In June 2014, Abu Bakr al-Baghdadi declared an Islamic State in Iraq and Syria and called for Muslims around the world to migrate there. Over the next five years, around 150 women left the UK to heed this invitation, and the so- called 'jihadi brides' were rarely out of the news. This book traces the media fascination with those who joined the 'caliphate', including Sally Jones, Aqsa Mahmood and Shamima Begum. Through an analysis of the media that presented the 'brides' for public consumption, Leonie B. Jackson reveals the gendered dualistic construction of IS women as either monstrous or vulnerable. Just as the monstrous woman was sensationalised as irredeemably evil, the vulnerable girl was represented as groomed and naïve. Both subjects were constructed in such a way that women's involvement in jihadism was detached from men's, scrutinised more closely, and explained through gender stereotypes that both erased the agency of female extremists and neglected their stated motivations. As Jackson demonstrates, these media representations also contributed to the development of new norms for dealing with the 'brides', including targeted killing and the revocation of citizenship. While the vulnerable girl was potentially redeemable, the monstrous woman was increasingly considered expendable.
Written by one of the most distinguished commentators in the field, this book asks why we see some bodies as ′monstrous′ or ′vulnerable′ and examines what this tells us about ideas of bodily ′normality′ and bodily perfection. Drawing on feminist theories of the body, biomedical discourse and historical data, Margrit Shildrick argues that the response to the monstrous body has always been ambivalent. In trying to organize it out of the discourses of normality, we point to the impossibility of realizing a fully developed, invulnerable self. She calls upon us to rethink the monstrous, not as an abnormal category, but as a condition of attractivenes, and demonstrates how this involves an exploration of relationships between bodies and embodied selves, and a revising of the phenomenology of the body.
In June 2014, Abu Bakr al-Baghdadi declared an Islamic State in Iraq and Syria and called for Muslims around the world to migrate there. Over the next five years, around 150 women left the UK to heed this invitation, and the so- called ‘jihadi brides’ were rarely out of the news. This book traces the media fascination with those who joined the ‘caliphate’, including Sally Jones, Aqsa Mahmood and Shamima Begum. Through an analysis of the media that presented the ‘brides’ for public consumption, Leonie B. Jackson reveals the gendered dualistic construction of IS women as either monstrous or vulnerable. Just as the monstrous woman was sensationalised as irredeemably evil, the vulnerable girl was represented as groomed and naïve. Both subjects were constructed in such a way that women’s involvement in jihadism was detached from men’s, scrutinised more closely, and explained through gender stereotypes that both erased the agency of female extremists and neglected their stated motivations. As Jackson demonstrates, these media representations also contributed to the development of new norms for dealing with the ‘brides’, including targeted killing and the revocation of citizenship. While the vulnerable girl was potentially redeemable, the monstrous woman was increasingly considered expendable.
An "analysis of deeper meaning behind the string of deaths of unarmed citizens like Michael Brown, Eric Garner, and Freddie Gray, providing ... [commentary] on the intersection of race and class in America today"--
Late medieval motet texts are brimming with chimeras, centaurs and other strange creatures. In The Monstrous New Art, Anna Zayaruznaya explores the musical ramifications of this menagerie in the works of composers Guillaume de Machaut, Philippe de Vitry, and their contemporaries. Aligning the larger forms of motets with the broad sacred and secular themes of their texts, Zayaruznaya shows how monstrous or hybrid exempla are musically sculpted by rhythmic and textural means. These divisive musical procedures point to the contradictory aspects not only of explicitly monstrous bodies, but of such apparently unified entities as the body politic, the courtly lady, and the Holy Trinity. Zayaruznaya casts a new light on medieval modes of musical representation, with profound implications for broader disciplinary narratives about the history of text-music relations, the emergence of musical unity, and the ontology of the musical work.
Left Vulnerable is an adolescent account of incest. The author describes how her culture, family, and community ignored the signs of repeated molestation happening behind closed doors for over 10 years. This story often graphically exposes not only the physical pain of sexual trauma, but also the emotional and mental struggles caused by it. The author like many other victims of incest learned at a young age to keep incest a family secret. The author shares her journey through incest and abuse, but also shares her journey in finding the strength to heal.
