O presente trabalho é uma tentativa de elucidar o que eu considero um fenômeno na literatura, os mash-ups. Em 2009 a lista dos livros mais vendidos da New York Times trouxe um novo romance intitulado Orgulho e Preconceito e Zombies. A editora Quirk Books apresentou como autor Seth Grahame-Smith e a romancista inglesa há muito falecida Jane Austen como co-autora. O livro combina o texto clássico de Austen de 1813 com elementos da moderna ficção de zumbis. O objetivo desta pesquisa é estudar a (desconcertante) possibilidade de alguém modificar uma obra-prima. A autora ainda está presente em seu texto, ou aquele que insere, remixa e acrescenta ao trabalho é o real autor? Esta e outras perguntas são investigadas. Com o aporte teórico de Sanders (2006), Shields (2010), Lessig (2004), faz-se a investigação sobre adaptações, colagens, apropriações e direitos autorais. O romance aqui analisado pertence à literatura não mais protegida por direitos autorais e, portanto, é considerado apto para modificações, permitindo, assim, a justaposição que está no centro do gênero literário sob escrutínio. O tremendo sucesso comercial deste mash-up serve para mostrar que não só Jane Austen, mas também os mortos-vivos são transformados em mercadorias, o que conduz às possíveis conclusões de que Austen vende, os zumbis vendem, e ambos dão aos leitores algo que estes anseiam, talvez maneiras mais suaves, romance, costumes e valores de outrora; no caso dos mortos-vivos, eles exploram temas que transgredem e ameaçam nosso senso de asseio e decoro, particularmente no tocante ao corpo, às nossas identidades, e a nossa mortalidade. Através de olhares como o de Žižek (2008), pode-se inferir que o sucesso do livro pode ser visto como um tributo ao poder do marketing viral, ao interesse duradouro e contínuo em Jane Austen, e ao atual zeitgeist zumbi. / The present research brings an attempt to elucidate what I consider a phenomenon in literature, the mash-ups. In 2009 the New York Times Bestseller List featured a new novel entitled Pride and Prejudice and Zombies. Publisher Quirk Books presented as author Seth Grahame-Smith and long dead and beloved English novelist Jane Austen as co-author. The book combines Austen‘s 1813 classic text with elements of modern zombie fiction. The aim of this research is to study the (disconcerting) possibility of someone tweaking with a masterpiece. Is the author still present in her text or the one who inserts, remixes and adds to the work is the actual author? This and other questions are investigated. With the theoretical approach of Sanders (2006), Shields (2010), Lessig (2004), and others, there is an investigation on adaptations, collage, appropriations and authorial rights. The novel analyzed here is literature no longer protected by copyright and therefore considered apt for tweaking, thus allowing for the juxtaposition which is at the core of the literary genre under scrutiny. This mash-up‘s tremendous commercial success goes to show that not only Jane Austen, but also the undead have become commodities, which leads the possible conclusions that Austen sells, and zombies sell, and they all give readers something they crave for, perhaps gentle manners, romance, mores and values long gone; and in the case of the living-dead, they explore themes that transgress and threaten our sense of cleanliness and propriety, particularly referencing the body, our identities, and our mortality. Through the point of view of Žižek (2008), and other thinkers, it is possible to infer that the book's success may be regarded as a tribute to the power of viral marketing, to the long lasting and continuous interest in Jane Austen, and to the current zombie zeitgeist.

