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Journal articles on the topic 'Monstrosity'

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Published: 4 June 2021
Last updated: 21 February 2023

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1

Vanderhaeghen, Yves. "Monstrosity." Visual Anthropology 28, no. 5 (October 20, 2015): 458–59. http://dx.doi.org/10.1080/08949468.2015.1086219.

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2

Adams, James Eli. "Monstrosity." Victorian Literature and Culture 46, no. 3-4 (2018): 776–79. http://dx.doi.org/10.1017/s1060150318000815.

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3

Darmawan, Adam, Aquarini Priyatna, and Acep Iwan Saidi. "UNSUR-UNSUR GOTIK DALAM NOVEL PENUNGGU JENAZAH KARYA ABDULLAH HARAHAP (Gothic Elements in the Novel Penunggu Jenazah by Abdullah Harahap)." METASASTRA: Jurnal Penelitian Sastra 8, no. 2 (June 6, 2016): 161. http://dx.doi.org/10.26610/metasastra.2015.v8i2.161-178.

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Tulisan ini mengkaji unsur-unsur gotik yang terdapat dalam novel Penunggu Jenazah karya Abdullah Harahap. Novel yang dikaji menunjukkan keterkaitan unsur-unsur gotik sebagai pembangun cerita, yaitu hal-hal supernatural, bentuk-bentuk transgresi, latar yang menyeramkan, bentuk-bentuk monstrositas, excess dan fetis. Kajian ini dilandasi dengan menggunakan teori gotik. Hasil analisis menunjukkan bahwa unsur gotik dalam novel Penunggu Jenazah saling tumpang tindih. Hal-hal supernatural digunakan sebagai sumber konflik dan bentuk transgresi. Transgresi sebagai unsur gotik menggunakan pelanggaran terhadap tabu yang melibatkan transgresi terhadap seksualitas, tubuh, dan kematian. Latar yang menyeramkan, bentuk-bentuk monstrositas dan excess dihadirkan sebagai unsur gotik yang menggangu tatanan norma dan normalitas. Fetis yang muncul dalam Penunggu Jenazah adalah fetis terhadap tubuh perempuan dengan kecenderungan sadomasokis. Novel disajikan dengan mencampurkan semua unsur gotik dengan unsur supernatural, transgresi dan monstrositas sebagai unsur gotik yang dominan. Oleh sebab itu, penelitian ini saya fokuskan untuk mengungkap cara gotik ditampilkan dalam karya Harahap.Abstract: This paper examines the gothic elements in the novel entitled Penunggu Jenazah written by Abdullah Harahap. The novel shows that the gothic elements are supernatural, forms of transgression, scary setting, forms of monstrosity, excess and fetish. This study uses gothic theories. Furthermore, the results of the analysis also show that the gothic elements are overlapping. Transgression as the gothic element is using violation of taboo of sexuality, body and death. The scary setting, the forms of monstrosity and excess are representing to disturb norms and normality. The fetish in the Penunggu Jenazah novel is the fetish of a woman body with a tendency to sadomasochism. Gothic is represented by blending all gothic elements with the supernatural, transgression and monstrosity as the majority elements. Moreover, this study is focused on the way gothic represented.
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4

McKellips, Jenna M. "Miraculous Monstrosity." Medieval Feminist Forum 56, no. 2 (March 25, 2021): 176–203. http://dx.doi.org/10.17077/1536-8742.2220.

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5

Van Elferen, Isabella. "Sonic monstrosity." Horror Studies 7, no. 2 (October 1, 2016): 307–18. http://dx.doi.org/10.1386/host.7.2.307_1.

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6

Jones, Steve. "Gender Monstrosity." Feminist Media Studies 13, no. 3 (July 2013): 525–39. http://dx.doi.org/10.1080/14680777.2012.712392.

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7

Tobin, Theresa Weynand. "Taming Augustine’s Monstrosity." Journal of Philosophical Research 34 (2009): 345–63. http://dx.doi.org/10.5840/jpr_2009_11.

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8

Krisch, N. "Europe's Constitutional Monstrosity." Oxford Journal of Legal Studies 25, no. 2 (June 1, 2005): 321–34. http://dx.doi.org/10.1093/ojls/gqi016.

