Relevant bibliographies by topics / Werewolves in literature

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Werewolves in literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 March 2023

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Journal articles on the topic "Werewolves in literature"

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Chappell, Shelley. "Contemporary Werewolf Schemata: Shifting Representations of Racial and Ethnic Difference." International Research in Children's Literature 2, no. 1 (July 2009): 21–35. http://dx.doi.org/10.3366/e1755619809000465.

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Because of the current fantasy trend to represent lycanthropy as a genetically inherited or inborn feature, with werewolves frequently belonging to werewolf families and/or packs, many contemporary narratives for children and young adults encourage readings of lycanthropy as a metaphor for racial or ethnic difference. Diverse representations of lycanthropy, from monstrous and sympathetic werewolves to benevolent and idealised werewolves, non-essentialist werewolves, and incommensurable werewolves thus suggest shifting conceptions of race and ethnicity. The divergent ideological implications of these distinctive werewolf schemata are analysed in a variety of contemporary children's and young adult fantasy texts, including Maggie Pearson's Owl Light ( 1996 ), Annette Curtis Klause's Blood and Chocolate ( 1997 ), Patrick Jennings's The Wolving Time ( 2003 ), J. K. Rowling's Harry Potter series (1997–2007), and Stephenie Meyer's Twilight series (2005–8).
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George, Sam, and Bill Hughes. "Introduction: Werewolves and Wildness." Gothic Studies 21, no. 1 (May 2019): 1–9. http://dx.doi.org/10.3366/gothic.2019.0003.

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Simonsen, Michèle. "Danish Werewolves between Beliefs and Narratives." Fabula 51, no. 3-4 (December 2010): 225–34. http://dx.doi.org/10.1515/fabl.2010.022.

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Ajdačić, Dejan. "Vukodlaci – oborotnji i psoglavci u odabranoj slovenskoj prozi 19. veka." Poznańskie Studia Slawistyczne, no. 20 (September 22, 2021): 159–74. http://dx.doi.org/10.14746/pss.2021.20.9.

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The author analyzes the origins and characteristics of werewolves (human-wolves) and lycanthropus (human-dogs) as dual-natured beings within Slavic folk beliefs. He also analyzes the way their mythological properties transform through literature. The werewolf’s mythos is approached through texts of 19th century authors, Russians Orest Somov (Oboroten: narodnaja skazka, 1829) and Alexander Kuprin (Serebrjanyj volk, 1901) and the Pole from Belarus Jan Barszczewski(Wilkołak, 1844), while the lycanthrope’s is viewed through the lens of the literary fairy tale by Serbian Joksim Nović Otočanin (Vrzino kolo i Zlatni i Alem-grad, 1864). The author puts focus on symbolism, specifically that of the human-beast dichotomy. The literary representation of this man-beast duality in 19th century Slavic written prose indicates a fantasy view of the coexistence between beast and man – the beastly in men, or the human in beasts.
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George, Sam. "Wolves in the Wolds: Late Capitalism, the English Eerie, and the Weird Case of ‘Old Stinker’ the Hull Werewolf." Gothic Studies 21, no. 1 (May 2019): 68–84. http://dx.doi.org/10.3366/gothic.2019.0008.

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British folklore reveals a history of werewolf sightings in places where there were once wolves. I draw on theories of the weird and the eerie and on the turbulence of England in the era of late capitalism in my analysis of the representation of werewolves in contemporary urban myths. Werewolves are deliberately excluded from Mark Fisher's notion of the ‘weird’, because they behave in a manner that is entirely expected of them. I contradict this by interrogating the werewolf as spectre wolf, bringing it within the realms of the weird. In examining the Hull Werewolf, I put forward the suggestion that he represents not only our belief in him as a wolf phantom, but our collective guilt at the extinction of an entire indigenous species of wolf. Viewed in this way, he can reawaken the memory of what humans did to wolves, and redeem the Big Bad Wolf of our childhood nightmares.
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Wood, Juliette, and Charlotte E. Otten. "A Lycanthropy Reader: Werewolves in Western Culture." Modern Language Review 84, no. 3 (July 1989): 693. http://dx.doi.org/10.2307/3732443.

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Newcomb, David. "Vampires, Werewolves and Demons: Twentieth Century Reports in the Psychiatric Literature (Book)." International Journal for the Psychology of Religion 4, no. 1 (January 1994): 55–56. http://dx.doi.org/10.1207/s15327582ijpr0401_8.

