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<meta content="Kirsopp, Emma" name="eprints.creators_name" />
<meta content="emma.kirsopp@gmail.com" name="eprints.creators_id" />
<meta content="thesis" name="eprints.type" />
<meta content="2007-07-23" name="eprints.datestamp" />
<meta content="2008-01-08 15:30:00" name="eprints.lastmod" />
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<meta content="Monster contemporary culture werewolves little red riding hood fairy tales Matthew Barney Kiki Smith Jazmina Cininas transformation" name="eprints.keywords" />
<meta content="This research project proposes that the monstrous encounter in art, film and story can
signify the change from the understood to the unknown self, using the historical context
and literary elements of Little Red Riding Hood as a framework. Within this framework
three visual artists, Kiki Smith, Jazmina Cininas and Matthew Barney are investigated
to demonstrate how the monstrous encounter signifies the change from the understood to the unknown self.
In order to use Little Red Riding Hood as a framework the historical context of the tale
has been broken down into three periods, identified as the original, the bourgeois and
the contemporary. In each period it is shown how the monstrous encounter signifies the
change from the understood to the unknown self.
The research project draws on the work of Jack Zipes, The Trials and Tribulations of
Little Red Riding Hood (1993) and Fairy Tales and the Art of Subversion (1983); Jon
Elster, The Multiple Self (1985); Barbara Creed, The Monstrous Feminine (1993) and
Phallic Panic (2005); and Julia Kristeva, Powers of Horror (1982). These key
references are used to define important ideas and strengthen terminology specific to the
project, such as self, monster and monstrous encounter, abjection and transformation.
As a result of using Little Red Riding Hood as a framework the majority of the research
looks at the monstrous encounter almost exclusively in the form of lycanthropy, which
lends itself most easily to concepts of metamorphoses and the div ided self. The
werewolf enjoys enormous popularity in many avenues of contemporary culture and
there exists countless references to this particular genre of monstrous encounter.
However, this is not a project about werewolves but an investigation of the monstrous
encounter, whatever form it takes. Whether it is an internal event like the work of
Matthew Barney or an external process as in Cininas's use of Angela Carter's
contemporary Red Riding Hood, the monstrous encounter in art, film and story can be
demonstrated to signify the change from the understood to the unknown self.
" name="eprints.abstract" />
<meta content="2007-07-11" name="eprints.date" />
<meta content="published" name="eprints.date_type" />
<meta content="47" name="eprints.pages" />
<meta content="University of Tasmania" name="eprints.institution" />
<meta content="School of Visual and Performing Arts" name="eprints.department" />
<meta content="cmaster" name="eprints.thesis_type" />
<meta content="Cininas, Jazmina, 2002, The Girlie Werewolf Project, text electronically supplied by the
artist on 2 April 2007, Catalogue Essay.
Cininas, Jazmina, 2004, The Girlie Werewolf Project:Dingo Variations, text
electronically supplied by the artist on 2 April 2007 Catalogue Essay.
Cininas, Jazmina, 2006, Between the Wolf and the Dog, text electronically supplied by
the artist on 2 April 2007 Catalogue Essay .
Cohen, Jeffry Jerome, ed., 1996, Monster Theory Reading Culture, University of
Minnesota press, Minneapolis and London.
Cotter, Holland,2006, 'From the Ethereal to the Unmentionab (Review) in The New
York Times: Late edition East Coast, New York, November 17. source:
http://proquest.umi.com.ezproxy.utas.edu.au/pqdweb?did=1163853741&sid=3&Fmt=3
&clintld=20931&RQT=309&VNa me=PQD viewed: 2 April 2007
Coulthard, Lisa, 2004, 'Visible Violence in Kiki Smith's Life Wants to Live', in Journal
of Medical Humanities, 25 (1) 21-32.
Creed, Barbara, 1993, The Monstrous-Feminine, Routledge, London and New York
Creed, Barbara, 2005, Phallic Panic Film, Horror and the Primal Uncanny, Melbourne
University Press, Victoria
Elster, Jon (ed.), 1985, The Multiple Self, Cambridge University Press, Camebridge
Isaak, Jo Anna, 2003, 'Working in the Rag and Bone Shop of the Heart' in Jon Bird, ed.,
Otherworlds: The Art of Nancy Spero and Kiki Smith, Reaktion Books, London
Kristeva, Julia, 1982, Powers of Horror: An Essay on Abjection, trans. Leon S.
