Werewolves, Wolves and the Gothic , livre ebook

University of Wales Press - Dr Robert McKay and Dr John Miller

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Wolves lope across Gothic imagination. Signs of a pure animality opposed to humanity, in the figure of the werewolf they become liminal creatures that move between the human and the animal. Werewolves function as a site for exploring complex anxieties of difference – of gender, class, race, space, nation or sexuality – but the imaginative and ideological uses of wolves also reflect back on the lives of material animals, long persecuted in their declining habitats across the world. Werewolves therefore raise unsettling questions about the intersection of the real and the imaginary, the instability of human identities and the worldliness and political weight of the Gothic.

This is the first volume concerned with the appearance of werewolves and wolves in literary and cultural texts from the mid-nineteenth century to the present. Drawing on representations of werewolves and wolves in literature, film, television and visual culture, the essays investigate the key texts of the lycanthropic canon alongside lesser-known works from the 1890s to the present. The result is an innovative study that is both theoretically aware and historically nuanced, featuring an international list of established and emerging scholars based in Britain, Europe, North America and Australia.

Acknowledgements
List of Contributors
List of Illustrations
Introduction, Robert McKay and John Miller
Social Anxieties
1. Like Father Like Son: Wolf-Men, Paternity and the Male Gothic, Hannah Priest
2. Wicked Wolf-Women and Shaggy Suffragettes: Lycanthropic Femme Fatales in the Victorian and Edwardian Eras, Jazmina Cininas
3. Postcolonial Vanishings: Wolves, American Indians, and Contemporary Werewolves, Michelle Nicole Boyer
4. The Good, the Bad, and the Ubernatural: The Other(ed) Werewolf in Twilight, Roman Bartosch and Celestine Caruso
5. ‘Becoming woman’/Becoming Wolf: Girl Power and the Monstrous Feminine in the Ginger Snaps Trilogy, Batia Boe Stolar
Species Troubles
6. ‘Something that is either werewolf or vampire’: Interrogating the Lupine Nature of Bram Stoker’s Dracula, Kaja Franck
7. Saki, Nietzsche and the Superwolf, John Miller
8. A Vegetarian Diet for the Were-wolf Hunger of Capital: Leftist and Pro-animal Thought in Guy Endore’s The Werewolf of Paris, Robert McKay
9. Everybody Eats Somebody: Angela Carter’s Wolfish Ecology, Margot Young
10. ‘But by Blood No Wolf Am I’: Language and Agency, Instinct and Essence – Transcending Antinomies in Maggie Steifvater’s Shiver Trilogy, Bill Hughes
11. Transforming the Big Bad Wolf: Redefining the Werewolf through Grimm and Fables, Matthew Lerberg

Sujets

Literary Criticism

Romance

Gothic

Informations

Publié par	University of Wales Press
Date de parution	15 septembre 2017
Nombre de lectures	0
EAN13	9781786831033
Langue	English
Poids de l'ouvrage	7 Mo

