Mainstream monsters : the otherness of humans in Twilight, the Vampire Diaries and True Blood

The representation of vampires in horror movies and television programmes has changed considerably over the last two decades. No longer is the vampire portrayed simply as a monster or representation of death. Now, the vampire on our screen such as True Blood’s Bill Compton, or Twilight’s Edward Cullen, passes as human, chooses to make morally sound decisions, becomes an upstanding assimilated citizen, works in the community, and aspires to be a husband to mortal women. The success of recent series such as The Twilight Saga (2009, 2010, 2011, 2012), The Vampire Diaries (2009 - ) and True Blood (2008 - ) has popularised the idea of vampires who cling to remnants of their humanity (or memories of what it means to be human) and attempt to live as human, which builds upon similar – albeit embryonic – themes which emerged from the vampire sub-genre in the 1990s. Within these narratives, representations of the other have shifted from the traditional idea of the monster, to alternative and surprising loci. As this chapter argues, humans themselves, and the concept of the human body, now represent, in many instances, both abject and other. The chapter begins by considering the nature of the abject and otherness in relation to representations of classical vampires and how they have traditionally embodied the other. This provides a backdrop against which to examine the characteristics of the contemporary mainstreaming vampire ‘monster’. An examination of the broad thematic and representational shifts from other to mainstream vampire demonstrates how mainstream monsters are increasingly assimilating into mortal lifestyles with trappings that many viewers may find appealing. The same shifts in theme and representation also reveal that humans are frequently cast as mundane and unappealing in contemporary vampire narratives.

Terrestrial locomotion of the New Zealand short-tailed bat Mystacina tuberculata and the common vampire bat Desmodus rotundus

Bats (Chiroptera) are generally awkward crawlers, but the common vampire bat (Desmodus rotundus) and the New Zealand short-tailed bat (Mystacina tuberculata) have independently evolved the ability to manoeuvre well on the ground. In this study we describe the kinematics of locomotion in both species, and the kinetics of locomotion in M. tuberculata. We sought to determine whether these bats move terrestrially the way other quadrupeds do, or whether they possess altogether different patterns of movement on the ground than are observed in quadrupeds that do not fly. Using high-speed video analyses of bats moving on a treadmill, we observed that both species possess symmetrical lateral-sequence gaits similar to the kinematically defined walks of a broad range of tetrapods. At high speeds, D. rotundus use an asymmetrical bounding gait that appears to converge on the bounding gaits of small terrestrial mammals, but with the roles of the forelimbs and hindlimbs reversed. This gait was not performed by M. tuberculata. Many animals that possess a single kinematic gait shift with increasing speed from a kinetic walk (where kinetic and potential energy of the centre of mass oscillate out of phase from each other) to a kinetic run (where they oscillate in phase). To determine whether the single kinematic gait of M. tuberculata meets the kinetic definition of a walk, a run, or a gait that functions as a walk at low speed and a run at high speed, we used force plates and high-speed video recordings to characterize the energetics of the centre of mass in that species. Although oscillations in kinetic and potential energy were of similar magnitudes, M. tuberculata did not use pendulum-like exchanges of energy between them to the extent that many other quadrupedal animals do, and did not transition from a kinetic walk to kinetic run with increasing speed. The gait of M. tuberculata is kinematically a walk, but kinetically run-like at all speeds.

Effects of different surfaces on the perception of prey-generated noise by the Indian false vampire bat Megaderma lyra.

The low- and high-frequency components of a rustling sound, created when prey (freshly killed frog) was jerkily pulled on dry and wet sandy floors and asbestos, were recorded and played back to individual Indian false vampire bats (Megaderma lyra). Megaderma lyra responded with flight toward the speakers and captured dead frogs, that were kept as reward. The spectral peaks were at 8.6, 7.1 and 6.8 kHz for the low-frequency components of the sounds created at the dry, asbestos and wet floors, respectively. The spectral peaks for the high-frequency sounds created on the respective floors were at 36.8,27.2 and 23.3 kHz. The sound from the dry floor was more intense than that of from the other two substrata. Prey movements that generated sonic or ultrasonic sounds were both sufficient and necessary for the bats to detect and capture prey. The number of successful prey captures was significantly greater for the dry floor sound, especially to its high-frequency components. Bat-responses were low to the wet floor and moderate to the asbestos floor sounds. The bats did not respond to the sound of unrecorded parts of the tape. Even though the bats flew toward the speakers when the prey generated sounds were played back and captured the dead frogs we cannot rule out the possibility of M. lyra using echolocation to localize prey. However, the study indicates that prey that move on dry sandy floor are more vulnerable to predation by M. lyra.