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WOOD. "OF WEREWOLVES AND WICKED WOMEN: "MELION"'S MISOGYNY RECONSIDERED." Medium Ævum 84, no. 1 (2015): 60. http://dx.doi.org/10.2307/45275372.

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Antonov, Dmitrij I. "THE GHOST IN AN ILLUSIVE DISGUISE. WEREWOLVES IN OLD RUSSIAN ICONOGRAPHY, LITERATURE AND FOLKLORE." RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies, no. 9 (2017): 49–64. http://dx.doi.org/10.28995/2073-6355-2017-9-49-64.

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Fernández, Richard Jorge. "Guilt, Greed and Remorse: Manifestations of the Anglo-Irish Other in J. S. Le Fanu’s “Madame Crowl’s Ghost” and “Green Tea”." Atlantis. Journal of the Spanish Association for Anglo-American Studies 42, no. 2 (December 23, 2020): 233–51. http://dx.doi.org/10.28914/atlantis-2020-42.2.12.

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Monsters and the idea of monstrosity are central tenets of Gothic fiction. Such figures as vampires and werewolves have been extensively used to represent the menacing Other in an overtly physical way, identifying the colonial Other as the main threat to civilised British society. However, this physically threatening monster evolved, in later manifestations of the genre, into a more psychological, mind-threatening being and, thus, werewolves were left behind in exchange for psychological fear. In Ireland, however, this change implied a further step. Traditional ethnographic divisions have tended towards the dichotomy Anglo-Irish coloniser versus Catholic colonised, and early examples of Irish Gothic fiction displayed the latter as the monstrous Other. However, the nineteenth century witnessed a move forward in the development of the genre in Ireland. This article shows how the change from physical to psychological threat implies a transformation or, rather, a displacement—the monstrous Other ceases to be Catholic to instead become an Anglo-Irish manifestation. To do so, this study considers the later short fictions of Joseph Sheridan Le Fanu and analyses how theDublin-born writer conveys his postcolonial concerns over his own class by depicting them simultaneously as the causers of and sufferers from their own colonial misdeeds.
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Dissertations / Theses on the topic "Werewolves in literature"

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Chappell, Shelley Bess. "Werewolves, wings, and other weird transformations fantastic metamorphosis in children's and young adult fantasy literature /." Doctoral thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/226.

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Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2007.
Bibliography: p. 239-289.
Introduction -- Fantastic metamorphosis as childhood 'otherness' -- The metamorphic growth of wings : deviant development and adolescent hybridity -- Tenors of maturation: developing powers and changing identities -- Changing representations of werewolves: ideologies of racial and ethnic otherness -- The desire for transcendence: jouissance in selkie narratives -- Conclusion -- Bibliography -- Appendix: "The great Silkie of Sule Skerry": three versions.
My central thesis is that fantastic motifs work on a metaphorical level to encapsulate and express ideologies that have frequently been naturalised as 'truths'. I develop a theory of motif metaphors in order to examine the ideologies generated by the fantastic motif of metamorphosis in a range of contemporary children's and young adult fantasy texts. Although fantastic metamorphosis is an exceptionally prevalent and powerful motif in children's and young adult fantasy literature, symbolising important ideas about change and otherness in relation to childhood, adolescence, and maturation, and conveying important ideologies about the world in which we live, it has been little analysed in children's literature criticism. The detailed analyses of particular metamorphosis motif metaphors in this study expand and refine our academic understanding of the metamorphosis figure and consequently provide insight into the underlying principles and particular forms of a variety of significant ideologies.
By examining several principal metamorphosis motif metaphors I investigate how a number of specific cultural beliefs are constructed and represented in contemporary children's and young adult fantasy literature. I particularly focus upon metamorphosis as a metaphor for childhood otherness; adolescent hybridity and deviant development; maturation as a process of self-change and physical empowerment; racial and ethnic difference and otherness; and desire and jouissance. I apply a range of pertinent cultural theories to explore these motif metaphors fully, drawing on the interpretive frameworks most appropriate to the concepts under consideration. I thus employ general psychoanalytic theories of embodiment, development, language, subjectivity, projection, and abjection; poststructuralist, social constructionist, and sociological theories; and wide-ranging literary theories, philosophical theories, gender and feminist theories, race and ethnicity theories, developmental theories, and theories of fantasy and animality. The use of such theories allows for incisive explorations of the explicit and implicit ideologies metaphorically conveyed by the motif of metamorphosis in different fantasy texts.
In this study, I present a number of specific analyses that enhance our knowledge of the motif of fantastic metamorphosis and of significant cultural ideologies. In doing so, I provide a model for a new and precise approach to the analysis of fantasy literature.
Mode of access: World Wide Web.
[12], 294 p
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Hess, Erika E. "Cross-dressers, werewolves, serpent-women, and wild men : physical and narrative indeterminacy in French narrative, medieval and modern /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9963445.

