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Journal articles on the topic 'Monstrous-feminine'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Suhendi, Indrawan Dwisetya, Aquarini Priyatna, and Teddi Muhtadin. "REPRESENTASI MONSTROSITAS PEREMPUAN DALAM NOVEL MANTRA LILITH KARYA HENDRI YULIUS." ATAVISME 20, no. 2 (2017): 123–37. http://dx.doi.org/10.24257/atavisme.v20i2.391.123-137.

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This research aims at conyeving the representation of monstrous feminine in novel Mantra Lilith by Hendri Yulius (2017). The issue discussed is how the representation of monstrous feminine in Mantra Lilith. The theory used in this research is the monstrous feminine theory proposed by Creed (2003) and the abject theory of Kristeva (1982). This research used analytical descriptive method. The data from the novel is described to obtain an overview of the representation of monstrous feminine. The results show that female sexuality is a monstrous that it is represented as a snake in a novel narrati

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Vachhani, Sheena J. "Always different?: exploring the monstrous-feminine and maternal embodiment in organisation." Equality, Diversity and Inclusion: An International Journal 33, no. 7 (2014): 648–61. http://dx.doi.org/10.1108/edi-05-2012-0047.

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Purpose – The purpose of this paper is to problematise the notion of woman-as-monster and draws together a conceptual analysis of the monstrous-feminine and its relation to maternal and monstrous bodies including its implications for equality and inclusion in the workplace. Design/methodology/approach – Whilst exploring how female monsters are inextricably tied to their sexual difference, the author draws on social and psychoanalytic perspectives to suggest how such monstrosity is expressed through ambivalence to the maternal. The author analyses two “faces” of the monstrous-feminine in partic

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3

Chusna, Aidatul, and Shofi Mahmudah. "Female Monsters: Figuring Female Transgression in Jennifer's Body (2009) and The Witch (2013)." Jurnal Humaniora 30, no. 1 (2018): 10. http://dx.doi.org/10.22146/jh.31499.

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This paper aimed to examine the depiction of the monstrous feminine in two horror flms, 2009’s Jennifer’s Bodyand 2015’s The Witch, by investigating how horror flms confront transgression through the construction of woman as a monstrous fgure in the story. The theory of abjection proposed by Julia Kristeva and of the monstrous feminine by Barbara Creed were used in the analysis. The main data were taken from these two flms, focusing on the characterization and narrative aspects. It was found that the depiction of the monstrous feminine in both flms was through the use of monstrous acts and ima

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Chusna, Aidatul, and Shofi Mahmudah. "Female Monsters: Figuring Female Transgression in Jennifer's Body (2009) and The Witch (2013)." Jurnal Humaniora 30, no. 1 (2018): 10. http://dx.doi.org/10.22146/jh.v30i1.31499.

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This paper aimed to examine the depiction of the monstrous feminine in two horror flms, 2009’s Jennifer’s Bodyand 2015’s The Witch, by investigating how horror flms confront transgression through the construction of woman as a monstrous fgure in the story. The theory of abjection proposed by Julia Kristeva and of the monstrous feminine by Barbara Creed were used in the analysis. The main data were taken from these two flms, focusing on the characterization and narrative aspects. It was found that the depiction of the monstrous feminine in both flms was through the use of monstrous acts and ima

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5

Stachurski, Anne. "Managing the Monstrous Feminine - Regulating the Reproductive BodyManaging the Monstrous Feminine - Regulating the Reproductive Body." Nursing Standard 20, no. 26 (2006): 26. http://dx.doi.org/10.7748/ns2006.03.20.26.26.b434.

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6

Ivănescu, Andra. "Inhuman Music and the Monstrous-Feminine." Journal of Sound and Music in Games 5, no. 1 (2024): 24–38. http://dx.doi.org/10.1525/jsmg.2024.5.1.24.