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9

RIESER, KLAUS. "Masculinity and Monstrosity." Men and Masculinities 3, no. 4 (April 2001): 370–92. http://dx.doi.org/10.1177/1097184x01003004002.

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10

HAYWARD, H. "PHILOSOPHY AND MONSTROSITY." Essays in Criticism XLIX, no. 1 (January 1, 1999): 91–99. http://dx.doi.org/10.1093/eic/xlix.1.91.

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11

Becker, Carol. "Memory and Monstrosity." Performance Research 5, no. 3 (January 2000): 60–73. http://dx.doi.org/10.1080/13528165.2000.10871748.

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12

Scott, Anne. "Trafficking in monstrosity." Feminist Theory 2, no. 3 (December 2001): 367–79. http://dx.doi.org/10.1177/14647000122229587.

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13

Santorio, P. "Reference and Monstrosity." Philosophical Review 121, no. 3 (January 1, 2012): 359–406. http://dx.doi.org/10.1215/00318108-1574427.

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14

Putri, Fitria Zahrina. "Perbandingan Monstrositas Kriminal dalam Red Dragon (1981) Karya Thomas Harris dan Hannibal (2015) Serial Televisi NBC." ATAVISME 21, no. 2 (December 24, 2018): 164–79. http://dx.doi.org/10.24257/atavisme.v21i2.457.164-179.

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This study aims to reveal how differences in criminal monstrosity are portrayed in Red Dragon novel (1981), with the adaptation of his television series titled Hannibal (2013). The problem discussed is the blurred norms as the form of criminal monstrosity development in Hannibal. The theory used is the criminal monstrosity developed by Alexa Wright (2013). This research uses analytical descriptive method. Data from novels and television series are described and compared to get the grand concept of criminal monstrosity. The results showed that the blurred norms in Hannibal can be seen through normalization of cannibalism by using culinary aesthetic, the role of Will Graham from FBI to Hannibal’s crime partner, and a more intimate relationship between Will and Hannibal. These blurred norms created a new monstrosity narrative: a monstrous criminal nature behind a person who looks normal and able to function properly in society.
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15

Durbach, Nadja. "Monstrosity, Masculinity and Medicine." Cultural and Social History 4, no. 2 (June 2007): 193–213. http://dx.doi.org/10.2752/147800307x199047.

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16

Hopkins, Lisa. "Introduction: Monstrosity and Anthropology." Gothic Studies 2, no. 3 (December 2000): 267–73. http://dx.doi.org/10.7227/gs.2.3.1.

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17

Klyuakanov, Igor E. "The Monstrosity of Philosophy." Russian Journal of Philosophical Sciences 62, no. 8 (November 4, 2019): 98–121. http://dx.doi.org/10.30727/0235-1188-2019-62-8-98-121.

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18

Olcay, I., Ü. Zorludemir, and F. Kivanç. "A Symmetric Double Monstrosity." European Journal of Pediatric Surgery 44, no. 03 (June 1989): 174–75. http://dx.doi.org/10.1055/s-2008-1043230.

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19

Zuba, Clayton. "Monstrosity and the Majority." Pedagogy Critical Approaches to Teaching Literature Language Composition and Culture 16, no. 2 (April 2016): 356–67. http://dx.doi.org/10.1215/15314200-3436012.

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20

Stark, Hannah. "Discord, Monstrosity and Violence." Angelaki 20, no. 4 (October 2, 2015): 211–24. http://dx.doi.org/10.1080/0969725x.2015.1096648.

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21

Gigante, Denise. "The Monster in the Rainbow: Keats and the Science of Life." PMLA/Publications of the Modern Language Association of America 117, no. 3 (May 2002): 433–48. http://dx.doi.org/10.1632/003081202x60396.

