Classically Inclined

December 7, 2016

Between Scylla and Charybdis – the current outline

Filed under: Research — lizgloyn @ 10:23 pm
Tags: ,

After all my general potterings about the monster book, I thought you might be interested in hearing a bit more about what it’s going to look like when it’s finished – or, at any rate, what the plan looks like at the moment. I came up with this outline in the original pitching process, but over my research leave I’ve had the pleasant discovery that my vague ‘this’ll work’ idea actually hangs together methodologically much more sensibly than I originally thought it did – one of those pleasant research-in-action surprises you sometimes get as you work on a project. The most sensible way of doing this seemed to be sharing the chapter outlines, so a brief summary of what I hope each chunk will say and do when it’s finished.

The introduction will do the heavy lifting about what classical reception is, where this book fits into it, how I have chosen what I’m going to talk about and so on. It will also note where I’m setting the chronological and geographical limits to my subject, and the limitations that places on what I’m going to say. I’ll also explain that monsters, like everything else, don’t have a single static meaning. At any rate, this is the heavy reception theory bit.

Chapter one gets stuck into the various forms of monster theory available, and looks at how they might or might not help us work through understanding what’s going on with the classical monster in the modern world. At the moment, the reader travels through catalogues, cryptozoology, Cohen and Mittman’s monster theory, the historical trends in what a monster looks like, anthropology, psychoanalysis, Foucault, Haraway and Braidotti, coming out at the end with what I hope is a version of monsterage that makes sense for what I want to do.

Chapter two stays with the theory for a bit longer and thinks about place, space and genre. This chapter looks at the question of where monsters dwell, broadly defined, and how that’s an important difference for the classical monster – I think it’s one of the major differences in what’s going on, a factor that comes from the Greek and Roman sense of a very porous boundary between everyday and divine or otherworldly space. I’m also talking about the difference it makes about whether we meet a monster on the pages of a book or on a screen, drawing on more Benjamin and more Haraway about the effect of vision, along with the rise of CGI technology.

Chapter three follows through this idea that genre-place matters by looking at monsters in the movies, starting with films produced in the sixties, seventies and eighties, with a particular focus on the work of Ray Harryhausen, and then looking at what has come afterwards. I find myself focusing on two strands – what one might call the modern peplum movie (all the Hercules your heart could desire), and what I tentatively call ‘creative interpretations’, where the monsters are taken and reimagined in plots that aren’t necessarily concerned with providing full filmic immersion into the classical world.

Chapter four sticks with the screen, but moves to the small scale to think about television. The conference paper I’m giving next week is the start of this chapter, thinking about the way monsters are used in Hercules: The Legendary Journeys; I’m planning to bring in in Xena: Warrior Princess, the appropriate bits of Doctor Who, and quite possibly Ulysses 31 at the very least. My ideas about what’s going on here are still unformed, but I think something about the television series format allows for a different kind of engagement with monsters, both because of the extended time and lower budgets involved.

That’s the first half of the book – the second half will consist of four case study chapters, each focusing on the presentation of a particular monster in popular culture. The monsters I’ve picked are Medusa, the Minotaur, sirens and centaurs, each having their own interesting features and a range of representations in media. I want to give a brief overview of the ancient myth to start each chapter, just to highlight some of the key aspects of each monster, but the main meat is going to be looking at particular instances of reception and seeing where things work and where they don’t. I’m anticipating that these chapters will mainly look at books and comics, with a few other odds and ends thrown in, as most of the film and television stuff should be in earlier chapters in its own right. I’m looking forward to talking about using the sirens to give an anti-porn message in more detail, and I’m sure I’ll find some other fun things to talk about.

So, that’s the plan. I’m hoping to have the first half in very rough draft by the start of term, and then to get on with researching and writing the case study material in the new year. We’ll see how it all goes. In the meantime, if you have any thoughts about examples of classical monsters in popular culture that I simply can’t miss, please do leave a comment and I’ll do my best to chase them up!



  1. All I can really say is that I’m looking forward to reading this (and that you should have a long talk with Amanda Potter, especially about Sirens and Minotaurs, if you haven’t already).

    Comment by tonykeen46 — December 9, 2016 @ 12:25 am | Reply

    • Amanda and I had a brief chat in Dublin, but we need to talk more!

      Comment by lizgloyn — January 4, 2017 @ 8:22 am | Reply

  2. Ooo. Doctor Who’s monsters. Lovely. I’m not attending the SCS/AIA meeting this year, but if you were planning to cross the pond, I think that the round table on Sci-Fi will be meeting again.

    Comment by Phin — January 4, 2017 @ 1:52 am | Reply

    • I’m staying in the UK this year, but I’m sure the round table will be full of awesome as it usually is. I was delighted to see Brett and Ben honoured by the SCS for their work on this.

      Comment by lizgloyn — January 4, 2017 @ 8:23 am | Reply

  3. […] thing that’s been on my mind with writing the Monster Book has been impact. You might remember that I had some thoughts about what impact actually looks like […]

    Pingback by A tiny victory: Mythical Reimaginings | Classically Inclined — April 19, 2017 @ 4:46 pm | Reply

  4. […] We are now in the depths of August, which Andrew Adonis has decided in the spirit of university-bashing is our academic three month holiday. Needless to say, I have spent my last few weeks indulging in the hedonistic pleasures of grant application writing, preparing the next version of the postgraduate student handbook, reading draft work from my masters’ students, wrangling all the postgraduate taught admin, and other well-known indulgences of the academic labouring classes. Somehow, alongside all of that, I’ve also found time to get on with the Monster book, last written about at the end of my sabbatical. […]

    Pingback by On the Monster book and the perils of television | Classically Inclined — August 10, 2017 @ 8:57 pm | Reply

RSS feed for comments on this post. TrackBack URI

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

Create a free website or blog at