Roudiez, Columbia University Press, New York
Mansfield, Nick, 2000, Subjectivity Theories of the Self from Freud to Haraway, Allen
& Unwin, NSW
Posner, Helaine, 1998,Kiki Smith, Bulfinch Press. Little, Brown and Company Inc.,
Boston, New York, Toronto, London
Princenthal, Nancy, 2007, 'The Candor of Kiki Smith' in Art in America, February 121-
125
Spector, Nancy, 2002, 'Only the Perverse Fantasy Can Still Save Us', in Matthew
Barney, artist, The Cremaster Cycle, Guggenheim Museum Publications, New York.
Stevens, Mark, 2007. 'The Way of All Flesh' in New York Magazine, 40 (1) 75-75
Sutton, Pollyanna, 2002, 'The Girlie Werewolf Project: Jazmina Cininas' in The Space
ABC Arts Online, source: http://www.abc.net.au/arts/visual/stories/s613012.htm ,
viewed: 24 May 2007
Tomkins, Calvin, 2003, 'His Body, Himself' in The New Yorker, 78 (44)
http://proquest.umi.com.ezproxy.utas.edu.au/pqdweb?did=281190531&sid=3&Fmt=3&
clientld=20931&RQT=309&VName=PQD viewed: 3 April 2007
Zipes, Jack, 1983, Fairy Tales and the Art of Subversion, Routledge, New York
Zipes, Jack (ed.), 1993, The Trials and Tribulations of Little Red Riding Hood,
Routledge, New York
Zizek, Slavoj, 1999, 'Of Cells and Selves' in Elizabeth Wright and Edmund Wright
(eds) The Zizek Reader, Blackwell, Oxford
" name="eprints.referencetext" />
<meta content="Kirsopp, Emma (2007) The Monstrous Encounter. Coursework Master thesis, University of Tasmania." name="eprints.citation" />
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<meta content="This research project proposes that the monstrous encounter in art, film and story can
signify the change from the understood to the unknown self, using the historical context
and literary elements of Little Red Riding Hood as a framework. Within this framework
three visual artists, Kiki Smith, Jazmina Cininas and Matthew Barney are investigated
to demonstrate how the monstrous encounter signifies the change from the understood to the unknown self.
In order to use Little Red Riding Hood as a framework the historical context of the tale
has been broken down into three periods, identified as the original, the bourgeois and
the contemporary. In each period it is shown how the monstrous encounter signifies the
change from the understood to the unknown self.
The research project draws on the work of Jack Zipes, The Trials and Tribulations of
Little Red Riding Hood (1993) and Fairy Tales and the Art of Subversion (1983); Jon
Elster, The Multiple Self (1985); Barbara Creed, The Monstrous Feminine (1993) and
Phallic Panic (2005); and Julia Kristeva, Powers of Horror (1982). These key
references are used to define important ideas and strengthen terminology specific to the
project, such as self, monster and monstrous encounter, abjection and transformation.
As a result of using Little Red Riding Hood as a framework the majority of the research
looks at the monstrous encounter almost exclusively in the form of lycanthropy, which
lends itself most easily to concepts of metamorphoses and the div ided self. The
werewolf enjoys enormous popularity in many avenues of contemporary culture and
there exists countless references to this particular genre of monstrous encounter.
However, this is not a project about werewolves but an investigation of the monstrous
encounter, whatever form it takes. Whether it is an internal event like the work of
Matthew Barney or an external process as in Cininas's use of Angela Carter's
contemporary Red Riding Hood, the monstrous encounter in art, film and story can be
demonstrated to signify the change from the understood to the unknown self.