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Thesis (Ph. D.)--University of Oregon, 2000.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 245-255). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9963445.
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Franck, Kaja. "The development of the literary werewolf : language, subjectivity and animal/human bounderies." Thesis, University of Hertfordshire, 2017. http://hdl.handle.net/2299/17669.

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The werewolf is a stock character in Gothic horror, exemplifying humanity's fear of 'the beast within', and a return to a bestial state of being. Central to this is the idea that the werewolf is, once transformed, without language. Using an ecoGothic approach, this thesis will offer a new approach in literary criticism regarding the werewolf. It argues that the werewolf has become a vehicle for our ambivalence towards the wolf, which itself has become a symbolic Gothic Other. Using interdisciplinary source materials, such as natural histories, fairy tales, and folklore, the notion of the 'symbolic wolf' is interrogated, particularly in relation to the dangers of the wilderness. Starting with Dracula, at the end of the nineteenth century, and finishing with an analysis of the contemporary, literary werewolf, this work explores how the relationship between humans and wolves has impacted on the representation of the werewolf in fiction. In particular, it will critique how the destruction of the werewolf is achieved through containing the creature using taxonomic knowledge, in order to objectify it, before destroying it. This precludes the possibility of the werewolf retaining subjectivity and reinforces the stereotype of the werewolf as voiceless. Following the growing awareness of environmentalism during the late twentieth century and, as humanity questions our relationship with nature, clear divides between the animal and the human seem arbitrary, and the werewolf no longer remains the monstrous object within the text. Central to this is the concept of the hybrid 'I' which this thesis exposes. The hybrid 'I' is a way of experiencing and representing being a werewolf that acknowledges the presence of the lycanthrope's voice, even if that voice is not human. Subjectivity is shown to be complex and myriad, allowing for the inclusion of human and non-human animal identities, which the werewolf embodies.
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Hirsch, Brett Daniel. "Werewolves and women with whiskers : figures of estrangement in early modern English drama and culture." University of Western Australia. English and Cultural Studies Discipline Group, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0175.

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Each chapter of Werewolves and Women with Whiskers: Figures of Estrangement in Early Modern English Drama and Culture explores a particular figure of fascination and fear in the early modern English imagination: in one it is owls, in another bearded women, in a third werewolves, and in yet another Jews. Drawing on instances from drama and other cultural forms, this thesis seeks to examine each of these phenomena in terms of their estrangement. There is a symbolic appositeness in each of these figures, whether in estranged and estranging minority groups, such as Catholics, Jesuits, Jews, Puritans, Italians, the Irish, and the Scots; or in transgressive behaviours, such as cross-dressing and gender trouble, infidelity and apostasy, intemperate passion and unnatural desire. Essentially unfixed and unstable, these emblematic figures are indicative of cultural uncertainty and therefore are easily adapted to suit changing political, religious, and social climates. However, adaptability and fluidity come at a price, since figures of difference have an uncomfortable way of transforming themselves into figures of resemblance. Thus, this thesis argues, each of these figures—owls, bearded women, werewolves, Jews—occupies an undefined and undefinable space on the precarious boundary between the usual and the unusual, between the strange and the strangely familiar, and, most strangely and paradoxically of all, between us and them.
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Bettini, Jessica Lynne. "The Rage of the Wolf: Metamorphosis and Identity in Medieval Werewolf Tales." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1302.

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The metamorphosis of man to beast has fascinated audiences for millennia. The werewolves of medieval literature were forced to conform to the Church's view of metamorphosis and, in so doing, transformed from bestial and savage to benevolent and rational. Analysis of Marie de France's Bisclavret, the anonymous Arthur and Gorlagon, the Irish tale The Crop-Eared Dog, and the French roman d'aventure Guillaume de Palerne reveals insight into medieval views of change, identity, and what it meant to exist in the medieval world. Each of these tales is told from the werewolf's point of view, and in each the wolf undergoes a fury or madness where he cannot seem to help turning savage and harming people. This 'rage of the wolf' lies at the root of the identities of these werewolves, reflecting the conflict between good and evil, the physical and the spiritual, and Church doctrine and a rapidly changing society.
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Noren, Mary Elizabeth. "Beneath The Invisibility Cloak: Myth and The Modern World View in J.K. Rowling’s Harry Potter." Wright State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=wright1189447038.