Informations légales : prix de location à la page 0,3450€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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WEREWOLVES, WOLVES AND THE GOTHIC
00 Prelims WEREWOLVES 2017_8_2.indd 1 02-Aug-17 4:45:09 PMSERIES PREFACE
Gothic Literary Studies is dedicated to publishing groundbreaking
scholarship on Gothic in literature and flm. The Gothic, which has
been subjected to a variety of critical and theoretical approaches,
is a form which plays an important role in our understanding of
literary, intellectual and cultural histories. The series seeks to promote
challenging and innovative approaches to Gothic which question
any aspect of the Gothic tradition or perceived critical orthodoxy.
Volumes in the series explore how issues such as gender, religion,
nation and sexuality have shaped our view of the Gothic tradition.
Both academically rigorous and informed by the latest developments
in critical theory, the series provides an important focus for scholarly
developments in Gothic studies, literary studies, cultural studies and
critical theory. The series will be of interest to students of all levels
and to scholars and teachers of the Gothic and literary and cultural
histories.
SERIES EDITORS
Andrew Smith, University of Sheffeld
Benjamin F. Fisher, University of Mississippi
EDITORIAL BOARD
Kent Ljungquist, Worcester Polytechnic Institute Massachusetts
Richard Fusco, St Joseph’s University, Philadelphia
David Punter, University of Bristol
Chris Baldick, University of London
Angela Wright, University of Sheffeld
Jerrold E. Hogle, University of Arizona
For all titles in the Gothic Literary Studies series
please visit www.uwp.co.uk
00 Prelims WEREWOLVES 2017_8_2.indd 2 02-Aug-17 4:45:09 PMWerewolves, Wolves and
the Gothic
edited by
Robert McKay and John Miller
UNIVERSITY OF WALES PRESS
2017
00 Prelims WEREWOLVES 2017_8_2.indd 3 02-Aug-17 4:45:10 PM© The Contributors, 2017
All rights reserved. No part of this book may be reproduced in any material
form (including photocopying or storing it in any medium by electronic
means and whether or not transiently or incidentally to some other use of
this publication) without the written permission of the copyright owner.
Applications for the copyright owner’s written permission to reproduce
any part of this publication should be addressed to the University of Wales
Press, 10 Columbus Walk, Brigantine Place, Cardiff CF10 4UP.
www.uwp.co.uk
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.
ISBN 978-1-78683-102-6
e-ISBN 978-1-78683-103-3
The rights of the Contributors to be identifed as authors of this work have
been asserted in accordance with sections 77 and 79 of the Copyright,
Designs and Patents Act 1988.
Typeset in Wales by Eira Fenn Gaunt, Pentyrch, Cardiff
Printed by CPI Antony Rowe, Melksham
00 Prelims WEREWOLVES 2017_8_2.indd 4 02-Aug-17 4:45:10 PMContents
Acknowledgements vii
List of Contributorsix
List of Illustrationsxiii
Introduction, Robert McKay and John Miller 1
Social Anxieties
1 Like Father Like Son: Wolf-Men, Paternity and
the Male Gothic
Hannah Priest 19
2 Wicked Wolf-Women and Shaggy Suffragettes:
Lycanthropic Femmes Fatales in the Victorian and
Edwardian Eras
Jazmina Cininas 37
3 Postcolonial Vanishings: Wolves, American Indians and
Contemporary Werewolves
Michelle Nicole Boyer 65
4 The Good, the Bad and the Ubernatural: The Other(ed)
Werewolf in Twilight
Roman Bartosch and Celestine Caruso 87
5 ‘Becoming woman’/Becoming Wolf: Girl Power and
the Monstrous Feminine in the Ginger Snaps Trilogy
Batia Boe Stolar 113
00 Prelims WEREWOLVES 2017_8_2.indd 5 02-Aug-17 4:45:10 PMContents
Species Troubles
6 ‘Something that is either werewolf or vampire’:
Interrogating the Lupine Nature of Bram Stoker’s Dracula
Kaja Franck 135
7 Saki, Nietzsche and the Superwolf
John Miller153
8 A Vegetarian Diet for the Were-Wolf Hunger of
Capital: Leftist and Pro-animal Thought in Guy
Endore’s The Werewolf of Paris
Robert McKay177
9 Everybody Eats Somebody: Angela Carter’s Wolfsh
Ecology
Margot Young 203
10 ‘But by Blood No Wolf Am I’: Language and Agency,
Instinct and Essence – Transcending Antinomies in
Maggie Stiefvater’s Shiver Series
Bill Hughes 227
11 Transforming the Big Bad Wolf: Redefning the
Werewolf through Grimm and Fables
Matthew Lerberg 251
Index273
vi
00 Prelims WEREWOLVES 2017_8_2.indd 6 02-Aug-17 4:45:10 PMACknowledgements
The editors would like to thank the University of Sheffeld and
specifcally the students in the School of English between 2012 and
2016, whose fees paid for the work that went into producing this
book. They are also grateful to the editorial team at University of
Wales Press. Robert would like to thank Gayle McKay and Tom
Tyler. John would like to thank Ruth Hawthorn and colleagues at
ASLE and ASLE-UKI.
00 Prelims WEREWOLVES 2017_8_2.indd 7 02-Aug-17 4:45:10 PMlist of Contributors
Editors
