> Ebook The Biology of Horror: Gothic Literature and Film, by Jack Morgan

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Unearthing the fearful flesh and sinful skins at the heart of gothic horror, Jack Morgan rends the genre’s biological core from its oft-discussed psychological elements and argues for a more transhistorical conception of the gothic, one negatively related to comedy. The Biology of Horror: Gothic Literature and Film dissects popular examples from the gothic literary and cinematic canon, exposing the inverted comic paradigm within each text.

            

Morgan’s study begins with an extensive treatment of comedy as theoretically conceived by Suzanne Langer, C. L. Barber, and Mikhail Bakhtin. Then, Morgan analyzes the physical and mythological nature of horror in inverted comic terms, identifying a biologically grounded mythos of horror. Motifs such as sinister loci, languishment, masquerade, and subversion of sensual perception are contextualized here as embedded in an organic reality, resonating with biological motives and consequences. Morgan also devotes a chapter to the migration of the gothic tradition into American horror, emphasizing the body as horror’s essential place in American gothic.

 

The bulk of Morgan’s study is applied to popular gothic literature and films ranging from high gothic classics like Matthew Lewis’s The Monk, Ann Radcliffe’s The Mysteries of Udolpho, Charles Maturin’s Melmoth the Wanderer, and Mary Shelley’s Frankenstein, to later literary works such as Poe’s macabre tales, Melville’s “Benito Cereno,” J.S. Le Fanu’s Uncle Silas, H.P. Lovecraft’s “The Shadow over Innsmouth,” Shirley Jackson’s The Haunting of Hillhouse, Stephen King’s Salem’s Lot, and Clive Barker’s The Damnation Game. Considered films include Nosferatu, Invasion of the Body Snatchers, Friday the 13th, Halloween, Night of the Living Dead, Angel Heart, The Stand, and The Shining.

           

Morgan concludes his physical examination of the Gothic reality with a consideration born of Julia Kristeva’s theoretical rubric which addresses horror’s existential and cultural significance, its lasting fascination, and its uncanny positive—and often therapeutic—direction in literature and film.

• Sales Rank: #15085333 in Books
• Published on: 2002-10-29
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .75" w x 6.00" l, 1.08 pounds
• Binding: Hardcover
• 280 pages

Review
“The Biology of Horror does something I’ve not seen in over twenty-five years of working on and with the Gothic: it builds a biological model of the Gothic, a model that reveals a dark inversion of comic regeneration. Using the work of Suzanne Langer and Mikhail Bakhtin as the theoretical poles of this new model, Morgan uses his reconfigured Gothic paradigm to deconstruct various literary and cinematic emblems of humanity’s innate fear of its own organic vulnerability and fleshly brevity.”—Mary Pharr, coeditor of The Blood Is the Life: Vampires in Literature

“Jack Morgan’s The Biology of Horror offers a tantalizingly organic reinterpretation of the form and function of horror literature, emphasizing its close and too-often neglected relationship to comedy. An eminently readable and insightful book, The Biology of Horror is a must for both scholars and general readers interested in the history and deeper significance of the gothic.”

—Caitlin Kiernan, author of Threshold: A Novel of Deep Time

From the Author
I can be reached at jmorgan@mst.edu

About the Author

Jack Morgan teaches in the English department at the University of Missouri-Rolla. He has published widely in American and Irish literature and is the coeditor, with Louis A. Renza, of The Irish Stories of Sarah Orne Jewett (also available from Southern Illinois University Press).

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4 of 5 people found the following review helpful.
Impressive Analysis, Very Readable
By A Customer
Morgan provides persuasive readings of a number of classic and lesser-known books and films. While the book is theoretically informed, a non-specialist audience as well will find it a pleasure to read. Any fan of horror or the gothic ought to read this book.

1 of 7 people found the following review helpful.
"Whatever Just Crash It"
By A Reader 2
Toyota's recently-aired television spot featuring two male middle-schoolers and an adult technician at a crash-test facility strikes my limit when it comes to horror: i.e., mere children bullying an adult. The follow-up was even more outrageous. Thus, though not a fan exactly of gothic literature and film, but one who's aware of its pervasive (and persuasive) influence on popular culture, I keep an eye peeled. That's how I come to Jack Morgan's gem of a study. His insights into the nature of gothic make a difference, make one take it more seriously. Moreover, the actual biology is substantial and, finally, Morgan's sound scholarship and lucid prose (no slack anywhere) recommend it highly. Lucid prose.

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"Are you afraid of the sun?" Emily Dickinson asked a friend in 1859.