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In video games, female characters have traditionally been meant to be seen and not heard, mirroring the history of women under patriarchy. Those female characters who reject their secondary and primarily visual role often become monstrous, and like Barbara Creed argues, this monstrosity is itself profoundly gendered. This paper focuses on two such female characters whose monstrosity, and also revolt, are indisputably feminine, as well as musical. Both the 2007 classic Portal and the 2017 cult hit Doki Doki Literature Club! feature central antagonists who are sentient artificial female monsters

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7

Lima, Leandro Augusto Borges, and Dorota Walesa. "The dark play of monstrosity in NieR: Automata." Journal of Gaming & Virtual Worlds 14, no. 2 (2022): 225–40. http://dx.doi.org/10.1386/jgvw_00059_1.

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This article explores elements of monstrosity in Yoko Taro’s NieR: Automata (Platinum Games 2017), arguing in specific that the main ‘monster’ is represented through an extreme distortion of humanity’s values and ideals. The analysis is supported by traditional literature regarding the monstrous and the monstrous-feminine, associated with the definition of dark play and its elements such as dehumanization, to conduct a close reading of NieR: Automata lore, visuals and mechanics. Through the analysis of Simone ‐ a monstrous-feminine machine ‐ as a key point in the journey of discovery enacted b

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8

Andini, Mustika. "Badarawuhi: Representation of The Monstrous Feminine in The Film KKN di Desa Penari (2022)." Cinematology: Journal Anthology of Film and Television Studies 3, no. 2 (2023): 102–12. https://doi.org/10.17509/ftv-upi.v3i1.55634.

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The film KKN di Desa Penari (2022) succeeded in reviving the Indonesian horror film industry for its achievement as the 2nd best seller movies in Indonesia, after Avengers: End Game (2019). As the title suggests, the film KKN di Desa Penari (2022) tells the story of six students who get a lot of disturbance and terror from the supernatural village rulers when carrying out the Kuliah Kerja Nyata (KKN) program and cause death. As women are often constructed as horrible figures in the product of patriarchal culture, the film KKN di Desa Penari (2022) introduces a new female ghost figure in Indone

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9

Kimball, Meredith. "Taking up and Resisting the “Monstrous Feminine”." Psychology of Women Quarterly 31, no. 1 (2007): 115–16. http://dx.doi.org/10.1111/j.1471-6402.2007.00336_2.x.

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10

Hopkins, Susan. "Trainwreck femininity and Whitney: monstrous feminine redux." Celebrity Studies 11, no. 1 (2020): 153–56. http://dx.doi.org/10.1080/19392397.2020.1704477.

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11

Krupa, Henrieta. "THE MONSTROUS FEMININE RE-IMAGINED: THE SUBSTANCE." sinecine: Sinema Araştırmaları Dergisi 16, no. 1 (2025): 58–90. https://doi.org/10.32001/sinecine.1617469.

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This article examines Coralie Fargeat’s The Substance (2024) as a feminist intervention within the body horror genre, addressing the scarcity of academic scholarship on this groundbreaking film. By critiquing patriarchal norms surrounding beauty, aging, and the commodification of women’s bodies, The Substance offers a provocative narrative that challenges phallocentric structures and patriarchal systems. Anchored by Demi Moore’s transformative performance, the film subverts the male gaze through grotesque imagery and visceral depictions of bodily disintegration, operating by the abject, reconf

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12

Thomson, Michael. "Legislating for the Monstrous: Access To Reproductive Services and the Monstrous Feminine." Social & Legal Studies 6, no. 3 (1997): 401–24. http://dx.doi.org/10.1177/096466399700600305.

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13

Burnikel, Jana-Katharina. "Screening Posthuman Procreation and Monstrous Motherhood in "Raised by Wolves"." Journal of Posthumanism 4, no. 2 (2024): 115–22. http://dx.doi.org/10.33182/joph.v4i2.3338.

