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Shannon Scott

country attempted to build a positive national identity through literature. 5 One method of rewriting history and avoiding the ethical dilemma of ‘Indian removal campaigns’ was for white authors to set their texts in a period of history when indigenous peoples were more in control of their land and thus could be portrayed as purely predatory. In ‘The Werewolves’, published

in She-wolf
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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.

Wagner the Wehr-wolf, Sweeney Todd and the limits of human responsibility
Joseph Crawford

aggravated by the light of the full moon; in Jane Eyre, for example, the beastlike madwoman Bertha Mason, who ‘growled like some strange wild animal’, is at her most destructive when the full moon is in the sky.) 15 In many of the earlier fictions from the 1820s and 1830s, the decision of the werewolves to transform themselves seems to be sometimes voluntary (usually a matter of deliberately donning an enchanted garment), sometimes involuntary and sometimes in-between, as when Hughes chooses to don the wolf-skin because

in In the company of wolves
Brutishness, discrimination and the lower-class wolf-man from The Wolf Man to True Blood
Victoria Amador

Both Larry and Sirius are the outsiders, the outlaws and, although essentially moral characters, they must be isolated and dehumanised for their unintentional and anarchic displacements or transformations. Indeed, they have been victimised by those who live beyond the limits of accepted Western civilisation. The werewolves have no control over what they have become, but there is no reprieve possible for these overt misfits from the ruling, ‘civilised’ class. Anyone who transforms, who is threatening or who challenges the elite will perish; sharing an ironically

in In the company of wolves
Female werewolves in Werewolf: The Apocalypse
Jay Cate

rage, vomiting ashes into the sky’ (17). The werewolves of Apocalypse exist in a world predicated on feminised narrative tropes of spirituality and pseudo-Native shamanism, deification of female creation, and rejection of a masculinised anthropocentrism. The Garou in gameplay Players are encouraged to be familiar with this world-building backstory. However, in practice

in She-wolf
Boobs, blood and sacrifice
Hannah Priest

‘the ultimate gift’. Moreover, Grace’s gift has not only saved her lover, but has also allowed her a further level of control over her own life. Daniel tells her that her ‘grace’ in saving him means that she herself may not be at risk from ‘the curse’ of the werewolves: ‘You don’t have to become one of the dark ones. You can fight

in She-wolf
Abstract only
A history of female werewolves
Hannah Priest

werewolves of Ossory is unusual in a number of ways. The werewolves’ speech, the revelation of human skin beneath the fur, and the careful situation of the transformation within the acceptable limits of Christian doctrine are all distinctive to Gerald’s account. Moreover, as Sconduto points out, the tale ‘is also unique for its Christian setting in which it presents a pair of werewolves whose metamorphosis

in She-wolf
Young Adult literature and the metaphorical wolf
Kaja Franck

human. If left untreated, the werewolf will stop transforming and stay as a wolf. The werewolves must settle into one state: either wolf or human. Even the transition of the titles of the novels, Shiver , Linger and Forever , follows this movement from one state to another. From the involuntary ‘shiver’, to the indecisive ‘linger’, the novels end in the eternal and never-changing state of ‘forever’; Sam and Grace's happy ending comes with the destruction of their inner wolf. For Sam, the wolf is an infectious, foreign ‘Other’ which has invaded the human subject

in In the company of wolves
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Linnie Blake

to these concerns with specific reference to an extraordinary proliferation of what Noël Carroll would term ‘fusion monsters’: which our questing heroes must invariably overcome in order to forge for themselves a mode of masculinity fitted to their time and place. Such monsters include the zombies of Shaun of the Dead the werewolves of Dog Soldiers, the vampiric serial killer of Cradle of Fear (2000), the Arab fire spirit of Long Time Dead (2001), the dragons of Reign of Fire, the murderously infected citizenry of 28 Days Later and the invisible malevolence of

in The wounds of nations
Trials of she-werewolves in early modern French Burgundy
Rolf Schulte

alleged crimes of three men in Franche-Comté, too low a number from which to derive a general theory. Changes: werewolf images in French culture All the werewolves of Franche-Comté were called ‘loup-garous’. The roots of this French term ‘[loup]garou’ can be discerned in the word ‘gerulfus’. This seemingly Romanic term had developed from the concept

in She-wolf