Submitted by Andrea Hayashi (deachan@gmail.com) on 2016-06-23T19:17:45Z No. of bitstreams: 1 dissertacao-daniel-borgoni-goncalves.pdf: 697101 bytes, checksum: 026a5001500a1058e5d33f955936424a (MD5) / Approved for entry into archive by Andrea Hayashi (deachan@gmail.com) on 2016-06-23T19:18:19Z (GMT) No. of bitstreams: 1 dissertacao-daniel-borgoni-goncalves.pdf: 697101 bytes, checksum: 026a5001500a1058e5d33f955936424a (MD5) / Made available in DSpace on 2016-06-23T19:18:19Z (GMT). No. of bitstreams: 1 dissertacao-daniel-borgoni-goncalves.pdf: 697101 bytes, checksum: 026a5001500a1058e5d33f955936424a (MD5) Previous issue date: 2014-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A experiência consciente é uma das coisas das quais estamos mais certos no mundo, mas ela é um grande mistério. Não temos uma teoria amplamente aceita que justifique racionalmente de que modo um sistema físico como o cérebro pode experienciar (um sabor, a felicidade, a dor, etc), e que esclareça qual a natureza das experiências conscientes. De forma mais clara, experiências conscientes têm uma fenomenologia, isto é, características qualitativas distintas que são apreendidas subjetivamente. Tais propriedades são os qualia e foram associados à consciência fenomênica, pois estes são acessíveis pela consciência do organismo que experiencia. Entretanto, não sabemos como conciliar a experiência consciente com o que sabemos, na medida em que suas propriedades parecem ser essencialmente subjetivas e, portanto, inescrutáveis e indescritíveis sob um ponto de vista de terceira pessoa. Como então conciliar a objetividade de nossas explicações com a subjetividade da consciência? Inúmeros filósofos e filósofas da mente defendem que os qualia são propriedades nãofísicas, adotando um dualismo entre corpo e mente. Neste intricando e complexo debate entre materialistas e antimaterialistas, os últimos costumam elaborar argumentos que desafiam os primeiros. Assim, o capítulo 1 é dedicado ao amplamente debatido argumento do conhecimento de Frank Jackson. Após a apresentação deste argumento, o submeteremos a uma série de objeções que tentam derrubar a sua conclusão antimaterialista. Então, trataremos das respostas que foram oferecidas às objeções. Por fim, ponderaremos as objeções e as respostas fazendo um balanço deste debate. O capítulo 2 é dedicado ao controverso argumento dos zumbis de David Chalmers. Trataremos inicialmente de algumas noções teóricas necessárias para o compreendermos e, então, o apresentaremos. Após isso, o submeteremos a várias objeções que tentam bloquear a sua conclusão antimaterialista e trataremos das respostas às objeções. Então, faremos um balanço das objeções que lhe foram opostas. Em nossas considerações finais sobre a discussão envolvida nos capítulos 1 e 2, será feita uma avaliação global deste debate entre materialistas e antimaterialistas indicando qual o lado tem melhores argumentos. / Conscious experience is one of things that we are more certain in the world, but it is a great mystery. We do not have a broadly accepted theory that rationality justifies how a physical system like a brain can experience (a taste, happiness, pain, etc) and clarify what is the nature of conscious experiences. More clearly, conscious experiences have a phenomenology, that is, distinct qualitative features that are subjectively apprehended. These properties are qualia and they were associated to phenomenal consciousness, because qualia are accessible for the consciousness of the organism that has the experience. However we do not know how to reconcile the conscious experience with our knowledge, insofar as their properties seem to be essentially subjective and inscrutable and indescribable under a third person point of view thus. How reconcile the objectivity of our explanations with the consciousness subjectivity? Several philosophers of mind defend which qualia are non-physical properties, adopting a mind-body dualism. In this puzzling and complex debate among materialists and anti-materialists, it is common the latter make arguments that challenge the formers. Thereby the chapter 1 is dedicated to broadly debated Frank Jackson´s knowledge argument. After the presentation of knowledge argument, I will submit it to several objections that try overthrow its antimaterialist conclusion. Then I will deal with the responses that were provided to these objections. Finally I will ponder objections and responses making a balance of this debate. The chapter 2 is dedicated to controversial David Chalmer´s zombie argument. Initially I will deal with some necessary theoretical notions to we grasp it and then I will present the zombie argument. Thereafter I will submit it to several objections which try overthrow its anti-materialist conclusion and I will deal with the responses to these objections. Then I will make a balance about the objections against zombie argument. In our final considerations about the discussion engaged on chapters 1 and 2, will be make a global evaluation about this debate among materialists and anti-materialists indicating what side have better arguments.