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Representations of posthuman birthing and artificial motherhood are at the center of the universe of the sci-fi series Raised by Wolves (2020-2022). This paper investigates how the series’ cinematographic aesthetics fabricate discourses on human procreation, posthuman motherhood and maternal heteronormativity. In the series, these topics are negotiated within the categoric triangle of woman, animal, and machine. Embodied by the series’ gynoid protagonist ‘Mother’, these categories become blended into a monstrous-feminine other whose uncanny performances of maternity outline the potential fasci

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Campana, Andrew. "The Monstrous-Feminine in Contemporary Japanese Popular Culture." Japanese Language and Literature 53, no. 1 (2019): 131–36. http://dx.doi.org/10.5195/jll.2019.49.

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15

Wee, Valerie. "Patriarchy and the Horror of the Monstrous Feminine." Feminist Media Studies 11, no. 2 (2011): 151–65. http://dx.doi.org/10.1080/14680777.2010.521624.

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Salisbury, Eve. "Lybeaus Desconus: Transformation, Adaptation, and the Monstrous-Feminine." Arthuriana 24, no. 1 (2014): 66–85. http://dx.doi.org/10.1353/art.2014.0017.

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17

Creed, Barbara. "Horror and the Monstrous-Feminine: An Imaginary Abjection." Screen 27, no. 1 (1986): 44–71. http://dx.doi.org/10.1093/screen/27.1.44.

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18

TAYLOR, DIANNA. "Monstrous Women." PhaenEx 5, no. 2 (2010): 125. http://dx.doi.org/10.22329/p.v5i2.3086.

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In this paper I argue that “monstrous” women – violators of both moral and gender norms – mark the limits of acceptable behavior through such violation and thus provide particular insight into the workings of gendered power relations within contemporary western societies. Drawing upon Michel Foucault’s 1975 College de France course titled Abnormal, I begin by arguing that gendered power relations in western societies can be characterized as “normalizing.” Next, I refer to Foucault’s discussion of “natural” and “moral” monsters in order to provide a sketch of the monstrous woman, and then show

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19

Mulcahy, Laura. "Unsettled Boundaries and Insidious Trauma in Stephen King’s Carrie." Aigne Journal 9 (February 27, 2023): 104–17. https://doi.org/10.33178/aigne.vol9.6.

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This article examines the concept of unsettled boundaries and insidious trauma in relation to Stephen King's Carrie (1974). Mulcahy argues how the titular character is viewed as monstrous due to her inability to hide abject features of her female body, specifically her menarche. In relation to abjection, the article relies on analyses presented by Julia Kristeva and Barbara Creed, who explain the abject as the border between the rational and the irrational. This article discusses how menarche is presented as a traumatic event due to societal discomfort with the abject female body, how Carrie's

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Guptha, Sruthi B., and Sandhya V. "he Monstrous Feminine: Politics of Gender and Fear in the Adaptation of “Tejeemola” in Kothanodi." IAFOR Journal of Literature & Librarianship 12, no. 1 (2023): 7–21. http://dx.doi.org/10.22492/ijl.12.1.01.

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Contemporary folklore studies transcend genre, language, culture, time, and space in addressing the pertinent questions of representation, appropriation, and counter-cultures. This paper attempts to address gender politics in the formulation of horror in the visual adaptation of the famous Assamese folktale “Tejeemola” (1911) in Bhaskar Hazarika’s film Kothanodi (The River of Fables, 2015). The interval of almost a century makes Kothanodi undisputedly informed by contemporary postmodern discourses on femininity, sexuality, and socio-cultural changes in the conventions of gender. The retelling

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21

Lavigne, Carlen. "Monster Menstrual: Women, Girls, and Queer Horror in Stranger Things." Canadian Review of American Studies 54, no. 2 (2024): 119–32. http://dx.doi.org/10.3138/cras-2023-019.

