Abstract: This article explores the ways in which corporations describe themselves in recruitment materials. Specifically, the study examines corporate descriptions provided to job seekers by firms advertisi...

Abstract: Illustrations Abbreviations Preface 1 Street Life 2 Stop Thief! 3 Public Insults 4 Shaming Punishments 5 Crowds and Riots 6 Violence 7 Duels and Boxing Matches 8 Going to Law 9 Print 10 The Monster Appendix: Sources and Methods Notes Select Bibliography Index.

Abstract: Margaret Atwood's witty and informative book focuses on the imaginative mystique of the wilderness of the Canadian North. She discusses the 'Grey Owl Syndrome' of white writers going native; the folklore arising from the mysterious-- and disastrous -- Franklin expedition of the nineteenth century; the myth of the dreaded snow monster, the Wendigo; the relations between nature writing and new forms of Gothic; and how a fresh generation of women writers in Canada have adapted the imagery of the Canadian North for the exploration of contemporary themes of gender, the family and sexuality. Writers discussed include Robert Service, Robertson Davies, Alice Munro, E.J. Pratt, Marian Engel, Margaret Laurence, and Gwendolyn MacEwan. This superbly written and compelling portrait of the mysterious North is at once a fascinating insight into the Canadian imagination, and an exciting new work from an outstanding literary presence.

Abstract: Literary use of the Gothic is marked by an anxious encounter with otherness, with the dark and mysterious unknown From its earliest manifestations in the turbulent eighteenth century, this seemingly escapist mode has provided for authors a useful ground upon which to safely confront very real fears and horrors The essays here examine texts in which Gothic fear is relocated onto the figure of the racial and social Other, the Other who replaces the supernatural ghost or grotesque monster as the code for mystery and danger, ultimately becoming as horrifying, threatening and unknowable as the typical Gothic manifestation The range of essays reveals that writers from many canons and cultures are attracted to the Gothic as a ready medium for expression of racial and social anxieties The essays are grouped into sections that focus on such topics as race, religion, class, and centers of power

Abstract: Acknowledgments Introduction 1. Invitation to a Beheading 2. Crime or Punishment? 3. An Undesired Revolution 4. Three Hungry Women 5. Of Scars and National Memory 6. The Monster that is History 7. The End of the Line 8. Second Haunting Notes Bibliography Glossary Index

Abstract: The story of Frankenstein is often interpreted and mobilized as a powerful and popular symbol of concerns over the risks and dangers of science, progressive modernity and its ensuing technological creations, and - as in the recent GM ‘Frankenstein food’ debate - the dangers of ‘messing with nature’ or ‘playing God’. Shelley’s narrative is seen to symbolize Romantic fears, offering a dystopic tale of certain demise, one that demonizes technology in the form of Frankenstein’s ‘monster’. Such interpretations and mobilizations align the myth of Frankenstein with the neo-Romantic, conservative, nostalgic and counter-modern currents of elements of deep green, ecobiocentric ideology. In contrast, and in the context of contemporary environmental discourses, this paper offers a reading of Frankenstein as a critical questioning of both anti-Enlightenment Romanticism and anti-Enlightenment science that provides a framework for evaluating contemporary ecobiocentric ideals. Frankenstein is not an outdated tale. Shelle...