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The aesthetic definition of monstrosity underwent a change in the late eighteenth and early nineteenth centuries, from a concept of deformity to a notion of monstrosity as too much life. Scientific discourse between 1780 and 1830 was preoccupied with the idea of a living principle that could distinguish living matter from nonliving, and the physiologist John Hunter posited an even more speculative “principle of monstrosity” as an extension of the formative capacity. Such monstrosity did not remain on the level of theory but became the motivating force for a new kind of monster in the literature of the Romantic period. Keats's Lamia emerges here as the consummate Romantic monster—a vision of life conceived beyond the material fact of organization. Viewed in this light, Lamia, no mere narrative swerve from Keats's epic ambitions, is a brilliant if tragic response to the question of what it means to “[d]ie into life.”
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22

Freeman, Barbara. ""Frankenstein" with Kant: A Theory of Monstrosity, or the Monstrosity of Theory." SubStance 16, no. 1 (1987): 21. http://dx.doi.org/10.2307/3685382.

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23

Luchesse, Filippo Del. "Monstrosity and the Limits of the Intellect: Philosophy as Teratomachy in Descartes." Journal of French and Francophone Philosophy 19, no. 1 (June 13, 2011): 107–34. http://dx.doi.org/10.5195/jffp.2011.482.

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For Descartes, nature must be interpreted through a limited number of simple laws used to describe the multiplicity of the real, focusing on the rule and normality rather than on the exception and monstrosity. Nevertheless, monstrosity has a vital function in Descartes' philosophy. By offering a new reading of the evil genius and the deceiver God in terms of absolute monstrosity, I intend to demonstrate the novel role played by the will in this philosophical ‘teratomachy’. Examining the peculiar status Admiration occupies in the economy of the passions, I also analyze a passage from the Cogitationes circa generatione animalium, the only text in which Descartes explicitly discusses physical monstrosities. I argue that these pages, in which Descartes subscribes to a rigidly mechanistic, epigenetic view of embryology, are in tension with his doctrine of final causes and the idea of continuous creation. My theory is that the entire philosophy of Descartes can be read as a veritable war against a certain idea of monstrosity.
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24

D'Argenio, Maria Chiara. "Monstrosity and War Memories in Latin American Post-conflict Cinema." CINEJ Cinema Journal 5, no. 1 (February 17, 2016): 84–112. http://dx.doi.org/10.5195/cinej.2015.126.

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This article explores the relationship between inhumanity, monstrosity, war and memory in two Latin American films: Días de Santiago (Peru, 2004) and La sombra del caminante (Colombia, 2004). These aesthetically innovative films tackle the internal armed conflicts that have occurred in Colombia and Peru in recent years. Focusing on former soldiers’ reintegration into civilian life, they display war as a traumatic experience that produces monstrosity, understood as a dehumanisation of the individual. By analysing the tropes of monstrosity and the haunting past, and the films’ aesthetics, I show how the performance of the monster articulates a tension between inhumanity and humanness, which can be read as a metaphor for the tension between the acts of remembering, investigating and forgetting within post-conflict societies.
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25

UPSON, SARAH M., and ADNAN A ABBASI. "THE MONSTROSITY OF MAGNESIUM CITRATE." Chest 162, no. 4 (October 2022): A804. http://dx.doi.org/10.1016/j.chest.2022.08.634.

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26

Shuffelton, Amy. "The Monstrosity of Parental Involvement." Philosophy of Education 74 (2018): 64–76. http://dx.doi.org/10.47925/74.064.

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Shuffelton, Amy. "The Monstrosity of Parental Involvement." Philosophy of Education 74 (2018): 64–76. http://dx.doi.org/10.47925/74.064.

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28

Zwierlein, A. "Sonic Monstrosity and Visionary Women." Anglistik 30, no. 3 (2019): 89–105. http://dx.doi.org/10.33675/angl/2019/3/9.

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29

Twitchin, Mischa. "Monstrosity: The face of war." Performance Research 23, no. 8 (November 17, 2018): 88–94. http://dx.doi.org/10.1080/13528165.2018.1573092.

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30

Cadava, Eduardo. "The Monstrosity of Human Rights." PMLA/Publications of the Modern Language Association of America 121, no. 5 (October 2006): 1558–65. http://dx.doi.org/10.1632/s0030812900099867.

