S Accounts of the Count: Dracula Rising - Revision history

Christian Lassen: /* Session Two, April 17: Theory Session */

2025-04-16T08:10:10Z

Session Two, April 17: Theory Session

← Older revision		Revision as of 10:10, 16 April 2025
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	* Building on Eve Sedgwick's observations, Halberstam points out that the Gothic "inspires fear and desire at the same time - fear of and desire for the other, fear of and desire for the possible latent perversity lurking within the reader herself. But fear and desire within the same body produce a disciplinary effect. In other words, the Victorian public could consume Gothic novels in vast quantities without regarding such a material as debased because Gothic gave readers the thrill of reading about so-called perverse activities while identifying aberrant sexuality as a condition of otherness and as an essential trait of foreign bodies. The monster, of course, marks the distance between the perverse and the supposedly disciplined sexuality of the reader." (Halberstam 13)		* Building on Eve Sedgwick's observations, Halberstam points out that the Gothic "inspires fear and desire at the same time - fear of and desire for the other, fear of and desire for the possible latent perversity lurking within the reader herself. But fear and desire within the same body produce a disciplinary effect. In other words, the Victorian public could consume Gothic novels in vast quantities without regarding such a material as debased because Gothic gave readers the thrill of reading about so-called perverse activities while identifying aberrant sexuality as a condition of otherness and as an essential trait of foreign bodies. The monster, of course, marks the distance between the perverse and the supposedly disciplined sexuality of the reader." (Halberstam 13)

	Discuss and comment on the above quote by sounding out how the ambivalent affective responses - i.e., fear/anxiety and pleasure - to Gothic monstrosity produce both paranoid and disciplining effects? How are disciplining and paranoia as psychological mechanisms inserted into the respective texts? And in what ways may the insertion of paranoia in fact serve as a means of social control and surveillance- insofar as it encourages readers to police and to discipline (in the Foucauldian sense of the term) their own subjective behaviours or even their sense of self?		Discuss and comment on the above quote by sounding out how the ambivalent affective responses - i.e., fear/anxiety and pleasure - to Gothic monstrosity produce both paranoid and disciplining effects? How are disciplining and paranoia as psychological mechanisms inserted into the respective texts? And in what ways may the insertion of paranoia in fact serve as a means of social control and surveillance- insofar as it encourages readers to police and to discipline (in the Foucauldian sense of the term) their own subjective behaviours, desires, or even their sense of self? How do these mechanisms succeed in producing ''homosexual panic'' as a condition of social consequence?

	'''Preparatory Session''': Luisa Holsten, Omar Zerarka, Selin Sedef		'''Preparatory Session''': Luisa Holsten, Omar Zerarka, Selin Sedef

Christian Lassen: /* Session Two, April 17: Theory Session */

2025-04-16T08:07:25Z

Session Two, April 17: Theory Session

← Older revision		Revision as of 10:07, 16 April 2025
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	''Group III: Affective Responses to Monstrosity''		''Group III: Affective Responses to Monstrosity''

	* Building on Eve Sedgwick's observations, Halberstam points out that the Gothic "inspires fear and desire at the same time - fear of and desire for the other, fear of and desire for the possible latent perversity lurking within the reader herself. But fear and desire within the same body produce a disciplinary effect. In other words, the Victorian public could consume Gothic novels in vast quantities without regarding such a material as debased because Gothic gave readers the thrill of reading about so-called perverse activities while identifying aberrant sexuality as a condition of otherness and as an essential trait of foreign bodies. The monster, of course, marks the distance between the perverse and the supposedly disciplined sexuality of the reader." (13)		* Building on Eve Sedgwick's observations, Halberstam points out that the Gothic "inspires fear and desire at the same time - fear of and desire for the other, fear of and desire for the possible latent perversity lurking within the reader herself. But fear and desire within the same body produce a disciplinary effect. In other words, the Victorian public could consume Gothic novels in vast quantities without regarding such a material as debased because Gothic gave readers the thrill of reading about so-called perverse activities while identifying aberrant sexuality as a condition of otherness and as an essential trait of foreign bodies. The monster, of course, marks the distance between the perverse and the supposedly disciplined sexuality of the reader." (Halberstam 13)

	Discuss and comment on the above quote by sounding out how the ambivalent affective responses - i.e., fear/anxiety and pleasure - to Gothic monstrosity produce both paranoid and disciplining effects? How are disciplining and paranoia as psychological mechanisms inserted into the respective texts? And in what ways may the insertion of paranoia in fact serve as a means of social control and surveillance- insofar as it encourages readers to police and to discipline (in the Foucauldian sense of the term) their own subjective behaviours or even their sense of self?		Discuss and comment on the above quote by sounding out how the ambivalent affective responses - i.e., fear/anxiety and pleasure - to Gothic monstrosity produce both paranoid and disciplining effects? How are disciplining and paranoia as psychological mechanisms inserted into the respective texts? And in what ways may the insertion of paranoia in fact serve as a means of social control and surveillance- insofar as it encourages readers to police and to discipline (in the Foucauldian sense of the term) their own subjective behaviours or even their sense of self?