In her past, the Important Man took away Jacey's brother. Now Jacey has David, who is sometimes a monster. Together, they hunt those who prey on the vulnerable. But the Important Man is still out there. MONSTERS WALK BESIDE US ALL, AND SOMETIMES LURK WITHIN. In Jacey’s past is the Important Man who took away her brother. Now Jacey has David, who sometimes transforms into a terrifying beast. Together, they’ve found a way to live--and to hunt, sniffing out men who prey on the vulnerable. But Jacey and David are about to run into the Important Man again. From Paul Cornell (Wolverine, Doctor Who, Elementary) and Sally Cantirino (Human Remains; Door to Door, Night by Night; Last Song, We Have To Go Back) comes a haunting story about the monsters that walk beside us all, and sometimes lurk within. Collects the complete six-issue series. "Really looking forward to it." - Neil Gaiman (The Sandman, American Gods, Anansi Boys, Good Omens, Coraline, The Graveyard Book, and more) Named one of "The Best Comic Books and Graphic Novels of 2021"- Thrillist
A fascinating, beautifully illustrated guide to the monsters that are part of our collective psyche, featuring stories from the Lore podcast—now a streaming television series—including “They Made a Tonic,” “Passed Notes,” and “Unboxed,” as well as rare material. They live in shadows—deep in the forest, late in the night, in the dark recesses of our minds. They’re spoken of in stories and superstitions, relics of an unenlightened age, old wives’ tales, passed down through generations. Yet no matter how wary and jaded we have become, as individuals or as a society, a part of us remains vulnerable to them: werewolves and wendigos, poltergeists and vampires, angry elves and vengeful spirits. In this beautifully illustrated volume, the host of the hit podcast Lore serves as a guide on a fascinating journey through the history of these terrifying creatures, exploring not only the legends but what they tell us about ourselves. Aaron Mahnke invites us to the desolate Pine Barrens of New Jersey, where the notorious winged, red-eyed Jersey Devil dwells. He delves into harrowing accounts of cannibalism—some officially documented, others the stuff of speculation . . . perhaps. He visits the dimly lit rooms where séances take place, the European villages where gremlins make mischief, even Key West, Florida, home of a haunted doll named Robert. In a world of “emotional vampires” and “zombie malls,” the monsters of folklore have become both a part of our language and a part of our collective psyche. Whether these beasts and bogeymen are real or just a reflection of our primal fears, we know, on some level, that not every mystery has been explained and that the unknown still holds the power to strike fear deep in our hearts and souls. As Aaron Mahnke reminds us, sometimes the truth is even scarier than the lore. The World of Lore series includes: MONSTROUS CREATURES • WICKED MORTALS • DREADFUL PLACES
This book marks a major shift in the way we think and feel about organizations. Radically reconsidering what we see as organizationally normal and abnormal, Thanem shatters the borders of convention to enable the becoming of a new and monstrously radical politics of difference. With reflexivity, sensitivity and courage, this politically and theoretically charged work offers an affirmative alternative to habituated organizational violence and oppression. It does so in the form of a monstrous ethics of organizations. Essential reading for those interested in the best of the latest advances in organization studies. Carl Rhodes, Swansea University, UK A beautifully expressed, wonderfully crafted object, transcending the idea of organization theory book ; this is a playfully serious and provocatively modest encounter with the monstrous we inhabit and the monsters we create with our work and everyday life. It made me laugh with embarrassment and cry with joy by prying open much that we, organizational scholars, often try to hide. Finally, our monstrosity was free to roam in the light of what we claim as knowledge! It felt very liberating. Marta B. Calás, University of Massachusetts, US Invited to experience becoming-monster as we get to exercise our norms as students of organizations, Thanem makes a case for the socio-corporeal ontology of organization. Disassembled by the generosity of the multitude, we are provided with an opportunity to learn to know our own particular heterogeneity, our styles of assembling ourselves to what we have become. Becoming is thereby learnt. Important lessons, both for analysts and practitioners of organizations. Daniel Hjorth, Copenhagen Business School, Denmark Drawing on contemporary debates in organization theory, this book explores the monsters that populate organizations, what organizations do to these monsters, and how this challenges us to re-construct organization theory. Torkild Thanem first interrogates how organizations and organization theory seek to kill monsters and how organizations exploit the monstrous for commercial purposes from the alien monsters of the sci-fi entertainment industry to the monstrous branding of energy drinks and the organic-synthetic chimeras produced by biotech and agribusiness companies. He then argues for more diverse, more joyful and more responsible organizations through a positively monstrous theory, politics and ethics of organizational life. Proposing a theory and ontology of organizations beyond poststructuralist constructionism and critical realism, The Monstrous Organization creatively addresses the history and theory of monsters in organizational life. It will appeal to scholars, doctoral students and master's students in management and organization studies, business ethics, diversity management, cultural studies, gender studies and sociology.
As monstrous bodies on-screen signal a wide range of subversive destabilization of the notions of identity and community, this anthology asks what meanings monsters and monstrosity convey in relation to our recent circumstances shaped by neoliberalism and the pandemic that have led to the intensified tightening of border controls by nation-states, the intensive categorization of (un)identifiable bodies, and subsequent forms of isolations and detachments imposed by social distancing and the rapid transition of sociality from reality to virtual reality. Presenting various thinkings along the lines of the body and its representations as cultural text, together with popular or recent media productions showing various bodies deemed to be monstrous as they either cross conventionally held borders or stay in liminal spaces such as between human-animal, human-machine, virtual bodies-corporeal flesh, living-death, and other permeable borders, this volume looks into the on-screen constructions of the monster and monstrosity not only as they represent notions of difference, perceived (non)belongings, and disruptions of traditional identity markers, but also as they either conceal various vulnerabilities or implicitly endorse violence towards the labeled Other.
