Jaquelin Elliott. It is in response to this lack and in the spirit of enriching scholarship on the werewolf and its shapeshifting ilk, that Kimberley McMahon- Coleman and Roslyn Weaver wrote Werewolves and Other Shapeshifters in Popular Culture, a slim, but nevertheless rich thematic analysis of contemporary depictions of the shapeshifter up to late Focusing on key texts mostly from the world of Young Adult media, McMahon- Coleman and Weaver break their analysis down into thematic topics highly relevant to shapeshifter fiction: adolescence, gender, sexuality, race, disability and difference, addiction, and spirituality.
McMahon-Coleman and Weaver then turn attention to the subject of shapeshifting and femininity, examining menstrual motifs in works like the blood- drenched Ginger Snaps, and the importance of gender in reiterations of the Little Red Riding Hood narrative.
This chapter examines The Vampire Diaries and True Blood, but the most attention is paid to the Twilight saga whose Quileute werewolves have been the focus of much scholarly attention on problematic Native American representation. Remus Lupin, whose lycanthropy J.
Works under MDS 809.93353
Figure 2. Thus, White Fell's own transformation similarly imagines a body divided against itself. Her race with Christian continuously refers to her unnatural shift from a woman into a wolf, until she devolves into her lupine form upon her death Housman Unable to reconcile her duality, White Fell interferes with the normative binary systems of human and beast, thereby occupying a space where she is bound by neither identity.
Much like lycanthropic monstrosity, the social identities of the sexually ambivalent New Woman and the homosexual were formulated as disruptive to the status quo. Their sexual fluidity blurred the conceptual boundaries of the Victorian ideal, creating something alien.
Werewolves in Stories, Popular Culture and Media | Blair
Nineteenth-century werewolf fiction drew upon such perceived corruption in parts of the community to construct its monsters, utilizing binaries of race, gender, and animal physiognomy to imagine these identities as a composite Other Du Coudray White Fell speaks with a foreign accent, marking her as an outsider Housman Within the Victorian werewolf narrative, to engage in transformation was to risk the displacement of one's relationship with society.
White Fell is therefore constructed as a chaotic figure, whose unstable intersections of body and identity combine fears of physical degeneracy with the violation of fixed Victorian social structures. The werewolf remains a Gothic icon, but situated within the cultural context of the s, it marked the appropriation of a myth for the expression of sexual dissidence. Bierce, Ambrose. Du Coudray, Chantal Bourgault.
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Tauris, Frost, Brian J. The Essential Guide to Werewolf Literature. Popular Press, Housman, Clemence.
The Were-Wolf. Illustrated by Everard Hopkins. As with most of the other reviewers, my biggest gripe with the book is the fact that it's focus is almost entirely on YA literature.
Since the book originated as a doctoral thesis I also felt like the In recent years, shapeshifting characters in literature, film and television have been on the rise. This has followed the increased use of such characters as metaphors, with novelists and critics identifying specific meanings and topics behind them. This book aims to unravel the shapeshifting trope. Rather than pursue a case-based study, the works are grouped around specific themes—adolescence, gender, sexuality, race, disability, addiction, and spirituality—that are explored through the metaphor of shapeshifting.
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