8/7/2023 0 Comments Patterns of paper monsters![]() ![]() Purpose – The purpose of this paper is to problematise the notion of woman-as-monster and draws together a conceptual analysis of the monstrous-feminine and its relation to maternal and monstrous bodies including its implications for equality and inclusion in the workplace. What if he stayed disabled and wasn’t drawn closer to the normate? What if instead, he stayed a disabled nerd and ended up in a relationship with his best friend, Stiles, another disabled nerd? This little slice of life explores a little about what it’s like to be disabled, queer, racialized, and a monster that’s a little more representative of what it’s like to be marginalized. In Teen Wolf, the protagonist, Scott McCall becomes abled upon becoming a werewolf. In response to this mythical norm, I have rewritten the scripts as fans sometimes do. The monster is no longer the marginalized subject, but becomes an expected, unattainable norm of desirability like Audre Lorde’s “mythical norm”. In short, they find the hottest models to play as monsters. Furthermore, the representations of the monster consist of bodies that draw closer to the normate, but are exemplary of the norms of desirability. The monster becomes the protagonist, but in doing so, ends up becoming predominantly white, heterosexual, cisgender, abled, thin, and conventionally attractive. ![]() In more recent iterations of the monster, I have observed this pull towards the normate looking at the show Teen Wolf in comparison to the 1984 movie by the same name. Through histories of marginalized experiences represented as monsters and villains, I claim the monster as my own. Monsters have drawn my interest because they are often metaphors for marginalized folks. This paper is both a theoretical and creative exploration using fan ficion. En este artículo se analizan algunos de los temas recurrentes que influyeron en la creación de una mentalidad común de largo recorrido. El tratamiento dado por algunos de esos artistas a los temas de los pliegos llegó a hacerse tan peculiar que su forma creó un “estilo” y un repertorio con personalidad y estética propias. Para conseguir que ese grabado atrajera sin dudar a quien se acercase al vendedor de pliegos, demandaba la colaboración de un artista plástico que trasladase a imágenes lo que de otro modo expresaban las palabras del autor del pliego y exigía a ese artista que las figuras –de animales o humanas- fuesen identificables, respetasen un deseable plano general y al mismo tiempo parecieran relativamente cercanas. La contemplación del pliego solía hacerse en la plaza o en un mercado y el editor solía buscar un efecto mostrando un grabado en la portada. La expresión “literatura de cordel” agrupa unívocamente a todo aquel tipo de papeles que eran vendidos en la calle expuestos a la atención del público colgando de una cuerda. ![]()
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