Robert McKay is Senior Lecturer in English Literature at the University
of Sheffeld. He wrote the interdisciplinary collection Killing Animals
(University of Illinois Press, 2006) with the Animal Studies Group,
and with John Miller and Susan McHugh co-edits the Palgrave
Studies in Animals and Literature series.
John Miller is Senior Lecturer in Nineteenth-Century Literature at
the University of Sheffeld. He is the author of Empire and the Animal
Body (Anthem, 2012), the co-author of Walrus (Reaktion Books,
2014), and the co-editor of a number of volumes including Transatlantic
Literary Ecologies: Nature and Culture in the Nineteenth-Century
Anglophone Atlantic World (Routledge, 2017).
Other contributors
Roman Bartosch teaches English Literatures at the University of
Cologne. He has published on postcolonial and posthumanist theory
and his book EnvironMentality – Ecocriticism and the Event of Postcolonial
Fiction was published with Rodopi in 2013.
Michelle Nicole Boyer is currently studying in the department of
American Indian Studies at the University of Arizona, with a focus
in literature and flm.
Celestine Caruso has a PhD in biology teaching and currently works
for ZuS (Future Strategy for Teacher Education) at the University
of Cologne.
00 Prelims WEREWOLVES 2017_8_2.indd 9 02-Aug-17 4:45:10 PMContributors
Jazmina Cininas lectures at RMIT University School of Art, where
she also completed her PhD, ‘The Girlie Werewolf Hall of Fame:
Historical and Contemporary Figurations of the Female Lycanthrope’
in 2014. She has presented papers on female werewolves in Australia,
UK, the USA and Hungary.
Kaja Franck has recently completed her PhD in the English Literature
Department at the University of Hertfordshire. Her research interests
include werewolves, ecoGothic and vampires in popular literature.
Bill Hughes was awarded a doctorate from the University of Sheffeld
in 2011 on the interrelation of the dialogue genre and
eighteenthcentury English novels. He has published on this topic and on
Richard Hoggart, and has co-edited Open Graves, Open Minds:
Representations of Vampires and the Undead from the Enlightenment to
the Present Day (2011) with Sam George.
Matthew Lerberg received his PhD at the University of Texas, Arlington
and is currently an instructor teaching courses on environmental
humanities and animal studies. He has published work in Green
Letters and Screening the Nonhuman: Representations of Animal Others
in the Media.
Hannah Priest is an Associate Lecturer at Manchester Metropolitan
University and an Honorary Research Associate at Swansea University.
Her work explores intersections of sex, violence and the monstrous
in late medieval literature, as well as in contemporary literature and
flm. She is the editor of She-Wolf: A Cultural History of Female
Werewolves (Manchester University Press, 2015).
Batia Stolar is an Associate Professor in English at Lakehead University.
Her articles on Jack Hodgins (with Andrew Lesk), Atom Egoyan,
Michael Ondaatje and Austin Clarke have been published in Studies
in Canadian Literature, Canadian Journal of Film Studies, New Essays
on Atom Egoyan (Wilfrid Laurier UP), and Downtown Canada: Writing
Canadian Cities (Toronto).
x
00 Prelims WEREWOLVES 2017_8_2.indd 10 02-Aug-17 4:45:10 PMContributors
Margot Young is a practising psychoanalyst. She has published papers
on the ‘Wolf-Man’ eco-psychology and the human/animal divide,
and on Foucault and queer ecological critique.
xi
00 Prelims WEREWOLVES 2017_8_2.indd 11 02-Aug-17 4:45:10 PMlist of illustrAtions
Figure 1: Laurence Housman, ‘The Race’, illustration for The
WereWolf, 1896.
Figure 2: Laurence Housman, ‘The Finish’, illustration for The
Were-Wolf, 1896.
Figure 3: Laurence Housman, ‘White Fell’s Escape’, illustration for
The Were-Wolf, 1896.
Figure 4: Laurence Housman, ‘Sweyn’s Finding’, illustration for
The Were-Wolf, 1896.
Figure 5: ‘Origin and Development of a Suffragette’, Millar &
Lang Ltd. Art Publishers, c.1908. From the suffrage collection of
Dr Kenneth Florey.
Figure 6: Martin Anderson, ‘We Want the Vote’, Cynicus Publishing
Company, c.1910. Museum of London collection.
00 Prelims WEREWOLVES 2017_8_2.indd 13 02-Aug-17 4:45:10 PMIntroduction
RobeRt McKay and John MilleR

after a while there was the low howl again out in the shrubbery, and
shortly after there was a crash at the window, and a lot of broken
glass was hurled on the foor. the window blind blew back with the
wind that rushed in, and in the aperture of the broken panes there
1was the head of a great, gaunt grey wolf.
Wolves lope through the Gothic imagination. Signs of a pure
animality opposed to the human, they become, in the fgure of
the werewolf, liminal creatures that move between the human and
the animal: humans in animal form and animals in human form.
they are metonyms of forbidding landscapes, an unsettling howl
in the distance that marks the limit of the human world, or, as in
the epigr