Christian Lassen: /* Session Two, April 17: Theory Session */

2025-04-16T08:04:36Z

Session Two, April 17: Theory Session

← Older revision		Revision as of 10:04, 16 April 2025
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	* "Monstrosity (and the fear it gives rise to) is historically conditioned rather than a psychological universal." (Halberstam 6)		* "Monstrosity (and the fear it gives rise to) is historically conditioned rather than a psychological universal." (Halberstam 6)
	* "How sexuality became the dominant mark of otherness is a question that we may begin to answer by deconstructing Victorian Gothic monsters and by examining the constitutive features of the horror they represent. If, for example, many nineteenth-century monsters seem to produce fears more clearly related to racial identity than gender identity, how is it that we as modern readers have been unable to discern these more intricate contours of difference?" (7)		* "How sexuality became the dominant mark of otherness is a question that we may begin to answer by deconstructing Victorian Gothic monsters and by examining the constitutive features of the horror they represent. If, for example, many nineteenth-century monsters seem to produce fears more clearly related to racial identity than gender identity, how is it that we as modern readers have been unable to discern these more intricate contours of difference?" (Halberstam 7)

	Discuss and comment on the above quotes by comparing the constructions of Gothic monstrosity with regard to their respective historical and cultural contexts. How is the cultural production of monstrosity changing? And how do current discursive formations impact both our reading of past monsters and our production of present-day monsters? Using ''Dracula'' as an example, what are some of the othernesses attributed to the vampire? How do theses othernesses mirror Victorian anxieties about discourses such as gender, sexuality, nationality, the Empire, etc.? How do current anxieties and fears inform present-day readings of the novel?		Discuss and comment on the above quotes by comparing the constructions of Gothic monstrosity with regard to their respective historical and cultural contexts. How is the cultural production of monstrosity changing? And how do current discursive formations impact both our reading of past monsters and our production of present-day monsters? Using ''Dracula'' as an example, what are some of the othernesses attributed to the vampire? How do theses othernesses mirror Victorian anxieties about discourses such as gender, sexuality, nationality, the Empire, etc.? How do current anxieties and fears inform present-day readings of the novel?

Christian Lassen: /* Session Two, April 17: Theory Session */

2025-04-16T08:03:48Z

Session Two, April 17: Theory Session

← Older revision		Revision as of 10:03, 16 April 2025
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	''Group II: Monstrosity and Historical/Cultural Change''		''Group II: Monstrosity and Historical/Cultural Change''

	* "Monstrosity (and the fear ~~bit~~ gives rise to) is historically conditioned rather than a psychological universal." (Halberstam 6)		* "Monstrosity (and the fear it gives rise to) is historically conditioned rather than a psychological universal." (Halberstam 6)
	* "How sexuality became the dominant mark of otherness is a question that we may begin to answer by deconstructing Victorian Gothic monsters and by examining the constitutive features of the horror they represent. If, for example, many nineteenth-century monsters seem to produce fears more clearly related to racial identity than gender identity, how is it that we as modern readers have been unable to discern these more intricate contours of difference?" (7)		* "How sexuality became the dominant mark of otherness is a question that we may begin to answer by deconstructing Victorian Gothic monsters and by examining the constitutive features of the horror they represent. If, for example, many nineteenth-century monsters seem to produce fears more clearly related to racial identity than gender identity, how is it that we as modern readers have been unable to discern these more intricate contours of difference?" (7)

Christian Lassen: /* Session Two, April 17: Theory Session */

2025-04-16T08:02:46Z

Session Two, April 17: Theory Session

← Older revision		Revision as of 10:02, 16 April 2025
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	* "Gothic Fiction of the nineteenh century specifically used the body of the monster to produce race, class, gender, and sexuality within narratives about the relation between subjectivities and certain bodies" (Halberstam 6)		* "Gothic Fiction of the nineteenh century specifically used the body of the monster to produce race, class, gender, and sexuality within narratives about the relation between subjectivities and certain bodies" (Halberstam 6)