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Müller, Dangelo. "Mestre Amaro, um lobisomem do canavial: a representação da licantropia em Fogo Morto." reponame:Repositório Institucional da UCS, 2009. https://repositorio.ucs.br/handle/11338/406.

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Este trabalho discute a presença do mito do lobisomem na obra Fogo Morto, de José Lins do Rego. São abordados os aspectos do mito, do imaginário social e da identidade presentes no enredo, bem como a forma como esses interagem. O estudo centra-se no personagem José Amaro, seleiro de uma localidade rural da Várzea do Paraíba, que através do imaginário social tem sua identidade vinculada ao arquétipo do licantropo. O estudo divide-se em quatro momentos distintos: apresentação da obra Fogo Morto e sua contextualização na literatura brasileira; a constituição do mito do lobisomem em Fogo Morto; o desenvolvimento de um imaginário social e seus efeitos na comunidade; o problema da identidade de José Amaro.
Submitted by Marcelo Teixeira (mvteixeira@ucs.br) on 2014-05-28T16:27:35Z No. of bitstreams: 1 Dissertacao Dangelo Muller.pdf: 802900 bytes, checksum: 7c2a68fd8a1df2933e69572e298575fb (MD5)
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This work discusses the presence of the myth of the werewolf in the book Fogo Morto, by José Lins do Rego. They are approached the aspects of myth, social imaginary and identity presents in story, well as the form as those interact. The study focuses the character José Amaro, saddler of a rural locality of the Várzea do Paraíba, that through social imaginary haves your identity linked to archtype of the lycanthrope. The study is divided in four distinct moments: apresentation of the book Fogo Morto and his context in the brazilian literature; the composition of the myth of the werewolf in Fogo Morto; the development of a social imaginary and his effects in the community; the problem of the identity of the José Amaro.
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Young, Erin S. "Corporate heroines and utopian individualism: A study of the romance novel in global capitalism." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11460.

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x, 195 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
This dissertation explores two subgenres of popular romance fiction that emerge in the 1990s: "corporate" and "paranormal" romance. While the formulaic conventions of popular romance have typically centralized the gendered tension between hero and heroine, this project reveals that "corporate" and "paranormal" romances negotiate a new primary conflict, the tension between work and home in the era of global capitalism. Transformations in political economy also occur at the level of personal and emotional life, which constitute the central problem that contemporary romances attempt to resolve. Drawing from sociological studies of globalization and intimacy, feminist criticism, and queer theory, I argue that these subgenres mark the transition from what David Harvey calls Fordist capitalism to flexible or global capitalism as the primary social condition negotiated in the popular romance. My analysis demonstrates that corporate and paranormal romance novels reflect changing ideals about intimacy in a globalized world that is increasingly influenced, socially and culturally, by the values and philosophies that dominate the marketplace. Each of these subgenres offers a distinct formal resolution to the cultural and social effects of a flexible capitalist economy. The "corporate" romances of Jayne Ann Krentz, Nora Roberts, Elizabeth Lowell, and Katherine Stone feature heroines who constantly navigate the dual and intersecting arenas of work and home in an effort to locate a balance that leads to success and happiness in both realms. In contrast, the "paranormal" romances of Laurell K. Hamilton, Charlaine Harris, Kelley Armstrong, and Carrie Vaughn dissolve the tension between home and work, or the private and the public, by affirming the heroine's open and endless pursuit of pleasure, adventure, and self-fulfillment. Such new forms of romantic fantasy at once reveal the tension in globalization and the domination of corporate and masculinist values that the novels hope to overcome.
Committee in charge: David Leiwei Li, Chair; Mary Elene Wood; Cynthia H. Tolentino; Jiannbin L. Shiao
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Pooley, William George. "'Misery in the moorlands' : lived bodies in the Landes de Gascogne, 1870-1914." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:aacf3b35-fc90-4a75-a24b-5193bc8f6c5e.

