Titles of Interest – The Monster Stares Back: How Human We Remain through Horror’s Looking Glass

9781848883536-341x500The Monster Stares Back: How Human We Remain through Horror’s Looking Glass (Inter-Disciplinary Press, 2015), edited by Mark Chekares and Marcia Heloisa

When we look at monsters from a safe distance, it is nothing but a glance. To preserve our pristine human identity, whenever we find the monstrous Other, we search for difference, not similarity. But what happens when we allow our gaze to linger and the face staring back at us looks uncannily familiar? When we lose the alterity factor and can no longer discern the boundaries that separate ‘us’ from ‘them’? The nine chapters in this volume investigate how terrifying the Other remains after we strip its façade and discover an unsettling likeness. Also, the saturation of monster imagery and verbiage contained in contemporary literature, film, music, and popular culture solidifies it as a topic that crosses diverse borders. The authors’ interdisciplinary approaches reassess issues such as the current stand of classical monsters, the persistence of animal imagery in Horror and the domestication strategies that reshaped monstrosity.

Introduction 
The Other that Therefore I am: An Unsettling Likeness
Marcia Heloisa Amarante Gonçalves and Mark Chekares

Part 1   Old Monsters, New Meanings: Horror’s Collective Memory Remembered

Developing Co-Dependence between Monsters and Children in Animated Feature Films
Mark Chekares

The Curious Case of Dr. Jekyll and Mr. Hyde: The Changing Face of the Monster
Simon Bacon

Part 2 The Monster Menagerie

Monstrous Heads on the Hero’s Body: Animal Art and Hybridity
Almudena Nido

The Devil Whisperer: Taming the Monstrous Beast in The Exorcist
Heloisa Amarante Gonçalves

Part 3 The Fearful Other

The Other(s) Uncontemplated: Monsters of the Other Side
Peyo Karpuzov

Madness, Stigma and Religion in American Horror Story: Asylum
Jessica Rosenberg, Adrienne Rosenberg and Samuel Julio Rosenberg

Part 4 Monstrosity Revisited: Shifting Identities in Supernatural Tales

Evil Is in the Eye of the Beholder: Snow White and the Evil Queen
Cristina Santos

Wolves in Sheep’s Clothing: Lycanthropy and Integrated Spaces in Contemporary Fairy Tale Adaptations
Shawn Edrei and Meyrav Koren-Kuik

‘Once Upon a Time’ and the ‘Happily Ever After’
Hannah Madsen

Patheos Book Review: The Paranormal Conspiracy

51oeyxWOCYL._SY344_BO1,204,203,200_A volume at the Patheos Book club recently caught my attention. It is The Paranormal Conspiracy: The Truth About Ghosts, Aliens and Mysterious Beings (Chosen Books, 2015) by Timothy Dailey, Ph.D. An excerpt from the book and an interview with the author are available at Patheos. From time to time we explore the paranormal at TheoFantastique, and this volume seemed like a natural one to review.

Early on in this book Dailey tells the reader what his volume is all about. He states, “Our premise is that a diabolical conspiracy is afoot: a plot to lead human hearts and souls eternally astray” (13). This includes “occult manifestations” and “the paranormal worldview” that Dailey associates with demons, resulting in a Paranormal Conspiracy, “the diabolical plot to overthrow the Judeo-Christian worldview and plunge the world into darkness and chaos not unlike that of the cinematic zombie apocalypse” (12, 13).

Dailey develops his thesis through twelve chapters of analysis of various expressions of the paranormal and aspects of Western esotericism. This includes the shamanic tales of Carlos Castaneda, Bigfoot, UFOs and the alien abduction stories of Whitley Strieber, the Theosophy of Helena Blavatsky, psychic mediums, cyber mysticism influenced by Aleister Crowley, and the mythic figure of The Trickster.