	Discuss and comment on the above quotes by looking at the narratological design and the character constellation of some of our primary texts. How are the relationships between monster/vampire and narrator/focaliser represented in constellations like Lord Ruthven/Aubrey; Carmilla/Laura; Mina-Lucy-Jonathan~~/Dracula~~? How are the respective identities of monster/vampire and narrator and/or focaliser construed?		Discuss and comment on the above quotes by looking at the narratological design and the character constellation of some of our primary texts. How are the relationships between monster/vampire and narrator/focaliser represented in constellations like Lord Ruthven/Aubrey; Carmilla/Laura; Dracula/Mina-Lucy-Jonathan? How are the respective identities of monster/vampire and narrator and/or focaliser construed?

	''Group II: Monstrosity and Historical/Cultural Change''		''Group II: Monstrosity and Historical/Cultural Change''

Christian Lassen: /* Session Two, April 17: Theory Session */

2025-04-16T08:00:55Z

Session Two, April 17: Theory Session

← Older revision		Revision as of 10:00, 16 April 2025
Line 105:		Line 105:
	* Building on Eve Sedgwick's observations, Halberstam points out that the Gothic "inspires fear and desire at the same time - fear of and desire for the other, fear of and desire for the possible latent perversity lurking within the reader herself. But fear and desire within the same body produce a disciplinary effect. In other words, the Victorian public could consume Gothic novels in vast quantities without regarding such a material as debased because Gothic gave readers the thrill of reading about so-called perverse activities while identifying aberrant sexuality as a condition of otherness and as an essential trait of foreign bodies. The monster, of course, marks the distance between the perverse and the supposedly disciplined sexuality of the reader." (13)		* Building on Eve Sedgwick's observations, Halberstam points out that the Gothic "inspires fear and desire at the same time - fear of and desire for the other, fear of and desire for the possible latent perversity lurking within the reader herself. But fear and desire within the same body produce a disciplinary effect. In other words, the Victorian public could consume Gothic novels in vast quantities without regarding such a material as debased because Gothic gave readers the thrill of reading about so-called perverse activities while identifying aberrant sexuality as a condition of otherness and as an essential trait of foreign bodies. The monster, of course, marks the distance between the perverse and the supposedly disciplined sexuality of the reader." (13)

	Discuss and comment on the above quote by sounding out how the ambivalent affective responses - i.e., fear/anxiety and pleasure - to Gothic monstrosity produce both paranoid and disciplining effects? How are disciplining and paranoia as psychological mechanisms inserted into the respective texts?		Discuss and comment on the above quote by sounding out how the ambivalent affective responses - i.e., fear/anxiety and pleasure - to Gothic monstrosity produce both paranoid and disciplining effects? How are disciplining and paranoia as psychological mechanisms inserted into the respective texts? And in what ways may the insertion of paranoia in fact serve as a means of social control and surveillance- insofar as it encourages readers to police and to discipline (in the Foucauldian sense of the term) their own subjective behaviours or even their sense of self?

	'''Preparatory Session''': Luisa Holsten, Omar Zerarka, Selin Sedef		'''Preparatory Session''': Luisa Holsten, Omar Zerarka, Selin Sedef

Christian Lassen: /* Session Two, April 17: Theory Session */

2025-04-16T07:57:20Z

Session Two, April 17: Theory Session

← Older revision		Revision as of 09:57, 16 April 2025
Line 92:		Line 92:
	* "Gothic Fiction of the nineteenh century specifically used the body of the monster to produce race, class, gender, and sexuality within narratives about the relation between subjectivities and certain bodies" (Halberstam 6)		* "Gothic Fiction of the nineteenh century specifically used the body of the monster to produce race, class, gender, and sexuality within narratives about the relation between subjectivities and certain bodies" (Halberstam 6)

	Discuss and comment on the above quotes by looking at the narratological design and the character constellation of some of our primary texts. How are the relationships between monster/vampire and narrator/focaliser represented in constellations like Lord Ruthven/Aubrey; Carmilla/Laura; Mina-Lucy-Jonathan/Dracula? How are the respective identities of monster/vampire and narrator and/or focaliser construed~~? How are disciplining and paranoia as psychological mechanisms inserted into the respective texts~~?		Discuss and comment on the above quotes by looking at the narratological design and the character constellation of some of our primary texts. How are the relationships between monster/vampire and narrator/focaliser represented in constellations like Lord Ruthven/Aubrey; Carmilla/Laura; Mina-Lucy-Jonathan/Dracula? How are the respective identities of monster/vampire and narrator and/or focaliser construed?