O presente trabalho é uma tentativa de elucidar o que eu considero um fenômeno na literatura, os mash-ups. Em 2009 a lista dos livros mais vendidos da New York Times trouxe um novo romance intitulado Orgulho e Preconceito e Zombies. A editora Quirk Books apresentou como autor Seth Grahame-Smith e a romancista inglesa há muito falecida Jane Austen como co-autora. O livro combina o texto clássico de Austen de 1813 com elementos da moderna ficção de zumbis. O objetivo desta pesquisa é estudar a (desconcertante) possibilidade de alguém modificar uma obra-prima. A autora ainda está presente em seu texto, ou aquele que insere, remixa e acrescenta ao trabalho é o real autor? Esta e outras perguntas são investigadas. Com o aporte teórico de Sanders (2006), Shields (2010), Lessig (2004), faz-se a investigação sobre adaptações, colagens, apropriações e direitos autorais. O romance aqui analisado pertence à literatura não mais protegida por direitos autorais e, portanto, é considerado apto para modificações, permitindo, assim, a justaposição que está no centro do gênero literário sob escrutínio. O tremendo sucesso comercial deste mash-up serve para mostrar que não só Jane Austen, mas também os mortos-vivos são transformados em mercadorias, o que conduz às possíveis conclusões de que Austen vende, os zumbis vendem, e ambos dão aos leitores algo que estes anseiam, talvez maneiras mais suaves, romance, costumes e valores de outrora; no caso dos mortos-vivos, eles exploram temas que transgredem e ameaçam nosso senso de asseio e decoro, particularmente no tocante ao corpo, às nossas identidades, e a nossa mortalidade. Através de olhares como o de Žižek (2008), pode-se inferir que o sucesso do livro pode ser visto como um tributo ao poder do marketing viral, ao interesse duradouro e contínuo em Jane Austen, e ao atual zeitgeist zumbi. / The present research brings an attempt to elucidate what I consider a phenomenon in literature, the mash-ups. In 2009 the New York Times Bestseller List featured a new novel entitled Pride and Prejudice and Zombies. Publisher Quirk Books presented as author Seth Grahame-Smith and long dead and beloved English novelist Jane Austen as co-author. The book combines Austen‘s 1813 classic text with elements of modern zombie fiction. The aim of this research is to study the (disconcerting) possibility of someone tweaking with a masterpiece. Is the author still present in her text or the one who inserts, remixes and adds to the work is the actual author? This and other questions are investigated. With the theoretical approach of Sanders (2006), Shields (2010), Lessig (2004), and others, there is an investigation on adaptations, collage, appropriations and authorial rights. The novel analyzed here is literature no longer protected by copyright and therefore considered apt for tweaking, thus allowing for the juxtaposition which is at the core of the literary genre under scrutiny. This mash-up‘s tremendous commercial success goes to show that not only Jane Austen, but also the undead have become commodities, which leads the possible conclusions that Austen sells, and zombies sell, and they all give readers something they crave for, perhaps gentle manners, romance, mores and values long gone; and in the case of the living-dead, they explore themes that transgress and threaten our sense of cleanliness and propriety, particularly referencing the body, our identities, and our mortality. Through the point of view of Žižek (2008), and other thinkers, it is possible to infer that the book's success may be regarded as a tribute to the power of viral marketing, to the long lasting and continuous interest in Jane Austen, and to the current zombie zeitgeist.