Abstract: I The Pozo Moro Relief Since antiquity, references in the Hebrew scriptures and remarks in ancient Greek and Roman authors have been cited to prove that various Northwest Semitic peoples practiced child sacrifice1 These include the population whom the Hebrew Scriptures call Canaanites; the people whom modern scholars, following the Greeks, call Phoenicians; and the Phoenicians who settled in the western Mediterranean and whom modern scholars, following the Romans, call Punic In fact, at the sites of Punic settlements have been found burial grounds that contain the cremated remains only of young children and animals Archaeologists call such burial grounds tophets after the Hebrew term for the place where children were sacrificed2 Shelby Brown, who sums up the evidence, believes that these tophets house the remains of sacrificed children and thereby support literary testimony of child sacrifice3 In 1971, one enigmatic piece of evidence, a relief that probably illustrates the practice, was unearthed at Pozo Moro, Spain It is carved on a stone funerary monument that dates to approximately 500-490 BCE and is currently housed in the Museo ArqueolOgico Nacional in Madrid (figs 1 and 2) The relief (fig 3) depicts a banquet prepared for a monster that sits, facing right, in the left part of the image The monster has a human body and two heads, one above the other The heads have open mouths with lolling tongues In its left hand it holds the rear leg of a supine pig lying on a banquet table in front of it In its right hand, it holds a bowl Just over the rim of the bowl can be seen the head and feet of a small person In the background, a figure in a long garment raises a bowl in a gesture of offering Opposite the monster is the mutilated image of a third figure It is standing and raising in its right hand a sword with a curved blade Its head is in the shape of a bull or horse Its left hand is touching the head of a second small person in a bowl on a second table or a tripod near the banquet table4 The funerary tower on which this relief is carved comes from an area that, in the period of its construction, was clearly subject to Punic or Phoenician influence and resembles monuments from Achaemenid western Asia5 The relief itself resembles eastern Mediterranean depictions of offerings or sacrifices, and the sword with the curved blade, associated with sacrifice, supports the resemblance6 It appears that the small figures, most likely children, are being offered in bowls to the two-headed monster Accordingly, it is reasonable to believe that the relief, however imaginatively, represents Northwest Semitic child sacrifice7 The relief is mysterious In her study of Carthaginian child sacrifice, Brown wrote that "the scene is more provocative than helpful"8 The excavator of Pozo Moro, Marton Almagro-Gorbea, wrote that its interpretation is enormously complex9 Lamentably, it is locally unique and not associated with any written text In order to make sense of it, we must look at phenomena often equally obscure and quite distant in time and place from the milieu of Pozo Moro in the early fifth century BCE This is a hazardous undertaking; if an investigator claims that the relief repeats a motif found elsewhere in the Mediterranean cultural tradition, each may be used to support the interpretation of the other, and it becomes possible to construct invalid interpretations relying solely on circular argumentation The relief, however, presents such powerful imagery that it automatically stimulates speculation As I hope to demonstrate in this article, a Hellenist may see in it eerie echoes of Greek legendary tradition The body of this article will explore these possible connections between the Pozo Moro relief and the Greek legendary tradition section II will explore the possibility that the animal-headed figure on the right of the relief is an image associated with the Minotaur of Greek folklore …

Abstract: Like the Loch Ness monster, the subject of youth work professionalism raises its head now and then. Judith Bessant outlines the arguments for and against the development of a youth work professional identity in the hope that this will stimulate debate about the future of youth work in Australia.

Abstract: Response teams for natural disaster emergencies require coordinated and self-organized efforts for rescue, medical services, damage containment, and evacuation. The unfolding of events depends on initial conditions of specific time, location, and preparedness of the response teams. This study considered a new range of emergency response situations where the perpetrator is a sentient attacker that learns with repeated exchanges. The strategy is conceptualized as a stag hunt coordination game on the part of the defense agents and a strictly competitive game with respect to the attacking adversary. Participants were 28 university students who played an iterative board game (The Creature that Ate Sheboygan) wherein a team of three Humans represented military and civil resources, against one Godzilla-type monster. The Monster gained points by destroying buildings and human combat power. The Humans gained points by wearing down the Monster's defenses and containing damage caused by the Monster. Experimental manipulations and empirical analysis showed the following: Communication outages among the Humans assisted the Monster, but the ability to communicate only equalized the Humans' chances rather than providing them with an advantage. Coordination among Humans was instant, but it fluctuated greatly as a result of the Monster's progress. Nonlinear analysis showed an asymptotic decline in coordination to a non-zero level in response to outcome uncertainty. Learning effects were noted for Humans and Monsters, but there were significant interactions with communication blackout conditions

Abstract: More African Americans appear on network and cable television than ever before. Yet there are few quality dramatic roles for black actresses. The critical attention and public controversy surrounding Marc Forster's Monster's Ball (2001) demonstrated the existence of an audience for independent, art-house cinema featuring serious African-American characters. It's unfortunate that when read against the identity categories of race, gender, class, and region, Halle Berry's Leticia Musgrove seems to be a conflation of stereotypes: the sexual siren and the welfare queen.

