelley’s Frankenstein." In Science Fiction, Critical Frontiers, 69–84. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-349-62832-2_5.
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Harris, Martin. "In-Groups and Out-Groups: Monsters Within and Monsters Without in The Mist." In Horror and Science Fiction Cinema and Society, 174–90. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003372288-13.
Full textConference papers on the topic "Monsters, fiction"
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D'Aprile, Marianela. "A City Divided: “Fragmented” Urban and Literary Space in 20th-Century Buenos Aires." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.22.
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When analyzing the state of Latin American cities, particularly large ones like Buenos Aires, São Paolo and Riode Janeiro, scholars of urbanism and sociology often lean heavily on the term “fragmentation.” Through the 1980s and 1990s, the term was quickly and widely adopted to describe the widespread state of abutment between seemingly disparate urban conditions that purportedly prevented Latin American cities from developing into cohesive wholes and instead produced cities in pieces, fragments. This term, “fragmentation,” along with the idea of a city composed of mismatching parts, was central to the conception of Buenos Aires by its citizens and immortalized by the fiction of Esteban Echeverría, Julio Cortázar and César Aira. The idea that Buenos Aires is composed of discrete parts has been used throughout its history to either proactively enable or retroactively justify planning decisions by governments on both ends of the political spectrum. The 1950s and 60s saw a series of governments whose priorities lay in controlling the many newcomers to the city via large housing projects. Aided by the perception of the city as fragmented, they were able to build monster-scale developments in the parts of the city that were seen as “apart.” Later, as neoliberal democracy replaced socialist and populist leadership, commercial centers in the center of the city were built as shrines to an idealized Parisian downtown, separate from the rest of the city. The observations by scholars of the city that Buenos Aires is composed of multiple discrete parts, whether they be physical, economic or social, is accurate. However, the issue here lies not in the accuracy of the assessment but in the word chosen to describe it. The word fragmentation implies that there was a “whole” at once point, a complete entity that could be then broken into pieces, fragments. Its current usage also implies that this is a natural process, out of the hands of both planners and inhabitants. Leaning on the work of Adrián Gorelik, Pedro Pírez and Marie-France Prévôt-Schapira, and utilizing popular fiction to supplement an understanding of the urban experience, I argue that fragmentation, more than a naturally occurring phenomenon, is a fabricated concept that has been used throughout the twentieth century and through today to make all kinds of urban planning projects possible.