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Fellow citizens! I will not enlarge further on your national inconsistencies. The existence of slavery in this country brands your republicanism as a sham, your humanity as a base pretence, and your Christianity as a lie. It destroys your moral power abroad; it corrupts your politicians at home … it makes your name a hissing, and a byword to a mocking earth. It is the antagonistic force in your government…. It fetters your progress; it is the enemy of improvement, the deadly foe of education; it fosters pride; it breeds insolence; it promotes vice; it shelters crime; it is a curse to the earth that supports it; and yet, you cling to it, as if it were the sheet anchor of all your hopes. Oh! be warned! be warned! a horrible reptile is coiled up in your nation's bosom; the venomous creature is nursing at the tender breast of your youthful republic: for the love of God, tear away and fling from you this hideous monster, and let the weight of twenty million crush and destroy it forever.—Frederick Douglass“What to the Slave Is the Fourth of July?” (383–84)In his now famous address on the meaning of the Fourth of July to the slave, Frederick Douglass seeks to delineate the various ways in which the persistence of slavery in a nation that was founded on the virtues of freedom, liberty, and equality produces a national ideology traversed by ambiguities, tensions, and contradictions. Suggesting that the experience of freedom cannot be thought apart from that of slavery, that abstract equality can only be imagined alongside the story of black subjection, he argues that these inconsistencies have two consequences. They derail the course of American democracy, and they leave their most painful and material consequences on the lives and bodies of the slaves without whom the narratives of freedom and equality could never be written. This is why he often refers to the violence, inequality, economic oppression, and racist exclusions that have harmed and devastated so many human beings in the history of America and the history of the world. For Douglass, America finds itself in mourning the moment slavery exists, populations are removed, dispossessed, or exterminated, wealth is distributed unequally, acts of discrimination are committed in the name of democracy and freedom, and rights are withheld—and what it mourns is America itself. As he tells us in his Fourth of July oration, this mourning belongs to the long history of efforts to actualize equality, to realize, that is, the promise of the right to representation for everyone, of an America that to this day still does not exist, which is why it must always be mourned. “I am not included within the pale of this glorious anniversary!” he writes. “Your high independence only reveals the immeasurable distance between us…. The rich inheritance of justice, liberty, prosperity, and independence, bequeathed by your fathers, is shared by you, not by me… . This Fourth [of] July is yours, not mine. You may rejoice, I must mourn” (“What to the Slave” 368).
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31

Raducanu, Adriana. "Lady Audley’s Sphinxian Mystery?" Gender Studies 11, no. 1 (December 1, 2012): 323–36. http://dx.doi.org/10.2478/v10320-012-0049-y.

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Abstract The present study is based on the analysis of the themes of madness and monstrosity, depicted through the female character, in Mary Elizabeth Braddon’s well-known Lady Audley’s Secret. It discusses the elusive nature of madness and monstrosity that may be perceived as attributes of reader, writer and characters alike; it also considers the possibility of ‘madness’ as subversive survival strategy and/or escape from narrow patriarchal, political, social and cultural confines
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32

Griffis, Emily. "Predator vs. Prey: The Human Monstrosity in Attack on Titan." Digital Literature Review 4 (January 13, 2017): 153–65. http://dx.doi.org/10.33043/dlr.4.0.153-165.

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33

Scott, Maria. "Reading Monstrosity in Baudelaire's "Mademoiselle Bistouri"." Australian Journal of French Studies 38, no. 2 (May 2001): 228–40. http://dx.doi.org/10.3828/ajfs.38.2.228.

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34

Bardin, Andrea. "The Monstrosity of Matter in Motion." Philosophy Today 60, no. 1 (2016): 25–43. http://dx.doi.org/10.5840/philtoday2015121195.

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35

Kunze, Donald. "Architecture as Reading; Virtuality, Secrecy, Monstrosity." Journal of Architectural Education (1984-) 41, no. 4 (1988): 28. http://dx.doi.org/10.2307/1425010.

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36

Nodelman, Perry. "Ordinary Monstrosity: The World of Goosebumps." Children's Literature Association Quarterly 22, no. 3 (1997): 118–25. http://dx.doi.org/10.1353/chq.0.1242.