Abstract: Because I have expressed reservations about the application of psychoanalysis to film studies in general (Carroll 1988) and to the horror film in particular (Carroll 1990), I have been invited to contribute a comment to this volume on the relevance of psychoanalysis to the horror film. The editor's intention to include dissenting voices in this anthology is as laudable as it is generous and frankly unexpected. But I don't know for whom this opportunity is scarier: me or the psychoanalysts. For I must enter the lair of the Other, while they must suffer the presence of a wolf in philosopher's clothing. I guess it all depends on who you think the monster really is. Is psychoanalysis relevant to the analysis of the horror film? I think that the simple answer to this question is “Of course.” It is certainly relevant, even apposite, to the analysis of many horror films, because many horror films presuppose, implicitly or explicitly, psychoanalytic concepts and imagery. Forbidden Planet (1956), for example, is frankly Freudian. Its monster is called the Id, a phenomenon explained in explicitly psychoanalytic terms within the world of the fiction. Anyone interpreting Forbidden Planet is thereby licensed to explicate the film psychoanalytically for the same reason that an exegete of Eisenstein's The General Line (1929) would be correct in adverting to Marxist ideology. In both cases, the hermeneutical warrant is historicist.

Abstract: In this essay, I argue that Oscar Wilde's trip through the "ruined" South reinforced his nascent preoccupation with the relationship between beauty and decay, a preoccupation that informed his most iconic creation, Dorian Gray: the beautiful aristocrat in whom physical decline and Aestheticism merge. I argue that Wilde's The Picture of Dorian Gray (1890) is a novel whose gothicism was in part born of the same aesthetics of ruin as William Faulkner's Absalom, Absalom! (1936), and demonstrate that in Wildean dandyism (as expressed through both Wilde's self-aestheticization and his prose) Faulkner recognized a model through which to critique the multiple and contradictory performances of Southern aristocracy. By first directly invoking Wilde and then reworking the temptation scene in Wilde's The Picture of Dorian Gray (1890), Faulkner reinterprets dandyism for the South­­casting the dandy as a culturally-perceived monster who registers the threat that miscegenation and deviant sexuality pose to the postbellum South.

Abstract: Today we can hardly imagine the devastation wrought by smallpox. Not only was it a dreadful personal torment, entailing days or weeks of suffering a painful, odorous hell before death, it was also a community and familial catastrophe, killing hundreds and sparing few. Jennifer Lee Carrell conveys the immensity of the smallpox pestilence, the scarring, destruction, and death that we have been spared through the works of the men and women she chronicles. In …

Abstract: The summer arrived early in Riverside this year. It’s only late April, still early in the morning, but it’s already above 80◦F outside, and it’s supposed to reach 100◦F later this afternoon. Oh well. A good day to retreat to the local coffee house, fill my mug with freedom roast, and catch up on reading, with soothing bossa nova playing in the background. The book I’ve been reading through lately is “The Theory of Search Games and Rendezvous” by Steve Alpern and Shmuel Gal [1]. It’s actually two books for the price of one, with the first part covering search games, and the second one rendezvous problems. Search theory is an area of operations research devoted to problems of designing optimal search trajectories. In a generic problem in search theory we are given some metric search space and two players, one called a hider H and the other a seeker S. Initially, H is placed randomly in the space according to some specified probability distribution (and he stays there forever), and S at some given start point. The goal is to design a strategy (a trajectory in the search space) that minimizes the expected time for S to reach H, assuming that S moves at speed 1. S knows the search space and the distribution of H, but has no other information. S is also assumed to be “blind”, and the only information gained during the exploration is that H is not located at any already visited point. In some versions, we allow S to see points within some small distance of its location. The search space is usually assumed to be compact, but not always. For example, one wellstudied version is called the linear search problem, originally proposed by Bellman [4] and Beck [5], where our search space is the real line. If the expected initial distance between H and S is finite, an optimal strategy exists and it can be computed efficiently using dynamic programming, within any desired accuracy. For certain distributions, optimal trajectories have been determined explicitly. S. Gal [6] takes a different approach. Instead of assuming some initial distribution, we can view the search problem as a zero-sum game in which the payoff is the search time. So S attempts to minimize the search time, while H wants to maximize it. In case of linear search, of course, the value of such game would be infinite. To get around this problem, Gal defines the payoff to be the normalized search time, defined as the maximum ratio between the search time and the initial distance between the players. Look familiar?

