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A cultural history of female werewolves
Editor: Hannah Priest

This book explores the cultural history of the female werewolf, from her first appearance in medieval literature to recent incarnations in film, television and popular literature. It focuses on folkloric records of the island of Saaremaa, Estonia, a territory in which, unusually, there are more folktales of female werewolves than male. The book also explores tropes and strategies of feminisation evident in Werewolf: The Apocalypse to reveal an almost unique disavowal of the masculine werewolf in favour of traditions of presenting the female werewolf. The examination of Honoré Beaugrand's 'The Werewolves' offers fruitful discussion of the female werewolf's integration into colonial discourse and narrative. In the nineteenth century, at the fin de siècle, female authors began to produce fiction about the female werewolf. Two of the most interesting examples of this, which have been curiously neglected by critics, are Clemence Housman's novella The Werewolf and Rosamund Marriott Watson's poem 'A Ballad of the Were-wolf', written under the pseudonym Graham R. Tomson and published in 1891. Then, the book examines twenty-first-century young adult paranormal romance texts, considering the ways in which such texts associate lycanthropy with contemporary idealisations and constructions of the post-adolescent female. It explores presentations of body-centred violence in film, drawing parallels between female werewolves and other violent females in horror cinema. Finally, the book also examines cinematic representations of the femme animale with an exploration of how this conceptualisation of the feminine might inform a reading of Ginger Snaps.

This book explores a number of Alan Moore's works in various forms, including comics, performance, short prose and the novel, and presents a scholarly study of these texts. It offers additional readings to argue for a politically charged sense of Moore's position within the Gothic tradition, investigates surreal Englishness in The Bojeffries Saga, and discusses the doppelganger in Swamp Thing and From Hell. Radical environmental activism can be conceived as a Gothic politics invoking the malevolent spectre of a cataclysmic eco-apocalypse. The book presents Christian W. Schneider's treatment of the apocalyptic in Watchmen and a reassessment of the significance of liminality from the Gothic tradition in V for Vendetta. It explores the relationship between Moore's work and broader textual traditions, placing particular emphasis on the political and cultural significance of intertextual relationships and adaptations. A historically sensitive reading of From Hell connects Moore's concern with the urban environment to his engagement with a range of historical discourses. The book elucidates Moore's treatment of the superhero in relation to key Gothic novels such as The Castle of Otranto and presents an analysis of the nexus of group politics and survival in Watchmen. The book also engages in Moore's theories of art, magic, resurrections, and spirits in its discourse A Small Killing, A Disease of Language, and the Voice of the Fire. It also explores the insight that his adaptations of H.P. Lovecraft, which are laced with heterocosms and bricolage, can yield for broader understandings of his forays into the occult.

Female werewolves in Werewolf: The Apocalypse
Jay Cate

Werewolf: The Apocalypse is a table-top role-playing game (RPG), published by White Wolf in 1992. Gameplay is based on a core rulebook (which may be augmented by additional published material), used by a gamemaster or ‘storyteller’ to devise fictional worlds, scenarios and characters with which player-created characters interact; character creation and interaction is, in

in She-wolf
From Goya’s dining room via Apocalypse Now
Jo Evans

: 51; Evans 2009 ). The work of this ‘cinéaste of subjectivity’ (Smith, 1999 : 11) has continued to divide critics, and the discussion that follows uses Goya’s paintings, Saturn and Leocadia, and Coppola’s Apocalypse Now (1979/2001) to re-examine two of the more confusing aspects of this film: the self-reflexive cinematography that is epitomised by the zoom through the cow’s eye, and the reappearance of the same male

in Spanish cinema 1973–2010
Facing the apocalypse in Watchmen
Christian W. Schneider

blindly, squirming over each other’, but facing a nihilistic horror: ‘in the end, it is simply a picture of empty meaningless blackness. / We are alone. / There is nothing else’ (VI.28.v–vii). This declaration of futile existence in a meaningless world is shaped less by the cruelties and sufferings of life than by its imminent end. It becomes clear that a manmade apocalypse may

in Alan Moore and the Gothic Tradition
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Zombies and the spectre of cultural decline
Matthew Pangborn

from the vampire mainly in that its act of going to power follows after a human future has been graphically decided through apocalypse ( 1995 : 6). The zombie’s insightful reflection of contemporary society thus lies in its essential characteristic of a violent consumption that occurs past the point when it might gain any lasting benefit from what it devours, and when

in The Gothic and death
Coupland and postmodern spirituality
Andrew Tate

’s novels, from Generation X onwards, are inflected by his characters’ search for meaning and identity, but with the evolution of his work, this quest has assumed an increasingly theological shape. Many of the narratives feature explicit or covert images of conversion, baptism and parable, and the theme of apocalypse – both in the material sense of cataclysmic ending and as an echo of biblical traditions of revelation, a divine uncovering of mystery – is central to Coupland’s reading of the postmodern landscape. Yet as a writer from an avowedly secular background

in Douglas Coupland
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Sarah Daynes

confusion, and announces the end of the world, as described in the Book of Revelation: we live in the time of the prophecy, and the Apocalypse announced by the Bible is a near future that has already started. As Morgan Heritage sings, I went to the King with that complaint from his children which is Zion I Rastafari a hard time we suffering down hand the wicked, I told him about the way we’ve been brutalized by mental slavery and unjust authority. “The King is coming,” 1998 Daynes, Time and memory in regga142 142 18/12/2009 12:21:18 Hope and redemption 143 God knows

in Time and memory in reggae music
W. J. McCormack

Séraphita then is a parable of the apocalypse. It is at once a revelation of the future which is yet to come, an inauguration of that future, and a decoding of those mysteries which have hidden the future from us. Prior to his initiation by Séraphita, Wilfrid had nurtured dreams of world conquest, of training a small race of northern people to dominate Europe ‘shouting to these

in Dissolute characters
Contemporary environmental crisis fiction and the post-theory era
Louise Squire

these novels, it becomes apparent that their uses of death are far subtler and more nuanced than it might at first seem. In considering death’s thematic use in environmental crisis fiction, one might initially turn one’s attention to apocalypse, the use of which, in general terms, has become widespread in popular discourses of environment. Such fetishising of doom and disaster in contemporary environmental crisis fiction and other media has, however, been viewed as unhelpful (Dobson 2007: 103, Morton 2007: 185, Squire 2012: 212). Even if we might potentially be

in Extending ecocriticism