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37

Jobe, Sarah C. "The Monstrosity of God Made Flesh." Journal of Reformed Theology 13, no. 3-4 (December 6, 2019): 238–56. http://dx.doi.org/10.1163/15697312-01303001.

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Abstract Three times over the course of thirty-eight years, Karl Barth images God as the monster Leviathan (once each in the Epistle to the Romans, Church Dogmatics II.1 and& IV.3.1). Barth’s imagination for God in monstrous form emerges from his interpretation of Romans 11:35, in which the apostle Paul quotes a line from Job 41:11, a poem about Leviathan, to describe the greatness of God. Using monster theory and a close reading of Barth, this article will discuss how God as Leviathan answers one of Barth’s primary questions—namely, how it is that Jesus saves human beings from their headlong rush into the abyss. Moving from Barth’s exegetical insights, through Barth’s soteriology, the article ends with the ethics of a God made monstrous flesh—an ethics that Barth explicitly links to the status of prisoners and all those depicted as monstrous and cast into the abyss.
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38

Johnson, Sylvester. "Monstrosity, Colonialism, and the Racial State." J19: The Journal of Nineteenth-Century Americanists 3, no. 1 (2015): 173–81. http://dx.doi.org/10.1353/jnc.2015.0002.

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39

Weiss, Allen S. "Ten Theses on Monsters and Monstrosity." TDR/The Drama Review 48, no. 1 (March 2004): 124–25. http://dx.doi.org/10.1162/105420404772990736.

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A simultaneously embodied and disembodying epistemology of Monsters, this is a manifesto of monstrosities through poetry, philosophy, and rhetoric—an encyclopedia in miniature of monsters and their ontologies.
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40

Kunze, Donald. "Architecture as Reading; Virtuality, Secrecy, Monstrosity." Journal of Architectural Education 41, no. 4 (July 1988): 28–37. http://dx.doi.org/10.1080/10464883.1988.10758499.

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41

Wagner, A. C. "Artist Statement: Visible Monstrosity as Empowerment." TSQ: Transgender Studies Quarterly 2, no. 2 (January 1, 2015): 341–44. http://dx.doi.org/10.1215/23289252-2867768.

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42

Rutzou, Timothy. "Review Essay the Monstrosity of Monovalence." Journal of Critical Realism 12, no. 3 (July 2013): 377–99. http://dx.doi.org/10.1179/1476743013z.0000000005.

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43

Sum, Robert. "Aspects of Gothic Tradition in the Literary Imagination of Nnedi Okorafor." Journal of Law and Social Sciences 4, no. 3 (May 27, 2022): 21–30. http://dx.doi.org/10.53974/unza.jlss.4.3.759.

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The Gothic writing has often been perceived as a form of Western fiction- making. This apparently is based on the fact that Gothic genre originated in Europe in the late 18th century and has been widely exploited in the West (Europe and North America). Contrary to these assumptions, it can be confirmed that Gothic mode has indeed been appropriated by many non–Western fiction writers. An in- depth interrogation of Nnedi Okorafor’s, selected novels like ‘Who Fears death’, Akata Witch and The Book of Phoenix reveal that she does indeed appropriate Gothic elements. This article therefore critically examines aspects of Gothic tradition in Nnedi Okorafor’s selected novels. It seeks to portray how unique Gothic motifs like monstrosity, villainy and morality have been appropriated, transformed and complicated in Nnedi Okorafor’s selected novels ‘Who Fears death’, ‘Akata Witch’ and ‘The Book of Phoenix’. This study found out that that the three motifs indeed exist in Okorafor’s selected novels and are closely related. Gothic Monsters are generally implicated in subversion of social norms and nature. This often renders them villainous and their defeat, as portrayed in the analysed texts, leads to a restoration of moral order in a given society. Yet the findings affirm that physical or moral monstrosity of a character does not necessarily qualify her or him to be a villain. Villainy is tied to innate monstrosity which manifests itself through characters’ inhuman, unjust, and oppressive attitude towards the perceived other. This piece therefore concludes that Nnedi Okorafor does indeed appropriate the Gothic motifs of monstrosity, villainy and morality in a manner that offers radically fresh means of highlighting Africa’s complex reality.
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44

Eklund, Tof. "Uncanny, abject, mutant monster: From Frankenstein to Genderpunk." Australasian Journal of Popular Culture 10, no. 1 (December 1, 2021): 79–101. http://dx.doi.org/10.1386/ajpc_00040_1.