For those familiar with evangelical treatments of “the occult” and various new religious movements or “cults,” Dailey’s volume represents nothing new that hasn’t been done in years past by authors like Walter Martin, Gary North, John Ankerberg, John Weldon, and Frank Peretti. Although some of the topics Dailey explores may be more recent than those found in previous apologetic tomes, his approach is anything but novel as he links various phenomenon together and connects them to his evangelical Christian worldview by way of the cosmic dualism of God and the devil, spiritual warfare, and counterfeit spirituality, with a strong dose of conspiracy thrown in. For evangelicals books like Dailey’s provide a boundary maintenance function, identifying alleged evil phenomena, and comforting the reader with the assurance that in the end God will triumph over these spiritual forces. It’s too bad that just as some scholars are starting to take a serious look at what the paranormal might mean for religion and human experience through publications like Nova Religio and Paranthropology, that this volume seeks to bypass such inquiry as theologically out of bounds. But whether one agrees with Dailey’s paradigm and understanding of the paranormal or not, there are aspects of The Paranormal Conspiracy that are problematic.

First is the issue of definitions. The paranormal is a fringe area of scholarly study, and one that finds little support in the academic study of religion. For this and other reasons it is difficult to find formal definitions of the paranormal in the scholarly literature. When it comes to definitions in this area it is somewhat similar to defining art or pornography: we think we know it when we see it. Dailey’s treatment is similar in this regard in that he includes various things that have come to be associated with the paranormal in popular discourse including cryptozoology (Bigfoot), UFOs, various psychic phenomena, as well as UFOs and alien abduction. But Dailey also includes certain expressions of the Western esoteric tradition in the study of new religions, including Theosophy and Helena Blavatsky, and the Thelemic magick of Aleister Crowley. All of these are included under the banner of “the paranormal,” but Dailey also describes them broadly as “the occult.” Distinguishing between the paranormal and the occult can often depend on who is doing the analysis, but this volume includes a major deficit by way of a failure to introduce and ground the subject matter by way of definitions and discussion of the context of religious studies and new religious movements.

Second Dailey also lacks a sense of self-awareness and self-critique in regards to what is classified as legitimate and illegitimate religious experience. As scholars like Jeffrey Kripal have noted, there is a tendency to privilege mainstream religious practices as normative and to see the paranormal as heterodox and fringe. As a result, Dailey easily dismisses the paranormal, while failing to note that glossalalia, miraculous healings, spirit possession and exorcism from the Christian tradition bear strong affinities if not parallels with paranormal experiences.

Third, like most evangelicals writing on “the occult,” Dailey shows little depth by way of an awareness of the Western esoteric tradition. He writes about the occult and the “New Age,” but fails to situate this within the growing body of scholarly work on Western esotericism. And while he is concerned about the popularity of paranormal beliefs, Dailey still seems to consider esotericism fringe, rather than demonstrating an awareness of it as the third major religious tradition in the West alongside Christianity and Judaism as J. Gordon Melton has noted.

Fourth, one of the chapters focuses on the shamanic volumes of Carlos Castaneda. Here Dailey’s argument for a paranormal conspiracy is severely undermined as one of the links in his conspiratorial chain is suspect. Serious criticisms have been levied against Castaneda, so much so that the author is dismissed as a fraud in some circles. As Robert Marshall writes in Salon.com:

Among anthropologists, there’s no longer a debate. Professor William W. Kelly, chairman of Yale’s anthropology department, told me, “I doubt you’ll find an anthropologist of my generation who regards Castaneda as anything but a clever con man. It was a hoax, and surely don Juan never existed as anything like the figure of his books. Perhaps to many it is an amusing footnote to the gullibility of naive scholars, although to me it remains a disturbing and unforgivable breach of ethics.”

Finally, Dailey’s discussion of “The Zombie Apocalypse” in Chapter 11 is extremely disappointing. He devotes two pages to the current zombie phenomenon in popular culture, but the rest of the chapter is devoted to the author’s concern over “a primal fear of dark primordial forces that stalk the modern world” (163). Using this approach to zombies, Dailey misses a real opportunity to discuss the cultural, social, psychological, and theological significance of these monstrous icons in popular culture.