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The 2016 Netflix series Stranger Things is a calculated homage to the 1980s; in addition to its period setting and the inclusion of star Winona Ryder, it further incorporates tropes and references from popular 1980s’ films including Stand By Me, E.T., and The Goonies. But the series does not only draw from stories about young boys coming of age in America; it also calls back to Stephen King’s Carrie and other science fiction and paranormal images marked by the fear of female sexuality. Stranger Things’ slimy passages, alien umbilical cords, “demogorgon” vaginas dentata, and liminally gendered

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22

Oh, Jin-Hee. "Monstrous-Feminine, expanding its meaning beyond fear and hatred." Cartoon and Animation Studies 66 (March 31, 2022): 171–89. http://dx.doi.org/10.7230/koscas.2022.66.171.

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23

Littau, Karin. "Refractions of the Feminine: The Monstrous Transformations of Lulu." MLN 110, no. 4 (1995): 888–912. http://dx.doi.org/10.1353/mln.1995.0075.

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24

Brown, Jeffrey A. "Supermoms? Maternity and the monstrous-feminine in superhero comics." Journal of Graphic Novels & Comics 2, no. 1 (2011): 77–87. http://dx.doi.org/10.1080/21504857.2011.576885.

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25

Harkin, Stephanie. "“The Only Thing You’ve Managed to Break So Far Is My Heart”: An Analysis of Portal’s Monstrous Mother GLaDOS." Games and Culture 15, no. 5 (2018): 529–43. http://dx.doi.org/10.1177/1555412018819663.

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This article interrogates Portal’s monstrous antagonist GLaDOS through a psychoanalytical lens, granting specific attention to her maternal coding. The process of presenting maternal authority as monstrous and in need of containment is a patriarchal practice that reinforces the mother gamer’s unwelcome presence within video game culture, outlined through a brief examination of various representational trends regarding the maternal figure in games. These patriarchal signifying practices also operate to preserve broader domestic and societal gendered ideologies. Portal’s projections of maternal

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26

Harker, C. Marie. "Fat male sexuality: The monster in the maze." Sexualities 19, no. 8 (2016): 980–96. http://dx.doi.org/10.1177/1363460716640734.

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This article explores cinematic and televisual representations of fat male sexuality; rare in mainstream culture, the few depictions foreground abject embodiment to monstrous effect. From tabloid accounts of the Fatty Arbuckle rape trial to the grotesque Highlander Fat Bastard, fat male sexuality paradoxically doesn't exist and in existing, pollutes. This over-determined representation as monstrous and threatening yet simultaneously failed and incapable points to the semiotic threat of fat masculinity: in a system where fat embodiment is marked as feminine, the fat maleness that refuses to occ

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Morss, John. "Governance, Representation and the 'Monstrous Regiment': Is the Collective Feminine?" Deakin Law Review 19, no. 1 (2014): 163. http://dx.doi.org/10.21153/dlr2014vol19no1art211.

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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.

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28

Stachurski, Anne. "Managing the monstrous feminine regulating the reproductive body Jane M Ussher Managing the monstrous feminine regulating the reproductive body|Routledge|219pp|£15.950 415 32811X041532811." Nursing Standard 20, no. 26 (2006): 26. http://dx.doi.org/10.7748/ns.20.26.26.s32.

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29

Miquel-Baldellou, Marta. "Archaic, Phallic, and Castrated: Revisiting Stephen King’s The Shining through the Trope of the Monstrous Mother and its Manifestations." Esferas Literarias, no. 7 (December 21, 2024): 6–20. https://doi.org/10.21071/elrl.i7.17472.

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Stephen King’s novel The Shining (1977) has often been considered a contemporary classic that updates the nineteenth-century ghost story and narratives of haunted houses, while it reflects latent fears about the collapse of the traditional family, and the threat to hegemonic masculinities upon the rise of feminist studies. Drawing on Barbara Creed’s notion of the monstrous-feminine, it is feasible to reinterpret one of King’s most iconic novels as a representation of latent male fears of the trope of the monstrous mother in its different representations. It may be thus argued that, from a male

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30

Bakhteeva, Maria S. "CONSTRUCTING THE IMAGE OF A WITCH IN THE MODERN HORROR FILM." Articult, no. 3 (June 2024): 53–61. http://dx.doi.org/10.28995/2227-6165-2024-3-53-61.

