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Subtitle Monsters University
Urban and state-sponsored violence, human-made climate change, starvation time, lawless political expediency, modern dispossession, depression, are tangible super monsters of our era. Heroes/Ghosts consider whom and how Indigenous logic works and prevails in their midst, as a call for solidarity, as a revelation of sorts, for those things, upon which to build, and be in the sacred power of Creation.
Gilmore's Freudian approach retrieves patterns of Oedipal conflict from the generational trope. In the morphological emphasis on the monster's mouth, he recognizes patterns of oral aggressions theorized in Karl Abraham's and Melanie Klein's work on infantile sadism directed against the mother's body (180-85); in the adult, Gilmore suggests, the traces of repressed, atavistic aggression are sublimated into the contradictory emotions of aggression and guilt, and into a fantasy of the monsters in which "the fantasist is both subject (eater) and object (eaten)" (184).
This reliance on Freudian psychoanalysis might sit a little uncomfortably with Gilmore's claim that he is dealing with universal phenomena. Given the historical and cultural specificity of Freud's work, one cannot help but wonder to what degree non-Western cultures conform to the social patterns that underlie his theorizing. Against these reservations, Gilmore's argument, in turn, is rear-guarded only by a few cautionary asides, and so his extensive list of narratives that "prove" these universals, given their impressive geographical range, can easily backfire. Readers who initially give him the benefit of the doubt about the existence of psychological universals might discover that the differences between all these monsters are far more interesting than their similarities. For these readers, the cultural use of the monster, to which Gilmore devotes so much attention, might quickly present itself as a multiplicity of cultural uses. When these readers start asking about concrete situations [End Page 200] in which monsters are, consciously or unconsciously, deployed, Gilmore's psychological universals may have to give way to historical specifics or ideological pragmatics. The curiously dehistoricizing effect of Gilmore's theoretical approach returns with a vengeance as readers move past the book's grand thesis faster than its author.
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This book offers both traditional and little known folklore and legend about familiar real life creatures such as the horse, the cat, and the raven and delves into the weird and wonderful world of saints who claimed to change into deer and modern cryptozoological monsters such as Bigfoot, Mothman, and lake and sea monsters, as well as the rationale behind animal or headed deities of the Aztecs, Egyptians, and Celts in whose name people went to war.
Changing demographics and a new emphasis on economic development, internationalization, and technology, are changing the ways in which university faculty conduct their work. University and college administrators need to be prepared to recruit, hire, and retain new faculty for this new world, and this book is designed to help. In addition to providing a wealth of data about the faculty of the future, it offers practical advice from the authors, and from a number of expert contributors, on recruiting and retaining new faculty while providing a supportive environment for senior faculty during a period of growth in higher education. The lengthy bibliography directs administrators to informative resources on particular topics that are important to their roles in working with academic personnel.
Films to be shown at the Carnegie Museum of Art include Ibragimbekov's "Family," on Wednesday, May 2, at 7 p.m.; Sergei Bodrov's "Prisoner of the Mountains," on Thursday, May 3, at 7 p.m.; Vadim Abdrashitov's "Time of the Dancer" (script by Mindadze), on Friday, May 4, at 7 p.m.; and Aleksdandr Rogozhkin's "The Checkpoint," on Saturday, May 5, at 7 p.m. All films will have English subtitles and will be repeated a second time later in the month. For information on this segment call 412-622-3212.
This book is devoted to the iconography of monsters from the late 8th to the mid-6th century BCE. In Greek art, namely as they appear in Greek vase-painting, especially Corinthian vases with animal friezes. This well-produced book boasts excellent images, which are incorporated in the text. The main text comprises 468 pages, followed by two excurses with an exhaustive catalog of the beasts and monsters on 1700 Corinthian vases articulated in brief entries. The book includes an updated and extensive bibliography; German and English summaries; and a subject and object index, as well as a catalog of the provenance of the photos. The main part of the book is divided into five chapters. Chapter I is a kind of introduction, dealing with the notion of monsters in modern times and especially in ancient Greek literature and philosophy, which distinguishes between monsters and demons in ancient Greek thought: demons are harmful specters, deified human beings, or even divine powers exercised on human life and destiny. As a result, they do not have a concrete form and are not depicted in figurative art.
Next comes the siren (the human-bird) in section II.3. The earliest example cited by the author (pp. 183-184, fig. 133) is rather ambiguous, since the maul seems to resemble that of a duck, rather than a human mouth. Also, here the early form of the monster draws inspiration from the art of northern Syria and Assyria, but takes on its canonical form in the late 7th century in Corinthian vase-painting, where the siren loses its predatory claws, and instead appears with the webbed feet of water-birds. As a result, it no longer exhibits a beastly character and is now depicted as a victim of predatory animals or is subjugated to Greek deities (potis or potnia theron) in iconography, before it enters mythological depictions of the deadly women-birds (Sirens) of the Odyssey after the mid-6th century BCE. The lion-griffin, presented in the next section (II.4), also has its origin in the Near East, but enters the repertory of Greek art, again from northern Syria, already in the 8th century (bronze cauldrons of the Geometric period). The lion-griffin in the Corinthian animal friezes is depicted as a predatory hybrid creature, but also as a victim of human hunters, subordinated to the potnia theron, and as the opponent of the mythical Arimaspians from the 6th century onward. The bird-griffin on the other hand (II.5) is a Greek creation from the 7th century, with a wide diffusion in Greek vase-painting in general, but without any connection to Greek mythology. In the sixth and final part of this chapter (II.6), other hybrid monsters, which appear only occasionally in early Greek vase-painting, are briefly discussed. These are the Centaurs (whose earliest appearance in Greek art, is however the well-known terracotta statue of the 9th century from Lefkandi in Euboia, not mentioned by the author who states the view of K. Fittschen that Centaurs first appear in Greek vase-painting, around 725 BCE) and the Chimaira, which enter Greek mythical depictions in the early 7th century.
Throughout this chapter Winkler-HoraÄek expresses the basic thesis that the occurrence of the aforementioned monsters in the animal friezes where they are incorporated in a hierarchical order (e.g. predatory versus peaceful creatures) abolishes their wild and death-bringing qualities, a phenomenon that also occurs in Greek thought and iconography in the course of the 6th century BCE as Greek heroes exterminate them in Greek myths.
At the conclusion of this chapter, the author recapitulates the ways in which the archaic Greek overcame his insecurities through rational thought and thus re-defined himself. The unfamiliar and deadly hybrids are thus comprehensible by their incorporation into the order of the rational Greek mentality as expressed by their hierarchical relation to real animals in the vase-painting friezes and by their subordination to Greek heroes and gods. To extend the basic ideas expressed by the author, I would say that monsters, as constructed hybrid creatures opposed to natural animals, may also denote from a philosophical point of view the internal flaws of early Greek society, as well as the vices of individual souls, which the force of rationalism must also conquer.
The final chapter V examines the position of monsters in the borders between the city and the wild as manifestations of a belief that the unknown and unfamiliar are situated at the peripheral areas of the Greek city state (the Greek eschatia). Monsters can, on the other hand, be dealt with in the realm of heroic deeds. As the author states, over half of the known mythical representations in Greek vase-painting of the 7th century BCE have heroes fighting against monsters as their subject (Herakles and the Centaur Nessos or the Centaurs of Mount Pholoe, Herakles and the Lernaian Hydra, Odysseus and Cyclops Polyphemos). In these mythical encounters the values of opposition between the monstrous and human world may take the form of the violation of civilized behavior by the untamed wilderness (e.g., the violation of hospitality, challenges to the institution of marriage).
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