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This thesis explores the embodied experiences of the rural population in nineteenth-century France. The prevailing historiography has treated rural bodily culture as a cultural survival swept away by ‘modernisation’ in the nineteenth century. By turning to the lives and words of rural labourers and artisans from the Landes de Gascogne, the thesis questions this account, instead showing ways that popular cultures of the body were flexible traditions, adapted by individuals to meet new needs. It does so through a close focus on the stories, songs, and other oral traditions collected by Félix Arnaudin (1844-1921) in the Grande-Lande between around 1870 and 1914. The thesis focuses on the lives of a few of Arnaudin’s 759 folklore informants, showing both how their bodily experiences were changing during this period, and how songs and stories were creative interventions, designed to shape bodily possibilities from below. The thesis draws attention to the surprising shape of rural experiences of the body, which focused on body parts such as the legs and skin for reasons specific to everyday life, while largely ignoring issues that historians might have assumed would be important, such as religion. It argues that the ordinary men and women who performed stories and sang songs were active agents in constructing their own bodies in response to material conditions of physical illness and disability, as well as a changing environment, changing class relations, or changing sexual norms in the Grande-Lande. The thesis presents an emotional and experiential view of rural bodies with a sensitivity to the different experiences of men and women, young and old, poorer and richer, but emphasizes that the body must be seen in the round, as a unifying concern that links together issues of social class, environmental change, sexual relations, work, disability, and religion.
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Books on the topic "Werewolves in literature"

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Jeffrey, Gary. Werewolves. New York: Gareth Stevens Pub., 2011.

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Rissman, Rebecca. Werewolves. Chicago, Ill: Raintree, 2011.

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Werewolves. New York: Gareth Stevens Publishing, 2016.

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Roby, Cynthia. Werewolves. New York: Cavendish Square Publishing, 2015.

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Werewolves. Minneapolis: Millbrook Press, 2007.

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Kallen, Stuart A. Werewolves. San Diego, CA: Reference Point Press, 2009.

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Werewolves. Mankato, MN: Creative Education, 2013.

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Malam, John. Werewolves. Mankato, Minn: QEB Pub., 2011.

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Werewolves. London: Raintree, 2012.

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Werewolves. Detroit: KidHaven Press, 2006.

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Book chapters on the topic "Werewolves in literature"

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Dillinger, Johannes. "‘Species’, ‘Phantasia’, ‘Raison’: Werewolves and Shape-Shifters in Demonological Literature." In Werewolf Histories, 142–58. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-52634-2_6.

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Ashman, Nathan. "Wolverines, Werewolves and Demon Dogs: Animality, Criminality and Classification in James Ellroy’s L.A. Quartet." In Palgrave Studies in Animals and Literature, 65–82. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-09241-1_4.

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Franck, Kaja, and Sam George. "Contemporary Werewolves." In Twenty-First-Century Gothic, 144–58. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440929.003.0011.

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Twenty-first-century werewolves (following vampires) have become humanised, as identity politics have become mainstream and the Other assimilated. Young Adult fiction and paranormal romance have proved to be where the most radical transformations of the theme have occurred. Two other, related, strands are to be found: ecology has shaped our understanding of creatures which oscillate between nature and culture, and the Ecogothic has generated more positive representations of hybridity and animality. There are now werewolf hauntings and sightings, and a revival of folkloric elements which posit the new werewolf as the spectre wolf. This chapter charts these recent shifts and manifestations. The focus throughout is on literature and contemporary urban myths involving werewolves in the media but similar incarnations of the new werewolf in film, TV, videogames and comics are also acknowledged.
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"Conclusion. What Can We Learn from the Wolf?" In Werewolves in Old Norse-Icelandic Literature, 197–204. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.bbl-eb.5.132930.

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"Chapter 4. Á skóg með hryggðum. The Werewolf’s Landscape and Mindscape." In Werewolves in Old Norse-Icelandic Literature, 119–51. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.bbl-eb.5.132928.

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"Chapter 5. From monstratus to monstrare. The Werewolf’s Purpose." In Werewolves in Old Norse-Icelandic Literature, 153–96. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.bbl-eb.5.132929.

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"Chapter 3. Et ek þeirra hold. The Werewolf’s Food and Food Taboo." In Werewolves in Old Norse-Icelandic Literature, 91–118. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.bbl-eb.5.132927.

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"Chapter 2. Klæddr eða Nokkuiðr. The Werewolf’s Clothing and the She-Wolf." In Werewolves in Old Norse-Icelandic Literature, 61–89. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.bbl-eb.5.132926.

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"Introduction." In Werewolves in Old Norse-Icelandic Literature, 15–32. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.bbl-eb.5.132924.

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"Chapter 1. Þeir fóru í hamina. The Werewolf’s Skin." In Werewolves in Old Norse-Icelandic Literature, 33–60. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.bbl-eb.5.132925.

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