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<h1 class="ep_tm_pagetitle">The Monstrous Encounter</h1>
<p style="margin-bottom: 1em" class="not_ep_block"><span class="person_name">Kirsopp, Emma</span> (2007) <xhtml:em>The Monstrous Encounter.</xhtml:em> Coursework Master thesis, University of Tasmania.</p><p style="margin-bottom: 1em" class="not_ep_block"></p><table style="margin-bottom: 1em" class="not_ep_block"><tr><td valign="top" style="text-align:center"><a onmouseover="EPJS_ShowPreview( event, 'doc_preview_1839' );" href="http://eprints.utas.edu.au/1430/2/front_master_thesis.pdf" onmouseout="EPJS_HidePreview( event, 'doc_preview_1839' );"><img alt="[img]" src="http://eprints.utas.edu.au/style/images/fileicons/application_pdf.png" class="ep_doc_icon" border="0" /></a><div class="ep_preview" id="doc_preview_1839"><table><tr><td><img alt="" src="http://eprints.utas.edu.au/1430/thumbnails/2/preview.png" class="ep_preview_image" border="0" /><div class="ep_preview_title">Preview</div></td></tr></table></div></td><td valign="top"><a href="http://eprints.utas.edu.au/1430/2/front_master_thesis.pdf"><span class="ep_document_citation">PDF (Front Matter)</span></a> - Requires a PDF viewer<br />50Kb</td></tr><tr><td valign="top" style="text-align:center"><a onmouseover="EPJS_ShowPreview( event, 'doc_preview_1840' );" href="http://eprints.utas.edu.au/1430/3/emma_kirsopp_master_thesis-whole.pdf" onmouseout="EPJS_HidePreview( event, 'doc_preview_1840' );"><img alt="[img]" src="http://eprints.utas.edu.au/style/images/fileicons/application_pdf.png" class="ep_doc_icon" border="0" /></a><div class="ep_preview" id="doc_preview_1840"><table><tr><td><img alt="" src="http://eprints.utas.edu.au/1430/thumbnails/3/preview.png" class="ep_preview_image" border="0" /><div class="ep_preview_title">Preview</div></td></tr></table></div></td><td valign="top"><a href="http://eprints.utas.edu.au/1430/3/emma_kirsopp_master_thesis-whole.pdf"><span class="ep_document_citation">PDF (Whole Thesis)</span></a> - Requires a PDF viewer<br />860Kb</td></tr></table><div class="not_ep_block"><h2>Abstract</h2><p style="padding-bottom: 16px; text-align: left; margin: 1em auto 0em auto">This research project proposes that the monstrous encounter in art, film and story can
signify the change from the understood to the unknown self, using the historical context
and literary elements of Little Red Riding Hood as a framework. Within this framework
three visual artists, Kiki Smith, Jazmina Cininas and Matthew Barney are investigated
to demonstrate how the monstrous encounter signifies the change from the understood to the unknown self.
In order to use Little Red Riding Hood as a framework the historical context of the tale
has been broken down into three periods, identified as the original, the bourgeois and
the contemporary. In each period it is shown how the monstrous encounter signifies the
change from the understood to the unknown self.
The research project draws on the work of Jack Zipes, The Trials and Tribulations of
Little Red Riding Hood (1993) and Fairy Tales and the Art of Subversion (1983); Jon
Elster, The Multiple Self (1985); Barbara Creed, The Monstrous Feminine (1993) and
Phallic Panic (2005); and Julia Kristeva, Powers of Horror (1982). These key
references are used to define important ideas and strengthen terminology specific to the
project, such as self, monster and monstrous encounter, abjection and transformation.
As a result of using Little Red Riding Hood as a framework the majority of the research
looks at the monstrous encounter almost exclusively in the form of lycanthropy, which
lends itself most easily to concepts of metamorphoses and the div ided self. The
werewolf enjoys enormous popularity in many avenues of contemporary culture and
there exists countless references to this particular genre of monstrous encounter.
However, this is not a project about werewolves but an investigation of the monstrous
encounter, whatever form it takes. Whether it is an internal event like the work of
Matthew Barney or an external process as in Cininas's use of Angela Carter's
contemporary Red Riding Hood, the monstrous encounter in art, film and story can be
demonstrated to signify the change from the understood to the unknown self.
</p></div><table style="margin-bottom: 1em" cellpadding="3" class="not_ep_block" border="0"><tr><th valign="top" class="ep_row">Item Type:</th><td valign="top" class="ep_row">Thesis (Coursework Master)</td></tr><tr><th valign="top" class="ep_row">Keywords:</th><td valign="top" class="ep_row">Monster contemporary culture werewolves little red riding hood fairy tales Matthew Barney Kiki Smith Jazmina Cininas transformation</td></tr><tr><th valign="top" class="ep_row">Subjects:</th><td valign="top" class="ep_row"><a href="http://eprints.utas.edu.au/view/subjects/419999.html">410000 The Arts > 419900 Other Arts > 419999 The Arts not elsewhere classified</a></td></tr><tr><th valign="top" class="ep_row">ID Code:</th><td valign="top" class="ep_row">1430</td></tr><tr><th valign="top" class="ep_row">Deposited By:</th><td valign="top" class="ep_row"><span class="ep_name_citation"><span class="person_name">Goldsmith Bradley</span></span></td></tr><tr><th valign="top" class="ep_row">Deposited On:</th><td valign="top" class="ep_row">23 Jul 2007</td></tr><tr><th valign="top" class="ep_row">Last Modified:</th><td valign="top" class="ep_row">09 Jan 2008 02:30</td></tr><tr><th valign="top" class="ep_row">ePrint Statistics:</th><td valign="top" class="ep_row"><a target="ePrintStats" href="/es/index.php?action=show_detail_eprint;id=1430;">View statistics for this ePrint</a></td></tr></table><p align="right">Repository Staff Only: <a href="http://eprints.utas.edu.au/cgi/users/home?screen=EPrint::View&eprintid=1430">item control page</a></p>
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