Abstract: In Hero-Ego in Search of Self, Judy Anne White offers a perceptive explanation for continued interest in the Anglo-Saxon poem Beowulf Building upon the earlier work of Jeffery Helterman and John Miles Foley, she argues that the sum of all confrontations between hero and monster in Beowulf equals the process of individual psychological development identified by Carl Jung as individuation Dr White's study proposes that the hero's struggle is the universal struggle towards self-knowledge - and that Beowulf thus resonates for the contemporary reader as it did for the poet's original audience

Abstract: To the Editor: In December 1997, many children, and even some adults, in Japan who were watching the television cartoon program “Pocket Monster,” or “Pokemon,” had epileptic seizures1,2 Because th

Abstract: This article explores the political meanings of a relatively unexplored dimension of Edmund Burke's thought: the monster. After first showing the extent to which the figure of the monster appears throughout Burke's work, the article speculates on some of the political reasons for Burke's use of the metaphor of the monstrous. These reasons are rooted in the categories of the aesthetic developed in the Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful, and also in his political fear of a new collective entity only beginning to emerge on the historical stage: the proletariat. The article therefore has three aims: first, to contribute to the developing body of literature on Burke's aesthetic ideology; second, to deepen our knowledge of the Gothic tropes in Burke's writings; and third, to broaden our conception of the way conservative ideology conceptualizes order and the threats to that order.

Abstract: Researchers say crossing avian and human flu viruses is crucial to understanding the threat of a new influenza pandemic, but they admit that they might create a monster.

Abstract: Ginger Snaps (John Fawcett, 2000) challenges genre conventions by reinventing canonical "body" horror texts such as Cat People (Jacques Tourneur, 1942), The Exorcist (William Friedkin, 1973), The Fly (David Cronenberg, 1986) and Rosemary's Baby (Roman Polanski, 1968) By centering its story on the complex relationship between two sisters, Ginger Snaps represents the contradictory experiences of adolescent sexuality Ginger and Brigitte Fitzgerald (Katharine Isabel and Emily Perkins) are considered outsiders at their suburban high school, however when Ginger, the eldest of the sisters, begins menstruating for the first time she attracts the attention of her male classmates This disgusts Brigitte and represents Ginger's entry into a sexualized world the two had previously vowed to never become part of Although popular culture often depicts young girls as "fragile" and "dependant" during introductory sexual encounters, Ginger behaves increasingly aggressively Once she is bitten by a werewolf and begins menstruating, Ginger starts to actively and violently seek sexual gratification In this manner, Ginger Snaps reinvents filmic depictions of female sexuality and could therefore be read as a transgressive moment in cinemas of "girlhood" However, like the eponymous protagonist in Carrie (Brian de Palma, 1976), Ginger is also a "monster" spreading "infection" and audiences are increasingly invited to identify with Brigitte's disapproval of Ginger's behavior Furthermore, Brigitte comes to feel that Ginger is abandoning her by placing heterosexual relationships before the sisterly bond that they had taken pleasure in sharing as children By simultaneously privileging female friendships and suggesting that a young woman invites retribution by refusing to act within culturally prescribed gender roles, Ginger Snaps perpetuates conflicting representations of adolescent "femininity"

Abstract: Introduction 1. Coyote and the Nez Perce 2. Coyote Meets Monster 3. Words and Boundaries: Missionaries, Settlers and Treaties 4. Monster Inhaled the People 5. The Consuming Silence: The Nez Perce in the Stomach of Monster Epilogue

Abstract: This depiction of social change in the Western Indian Ocean emphasizes consciousness, agency, and temporal experience as Malagasy are poised between grasping the future and completing - but also regretting - the past.

Abstract: The article aims to explore ways in which archetypal images of storytelling can be subverted both in the process of writing and reformulating archetypal characters, but also in ways of engaging with these models in the reading process. In the short story 'La casa de Asterion', by the Argentine Jorge Luis Borges, the classical monster known as the Minotaur is re-represented as a sensitive loner whose home, the labyrinth, is as complex a space as the character's mentality. The story ends with the revelation that the first-person narrator is the Minotaur, previously only known by his human name: Asterion. In typical fashion, Borges thus forces his reader to confront the Otherness of the monster as both a distanced human character, and also later, after the revelation, through a traditional perspective. The article therefore explores the objectification of the monster as the abject, drawing on the theories of Julia Kristeva, and the importance of Asterion's mother, the Queen, as a key to his identity....