A rabid canine, according to clinical observations, becomes "increasingly irritable, restless, and nervous.... It shows exaggerated response to sudden stimuli of sight and sound. Excitability, photophobia, and hyperesthesia may become apparent...the animal may begin to move and roam, and wander aimlessly, all the time becoming more irritable and vicious; at this stage the animal is now very dangerous because of its tendency to bite anything that it encounters, be it man, animal, or inanimate objects. If the animal is confined it will bite at chains or bars of the cage or kennel, breaking its teeth, and inflicting severe trauma on its oral tissues.
Showing posts with label Werewolves. Show all posts
Showing posts with label Werewolves. Show all posts
Vamps for a New Millennium: The State of the Field in June 2004
As of May 2004, Spike and Angel have left our television screens. Fortunately, we can still encounter numerous vampire heroes and heroines in print and pixels. The late-twentieth-century trend of three-dimensional, often attractive and ethical vampires in fiction continues (although the backlash toward evil, bloodthirsty monsters fit only to be destroyed also lingers, especially in the movies). Interestingly, even when a vampire is portrayed as evil, he or she usually has a more complex, nuanced personality than comparable characters before 1970. The figure of the sympathetic vampire has altered the imaginative landscape so that readers and viewers apparently no longer want to accept a purely monstrous villain with no inner life.
Women in the Vampire World
There are essentially three roles of women in the vampire world. Women may be victims or vampires themselves. The third level of attachment to the vampire world (VW) is an outside attachment, and that belongs to the women who are mere observers, such as anyone who reads a vampire book and is drawn to it. Though harder to analyze, a woman's attraction to vampire movies or literature speaks something for the appeal of the vampire in this culture, which this essay series is all about.
The Compulsion of Real/Reel Serial Killers and Vampires: Toward a Gothic Criminology
ABSTRACT
The most gripping and recurrent visualizations of the "monstrous" in the media and film lay bare the tensions that underlie the contemporary construction of the "monstrous," which ranges in the twilit realm where divisions separating fact, fiction, and myth are porous—a gothic mode. There appear to be two monstrous figures in contemporary popular culture whose constructions blur into each other, and who most powerfully evoke not only our deepest fears and taboos, but also our most repressed fantasies and desires: the serial killer and the vampire.
The most gripping and recurrent visualizations of the "monstrous" in the media and film lay bare the tensions that underlie the contemporary construction of the "monstrous," which ranges in the twilit realm where divisions separating fact, fiction, and myth are porous—a gothic mode. There appear to be two monstrous figures in contemporary popular culture whose constructions blur into each other, and who most powerfully evoke not only our deepest fears and taboos, but also our most repressed fantasies and desires: the serial killer and the vampire.
A Freudian interpretation of the vampire myth
by Laura Collopy
The vampire is a monster that has both thrilled and terrified people for hundreds of years, from sophisticated Parisian theatre-goers to quaking Eastern European peasants. Elements of the vampire legend are found in North and South America, Europe, and Asia are older than Christianity. Although the modus operandi and physical appearance may differ from culture to culture, one thing remains constant: The vampire is an animated corpse, un-dead and kicking through the intervention of Satan and the warm blood of his living victims.
Few folkloric creations have survived for so long in such diverse cultural and geographic situations, and therefore, there must be something common to human nature to create such universality and endurance. A Freudian interpretation of the myth can uncover such a bond.
The vampire is a monster that has both thrilled and terrified people for hundreds of years, from sophisticated Parisian theatre-goers to quaking Eastern European peasants. Elements of the vampire legend are found in North and South America, Europe, and Asia are older than Christianity. Although the modus operandi and physical appearance may differ from culture to culture, one thing remains constant: The vampire is an animated corpse, un-dead and kicking through the intervention of Satan and the warm blood of his living victims.
Few folkloric creations have survived for so long in such diverse cultural and geographic situations, and therefore, there must be something common to human nature to create such universality and endurance. A Freudian interpretation of the myth can uncover such a bond.
The Vampire and Holy Symbols
Did you know?
In the late 1400s, Pope Innocent VIII released a treatise recognizing the phenomena of incubi and succubi, male and female nocturnal demons. In the mid-1700s, Christian Monks wrote about various beliefs in the Undead that had developed in Western Europe, with hopes of dispelling the stories as superstition. These books of accumulated tales were available to the population at large, and the Undead within - previously known by any number of terms - were systematically named 'vampire'. As a result, the term vampire, vampyr, vampyre, wampire or wampirus - and all it's other translations - has become a household name (probably not the Monks' initial intention ...).
