scholarly journals Kóralína og mæður hennar: Um vandkvæði þess að skipta um móður í Kóralínu eftir Neil Gaiman

Ritið ◽  
2021 ◽  
Vol 21 (1) ◽  
pp. 81-102
Author(s):  
Dagný Kristjánsdóttir
Keyword(s):  
Neil Gaiman ◽  
Monstrous Feminine

Í greininni er fjallað um nútímaævintýrið Coraline (2002). Kenningarammi sálgreiningarinnar hefur verið áberandi í fræðilegri umræðu um þessa bók frá upphafi og þessi grein er engin undantekning frá því aðallega er byggt á kenningum Sigmunds Freud um „hið ókennilega“ og Juliu Kristevu um „úrkastið“ auk femínískrar gagnrýni Barböru Creed á „the monstrous feminine“. Fjallað verður um samband mæðra og dætra í bókinni og þroskasögu Kóralínu sem er ellefu ára telpa að brjótast undanvaldi móður sinnar. Sú uppreisn fer fram í stórkostlegri sviðsmynd þar sem „hinmóðirin“, illviljuð og gráðug, ræður ríkjum. Niðurstaða Kóralínu er að hin raunverulega móðir, „nógu góða móðirin“, sé allt sem telpa þarf.

Speculative Realism and Science Fiction

2017 ◽  
Author(s):  
Brian Willems
Keyword(s):  
Science Fiction ◽  
Identity Formation ◽  
Cormac Mccarthy ◽  
Doris Lessing ◽  
Speculative Realism ◽  
Neil Gaiman ◽  
The World ◽  
The Difference ◽  
Quentin Meillassoux

A human-centred approach to the environment is leading to ecological collapse. One of the ways that speculative realism challenges anthropomorphism is by taking non-human things to be as valid objects of investivation as humans, allowing a more responsible and truthful view of the world to take place. Brian Willems uses a range of science fiction literature that questions anthropomorphism both to develop and challenge this philosophical position. He looks at how nonsense and sense exist together in science fiction, the way in which language is not a guarantee of personhood, the role of vision in relation to identity formation, the difference between metamorphosis and modulation, representations of non-human deaths and the function of plasticity within the Anthropocene. Willems considers the works of Cormac McCarthy, Paolo Bacigalupi, Neil Gaiman, China Miéville, Doris Lessing and Kim Stanley Robinson are considered alongside some of the main figures of speculative materialism including Graham Harman, Quentin Meillassoux and Jane Bennett.

A Study in Four Colours: The Case of the Chameleon Detective

2016 ◽  
Vol 6 (1) ◽  
pp. 25-41
Author(s):  
Lucyna Krawczyk-Żywko
Keyword(s):  
Short Story ◽  
First Century ◽  
First Episode ◽  
Sherlock Holmes ◽  
Neil Gaiman ◽  
Award Winning ◽  
Twenty First Century ◽  
Literary Characters

Sherlock Holmes, one of the world's most famous detectives, is skilled at disguising himself and adjusting to different circumstances and yet remaining himself. Few literary characters lose so little in the process of adaptation, be it cinematic or literary, and I propose calling him a cultural chameleon: regardless of the palette and colour against which he is positioned – warm (scarlet and pink), cold (emerald), or black – he remains a brilliant sleuth. This paper compares four titles and four colours: A Study in Scarlet (1887), the first of the long-running series of texts by Doyle, and three instances of Holmes's adaptability to twenty-first century standards and expectations: ‘A Study in Emerald’ (2003), an award-winning short story by Neil Gaiman, ‘A Study in Pink’ (2010), the first episode of the BBC series Sherlock, and ‘A Study in Black’ (2012–13), a part of the Watson and Holmes comics series. Each background highlights different aspects of the detective's personality, but also sheds light on his approach to crime and criminals.

