In this examination of the monster as cultural object, Judith Halberstam offers a rereading of the monstrous that revises our view of the Gothic. Moving from the nineteenth century and the works of Shelley, Stevenson, Stoker, and Wilde to contemporary horror film exemplified by such movies as "Silence of the Lambs," "Texas Chainsaw Massacre," and "Candyman," "Skin Shows" understands the Gothic as a versatile technology, a means of producing monsters that is constantly being rewritten by historically and culturally conditioned fears generated by a shared sense of otherness and difference.
Deploying feminist and queer approaches to the monstrous body, Halberstam views the Gothic as a broad-based cultural phenomenon that supports and sustains the economic, social, and sexual hierarchies of the time. She resists familiar psychoanalytic critiques and cautions against any interpretive attempt to reduce the affective power of the monstrous to a single factor. The nineteenth-century monster is shown, for example, as configuring otherness as an amalgam of race, class, gender, and sexuality. Invoking Foucault, Halberstam describes the history of monsters in terms of its shifting relation to the body and its representations. As a result, her readings of familiar texts are radically new. She locates psychoanalysis itself within the gothic tradition and sees sexuality as a beast created in nineteenth century literature. Excessive interpretability, Halberstam argues, whether in film, literature, or in the culture at large, is the actual hallmark of monstrosity.
具体描述
读后感
也许，喜欢纹身的，并非都是黑社会的，一些玩得疯狂的老外，以为自己的皮肤是画布，弄得跟斑马似的，糁人。
评分也许，喜欢纹身的，并非都是黑社会的，一些玩得疯狂的老外，以为自己的皮肤是画布，弄得跟斑马似的，糁人。
评分也许，喜欢纹身的，并非都是黑社会的，一些玩得疯狂的老外，以为自己的皮肤是画布，弄得跟斑马似的，糁人。
评分也许，喜欢纹身的，并非都是黑社会的，一些玩得疯狂的老外，以为自己的皮肤是画布，弄得跟斑马似的，糁人。
评分也许，喜欢纹身的，并非都是黑社会的，一些玩得疯狂的老外，以为自己的皮肤是画布，弄得跟斑马似的，糁人。
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评分欣然接受各种对电影无中生有的解读，大概觉得“反正这东西本来就没内涵”，但请放开文学作品----
评分欣然接受各种对电影无中生有的解读，大概觉得“反正这东西本来就没内涵”，但请放开文学作品----
评分欣然接受各种对电影无中生有的解读，大概觉得“反正这东西本来就没内涵”，但请放开文学作品----
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