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Joe Turner

4 Monsters In February 2016 the British news media doggedly reported on the conviction of five suspects charged with the sexual abuse of minors in the northern English town of Rotherham. Since revelations of child sexual exploitation (CSE) emerged in the press in 2012, the very word ‘Rotherham’ (and to a similar extent the name of another northern town, Rochdale) had steadily become synonymous in the public imagination with CSE or ‘grooming’ scandals. The scale of the abuse transformed these convictions into a site of moral panic, with authorities suggesting

in Bordering intimacy
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Chris Beasley
Heather Brook

6 Fearsome monsters In this chapter, we explore zombie movies as a particular incarnation of the fearsome monster category for their cultural-political meanings, locations, and effects. Zombies are, for the most part, a cinematic invention whose history is folkloric rather than literary (Bishop, 2006). They are reanimated corpses, ‘the living dead’ or ‘the walking dead’, who spread their contagion and multiply their numbers by killing people and feeding on their victims’ flesh.1 Applying sociologist Ulrich Beck’s (2001) concept of ‘zombie categories’ to their

in The cultural politics of contemporary Hollywood film
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The fightback
Sarah Fine

-first century—fittingly, as we shall see, in more ways than one. First, The Shifting Border joins Hobbes’s Leviathan on the list of essential reading about the nature of states and sovereignty. Yet there is more to the comparison than that. Intriguingly, Hobbes named his “commonwealth, or state” and his text after a biblical monster which features in the books of Job and Isaiah. The biblical Leviathan has powerful limbs, a “double coat of armour” and “fearsome teeth.” When it snorts, it “throws out flashes of light” and “flames stream from its mouth.” So fearsome is

in The shifting border
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Peter Marks

lives in one of the castle’s towers awaiting her prince, ‘just like all the books say to do’. The merchants of the city, meanwhile, members of a rising and manipulative class keen to improve its fortunes, recognise that the Jabberwock threat has kept commodity prices high. The church also sees the monster as terrifying the populace into piety. But Bruno, eager to re-establish the ancient grandeur of

in Terry Gilliam
Competing imaginaries of science and social order in responsible (research and) innovation
Stevienna de Saille
Paul Martin

8 Monstrous regiment versus Monsters Inc.: competing imaginaries of science and social order in responsible (research and) innovation Stevienna de Saille, Paul Martin All monsters are undead. Maybe they keep coming back because they still have something to say or show us about our world and ourselves. Maybe that is the scariest part. (Beal, 2014: 10) As new technological domains emerge, so too do promises and warnings about the future they will bring. However, as technology has grown ever more complex, predicting either benefits or risks has become increasingly

in Science and the politics of openness
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Chari Larsson

, in direct dialogue with Didi-Huberman’s arguments advanced in Images in Spite of All. Son of Saul Fast forward to August 2015, and Didi-Huberman wrote an open letter to Nemes. It commenced with a dramatic mode of address: Cher László Nemes, Votre film, Le Fils de Saul , est un monstre. Un monstre nécessaire, cohérent, bénéfique, innocent. 21 Dear László Nemes, Your film, Son of Saul , is a monster. A necessary, coherent, beneficial, innocent monster. What are we to make of Didi-Huberman’s opening lines? How does one create monsters

in Didi-Huberman and the image
From Mary Shelley and Sir John Franklin to Margaret Atwood and Dan Simmons
Catherine Lanone

be known as the year without a summer. Disturbing climate change was responsible for the long evenings at the Villa Diodati, where Byron, Shelley and Polidori discussed science and ghost stories, and when Mary’s story was conceived to respond to the men’s bet. Mary’s monster remains impervious to cold; he defies his creator in the sublime Alps and draws him farther and farther north; he ultimately

in Ecogothic
Shoshannah Ganz

. In fact, I go so far as to suggest that Atwood’s Oryx and Crake and The Year of the Flood are at the inception of a nascent mutation of the Gothic, what I term the Canadian ecoGothic. The chapter explores in particular the monsters in the texts – Jimmy/Snowman, the monstrous human survivor who cares for the Crakers; the humanoid Crakers, manufactured by the real Frankenstein of the text

in Ecogothic
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Epistemelancholia in David Hume and Henry James
Andrew Bennett

Melancholy is the monster. It makes monsters of us, it monsters humanity: to be melancholy is to be human and to be melancholy is to be monstrous. 1 Melancholy is thought, philosophy, poetry and knowledge. Melancholy is the subject of speech and the subject who speaks; melancholy is beyond speech, beyond language. Melancholy is unique, singular and infinitely variable; 2 melancholy is universal, unchanging, is the condition of unchangingness. 3 Melancholy: human and non-human, in and out of nature, monstrous. Melancholy is a foreign

in Ignorance
Gender, race, nation, and the amusements of London fairs
Anne Wohlcke

‘ 6 Clocks, monsters, and drolls: Gender, race, nation, and the amusements of London fairs F ‘ reaks’, ‘Monsters’, and other curious people and objects were always popular early modern fair exhibits. Since the late nineteenth century, attention given to such shows has been justified by authors’ interest in uncovering past ‘tastes’ less refined than their own era’s more ‘respectable’ views of shows featuring people embodying difference.1 This perspective was common in nineteenth-century portraits of fairs, including Henry Morley’s Memoirs of Bartholomew Fair

in The ‘perpetual fair’