O presente trabalho é uma tentativa de elucidar o que eu considero um fenômeno na literatura, os mash-ups. Em 2009 a lista dos livros mais vendidos da New York Times trouxe um novo romance intitulado Orgulho e Preconceito e Zombies. A editora Quirk Books apresentou como autor Seth Grahame-Smith e a romancista inglesa há muito falecida Jane Austen como co-autora. O livro combina o texto clássico de Austen de 1813 com elementos da moderna ficção de zumbis. O objetivo desta pesquisa é estudar a (desconcertante) possibilidade de alguém modificar uma obra-prima. A autora ainda está presente em seu texto, ou aquele que insere, remixa e acrescenta ao trabalho é o real autor? Esta e outras perguntas são investigadas. Com o aporte teórico de Sanders (2006), Shields (2010), Lessig (2004), faz-se a investigação sobre adaptações, colagens, apropriações e direitos autorais. O romance aqui analisado pertence à literatura não mais protegida por direitos autorais e, portanto, é considerado apto para modificações, permitindo, assim, a justaposição que está no centro do gênero literário sob escrutínio. O tremendo sucesso comercial deste mash-up serve para mostrar que não só Jane Austen, mas também os mortos-vivos são transformados em mercadorias, o que conduz às possíveis conclusões de que Austen vende, os zumbis vendem, e ambos dão aos leitores algo que estes anseiam, talvez maneiras mais suaves, romance, costumes e valores de outrora; no caso dos mortos-vivos, eles exploram temas que transgredem e ameaçam nosso senso de asseio e decoro, particularmente no tocante ao corpo, às nossas identidades, e a nossa mortalidade. Através de olhares como o de Žižek (2008), pode-se inferir que o sucesso do livro pode ser visto como um tributo ao poder do marketing viral, ao interesse duradouro e contínuo em Jane Austen, e ao atual zeitgeist zumbi. / The present research brings an attempt to elucidate what I consider a phenomenon in literature, the mash-ups. In 2009 the New York Times Bestseller List featured a new novel entitled Pride and Prejudice and Zombies. Publisher Quirk Books presented as author Seth Grahame-Smith and long dead and beloved English novelist Jane Austen as co-author. The book combines Austen‘s 1813 classic text with elements of modern zombie fiction. The aim of this research is to study the (disconcerting) possibility of someone tweaking with a masterpiece. Is the author still present in her text or the one who inserts, remixes and adds to the work is the actual author? This and other questions are investigated. With the theoretical approach of Sanders (2006), Shields (2010), Lessig (2004), and others, there is an investigation on adaptations, collage, appropriations and authorial rights. The novel analyzed here is literature no longer protected by copyright and therefore considered apt for tweaking, thus allowing for the juxtaposition which is at the core of the literary genre under scrutiny. This mash-up‘s tremendous commercial success goes to show that not only Jane Austen, but also the undead have become commodities, which leads the possible conclusions that Austen sells, and zombies sell, and they all give readers something they crave for, perhaps gentle manners, romance, mores and values long gone; and in the case of the living-dead, they explore themes that transgress and threaten our sense of cleanliness and propriety, particularly referencing the body, our identities, and our mortality. Through the point of view of Žižek (2008), and other thinkers, it is possible to infer that the book's success may be regarded as a tribute to the power of viral marketing, to the long lasting and continuous interest in Jane Austen, and to the current zombie zeitgeist.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-07-14T15:17:59Z No. of bitstreams: 2 Tese - Ricardo Sena Coutinho - 2016.pdf: 2430482 bytes, checksum: 76541f57b81b0c35d9a29be085a1d77c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-07-14T15:19:22Z (GMT) No. of bitstreams: 2 Tese - Ricardo Sena Coutinho - 2016.pdf: 2430482 bytes, checksum: 76541f57b81b0c35d9a29be085a1d77c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-07-14T15:19:22Z (GMT). No. of bitstreams: 2 Tese - Ricardo Sena Coutinho - 2016.pdf: 2430482 bytes, checksum: 76541f57b81b0c35d9a29be085a1d77c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-04-15 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / Television series, especially those which involve the mythical figure of zombies, have reached high rates of acceptance and audience nowadays. The general objective of this research is to analyse the configuration on imagistic and linguistic signs in the representation of zombies in the British TV series In the flesh (2013). It is possible to make a symbolic and socio-historical interpretation of the living-dead from the series which suggests the need for acceptance of others and the importance of respect for differences, demonstrating how zombies can function as a rich source of signification to explain and/or represent the world. The research is justified by the very small number of studies which associates Barthes to televisual productions, by the attempt to take the studies on horror genre away from the academic periphery, by the emergency of discussing interpersonal relations which are set up nowadays and, furthermore, by the opportunity to study and analyse our own culture and understand the human being. Although the research relies on the field of cross-disciplinary studies, once it involves film analysis and Cultural Studies, the basis of the research lies in Semiology, proposed by Roland Barthes. Barthes Semiology reveals to be important in the sense of legitimating the existence of duality which makes up the sign, be it linguistic or imagistic, which is denotative and connotative at the same time, the said and the unsaid. For this purpose, we have made use of a few Barthes’s notions, such as the myth, until entering the kitchen of meaning, where Semiology finds the job of studying the mysterious operation through each any message is impregnated with a second meaning, ideological in general, to which Barthes nominates connoted sense. The methodological procedures we have used include