Monsters are a part of every society, and ours is no exception. They are deeply embedded in our history, our mythos, and our culture. However, treating them as simply a facet of children's stories or ...escapist entertainment belittles their importance. When examined closely, we see that monsters have always represented the things we fear: that which is different, which we can't understand, which is dangerous, which is Other. But in many ways, monsters also represent our growing awareness of ourselves and our changing place in a continually shrinking world. Contemporary portrayals of the monstrous often have less to do with what we fear in others than with what we fear about ourselves, what we fear we might be capable of. The nineteen essays in this volume explore the place and function of the monstrous in a variety of media - stories and novels like Baum's Oz books or Gibson's Neuromancer; television series and feature films like The Walking Dead or Edward Scissorhands; and myths and legends like Beowulf and The Loch Ness Monster - in order to provide a closer understanding of not just who we are and who we have been, but also who we believe we can be - for better or worse.
Dissertation (Ph.D.)--The University of North Carolina at Greensboro, 2008.
Directed by Scott Romine; submitted to the Dept. of English. Title from PDF t.p. (viewed Jan. 28, 2010). Includes ...bibliographical references (p. 240-254).
The focus of my dissertation is recent U.S. magical realism, more precisely, the cultural-ideological role the magic plays as a technique or effect fiction writers use to describe particular ...transformations characters undergo. Since critics have repeatedly identified the magic within the broader zone of postmodern and postcolonial writing, a first step will involve reexamining the complex relationships of magical realism with the postmodern and the postcolonial in American and international context. Coming to terms with the dynamic of the three terms and related literary-cultural practices will help understanding why and how American writers of the past decades have been using magical realism to suggest how human beings go through a restructuring process wherein beliefs they hold are reassessed and reformed, that is, how the magic acts as a cultural agent. Indeed, as my project will show, not only does the magic open up new possibilities and worlds for the characters; it also allows for the reformation of longstanding beliefs. Through this process, we see characters wrestle with and adopt new ideologies, often gaining strength as a result.