Monstrous Women: The Frankenstein myth and the role of the mother in Víctor Erice's El Espiritu de la colmena (1973)

Eguíluz, Federico; Merino, Raquel; Olsen, Vickie; Pajares, Eterio; Santamaría, José Miguel (eds.)

'Marginal gothic': mediating the monstrous in British romanticism

In this paper I look at texts from the Romantic Period which strategically employ elements of the Gothic genre in what I describe as a `marginal` relationship with the Gothic canon. My intention is both to explore the way the boundaries of the genre might be extended, and to cast fresh light on some of the texts discussed, specifically in relation to the ways in which the `monstrous` is perceived and portrayed as villainy. In the first half of the paper, using Burke’s Philosophical Enquiry on the Sublime and the Beautiful as a starting point, I consider Burke’s Reflections on the Revolution in France, Godwin’s Caleb Williams, Radcliffe’s The Italian, and Blake’s The Marriage of Heaven and Hell as all in various ways examples of `marginal Gothic` that present evil doing as monstrous aberrations, also noting the contemporary reception of Beckford’s Vathek, praised in 1786 for its `accuracy and credibility`. In addition, I suggest that Wordsworth’s `Tintern Abbey` and Book VI of The Prelude provide evidence of marginal, but significant, Gothic influence that references Radcliffe’s and Burke’s explorations of a terror of the unknown. In the second half of the paper I focus on Scott’s Guy Mannering, or The Astrologer (1815) as an important example of a `marginal` Gothic novel. Scott’s reference to Vathek at a key point in his plot suggests that he had read Beckford’s novel as entirely `Gothic`. This discussion incorporates a comparison between Mannering’s youthful enthusiasm for astrological divination, and themes to be found in Shelley’s Frankenstein, notably with respect to the nature of Victor Frankenstein’s response to `old` and `new` science and medicine, and to the creation and control of Gothic monstrosity. In these and in other instances, it will be argued that the `marginal Gothic` of Scott’s novel may be read as a precursor to Shelley’s work. [From the Author]

The monstrous archive. Aesthetics of decay and horror in found footage films

Ce texte a été présenté à la table ronde « Contested Footage: Snuff, Disease, the Avant-Garde, and the Archive » lors du congrès annuel de la PCA/ACA (Popular Culture Association/American Culture Association) qui se tenait à la Nouvelle-Orléans, du 1er au 4 avril 2015. La participation à ce congrès s’inscrivait dans le cadre du projet de recherche « Archives et création : nouvelles perspectives sur l’archivistique » sous la direction d’Yvon Lemay. Ce projet est financée par le Conseil de recherches en sciences humaines du Canada (CRSH) dans le cadre du programme Savoir (2013-2016).

Howard Barker’s ‘monstrous assaults’: eroticism, death and the antique text

Howard Barker is a writer who has made several notable excursions into what he calls ‘the charnel house…of European drama.’ David Ian Rabey has observed that a compelling property of these classical works lies in what he calls ‘the incompleteness of [their] prescriptions’, and Barker’s Women Beware Women (1986), Seven Lears (1990) and Gertrude: The Cry (2002), are in turn based around the gaps and interstices found in Thomas Middleton’s Women Beware Women (c1627), Shakespeare’s King Lear (c1604) and Hamlet (c1601) respectively. This extends from representing the missing queen from King Lear, who Barker observes, ‘is barely quoted even in the depths of rage or pity’, to his new ending for Middleton’s Jacobean tragedy and the erotic revivification of Hamlet’s mother. This paper will argue that each modern reappropriation accentuates a hidden but powerful feature in these Elizabethan and Jacobean plays – namely their clash between obsessive desire, sexual transgression and death against the imposed restitution of a prescribed morality. This contradiction acts as the basis for Barker’s own explorations of eroticism, death and tragedy. The paper will also discuss Barker’s project for these ‘antique texts’, one that goes beyond what he derisively calls ‘relevance’, but attempts instead to recover ‘smothered genius’, whereby the transgressive is ‘concealed within structures that lend an artificial elegance.’ Together with Barker’s own rediscovery of tragedy, the paper will assert that these rewritings of Elizabethan and Jacobean drama expose their hidden, yet unsettling and provocative ideologies concerning the relationship between political corruption / justice through the power of sexuality (notably through the allure and danger of the mature woman), and an erotics of death that produces tragedy for the contemporary age.

Constructing the monster : notions of the monstrous in classical antiquity

Focussing on humaniod monsters, this thesis uses insights from Foucault's theory about the "archaeology" of discourses and Derrida's practice of deconstruction to examine how monstrosity was spoken of in antiquity, and how the various "sciences" dealt with anomalous monsters without jeopardising their epistemological credibility. Discussion begins with a survey of the semantic field of teras and monstrum. Since portentousness was central to both terms, the signification of monstrous portents in divinatory practice is next aalysed in the historiography of Herodotus, Livy, and others. Cicero's De divinatione reveals the theory and the problem for that science posed by accidental monstrosities. Chance and novelty are also issues in mythical and scientific cosmogonies < of Hesiod, and Orphism, Empedo-cles, and Lucretius> , where monsters arise and are dealt with while cosmic regularities, reproductive and ethical, are being established. Teleology and the stability of species'forms emerge as important concerns. These issues are further considered in Aristotle's bioogy and in medical writings from Hippocrates to Galen. There, theories are produced about monstrous embryology which attempt to answer the question of how deformities occur if species' forms are perpetuated through repro-duction. Biological and taxonomic--as well as ethical--boundaries are violated also by mythic human-beast hybrids. Narratives about such anomalies clarify the nature of monstrous deviance and enact solutions to the problem. Their strategies have much in common with other modes of discourse. Ethnography is posed similar questions about monstrous races' physical and ethical deviations from the civilised norm; it speaks of those issues in terms of invariance of form through generations, geographical remoteness and the codes which situate those races ethically. Finally, Augustine’s discourse on monstrous individuals and races is examined as Christianity’s belief in God’s governance reformulates the ancient’s discussions of chane or novelty and the invariance of species. In all these discourses founded on determinate meaning, the persistant paradox of monstrosity need offer no challenge to rationality provided its indefinable diversity is unacknowledged and the notion is constructed in such a way as to reaffirm the certainties.

Monsters: monstrous identities in young adult romance

Monstrous identities in fantasy for young adults often function as metaphors for cultural tensions about romantic and sexual relations between young people, and about how the young interact with the generation that precedes them. This essay considers four monster figures prevalent in Young Adult (YA) fantasy: the vampire, the werewolf, the monstrous mother, and the monstrous father and analyses their manifestation in YA romances by Robin McKinley, Stephenie Meyer, L. K. Smith and Maggie Stiefvater. It considers what these representations tell us about cultural anxieties over the sexuality of young women, and how they are positioned as reading subjects.

Governance, representation and the ‘monstrous regiment’: is the collective feminine?

Alternatives to the individualistic emphasis of liberal theory focus attention on collective dimensions of social life with implications for legal and political analysis of the state, of representation, and of international law. In this context, relationships between the individual–collective dichotomy and the dichotomy of gender demand attention because of the claimed affiliations of individualism with social understandings of masculinity.