Monstrous Possibilities

This book focuses on how the abject spectacle of the ‘monstrous feminine’ has been reimagined by recent and contemporary screen horrors focused on the desires and subjectivities of female monsters who, as anti-heroic protagonists of revisionist and reflexive texts, exemplify gendered possibility in altered cultures of 21st century screen production and reception. As Barbara Creed notes in a recent interview, the patriarchal stereotype of horror that she named ‘the monstrous-feminine’ has, decades later, ‘embarked on a life of her own’. Focused on this altered and renewed form of female monstrosity, this study engages with an international array of recent and contemporary screen entertainments, from arthouse and indie horror films by emergent female auteurs, to the franchised products of multimedia conglomerates, to 'quality' television horror, to the social media-based creations of horror fans working as ‘pro-sumers’. In this way, the monograph in its organisation and scope maps the converged and rapidly changing environment of 21st century screen cultures in order to situate the monstrous female anti-hero as one of its distinctive products.

An indispensable resource for students and researchers of paranormal myth and media, this book explores the undead and unholy in literature, film, television, and popular culture. Following an introduction to frightful manifestations in media, sections address ghosts, vampires, and monsters individually, and each section includes a broad consideration of the ghost, vampire or monster in American culture. The section dedicated to ghosts examines the "spectral turn" of popular culture and the ghost's relation to justice and mourning, with particular attention to Toni Morrison and Herman Melville. In the vampires section, the author considers the undead bloodsucker's relationship to anti-Semitism, suicide, and cinema. The third section discusses monsters in relation to topics such as global pandemics, terrorism, mass shootings, "stranger danger," and social otherness, with attention to a range of popular culture texts including the films IT and It Follows.

Interdisciplinary Essays on Monsters and the Monstrous analyses and explores the enduring influence and imagery of monsters and the monstrous on human societies, and from a unique interdisciplinary scope tackles the critical question: when faced with an existential threat, what can we do?

While the presence of monsters in popular culture is ever-increasing, their use as an explicit or implicit category to frame, stigmatise, and demonise the other is seemingly on the rise. At the same time, academic interest for monsters is ever-growing. Usually, monstrosity is understood as a category that emerges to signal a transgression to a given order; this approach has led to the demystification of the insidious characterisations of the (racial, sexual, physical) other as monstrous. While this effort has been necessary, its collateral effects have reduced the monstrous to a mere (socio-cultural) construction of the other: a dialectical framing that de facto deprives monstrosity from any reality. 'Monstrous Ontologies: Politics, Ethics, Materiality' proffers the necessity of challenging these monstrous otherings and their perverse socio-political effects, whilst also asserting that the monstrous is not simply an epistemological construct, but that it has an ontological reality. There is a profound difference between monsters and monstrosity. While the former is an often sterile political and social simplification, the end-product of rhetorical and biopolitical apparatuses; the latter may be understood as a dimension that nurtures the un-definable, that is, that shows the limits of these apparatuses by embodying their material excess: not a 'cultural frame', but the limit to the very mechanism of 'framing'. The monstrous expresses the combining, hybridising, becoming, and creative potential of socio-natural life, albeit colouring this powerful vitalism with the dark hue of a fearful, disgusting, and ultimately indigestible reality that cannot simply be embraced with multicultural naivety. As such, it forces us towards radically changing not the categories, but the very mechanisms of categorisation through which reality is framed and acted upon. Here lies the profound ethical dimension that monstrosity forces us to acknowledge; here lies its profoundly political potential, one that cannot be unfolded by merely deconstructing monstrosity, and rather requires to engage with its uncomfortable, appalling, and revealing materiality. This book will appeal to postgraduate students, PostDocs, and academics alike in the fields of philosophy, critical theory, humanities, sociology and social theory, criminology, human geography, and critical legal theory.

Genes and the Bioimaginary examines the dramatic rise and contemporary cultural apotheosis of 'the gene'. The book traces not only the genetification of modern life but is also a journey through the complex relationship between science and culture. At the heart of this book are three interlinked questions. The first concerns the paradigmatic transformations of the 'genetics revolution': how can we understand the impact of genes on social arenas as diverse as law and agriculture, politics and medicine, genealogy and jurisprudence? Second, how has the language of genes come to pervade public discourse - as much a trope of personal narrative as of the popular imaginary? And third, how can we gain critical purchase not only on the conditions and consequences of a particular science, but on its projective seductions, the terms of its persuasion, and the dilemmas and anxieties provoked in its wake? Through a series of illuminating case studies ranging from 'gay genes' to 'Jew genes', to genes for crime; from CSI to the Innocence Project, from genetics (post)racial imaginary to its phantasies of redemption, the book examines the emergence of the gene as a pre-eminent locus of both scientific and social explanation, and as a powerful object of spectacle, projective phantasy and attachment. Genes and the Bioimaginary makes a distinctive contribution to our understanding of how knowledge comes to be not only powerful, but plausible.

This book argues that the mythic figure of the zombie, so prevalent and powerful in contemporary culture, provides the opportunity to explore certain social models – such as ‘childhood’ and ‘school’, ‘class’ and ‘family’ – that so deeply underpin educational policy and practice as to be rendered invisible. It brings together authors from a range of disciplines to use contemporary zombie typologies – slave, undead, contagion – to examine the responsiveness of everyday practices of schooling such as literacy, curriculum and pedagogy to the new contexts in which children and young people develop their identities, attitudes to learning, and engage with the many publics that make up their everyday worlds.

Looking at such works as The Adventures of Roderick Random, The Expedition of Humphry Clinker and The Adventures of Peregrine Pickle, Douglas explores the ways Smollett uses representations of sentience especially torment and pain - in his critique of the social and political order.

Gotlieb is a writer central to the Canadian science fiction canon. Though she has been called the queen of Canadian SF by Robert J. Sawyer, and though David Ketterer has suggested that she is Canadian SF, Gotlieb has been largely overlooked by SF studies. This book delves deeply into her body of work and traces her career in detail. Offering close readings of Gotlieb's novels, short stories (including ones not reprinted since their initial appearances), and SF-related poetry, this study explores Gotlieb's development as a writer and her characteristic themes. The book also references her manuscripts when the differences between them and the published stories provide insights into her working methods. The book enumerates and analyzes Gotlieb's innovative explorations of common SF tropes such as the superhuman, human-alien interaction, and the galactic empire, her prevalent thematic concerns (e.g., reproduction, colonization, the mind-body relationship, the essence of "humanity") as well as her stylistically dense and literary approach to the genre.