In the late 1400s, Pope Innocent VIII released a treatise recognizing the phenomena of incubi and succubi, male and female nocturnal demons. In the mid-1700s, Christian Monks wrote about various beliefs in the Undead that had developed in Western Europe, with hopes of dispelling the stories as superstition. These books of accumulated tales were available to the population at large, and the Undead within - previously known by any number of terms - were systematically named 'vampire'. As a result, the term vampire, vampyr, vampyre, wampire or wampirus - and all it's other translations - has become a household name (probably not the Monks' initial intention ...).
An Interview With S.P. Somtow
S.P. SOMTOW: OPENING ALL THE DOORS
Somtow Sucharitkul, who writes as S.P. Somtow, is coming to terms - both personal and literary - with his remarkable multicultural background and a lifetime of traveling.
Somtow Sucharitkul, who writes as S.P. Somtow, is coming to terms - both personal and literary - with his remarkable multicultural background and a lifetime of traveling.
Lore of the Vampire
The vampire has held its place in superstition as long as any other creature. The vampire of today is, for the most part, quite different from the one of ancient times. In researching the vampire lore, I attempted to find out just how different they are. I wondered what people thought of them now compared to yesteryear.
Creatures of the Night
There is no known culture on this planet that has not at one time or another cowered in fear because of the savage attacks of a nocturnal predator known as a therianthrope, a human-animal hybrid such as a werewolf, "werebear," "werelion," or a "were-something." Such creatures were painted by Stone Age artists more than 10,000 years ago and represent some of the world's oldest cave art—and they probably precipitated some of the world's first nightmares.
The Werewolf Syndrome: Compulsive Bestial Slaughterers
Attack
In 1995, a young woman in Douglas County, Washington, was unable to get her mother or fourteen-year-old sister, Amanda, to answer the phone. That was unusual, so she went to check on them. The front door was locked, so she went around to a sliding rear door that was always unlocked. Inside the home, she found their bodies. One was in a bedroom and one in the family room, both smeared in a great deal of blood. She ran to a neighbor, who called for help. The responding police officers observed that the victims of this grotesque double homicide had been sexually mutilated in a variety of ways by someone who seemed more animal than human.
In 1995, a young woman in Douglas County, Washington, was unable to get her mother or fourteen-year-old sister, Amanda, to answer the phone. That was unusual, so she went to check on them. The front door was locked, so she went around to a sliding rear door that was always unlocked. Inside the home, she found their bodies. One was in a bedroom and one in the family room, both smeared in a great deal of blood. She ran to a neighbor, who called for help. The responding police officers observed that the victims of this grotesque double homicide had been sexually mutilated in a variety of ways by someone who seemed more animal than human.
Werewolf Syndrome (aka Congenital Generalized Hypertrichosis)
Werewolf Syndrome, or, Congenital Generalized Hypertichosis is an extremely rare genetic disorder, causing hair follicles to work overtime!
The Book of Were-Wolves
Synopsis: Sabine Baring-Gould was a parson in the Church of England, an archaeologist, historian and a prolific author. He is best known for writing the hymn 'Onward Christian Soldiers'. This book is also one of the most cited references about werewolves. Published in 1865, this book starts off with a straightforward academic review of the literature of shape-shifting; however, starting with Chapter XI, the narrative takes a strange turn into sensationalistic 'true crime' case-studies of cannibals, grave desecrators, and blood fetishists, which have a tenuous connection with lycanthropy.
The She-Wolf
There was an enchanted mill, so that no one could stay there, because a she-wolf always haunted it. A soldier went once into the mill to sleep. He made a fire in the parlor, went up into the garret above, bored a hole with an auger in the floor, and peeped down into the parlor.
The Werewolf of Bettembourg
A long time ago, an old and crippled soldier came from the direction of Luxembourg City. He lay down to rest at a cross standing on a hill just outside the town of Bettembourg.
The Werewolf of Paris
INTRODUCTION
Where shall I begin my tale?
This one has neither beginning nor end, but only a perpetual unfolding, a multi-petaled blossom of strange botany.
Where shall I begin my tale?
This one has neither beginning nor end, but only a perpetual unfolding, a multi-petaled blossom of strange botany.
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