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This article starts with the key figure of Frankenstein’s monster and traces it from its tragic Gothic origins to its use in transphobic scholarship and on to its reclamation both by queer scholars and a growing trend in queer culture towards claiming monsters and monstrosity as their own. Gothic and psychoanalytic understandings of monstrosity, the uncanny and the abject are explored in relationship to queer theory about performativity, failure and ‘anarchitectural’ identity formation. The social media phenomenon ‘the Babadook is Gay’ and the figure of the mutant in popular culture bridge to the new Gothic and the formulation of the ‘genderpunk gayme’ as an aesthetic and political form with a commitment to queer acceptance and intersectional solidarity.
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45

Dasen, Véronique. "Les naissances multiples dans les textes médicaux antiques." Gesnerus 55, no. 3-4 (November 27, 1998): 183–204. http://dx.doi.org/10.1163/22977953-0550304004.

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Ancient medical writers and biologists elaborated different theories to explain the phenomenon of multiple births. The earliest extant texts are in the Hippocratic collection and in the physiological treatises of Aristotle. They express opposed ideas: for the Hippocratics multiple births are the result of an ideal conception, for Aristotle they are regarded as anomalies associated with notions of monstrosity and excess. These views shed light on ancient collective imagery. Three themes in particular are found in non-medical literature and iconography: twin birth as a model of ideal fecundity, the ambiguous status of twins of different sexes, and the relation of multiple births to monstrosity and animality, as evidenced by the motif of twins born from one egg.
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46

Suner, Asuman. "Between magnificence and monstrosity: Turkishness in recent popular cinema." New Perspectives on Turkey 45 (2011): 123–54. http://dx.doi.org/10.1017/s0896634600001333.

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AbstractThis paper studies the idea of Turkishness as one thematic element that commonly characterizes recent Turkish box-office champions. The preoccupation with the idea of Turkishness in recent popular cinema can be seen as a reflection of Turkish society's bafflement with the process of rapid and intensive transformation during the 2000s. In this period, Turkish society has grown increasingly confused about how to assess its own worth in the contemporary world. The paper makes use of the terms “magnificence” and “monstrosity” to make sense of the excessive representations of Turkishness in Turkish box-office champion action films and comedies of the second half of the 2000s. The term “magnificence” stands for aspirations in Turkish society during the last decade about the revival of the glory of the Ottoman past and becoming a powerful actor again on the world scene. The term “monstrosity” is employed in relation to Turkish society's cynical indifference to the violence perpetrated by the Turkish state, which is often rendered acceptable through the presumption of “Turkish peculiarity.” The paper points to the continuity between recent blockbuster action films and comedies in their representations of Turkishness by suggesting that magnificence and monstrosity appear in these films as two sides of the same coin.
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47

Maydana, Sebastián Francisco. "Review of The Mummy on Screen: Orientalism and Monstrosity in Horror Cinema." CINEJ Cinema Journal 8, no. 2 (December 3, 2020): 474–80. http://dx.doi.org/10.5195/cinej.2020.308.

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48

Rossolatos, George. "Lady Gaga as (dis)simulacrum of monstrosity." Celebrity Studies 6, no. 2 (December 2, 2014): 231–46. http://dx.doi.org/10.1080/19392397.2014.986492.

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49

Di Leo, Jeffrey R., and Christian Moraru. "Escaping Monstrosity: On Disfiguring and Refiguring Europe." symploke 5, no. 1 (1997): 95–98. http://dx.doi.org/10.1353/sym.2005.0055.

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50

Fagenblat, M. "The Monstrosity of Christ: Paradox or Dialectic?" Common Knowledge 19, no. 1 (December 14, 2012): 136–37. http://dx.doi.org/10.1215/0961754x-1815854.

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