Wendy Barker states here that that apparently casual query reveals a major theme of Dickinson’s poetry, a theme she shares with women writers ranging from Anne Finch to Anne Sexton. It is a tradition based upon the inversion of the traditional male-centered metaphors of light and dark. Through time the light-giving sun has represented vitality, order, God; the light-swallowing night death, chaos, Satan. These metaphors are reinforced in the writing of Emerson, Thoreau, Hawthorne, and Keats,but Eliot, Brontë, Browning, and Dickinson use the sun and images of light quite differently.

Barker argues that since light was a masculine tradition, it had come to represent male power, energy, sexuality—not only to Dickinson but to other women writing during the era. To these writers the inversion of the light/darkness metaphor became a countertradition used as a means to express their energies in a society that was hostile to their intelligence. Dickinson, who read avidly, could not have been insensitive to this usage of light as a masculine symbol—of her Calvinist God, of her father, of all that was male—and of darkness as a feminine symbol.

Emily Dickinson thought in a richly symbolic manner. Her most frequently used metaphor is one of light in contrast to darkness, employing single-word references to light more than one thousand times in her 1,775 poems. Barker offers close readings and new interpretations of some previously overlooked or misunderstood poems and demonstrates that "Many of her most ecstatic images are of little lights created from darkness." In answer to those critics who have characterized her poems as being piecemeal, Barker argues that Dickinson’s consistent use of light as a metaphor unifies her poetry.

In her final chapter, Barker explores the ways in which twentieth-century female writers have carried on the countertradition of the light/darkness metaphor. "That Dickinson was able so brilliantly to transform and transcend the normative metaphoric patterning of her culture, creating, in effect, a metaphor of her own, has much to do with the genius of her art."

 

 

• Sales Rank: #4495425 in Books
• Brand: Brand: Southern Illinois University Press
• Published on: 1987-06-15
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .88" w x 5.50" l,
• Binding: Hardcover
• 232 pages

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• Used Book in Good Condition

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"Barker’s graceful and often dramatic prose vividly depicts Dickinson’s poetic vision. . . . Astute and sensitive interpretations."—Wendy Martin, Signs

"Deft and persuasive. . . . Lunacy of Light is an admirable addition to recent studies of Dickinson by feminist critics. It is feminist criticism of the non-castrating kind. It doesn’t warp the poems to fit a dogma or an ideology. At the same time, one finishes the book agreeing with Barker that Dickinson’s handling of light and dark metaphors shows how acutely conscious she was of her alienation from the ‘values and practices’ of her culture."—William G. Heath, New England Quarterly

"Barker authoritatively surveys . . . the use of light and dark imagery in the literature of Western culture, showing that traditionally light has been associated with male power, energy, reason, and God, and dark has traditionally been associated with woman, death, chaos, and Satan. . . . Soundly argued and well documented."—P. J. Ferlazzo, Choice

‘"Wonderfully lucid, and as richly fluent in the realm of functional symbolism as is Dickinson herself, Lunacy of Light should become a source of major enlightenment for future scholars intent on seeking out the intellectual delights amid the sensual riches of this most misunderstood poet."—Bryce Milligan, San Antonio Light

"Knowledgeable, informative, and as witty as she is thorough. . . .  By focusing on how she manipulates common metaphors, Barker shows how Dickinson’s poems work as a critique of culture and an assertion of women’s different sort of strength."—Martha Nell Smith, Women’s Review of Books

 

 

About the Author
Wendy Barker, associate professor of English at the University of Texas at San Antonio and winner of the Ithaca House Poetry Series Competition for 1990, recently published two collections of poems: Let the Ice Speak and Winter Chickens.

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To find more information about Rowman and Littlefield titles, please visit www.rowmanlittlefield.com.

• Sales Rank: #6063179 in Books
• Brand: Brand: Scarecrow Press
• Published on: 1983-01-01
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 1.00" w x 6.00" l, .0 pounds
• Binding: Hardcover
• 1535 pages

Features

• Used Book in Good Condition

Review
Another landmark mediagraphy. (Choice)

Limbacher, a leading film historian, has punched all of the right buttons in producing this tremendous work. While his book is scholarly, serious, informative and thoroughly researched, it is lively and humorous to read and eye opening. (Classic Images)

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@ Get Free Ebook A Commentary on the Plays of Sophocles, by Professor James C. Hogan B.A. M.A. Ph.D.

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James C. Hogan introduces each play by highlighting specific and interpretive problems relevant to that play before turning to a line-by-line analysis. The line analysis is comprehensive, ranging from the meanings of words and phrases that pertain to a variety of Greek ideas and institutions to metaphor and imagery specific to each play as well as plots and borrowings from earlier poetry, styles, and characterizations.

