New PDF release: Dimensions of Monstrosity in Contemporary Narratives:

By Andrew Hock-soon Ng

ISBN-10: 0230502989

ISBN-13: 9780230502987

ISBN-10: 1403944466

ISBN-13: 9781403944467

Interweaving psychoanalysis, gender and cultural stories, and postmodern theories of geopolitics, this research of the monster in modern narratives demonstrates that the monster (and monstrosity) is basically a cultural and ideological creation. Figures reminiscent of the serial killer, the vast baby, deformed our bodies and spatially-influenced monstrosity are thought of in texts through Peter Ackroyd, Bret Easton Ellis, and Angela Carter between others.

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The signs placed on the walls attest to Dyer’s evil design to perennially trap the inhabitants of London within the labyrinth. ‘Light of the grave’ is a false light, which leads only to death; and ‘vision’ is intricately allied with ‘fault’ and ‘chained’, suggesting a sense of place where the victim will be misdirected (‘faulty’ vision), and become metaphorically shackled. But as argued, Dyer’s architecture is also treacherous towards its creator. The pyramid, in its concreteness, may symbolise a ‘rising’ and perhaps, an escape route from a horizontal and flat labyrinthine structure, but its function suggests otherwise: it is a tomb, a place of death, and he who is buried in it will remain in it (as though trapped) forever.

Back in the city, Dyer actually makes a connection between time and architecture (Stonehenge) when he states that: Time is a vast Denful of Horrour, round about which a Serpent winds and in the winding bites itself by the Tail. Now, now is the Hour, every Hour, every part of an Hour, every Moment, which in its end does begin again and never ceases to end: a beginning continuing, always ending. (62) I will reserve discussion of this passage in detail for later; here, I want to argue that Dyer is confronted with the uncanny quality of architecture.

The signs placed on the walls attest to Dyer’s evil design to perennially trap the inhabitants of London within the labyrinth. ‘Light of the grave’ is a false light, which leads only to death; and ‘vision’ is intricately allied with ‘fault’ and ‘chained’, suggesting a sense of place where the victim will be misdirected (‘faulty’ vision), and become metaphorically shackled. But as argued, Dyer’s architecture is also treacherous towards its creator. The pyramid, in its concreteness, may symbolise a ‘rising’ and perhaps, an escape route from a horizontal and flat labyrinthine structure, but its function suggests otherwise: it is a tomb, a place of death, and he who is buried in it will remain in it (as though trapped) forever.

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Dimensions of Monstrosity in Contemporary Narratives: Theory, Psychoanalysis, Postmodernism by Andrew Hock-soon Ng


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