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The article examines the representation of the witch in two horror films: “The VVitch: A New-England Folktale” (2015) and “Hagazussa” (2017). The films are set during the historic period of the witch hunts. The article draws on the theoretical foundations of the “monstrous-feminine” theory by B. Creed and the concept of “disgust” by Yu. Kristeva as its methodological basis. B. Creed's theory seems to be very promising in the analysis of horror films, which are built around a female monster figure, such as a witch. Based on the theory of B. Creed, we can identify three main themes in the constr

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31

Capital, H. R. L., and Sulistyaningsih. "Representation of Mother Castrator in The Short Story of Perempuan Buta Tanpa Ibu Jari by Intan Paramaditha." Langua: Journal of Linguistics, Literature, and Language Education 6, no. 1 (2023): 67–71. https://doi.org/10.5281/zenodo.7731304.

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Patriarchy is always cited as the main cause of gender injustice such as women’s oppression, violence, gender, existence, and a lot more. Females oftentimes are victims of male dominance; however, females can also be dreadful figures, it is called monstrous feminine. Mother castrator is one of the monstrous feminine parts, it is showing a mother with obsession and a dominant character that destroys her children and it can be found in the short story <em>Perempuan Buta Tanpa Ibu Jari</em> by Intan Paramaditha. The purpose of this study is to describe a representation of the mother castrat

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32

Sun, Heejung. "The Monstrous-Feminine in Keats’s Isabella; or, the Pot of Basil." Nineteenth Century Literature In English 23, no. 1 (2019): 93–120. http://dx.doi.org/10.24152/ncle.2019.3.23.1.93.

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33

Hansen, Christopher. "The monstrous feminine: Ungoliant, Shelob, and women in Tolkien’s Middle-Earth." Crossroads A Journal of English Studies, no. 34(3) (2021): 4–15. http://dx.doi.org/10.15290/cr.2021.34.3.01.

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This article seeks to provide an analysis of Tolkien’s portrayal of feminine figures by emphasizing the roles of Ungoliant and Shelob, the monstrous spiders which Tolkien codes female, and finding how these sexual and procreative beings fit into Tolkien’s theological and gender essentialist views of women, and then how this reflects on other women within Tolkien’s legendarium, arguing that far from any of Tolkien’s women being empowered, they are instead always subservient to his essentialist understandings of women, that they are biologically and intellectually usually inferior to men and hav

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34

Connors, Sean P. "The Monstrous-Feminine and Hegemonic Masculinity in Rick Yancey’s The Monstrumologist." Children's Literature Association Quarterly 42, no. 1 (2017): 91–104. http://dx.doi.org/10.1353/chq.2017.0005.

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35

Landau, Samantha. "Passionate Women, Vengeful Spirits: Female Ghosts and the Japanese Gothic Mode." MANUSYA: Journal of Humanities 27, no. 1 (2024): 1–23. https://doi.org/10.1163/26659077-20242723.

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Abstract Female phantasms of the living and the dead that appear in Japanese folklore and literature involve a dual image of women: the representation of a patriarchal ideal of women, and the monstrous double that revolts against that ideal. Representations of this folklore-inspired ideal/monstrous woman can be seen in a wide-ranging array of twentieth and twenty-first century Japanese fiction, from the early cannibalistic spirits in folklore-inspired tales to Romantic and Absurdist works to possession narratives. This essay builds upon extant research from folklorists and cultural anthropolog

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36

LEE, Sung-jae, and Gil-young OH. "Executioner of France in the Japanese manga Innocent: Notion of ‘monstrous-feminine’." HISTORY JOURNAL 43 (August 31, 2020): 61–101. http://dx.doi.org/10.51786/rchf.2020.08.43.61.

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37

James, Kathryn. "Over Her Dead Body: Expelling the Monstrous-Feminine in Touching Earth Lightly." Papers: Explorations into Children's Literature 16, no. 1 (2006): 25–32. http://dx.doi.org/10.21153/pecl2006vol16no1art1242.

