Vampires and werewolves: Rewriting religious and racial stereotyping in Stephenie Meyer’s Twilight Series

Stephenie Meyer’s Twilight series (2005–8) demonstrates a strong connection with the theology, cultural practices and history of The Church of Jesus Christ of Latter-day Saints (LDS), of which Meyer is an active member. One of the strongest ways in which this connection is demonstrated is through characterisation: specifically, by featuring vampires and werewolves as prominent supernatural characters in the text. Twilight employs vampires as a metaphor for the LDS Church. By eschewing literature’s traditional association of vampires with subversive acts, especially subversive sexuality, and rewriting them as clean-cut pillars of the community, Twilight not only charts but promotes the progression of Latter-day Saints from nineteenth century social pariahs to modern day exemplars of conservative American family values. The series represents its Native American shapeshifting werewolves as an ancient group of people from LDS scriptural history called Lamanites, who were cursed by God with ‘a skin of blackness’ for their ‘iniquity’ (Book of Mormon, 2 Nephi 5:21). The construction of the werewolves as impoverished and socially marginalised yet with strong family ties enables the treatment of race in Twilight to move beyond a standard white/non-white binary frame to engage at a deeper level with LDS stereotyping of Native American people

Howling (and Bleeding) at the Moon: Menstruation, Monstrosity and the Double in the \u3ci\u3eGinger Snaps\u3c/i\u3e Werewolf Trilogy

In this essay, I explore the radical reframing of the traditional werewolf narrative with respect to the figure of the double and the abject female body in the Ginger Snaps werewolf trilogy. Notable theorists discussed herein include Barbara Creed, Carol Clover, Julia Kristeva, April Miller and Robin Wood. Throughout both its folkloric and cinematic history, the creature of the werewolf has been constructed almost invariably as a male monster suffering within a Jekyll and Hyde-like narrative of the double. An otherwise exemplary member of Robin Wood’s society of surplus repression, the male lycanthrope is doomed to endure a monthly transformation into monstrous, murderous beast, the Other that challenges normality through its very existence. The agony of the male werewolf, therefore, is generally believed to exist only with regard to the regret he feels for the previous night’s violent excesses. However, it is actually the male lycanthrope’s bodily alignment with the female Other that causes his distress. Forced to confront an abject body tied to a monthly lunar cycle, the male werewolf is feminized. Not only does the sufferer’s body not respect the boundary between human and animal, but the tentative boundary between male and female is also violated, and it is this transgression that accounts for the true agony of the classic male werewolf. The Ginger Snaps werewolf cycle challenges this narrative by situating lycanthropy within the lives of female teenagers Ginger and Brigitte Fitzgerald. Following the subgenre’s typical trajectory, Ginger is bitten by a werewolf, thus becoming a werewolf herself, and her younger sister, Brigitte, attempts to save her. However, by transmuting the werewolf narrative from the male to the female, the implications of the doppelganger narrative must change. By virtue of her abject female body, Ginger is already marginalized and constructed as Other in the suburban world in which she lives. There is no monstrous double for Ginger, for as a menstruating female she has always been this monster. As a result, Ginger eventually embraces her lycanthropy and in doing so also embraces her identity as a woman. She becomes the “goddamn force of nature” of her teenage dreams, and unlike the male werewolf, whose monstrosity is a nightmarish shadow of his own normality, Ginger’s monstrosity is her own reflection, an unwavering look at a fantastic self otherwise unattainable to her in the world she lives. Yet Ginger Snaps is still a doppelganger narrative. It is Brigitte who suffers under the agony of Ginger’s transformation, for in losing Ginger, Brigitte loses her identity as well. Brigitte longs for the reconciliation of her and her sister, but as the two have become two distinct persons in Ginger’s monstrosity, this is impossible. Coded as Carol Clover’s Final Girl figure, Brigitte destroys her sister, thereby coming to stand for the symbolic order she resists so enthusiastically at the start of the film. However, despite their radically different engagements with monstrosity, both Ginger and Brigitte are punished. It appears that as subversive as the Ginger Snaps films are in respect to the werewolf narrative, they also reflect a deep cultural ambivalence about female identity. It is only together that the girls can triumph, making the Ginger Snaps cycle a powerful statement on the power of relationality between females in the construction and maintenance of self

Book Review: The Shifter's Choice by Jenna Kernon

The October 2016 edition of Revenant: Studies in Transition will focus upon the theme of werewolves. The article is a book review of a Mills & Boon romantic novel from the Nocturne Series (which focuses upon paranormal romance). Accessing the popularity of the Twilight series, Harlequin Mills & Boon have been publishing romantic novels with a supernatural theme for a number of years. The novel featured in the review deals with the supernatural theme of werewolves and explains a little of the history of this series from the publishing company, in addition to explaining why these romances are much more intelligent than literary critics like to believe