document and film analysis and the semiologic project methodology by the French author and aim at demonstrating how the significance of zombies does not consume only the denoting materiality, but affords to wear numerous and changing senses, including metaphorising intolerance, as concluded by the end of the research. / As séries televisuais, especialmente aquelas envolvendo a figura mítica dos zumbis, têm alcançado enormes índices de aceitação e audiência na atualidade. O objetivo geral da presente pesquisa é analisar a configuração dos signos linguísticos e imagéticos na representação dos zumbis na série inglesa In the flesh (2013). É possível realizar uma interpretação simbólica e sócio-histórica dos mortos-vivos da série, que sugerem a necessidade de aceitação do outro e do respeito à diferença, demonstrando como os zumbis podem funcionar como um rico manancial de significação para explicar e/ou representar o mundo. A pesquisa se justifica pela ínfima quantidade de estudos que associam Barthes a produções televisuais, pela tentativa de retirar da margem acadêmica estudos sobre o gênero terror, pela emergência de uma discussão sobre as relações interpessoais que se estabelecem na contemporaneidade e, mais ainda, pela oportunidade de estudar e analisar a própria cultura, para, assim, compreender o humano. Embora se situe no campo dos estudos transdisciplinares, por envolver a análise fílmica e os Estudos Culturais, a base da pesquisa é a Semiologia proposta por Roland Barthes. A Semiologia barthesiana revela-se importante no sentido de legitimar a existência de uma dualidade que perfaz o signo, seja ele linguístico ou imagético, que é ao mesmo tempo denotativo e conotativo, dito e não-dito. Para isso recorremos a algumas noções de Barthes, como aquela do mito, até adentrar na cozinha dos sentidos, onde a Semiologia encontra a tarefa de estudar a operação misteriosa pela qual uma mensagem qualquer se impregna de um sentido segundo, em geral ideológico, a que Barthes chama sentido conotado. Os procedimentos metodológicos aqui utilizados incluem a análise documental e fílmica e a metodologia do projeto semiológico do autor francês e tem o intuito de demonstrar como o significado dos zumbis não se esgota apenas na materialidade denotativa e se permite revestir de inúmeros e cambiantes sentidos, inclusive metaforizando a intolerância, como concluímos ao final da pesquisa.

This essay by Andrew Allen-Olivar uses the film script form to present scenes that follow a fictional town where each scene follows different inhabitants – from the new kid, to the tree, to the fish, to the undead locals that inhabit the town. The work is inspired by magical realist writers, poets and philosophers such as Jorge Louis Borges, Alejandro Zambra, Anne Carson and Franz Kafka. Through these scenes, the author's intentions are to convey a place that shifts – between time and place; between memory and exaggerations; between narrative and documentation.

The work is based on the increasing absence of local journalism, that continue to grow in rural areas and in suburbs to large cities. The consequences are so-called white spots or news desserts, areas with weak or with out any journalistic presence at all. Disappearing advertising revenues and attempts to get readers to become paying subscribers, in order to survive as a local newspaper, place limits on both time and resources.  The difficulty of reaching out to young adults in age 25 - 39 with local journalism, grows and news agencies are working hard to find a solution. The lack of time and resources make it difficult for journalists to address schools. Children’s insight into their parents’ media habits are also disappearing as the newspaper moving into digital platforms. Today’s children and youths are therefore in risk of growing up without relation to the local media. This project put focus on the children. The work contains a process that has led to a concept, that aims to create a strong and early relationship with local media. The project resulted in an application for children, where they have the opportunity to enter the role of a journalist, to create, choose and assemble their own news together with friends. The start of the activity will take place within the school. Where the student learns about source criticism, press ethics, editing, the journalist’s responsibility and what distinguishes journalism from other communication. The learning element runs parallel to a playful approach to increase the student’s motivation and engagement. The concept aims at a collaboration between local media and students. / Arbetet grundar sig i den ökande frånvaron av lokal journalistik, som vi ser växa fram på landsbygd och i förorter till storstäder. Konsekvenserna blir så kallade vita fläckar, områden med svag eller helt utan journalistisk närvaro. Försvinnande annonsintäkter och försöken till att få läsarna att bli betalande prenumeranter, för att överleva som lokal tidning, sätter begränsningar på såväl tid som resurser. Att nå ut till unga vuxna ålder: 25-39 med lokal journalistik, är en problematik som växer sig allt större och nyhetsbyråerna arbetar febrilt för att finna en lösning. Lite tid och bristande resurser gör det svårt för journalister att hinna ut till skolor och barns insyn i föräldrarnas medievanor är liten då papperstidningen flyttat in i mobilen. Dagens barn och ungdomar riskerar därför att växa upp helt utan eller med en mycket svag anknytning till lokala medier och dess varumärke. Det här projektet fokuserar på barnen. Arbetet innehåller en process som lett fram till ett koncept, som syftar på att skapa en stark och tidig relation till lokala medier. Projektet resulterade i en applikation för barn, där de har möjligheten att gå in i rollen som journalist för att skapa, välja ut och färdigställa sina egna nyheter tillsammans med vänner. Aktivitetens startpunkt kommer ske inom skolan, där eleven lär sig om källkritik, pressetik, redaktörskap, journalistens ansvar och vad som skiljer journalistik från övrig kommunikation. Lärandemoment löper parallellt med lekfullhet som ska öka elevens motivation och engagemang. Konceptet syftar på att vara ett samarbete mellan lokala medier och elever.