	''Group II: Monstrosity and Historical/Cultural Change''		''Group II: Monstrosity and Historical/Cultural Change''
Line 105:		Line 105:
	* Building on Eve Sedgwick's observations, Halberstam points out that the Gothic "inspires fear and desire at the same time - fear of and desire for the other, fear of and desire for the possible latent perversity lurking within the reader herself. But fear and desire within the same body produce a disciplinary effect. In other words, the Victorian public could consume Gothic novels in vast quantities without regarding such a material as debased because Gothic gave readers the thrill of reading about so-called perverse activities while identifying aberrant sexuality as a condition of otherness and as an essential trait of foreign bodies. The monster, of course, marks the distance between the perverse and the supposedly disciplined sexuality of the reader." (13)		* Building on Eve Sedgwick's observations, Halberstam points out that the Gothic "inspires fear and desire at the same time - fear of and desire for the other, fear of and desire for the possible latent perversity lurking within the reader herself. But fear and desire within the same body produce a disciplinary effect. In other words, the Victorian public could consume Gothic novels in vast quantities without regarding such a material as debased because Gothic gave readers the thrill of reading about so-called perverse activities while identifying aberrant sexuality as a condition of otherness and as an essential trait of foreign bodies. The monster, of course, marks the distance between the perverse and the supposedly disciplined sexuality of the reader." (13)

	How are disciplining and paranoia as psychological mechanisms inserted into the respective texts?		Discuss and comment on the above quote by sounding out how the ambivalent affective responses - i.e., fear/anxiety and pleasure - to Gothic monstrosity produce both paranoid and disciplining effects? How are disciplining and paranoia as psychological mechanisms inserted into the respective texts?

	'''Preparatory Session''': Luisa Holsten, Omar Zerarka, Selin Sedef		'''Preparatory Session''': Luisa Holsten, Omar Zerarka, Selin Sedef

Christian Lassen: /* Session Two, April 17: Theory Session */

2025-04-16T07:52:56Z

Session Two, April 17: Theory Session

← Older revision		Revision as of 09:52, 16 April 2025
Line 103:		Line 103:
	''Group III: Affective Responses to Monstrosity''		''Group III: Affective Responses to Monstrosity''

	Building on Eve Sedgwick's observations, Halberstam points out that the Gothic "inspires fear and desire at the same time - fear of and desire for the other, fear of and desire for the possible latent perversity lurking within the reader herself. But fear and desire within the same body produce a disciplinary effect. In other words, the Victorian public could consume Gothic novels in vast quantities without regarding such a material as debased because Gothic gave readers the thrill of reading about so-called perverse activities while identifying aberrant sexuality as a condition of otherness and as an essential trait of foreign bodies. The monster, of course, marks the distance between the perverse and the supposedly disciplined sexuality of the reader." (13)		* Building on Eve Sedgwick's observations, Halberstam points out that the Gothic "inspires fear and desire at the same time - fear of and desire for the other, fear of and desire for the possible latent perversity lurking within the reader herself. But fear and desire within the same body produce a disciplinary effect. In other words, the Victorian public could consume Gothic novels in vast quantities without regarding such a material as debased because Gothic gave readers the thrill of reading about so-called perverse activities while identifying aberrant sexuality as a condition of otherness and as an essential trait of foreign bodies. The monster, of course, marks the distance between the perverse and the supposedly disciplined sexuality of the reader." (13)

			How are disciplining and paranoia as psychological mechanisms inserted into the respective texts?

	'''Preparatory Session''': Luisa Holsten, Omar Zerarka, Selin Sedef		'''Preparatory Session''': Luisa Holsten, Omar Zerarka, Selin Sedef

Christian Lassen: /* Session Two, April 17: Theory Session */

2025-04-16T07:52:04Z

Session Two, April 17: Theory Session

← Older revision		Revision as of 09:52, 16 April 2025
Line 97:		Line 97:

	* "Monstrosity (and the fear bit gives rise to) is historically conditioned rather than a psychological universal." (Halberstam 6)		* "Monstrosity (and the fear bit gives rise to) is historically conditioned rather than a psychological universal." (Halberstam 6)
	* "How sexuality became the dominant mark of otherness is a question that we may begin to answer by deconstructing Victorian Gothic monsters and by examining the constitutive features of the horror they represent. If, for example, many nineteenth-century monsters seem to produce fears more clearly related to racial identity than gender identity, how is it that we as modern readers have been unable to discern these more intricate contours of difference?"		* "How sexuality became the dominant mark of otherness is a question that we may begin to answer by deconstructing Victorian Gothic monsters and by examining the constitutive features of the horror they represent. If, for example, many nineteenth-century monsters seem to produce fears more clearly related to racial identity than gender identity, how is it that we as modern readers have been unable to discern these more intricate contours of difference?" (7)

	Discuss and comment on the above quotes by comparing the constructions of Gothic monstrosity with regard to their respective historical and cultural contexts. How is the cultural production of monstrosity changing? And how do current discursive formations impact both our reading of past monsters and our production of present-day monsters? Using ''Dracula'' as an example, what are some of the othernesses attributed to the vampire? How do theses othernesses mirror Victorian anxieties about discourses such as gender, sexuality, nationality, the Empire, etc.? How do current anxieties and fears inform present-day readings of the novel?		Discuss and comment on the above quotes by comparing the constructions of Gothic monstrosity with regard to their respective historical and cultural contexts. How is the cultural production of monstrosity changing? And how do current discursive formations impact both our reading of past monsters and our production of present-day monsters? Using ''Dracula'' as an example, what are some of the othernesses attributed to the vampire? How do theses othernesses mirror Victorian anxieties about discourses such as gender, sexuality, nationality, the Empire, etc.? How do current anxieties and fears inform present-day readings of the novel?

			''Group III: Affective Responses to Monstrosity''

			Building on Eve Sedgwick's observations, Halberstam points out that the Gothic "inspires fear and desire at the same time - fear of and desire for the other, fear of and desire for the possible latent perversity lurking within the reader herself. But fear and desire within the same body produce a disciplinary effect. In other words, the Victorian public could consume Gothic novels in vast quantities without regarding such a material as debased because Gothic gave readers the thrill of reading about so-called perverse activities while identifying aberrant sexuality as a condition of otherness and as an essential trait of foreign bodies. The monster, of course, marks the distance between the perverse and the supposedly disciplined sexuality of the reader." (13)

	'''Preparatory Session''': Luisa Holsten, Omar Zerarka, Selin Sedef		'''Preparatory Session''': Luisa Holsten, Omar Zerarka, Selin Sedef

Christian Lassen: /* Session Two, April 17: Theory Session */

2025-04-16T07:41:30Z

Session Two, April 17: Theory Session

← Older revision		Revision as of 09:41, 16 April 2025
Line 99:		Line 99:
	* "How sexuality became the dominant mark of otherness is a question that we may begin to answer by deconstructing Victorian Gothic monsters and by examining the constitutive features of the horror they represent. If, for example, many nineteenth-century monsters seem to produce fears more clearly related to racial identity than gender identity, how is it that we as modern readers have been unable to discern these more intricate contours of difference?"		* "How sexuality became the dominant mark of otherness is a question that we may begin to answer by deconstructing Victorian Gothic monsters and by examining the constitutive features of the horror they represent. If, for example, many nineteenth-century monsters seem to produce fears more clearly related to racial identity than gender identity, how is it that we as modern readers have been unable to discern these more intricate contours of difference?"

	Discuss and comment on the above quotes by comparing the constructions of Gothic monstrosity with regard to their respective historical and cultural contexts. How is the cultural production of monstrosity changing? And how do current discursive formations impact both our reading of past monsters and our production of present-day monsters? Using ''Dracula'' as an example, what are some of the othernesses attributed to the vampire? How do theses othernesses mirror Victorian anxieties about discourses such as gender, sexuality, nationality, the Empire, etc.?		Discuss and comment on the above quotes by comparing the constructions of Gothic monstrosity with regard to their respective historical and cultural contexts. How is the cultural production of monstrosity changing? And how do current discursive formations impact both our reading of past monsters and our production of present-day monsters? Using ''Dracula'' as an example, what are some of the othernesses attributed to the vampire? How do theses othernesses mirror Victorian anxieties about discourses such as gender, sexuality, nationality, the Empire, etc.? How do current anxieties and fears inform present-day readings of the novel?

	'''Preparatory Session''': Luisa Holsten, Omar Zerarka, Selin Sedef		'''Preparatory Session''': Luisa Holsten, Omar Zerarka, Selin Sedef