Along with his examination of the seven extant plays of Sophocles in English translations, Hogan provides a general introduction to the theatre in Sophocles’ time, discussing staging, the conventions of the Greek theatre, the text of the plays, and mythology and religion.

• Sales Rank: #2524566 in Books
• Brand: Brand: Southern Illinois University Press
• Published on: 1991-03-29
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .88" w x 6.13" l, 1.28 pounds
• Binding: Paperback
• 400 pages

Features

• Used Book in Good Condition

About the Author

James C. Hogan, chair and Frank T. McClure Professor of Classics at Allegheny College, is the author of A Guide to the Iliad.

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1 of 2 people found the following review helpful.
A handy dandy guide...
By Steven J. Torrey
With a caveat. Hogan offers a guide to the translation of David Green and Richmond Lattimore; and Green & Lattimore's translation of Sophocles would be the last one I would read. I find Richard Jebb's translation more faithful to the Greek. The Loeb Sophocles translated by F. Storr is interesting, especially when he attempts to rhyme. Lines 515-516: Oedius: "O bid me not (as guest I claim / This grace) expose my shame ". Paul Roche is helpful for his directorial notes. E. F. Whatling maintains a certain fidelity to the Greek flow.

But there are idioms, icons, ideas that Sophocles uses that James Hogan explains. While the ancient Greek audience would know these intimately, the modern audience needs a guide; the translator has to decide how best an ancient Greek idiom can be translated into acceptable English prose so the modern audience can 'hear' the Greek within the English translation. As the saying goes, something is lost in the translation, the translator must attempt to keep the Greek place, the Greek location, the Greek ambiance and resist the temptation to make the characters all sound like they came from Harvard or Yale.

So Hogan's work--A COMMENTARY ON THE PLAYS OF SOPHOCLES--is indispensable to the reader and translator of Sophocles. And there's nothing like attempting to translate the ancients, for the student to increase comprehension of the Greek original text.

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a book about curious and unusual facts about death

• Sales Rank: #3320818 in Books
• Published on: 1992
• Format: Import
• Original language: English
• Number of items: 1
• Dimensions: 11.26" h x .51" w x 8.74" l,
• Binding: Hardcover
• 143 pages

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# PDF Ebook Present Past, by Ava Kadishson Schieber

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Present Past is a collection of stories, artwork, and poetry by Ava Kadishson Schieber. Like her debut work, Soundless Roar, this multi-genre collection creates rich and varied pathways for readers to approach Schieber as well as the absorbing events and transformations in her life as a Holocaust survivor.

The focus of Present Past is her life after the Shoah. Rejecting stereotypes of survivors as traumatized or broken, Schieber is stark yet exuberant, formidable yet nuanced. The woman who emerges in Schieber’s Present Past is a multifaceted, heterogeneous figure—poet, artist, and survivor. In it, she plays the passionate observer who dispassionately curates the kaleidoscopic memories of her tumultuous personal and professional life in Belgrade, Prague, Tel Aviv, New York, and Chicago.

Organized into thirteen chapters, each a blend of images, poems, and narrative, this moving new work offers myriad points of entry to readers of these genres, those fascinated in the relationship between the Holocaust and art, as well as readers interested in memory and survivorship.

• Sales Rank: #2061681 in Books
• Published on: 2016-09-15
• Original language: English
• Dimensions: 9.00" h x .71" w x 6.00" l, .0 pounds
• Binding: Paperback
• 216 pages

Review
“In these pages, Schieber is a captivating person—both as a protagonist and as the artist responsible for the collection itself. Her poetry, drawings, and prose share a stark quality, one that touches on many senses of the word: sharp, severe, blunt, simple, and striking. This starkness is powerful in and of itself, but it is especially potent in the context of the Holocaust—a subject that often seems to resist such direct, unadorned responses.”
—Todd Hasak-Lowy, author of Somewhere There is Still a Sun


“Ava Schieber possesses a luminous and unflinching soul.  It will warm and brace anyone who reads this book.  Follow her along 'the drying riverbed of memory.'  You’ll be the better for it." —Peter Hayes, Professor of History and Theodore Zev Weiss Holocaust Educational Foundation Professor Emeritus, Northwestern University 

About the Author
AVA KADISHSON SCHIEBER was born in Novi Sad, a city near Belgrade, Yugoslavia, and survived the Holocaust in hiding on an isolated farm. A Chicago resident for thirty years, she is the author of Soundless Roar.

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• Published on: 1999-06
• Format: Import
• Binding: Paperback

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