Cops and Robbers on Graphs (C & R) is a vertex-to-vertex pursuit game played on graphs first introduced by Quilliot (in 1978) and Nowakowski (in 1983). The cop player starts the game by choosing a set of vertices which will be the cops’ starting positions. The robber player responds by choosing its own start vertex. On each player’s turn, the player may move its tokens to adjacent vertices. The cops win if the robber is captured (they occupy the same vertex). The robber wins if it can avoid capture indefinitely. The question, then, is to determine the smallest number of cops required to guarantee the robber will be captured. A variation of C & R called Zombies and Survivors (Z & S) was recently proposed and studied by Fitzpatrick. Z & S is the same as C & R with the added twist that the zombies are required to move closer to the survivor (by following a shortest path from the zombie to the survivor). Whenever multiple shortest paths exist, the zombies are free to choose which one to follow. As in C & R, we are interested in the minimum number of zombies required to guarantee the survivor will be caught. Chapter 1 summarizes important results in vertex-pursuit games. In Chapter 2 we give an example of a planar graph where 3 zombies always lose, whereas Aigner and Fromme showed in 1984 that three cops have a winning strategy on planar graphs. In Chapter 3 we show how two zombies can win on a cycle with one chord.

In this thesis, I maintain that a focus on a narrowly defined sense of ‘fidelity’ is used to discourage and devalue adaptations that work to comment on class, racial, and gender dynamics that the original author did not. An emphasis on strict fidelity can also be a misogynistic response to Austen adaptations’ popularity among young women. While certainly one may have legitimate aesthetic concerns in regards to adaptations of any form—novel, film, YouTube, or otherwise—it is important to scrutinize the claim that such artistic differences are not, in fact, rooted in general disdain for narratives and media embraced by, or seemingly embraced by, women (particularly young women). Just as importantly, the motivations of those claiming to produce feminist narratives must be equally scrutinized, as I have found that these content producers at times use the very real misogyny directed at young women and their interests in order to shield themselves from criticism of their own portrayals of women and feminism. I discuss the discourse around contemporary film and book adaptations of Pride and Prejudice, as well as evaluate two recent adaptations that have made waves in popular culture: Pride and Prejudice and Zombies and The Lizzie Bennet Diaries.

This essay explores monstrosity in two contemporary horror stories: “The Whistlers” by Amity Argot, and “Whitefall” by C.K. Walker, focusing on how the humans in these texts are monstrously transformed. The monsters and monstrosity present in the texts are read against some of the cultural anxieties of postmodernity, and against various monstrous frameworks such as that of the zombie, the terrorist, and the monstrous space and nature. Both texts present monstrous spaces intent on perverting humans by eroding them physically until they reach a state of bare life that mimics zombification and may allegorize socioeconomic inequality, displacement, and the effects of capitalism; as well as by enticing them to commit atrocities against each other and transgress the very moral boundaries that defined them as human, up to and including cannibalism. In this way, these monsters reveal humans as their own annihilators, laying bare an innate human monstrosity that emerges from the traumatic conditions of postmodernity.