Monstrum : the vampire in the detective story /

My approach to the vampire detective highlights its connections to the private detective's story and reveals the monstrous investigators' debt to early feminist forms of detection -specifically in their reformation of the' other' and of traditional forms of power and authority. Seen in this light the movement of horror's imaginary 'other' into the rational world of detection can be seen as not an abrupt breach of detection's realist conventions, but an almost seamless transition into symbolic spaces that point to the detective's primary function -- to make sense of the senseless. It is in this light that I explore the monster that is a detective as a symbol that is also a sense-maker, and a quintessential postmodern figure. I argue that the distinctions between monsters and 'others', and between popular narratives and postmodern religion have faded, culminating in a character that can not only model 'otherness' as an exemplary condition, but also provide strategies for modeling the form of active postmodern subjectivity that postmodern theorist Jim Collins' (1989) conceives of as heretical activity.

Faith lost and regained : the evolution of Anne Rice's critique of christianity in The Vampire Chronicles

Ce mémoire réunit trois romans de la série Les Chroniques de vampires de la populaire écrivaine américaine Anne Rice (The Vampire Lestat, Memnoch the Devil et Blood Canticle) afin d'étudier l'évolution de sa critique de la religion à travers l'écriture. Une analyse précise et complète de Lestat de Lioncourt, le personnage principal de la série, est faite afin de mieux comprendre l'impact de la transformation spirituelle du protagoniste sur l'ensemble de l'oeuvre de Rice. Dans The Vampire Lestat, le rejet de toute forme de croyances religieuses de la part de Lestat ainsi que la déconstruction et l'érotisation de rituels religieux traditionnels reflètent l'influence de l'athéisme. Memnoch the Devil représente la transition entre le refus de croire de Lestat et son retour subséquent à la religion catholique. Finalement, Blood Canticle symbolise le retour vers la foi du protagoniste et de l'auteur, en plus de marquer la fin des Chroniques de vampires de Rice. L'analyse s'inspire d'éléments biographiques afin de démontrer l'importance de la religion dans les récits de Rice, sans toutefois considérer ses romans comme des autobiographies.

Unholy transubstantiation : christifying the vampire and demonizing the blood

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

The elusive vampire : an examination of unfixed sexuality in Bram Stoker's Dracula

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

The figure of the vampire as an emblem of tradition

Afin de se perpétuer dans le temps, la tradition recourt à des figures qui la véhiculent. Cette étude prend pour objet la figure du vampire qui, en transmettant des aspects importants de la tradition culturelle, prend la forme d’une tradition en soi, se manifestant dans une série de récits et d’œuvres littéraires et culturelles. Ces figures possèdent le plus grand pouvoir de transmission puisqu’elles ne sont pas des traditions à la base, mais elles ne peuvent rester culturellement importantes seulement qu’en devenant des traditions. C’est-à-dire que la figure du vampire possède sa propre tradition littéraire et/ou filmique, tout en offrant une vision de la transmission, de la tradition et de l’éducation. Afin de demeurer présentes à travers le temps, les traditions doivent posséder un noyau principal, tout en restant assez malléables afin que des caractéristiques secondaires de celles-ci puissent changer et évoluer. Le vampire est une figure toute aussi malléable que les traditions, faisant donc d’elle l’emblème parfait du concept. De plus, cinq nœuds de tradition réapparaissent, à différents niveaux, dans la littérature vampirique. Le choix de la victime, la morsure vampirique et l’échange de sang transformatif – et le lien de ceux-ci à une vision perverse de la sexualité, le processus d’éducation, le désir d’appartenir à une famille ou à une communauté et le besoin de comprendre ses origines, illustrent tous le lien indéniable entre la figure du vampire et le concept de la tradition. Ce mémoire explore l’impact de la figure du vampire comme emblème de la tradition à travers le roman vampirique classique – le plus traditionnel – Dracula de Bram Stoker et à travers les trois premiers tomes des Vampire Chronicles d’Anne Rice, soit Interview with the Vampire, The Vampire Lestat et Queen of the Damned, ainsi que leurs adaptations cinématographiques.

Serological survey for rabies in serum samples from vampire bats (Desmodus rotundus) in Botucatu region, SP, Brazil

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Leptospira spp. and Toxoplasma gondii antibodies in vampire bats (Desmodus rotundus) in Botucatu region, SP, Brazil

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Rabies transmitted by vampire bats to humans: An emerging zoonotic disease in Latin America?

Human rabies transmitted by vampire bats reached new heights in Latin America in 2005. A total of 55 human cases were reported in several outbreaks, 41 of them in the Amazon region of Brazil. Peru and Brazil had the highest number of reported cases from 1975 to 2006. In Peru, outbreaks involving more than 20 cases of bat-transmitted human rabies were reported during the 1980s and 1990s. During this period, a smaller number of cases were reported from outbreaks in Brazil. A comparison of data from field studies conducted in Brazil in 2005 with those from the previous decade suggests similar bat-bite situations at the local level. The objective of this study was to review the epidemiological situation and, on the basis of this information, discuss possible factors associated with the outbreaks. Prevention and control measures already recommended for dealing with this problem are also reviewed, and some further suggestions are provided.