Winged Goddesses of Sexuality, Death, and Immortality

2017 ◽  
Author(s):  
Serinity Young
Keyword(s):  
Near East ◽  
Ancient Greece ◽  
Ancient Near East ◽  
Funeral Rites ◽  
Monstrous Feminine

The winged Egyptian goddess Isis is an ancient and complex deity, whose mythology presents her as bestower of fertility and immortality. This chapter follows up on these themes, and the linked relationship between fertility and immortality, by exploring the involvement of women with funeral rites, and concepts of the afterlife in the Ancient Near East and Ancient Greece involving goddesses, who combine sexuality and fertility, war and death, and the promise and hope of immortality. There is a further exploration of ancient bird goddesses demonized via the concept of the monstrous-feminine: furies, harpies, and sirens—all of whom pose a particular danger to men, not women.

scholarly journals Reseña de Sandman: Obertura de Neil Gaiman, J.H. Williams III y Dave Stewart

2016 ◽  
pp. 166-170
Author(s):  
Gerardo Vilches
Keyword(s):  
Neil Gaiman

Reseña de Sandman: Obertura de Neil Gaiman, J.H. Williams III y Dave Stewart

scholarly journals THE CONSTRUCTION OF MONSTROUS WOMEN THÉRÈSE DESQUEYROUX BY FRANÇOIS MAURIAC

2021 ◽  
Vol 9 (2) ◽  
pp. 87
Author(s):  
Wulan Nurrahma Azhari ◽  
Wening Udasmoro ◽  
Subiyantoro Subiyantoro
Keyword(s):  
Content Analysis ◽  
Strongly Correlated ◽  
Analysis Method ◽  
Patriarchal System ◽  
Content Analysis Method ◽  
Study Results ◽  
French Culture ◽  
Monstrous Feminine ◽  
Francois Mauriac

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 aspects in the construction of women as monsters and how such construction creates meanings. The study relies on content analysis method and follows three steps of analysis: collecting data relevant to monstrosity, classifying data based on the themes and problems related to the topic, and analyzing the data using Barbara Creed’s theory of the monstrous feminine (2007). The study results in the finding that the construction of women as monsters is strongly correlated with the deep institutionalization of patriarchy in French culture. Penempatan perempuan pada posisi inferior dalam banyak narasi disebabkan oleh faktor-faktor domestifikasi, minoritas, dan diskriminasi. Ketika perempuan memperjuangkan kesetaraan, mereka dianggap membangkang dan disimbolkan sebagai monster. Konstruksi monster terhadap perempuan ini terlihat pada novel François Mauriac berjudul Thérèse Desqueyroux (1927). Tulisan ini mencoba memahami makna dan pemaknaan konstruksi perempuan sebagai monster dalam novel tersebut. Studi ini menemukan bahwa perempuan digambarkan sebagai monster karena perjuangan mereka untuk mencapai kebebasan dianggap menentang struktur patriarki. Tujuan dari studi ini adalah menemukan dan mendeskripsikan aspek-aspek yang berkaitan dengan proses pemonsteran perempuan dan bagaimana proses tersebut dimaknai. Penelitian ini menggunakan metode analisis isi cerita dan dilakukan dalam beberapa tahap. Tahap pertama adalah pengambilan data yang relevan dengan pemonsteran. Tahap kedua adalah pengklasifikasian data sesuai dengan tema dan permasalahan tentang pemonsteran perempuan. Tahap terakhir adalah analisis data temuan dengan teori Barbara Creed (2007) tentang the monstrous feminine. Studi ini menyimpulkan bahwa konstruksi perempuan sebagai monster berhubungan erat dengan kultur patriarki yang sudah terinstitusionalisasi di dalam budaya Prancis pada masa ketika novel tersebut ditulis.

Neil Gaiman

2017 ◽  
pp. 200-204
Author(s):  
Tobias Klauk ◽  
Stephan Naguschewski
Keyword(s):  
Neil Gaiman

Figure of fun : gender, performance, and popular entertainment in the theatrical career of Trixie Friganza, 1889-1940

2016 ◽  
Author(s):  
◽  
Franklin J. Lasik
Keyword(s):  
Gender Performance ◽  
Popular Entertainment ◽  
University Of Missouri ◽  
Monstrous Feminine ◽  
The University

[ACCESS RESTRICTED TO THE UNIVERSITY OF MISSOURI AT REQUEST OF AUTHOR.] This study examines Friganza's many performances of gender over the course of her career, from her first appearance as a young, nubile chorus girl in The Pearl of Pekin (1889) to her screen appearance in the film How to Undress In Front of Your Husband (1937), investigating how her gendered performances both supported and subverted dominant ideals of femininity. This study reveals how at several points Friganza adapted her performance of femininity, moving from the object of desire as the ultra-feminine chorus girl to the less-feminized object of fun as a comedienne, and finally, to the monstrous feminine of her vaudeville performances, in which she largely rejected the dominant expectations of femininity.

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