For those interested in more informed and balanced explorations of the paranormal and Western esotericism there are other books that will be far more helpful. These include Paranormal America by Christopher Bader, F. Carson Mencken, and Joseph Baker; Haunted Ground by Darryl Caterine; Authors of the Impossible by Jeffrey Kripal; UFO Religions edited by Christopher Partridge; and The Occult World also edited by Christopher Partridge.

Related posts:

“Bader, Mencken, and Baker: Paranormal America”

“Jeffrey Kripal Interview on Mutants & Mystics: Comics, Sci-Fi and the Paranormal”

“Jeffrey Kripal – Authors of the Impossible: The Paranormal and the Sacred”

Exploring the Gothic at The John Rylands Library

video-still-darkness-and-lightDarkness and Light reveals how Gothic architecture and anatomy inspired and influenced a literary genre, and how the lasting legacy of Gothic can be found in art, films and subculture today. From the fantastical to the macabre, this intriguing exhibition unearths Gothic treasures from the Library’s Special Collections to investigate subjects as varied as the role of women in the Gothic movement, advances in medical science and classic literature.

The exhibition also showcases artwork by students from the University of Salford and a gallery of photographic portraits of ‘Goths’, celebrating diversity and inviting visitors to explore what Gothic means to them.

“Nosferatu” director’s stolen head, and occult ritual?

MurnauIn a previous post I discussed an article in Fortean Times that mentioned connections between Western esotericism and an individual connected to the classic silent horror film Nosferatu. Just yesterday the media, in places like The Guardian, reported about a grave robbery in the form of someone stealing the head from the corpse of Nosferatu‘s director, F. W. Murnau. Some of these reports are interesting not simply because of the morbid nature of the theft in connection with a horror film, but also a particular speculation being offered. As The Guardian writes:

Wax residue is said to have been found near the grave, suggesting that candles had been lit, and a possible occult motive for the theft.

The Washington Post was even more bold in its connection of the incident to alleged occult activity:

A candle left at the scene led to speculation that Murnau’s corpse was part of a ceremony staged by “Satanists” or those practicing “black magic,” as Ihlefeldt put it.

And at the conclusion:

Given the lasting power of Murnau’s creation, it’s not hard to understand why an errant German Satanist would want to make off with his skull — which is little comfort to Ihlefeldt.

This is an interesting line of reasoning from wax residue to candles to an occult motive if not an outright satanic ceremony. Isn’t it possible that candles were used for lighting during the theft? Why should candle wax be tied to the occult rather than other possibilities? What occult or satanic practices and beliefs require grave robbing and the heads of dead horror directors?

It seems to me as if the media couldn’t avoid sensationalism in regards to this story, and that fear and satanic panic regarding “the occult” or Western esoteric tradition is alive and well.

CFP: “Expanding the Scope of Horror” – special journal issue of Interdisciplinary Humanities

spring-2014-large“Expanding the Scope of Horror”; special journal issue of Interdisciplinary Humanities
Humanities Education and Research Association
Fall 2016: Expanding the Scope of Horror

Guest Editors: Edmund Cueva and William Novak

The proposed set of essays and book reviews would have as its main objective to offer a new practical model for research and analysis as an alternative to the rigid and dichotomous methodologies often used in investigations on horror. Currently, most of the scholarship either tends to situate horror on the fringe of academic research and therefore not worthy of attention. Or, research isolates and defines horror as being strictly the intellectual property of those who are experts in literature or film.

The proposed paradigm would seek to create a multidisciplinary investigatory paradigm that will bring together into productive discussion such varied disciplines as classics, art history, philosophy, architecture, psychology, religious studies, history, gender studies, music, and the traditionally associated areas of literature and film.

The special issue would serve as a starting point for future discussion and research on horror in all of its multiple and complex forms. Please send inquiries and submissions to: Edmund Cueva at cuevae@uhd.edu and William Nowak at nowakw@uhd.edu.
Contact Info:

Edmund Cueva at cuevae@uhd.edu and William Nowak at nowakw@uhd.edu.