H.P. Lovecraft’s Philosophy of Science Fiction Horror

The paper is an examination and critique of the philosophy of science fiction horror of seminal American horror, science fiction and fantasy writer H.P. Lovecraft (1890-1937). Lovecraft never directly offers a philosophy of science fiction horror. However, at different points in his essays and letters, he addresses genres he labels “interplanetary fiction”, “horror”, “supernatural horror”, and “weird fiction”, the last being a broad heading covering both supernatural fiction and science fiction. Taken together, a philosophy of science fiction horror emerges. Central to this philosophy is the juxtaposition of the mysterious, unnatural and alien against a realistic background, in order to produce the emotion that Lovecraft calls “cosmic fear”. This background must not only be scientifically accurate, but must accurately portray human psychology, particularly when humans are faced with the weird and alien. It will be argued that Lovecraft’s prescriptions are overly restrictive and would rule out many legitimate works of science fiction horror art. However, he provides useful insights into the genre

The Canadian Horror Film: Terror of the Soul edited by Gina Freitag and Andre Loiselle

Review of Gina Freitag\u27s and Andre Loiselle\u27s The Canadian Horror Film: Terror of the Sou

Lechery, lycanthropy and Little Red Riding Hood in Type O Negative’s ‘Wolf Moon (Including Zoanthropic Paranoia)’

Type O Negative’s ‘Wolf Moon (including Zoanthropic Paranoia)’ seems to be a melodic ode to lascivious werewolves or to sexual intercourse during menstruation, which is transformative, allowing participation to channel animalistic instincts. Subject to more critical examination, ‘Wolf Moon (including Zoanthropic Paranoia)’ can also be presented as a contemporary incarnation of the ‘Little Red Riding Hood’ myth. Both contain the same themes: the stigmatization of eroticism, reclamation of agency, along with the nuances of gender identity and representation. Any Women’s Studies programme student is attuned to how storytelling and imagery of those within the story influence gender roles and their perceptions. Real-life themes are undoubtedly found within fairy tales as well, with a special emphasis on how women who do not remain in their proper place are punished because of it. In ‘Wolf Moon (including Zoanthropic Paranoia)’, the woman is rewarded for those experiences, by being permitted to indulge in her darkest desires. Meeting (or meating) a wolf that is hungry for you is nothing to fear in Type O Negative’s version of ‘Little Red Riding Hood’. Instead, it is the hallmark of a ‘great day’, and is something that should be celebrated. As ‘Little Red Riding Hood’ traverses onward throughout the western society’s cultural consciousness, one can only hope for further metal music acts interpretations of this infamous fairy tale. Representation matters, and the nuances of how the female gender has been portrayed throughout the centuries as reflected in the re-telling of a fairy tale is a subject that warrants a closer look through metal music and gender

The Tea Party Movement and the Perils of Popular Originalism

The Tea Party movement presents something of a curiosity for constitutional theory because it combines originalist ideology and popular constitutionalist methods. Like minotaurs, werewolves, and other half-man, half-animal hybrids of myth and legend, the Tea Party\u27s hybrid of originalism and popular constitutionalism serves to expose the limitations of both sources upon which it draws. Although originalists assert that interpreting the Constitution according to its original meaning would take politics out of constitutional law, the Tea Party movement shows that originalism also provides a powerful political rhetoric. Moreover, while popular constitutionalists assert that democracy would be advanced by empowering the people to effectuate their constitutional understandings through ordinary politics, the Tea Party movement shows that when a popular movement advances a narrow, nationalist understanding of the Constitution, popular constitutionalism can also serve to restrict popular democrac

Huggable Communication Medium Maintains Level of Trust during Conversation Game

There have been several attempts in recent years to develop a remote communication device using sensory modalities other than speech that would induce a user’s positive experience with his/her conversation partner. Specifically, Hugvie is a human-shaped pillow as well as a remote communication device enabling users to combine a hugging experience with telecommunication to improve the quality of remote communication.The present research is based on the hypothesis that using Hugvie maintains users’level of trust toward their conversation partners in situations prone to suspicion. Thelevel of trust felt toward other remote game players was compared between participants using Hugvie and those using a basic communication device while playing a modified version of Werewolf, a conversation-based game, designed to evaluate trust. Although there are always winners and losers in the regular version of Werewolf, the rules were modified to generate a possible scenario in which no enemy was present among the players and all players would win if they trusted each other. We examined the effect of using Hugvie while playing Werewolf on players’ level of trust toward each other and our results demonstrated that in those using Hugvie, the level of trust toward other players was maintained