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In lieu of abstract, here is the first paragraph of the article: Death and sex/uality are inextricably linked in the Western cultural imagination. The French slang term for ‘orgasm’ (la petite mort) is said to literally translate as ‘little death’, for instance, while the ‘sex-leading-to-death’ motif is pervasive in narrative and aesthetic representations. Although not always consciously articulated, throughout history the most fundamental taboos on human behaviour have also been those concerned with death and sexual functions (McNay 1994, p.41). Much of the work of cultural theorists Sigmund

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Peters, Gary. "Barbara Creed. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. New York: Routledge, 1993." Canadian Journal of Film Studies 3, no. 2 (1994): 108–13. http://dx.doi.org/10.3138/cjfs.3.2.108.

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Lee, Hunju. "Transformations of the Monstrous Feminine in the New Asian Female Ghost Films." Diogenes 62, no. 1 (2015): 100–114. http://dx.doi.org/10.1177/0392192117701387.

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Austin, Sara. "Monstrous Bodies: Feminine Power in Young Adult Horror Fiction by June Pulliam." Children's Literature Association Quarterly 40, no. 1 (2015): 97–99. http://dx.doi.org/10.1353/chq.2015.0009.

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Santamaría Ibor, Mónica. ""I Eat Boys": Monstruos Feminity in Jennifer's Body." Babel – AFIAL : Aspectos de Filoloxía Inglesa e Alemá, no. 31 (December 16, 2022): 145–66. http://dx.doi.org/10.35869/afial.v0i31.4301.

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The marketing strategy behind Jennifer’s Body capitalized on Megan Fox’s emerging status as a sex symbol. As a result of this, many reviewers criticised it for not fulfilling their male fantasies. Ten years after its release, Jennifer’s Body is now interpreted as a feminist story. This essay explores the limits and contradictions of these readings through an analysis of the depiction of female monstrosity in the film. It starts with the establishment of a theoretical framework on the representation of female monsters in horror cinema and of the monstrous teenage girl. The analysis will be stru

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Moffat, Amber. "Breast augmentation and artificial insemination: Monstrous medicine and the female body in recent fiction." Australasian Journal of Popular Culture 11, no. 1 (2022): 163–77. http://dx.doi.org/10.1386/ajpc_00057_1.

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Recent fiction that depicts medical intervention upon the female body as monstrous reveals societal anxiety around aesthetic and reproductive medicine. As biotechnology rapidly advances, the female body continues to be a site on which improvements, efficiencies and controls are imposed. While Kristeva’s abject and Creed’s ‘monstrous-feminine’ explain the capacity of the female body to imbue horror, this literary analysis explores how the experience of the medicalized female body can convey anxiety relating to escalating aesthetic and reproductive demands. Works of fiction by Kawakami, Mazza, H

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Neely, Sol. "Ruined Abjection and Allegory in Deadgirl." Screen Bodies 1, no. 2 (2016): 4–24. http://dx.doi.org/10.3167/screen.2016.010202.

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Deadgirl (2008) is a horror film that gained notoriety on the film festival circuit for its disturbing premise: when a group of teenage social outcasts discover a naked female zombie strapped to a gurney in the basement of an abandoned asylum, they decide “to keep her” as a sex slave. Accordingly, two sites of monstrosity are staged—one with the monstrous-feminine and the other with monstrous masculinities. Insofar as the film explicitly exploits images of abjection to engender its perverse pleasures, it would seem to invite “abject criticism” in the tradition of Barbara Creed, Carol Clover, a

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Clay, Simon. "Lilith, a Monster Feminist Icon: Four Genealogies of a Divine Jewish Demon." Magic, Ritual, and Witchcraft 19, no. 1 (2024): 1–35. http://dx.doi.org/10.1353/mrw.2024.a944365.