Titles of Interest: Science Fiction Theology

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James McGrath recently drew attention to this volume on his blog.

Science Fiction Theology: Beauty and the Transformation of the Sublime
(Baylor University Press, 2015)
by Alan Gregory

Science fiction imagines a universe teeming with life and thrilling possibility, but also hidden and hideous dangers. Christian theology, often a polemical target for science fiction, reflects on the plenitude out of which and for which the universe exists. In Science Fiction Theology, Alan Gregory investigates the troubled relationship between science fiction and Christianity and, in particular, how both have laid claim to the modern idea of sublimity.

To the extent that science fiction has appropriated―and reveled―in the sublime, it has persisted in a sometimes explicit, sometimes subterranean, relationship with Christian theology. From its seventeenth-century beginnings, the sublime, with its representations of immensity, has informed the imagining of God. When science fiction critiques or reinvents religion, its writers have engaged in a literary guerrilla war with Christianity over what is truly sublime and divine.

Gregory examines the sublime and its implicit theologies as they appear in early American pulp science fiction, the horror writing of H. P. Lovecraft, science fiction narratives of evolution and apocalypse, and the work of Philip K. Dick. Ironically, science fiction’s tussle with Christianity hides the extent to which the sublime, especially in popular culture, serves to distort the classical Christian understanding of God, secularizing that God and rendering God’s transcendence finite. But by turning from the sublime to a consideration of the beautiful, Gregory shows that both Christian and science-fictional imaginations may discover a new and surprising conversation.

Behind the scenes of AMC’s HUMAN

AMC is launching a new series that explores robotics and artificial intelligence. It is called HUMANS. This behind the scenes trailer provides some background, and it looks as if it will contribute to the growing collection of science fiction addressing this important topic.

Christopher Lee Passes Away

BRITAIN-ENTERTAINMENT-CINEMA-BOND-SKYFALLTheoFantastique is sad to report the loss of yet another genre icon. Sir Christopher Lee has passed away at the age of 93. He can now reunite with Peter Cushing and Vincent Price.

Disney’s Dark Side in the News

film8_1I recently came across two items that dovetail with the TheoFantastique interests in Disney and his exploration of the dark side through animation. The first is an item in USA Today titled “Walt Disney’s Curious Fascination with Death.” The article not only mentions projects where death is the focal point, as in The Skeleton Dance and “Night on Bald Mountain” from Fantasia, the article also quotes the work of scholar Gary Laderman to note how significant death was in other works of Disney. The article is worth exploring for those interested in Disney studies, and particularly his dark animation projects.

The second piece is news being reported in various outlets such as Verge that plans on are in the works to make “Night on Bald Mountain” into a live-action movie.

2nd call for submissions: “The Paranormal and Popular Culture”

trapped-1024x768Previously, a call for submissions was issued for a proposed volume, but we need a few more good abstracts to complete the volume.

With this second call for submissions we are are looking for proposals for essays to be included in an edited volume entitled The Paranormal and Popular Culture. Academic writers and independent scholars are invited to submit proposals spanning the wide range of topics on pop culture and the paranormal, and their connection to religion, including reflections on the full panoply of extraordinary beings (e.g. vampires, zombies, demons, ghosts, mutants, cyborgs, cryptoids, etc.) and extraordinary phenomena (e.g. psychic abilities, channeling, spontaneous combustion, magic, necromancy, etc.), as well as theoretical and/or historical reflections on supernaturalism and the paranormal, Fortean approaches to religion in popular culture.

Those interested in being considered as contributors should send an abstract to the co-editors, Darryl Caterine (cateridv@lemoyne.edu) and John Morehead (johnwmorehead@msn.com) by September 1. Our timeline is as follows: write up a proposal in September and pitch it to various publishers. Assuming we receive a timely and positive response from one or more of them, the tentative deadline for the essays would be February 2017.

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