Les monstres d’Aubrey Beardsley et le « grotesque darwinien » by Catherine Delyfer

“…This seems especially true in the case of Aubrey Beardsley’s graphic artwork where grotesque monsters abound. In Beardsley’s art, as in Darwin’s writings, evolution is predicated on the apparition of randomly deviant and monstrous forms. …”
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Les Wayana de Guyane française sur les traces de leur histoire by Marie Fleury, Tasikale Alupki, Aimawale Opoya, Waiso Aloïké

“…Indeed, the migration took place in a context of war (ethnic and colonial), and attacks of aquatic monsters attacks symbolize the dangers of the river. …”
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As Spirits Speak: Interaction in Wauja Exoteric Ritual by Christopher Ball

“…I examine a Wauja (Xingu Arawak) ritual session of « bringing spirits », wherein a sick person is aided by a conversation he has with the spirit-monsters that are afflicting him, whom he hopes by virtue of this very conversation to turn from pathogenic to guardian spirits. …”
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“But lo the thing’s inside and can you guess his shape?”: the semiotic elaboration of Cormac McCarthy’s autotextual creature in his early novels and No Country for Old Men by Yvonne-Marie Rogez

“…It appears to function through the construction of doubles who reveal the shape of the monsters within the main characters, beginning with Kenneth Rattner and Marion Sylder and climaxing with Moss and Chigurh. …”
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Beyond Anything Realism Can Represent? Monstrous Crime in Marx’s Victorian Novel by Jayson Althofer

“…The article argues that, because actuality under the rule of Capital is structurally and monstrously criminal, Marx’s Gothic constitutes a realistic medium to represent criminal monsters and structures.…”
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La représentation paradoxale du chemin de fer chez Dickens : fantastique et mythe au service d’une peinture de la modernité dans Dombey and Son (1848) et « No. 1 Branch Line. The S... by Françoise Dupeyron-Lafay

“…The reason may lie in the fact that trains or factories, belching fumes and staining everything about them, were seen as dangerous, all-powerful, voracious monsters and that writers were powerless in front of such disturbing, unprecedented phenomena and had to fall back on familiar, reassuring narrative techniques to come to terms with them. …”
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Arte e tecnologia in Corea del Sud: tre mostre per una prospettiva occidentale by Francesco Spampinato

“…The exhibitions surveyed, which sealed the importance of these artists on a global scale, are the following: Paik's Exposition of Music - Electronic Television at Galerie Parnass in Wuppertal, Germany, 1963; Bul's The Monsters Show at Le Consortium in Dijon, France, 2002; and Yi's Life Is Cheap at the Guggenheim Museum in New York, United States, 2017. …”
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Grendel’s Mere, Beowulf’s Dive, and the Visio Sancti Pauli by Rafael Pascual

“…Abram, on the other hand, thinks that it is a kenning-like expression to refer to light emanated from the treasures lying within the monsters’ hall. This essay agrees with them that the phrase means ‘fire in the water’, but it argues that the reference is to the ordinary fire burning within the hall (mentioned in 1516b). …”
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The Economics of Immortality: The Demi-Immortal Oriental, Enlightenment Vitalism, and Political Economy in Dracula by J. Jeffrey Franklin

“…In Halberstam’s terms, two of the monsters that late-Victorian ideologies wanted to disavow were any form of immortality other than the traditional Christian one and any form of economics other than Adam Smith’s naturally free circulation and exchange. …”
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