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Abstract: Lilith has radically changed since she first appeared in ancient Mesopotamia and late antique Babylonia. Medieval Kabbalists situated her as the mother of demons and a murderous succubus, she was a muse to nineteenth century European poets and artists, and radical feminists in the 1970s reclaimed Lilith as the embodiment of female emancipation. This article critically examines four cross-cultural manifestations of Lilith, including Lilith as the “hand of Inanna,” Eve’s lesbian lover, genetrix and protector of children, and a trans divinity, and expands upon Creed’s theory of the “mon

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Schulze, Joshua. "The ornamental and the monstrous: Exploring feminine architecture in Dario Argento’s Suspiria (1977)." Horror Studies 10, no. 1 (2019): 73–85. http://dx.doi.org/10.1386/host.10.1.73_1.

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van, Laak Felicitas Sophie. "Becoming "Better Monsters": Queer Body Horror in InSEXts." Neo-Victorian Studies 13, no. 1 (2020): 153–85. https://doi.org/10.5281/zenodo.4320799.

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On the basis of Marguerite Bennett and Ariela Kristantina’s <em>InSEXts</em><em>:</em> <em>Year One</em> (2018), this article examines the nexus between neo-Victorianism and the comic genre. The comic’s deconstructive form has great potential to examine neo-Victorian historicity, because the juxtaposed panels resist closure. Applying a blend of queer and monster theory to explore <em>InSEXts</em>’s construction of sexual Otherness, the article firstly reads the protagonists’ transformations into butterfly-like creatures as a queer morphology interrogating the Victorian

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Azhari, Wulan Nurrahma, Wening Udasmoro, and Subiyantoro Subiyantoro. "THE CONSTRUCTION OF MONSTROUS WOMEN THÉRÈSE DESQUEYROUX BY FRANÇOIS MAURIAC." Poetika 9, no. 2 (2021): 87. http://dx.doi.org/10.22146/poetika.v9i2.64177.

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Issues of domestication, minority, and discrimination have frequently put women in inferior position in society. When women seek equality, they are often framed as embracing monstrous attitudes. This study focuses on François Mauriac’s novel titled Thérèse Desqueyroux (1927) with the intention of exploring the meanings and the significations in its construction of women as monsters. It has been observed that women are depicted as monsters because their struggle for freedom is seen as a challenge to the patriarchal system. The aims of this study are to find out and to describe the influential a

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Powell, Lauren. "Tired Gaze: A Feminist Reading of Quentin Dupieux’s Rubber (2010)." Film Matters 12, no. 2 (2021): 22–35. http://dx.doi.org/10.1386/fm_00152_7.

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Rubber (2010) could be read as a monstrous replication of a male-dominated society that sees women subordinated and exploited simply for their “otherness” to men. This article, however, argues that when a dynamic reading is performed, Rubber can be seen to question Hollywood’s dominant system of gender representation and should therefore be considered a feminist film. In dialogue with feminist theory, it will be claimed that by drawing attention to the artifice of cinema, Dupieux has delivered a feminine text that highlights and calls for change to inherently misogynistic codes and conventions

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Laine, Tarja. "Trauma, queer sexuality and symbolic storytelling in Joachim Trier’s Thelma." Journal of Scandinavian Cinema 12, no. 3 (2022): 291–305. http://dx.doi.org/10.1386/jsca_00077_1.

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This article analyses Joachim Trier’s Thelma () through the concept of trauma, brought on by the title character’s perception of her sexuality as ‘deviant’ and reinforced by her rigidly religious parents’ efforts to tame it by force. Their symbolic enactment of bad parenting manifests itself in a form of Foucauldian biopower on the father’s part and as a Kristevan monstrous-feminine attitude on the mother’s. To heal from trauma, Thelma must free herself from parental control. By focalizing the narrative through Thelma’s mental subjectivity and with religious and supernatural imagery, the film

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Polgar. "Female Madness and the Feminine Monstrous: Genre as Confinement and Genre as Affective Repository." Narrative Culture 8, no. 1 (2021): 58. http://dx.doi.org/10.13110/narrcult.8.1.0058.

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