In June 2014, Abu Bakr al-Baghdadi declared an Islamic State in Iraq and Syria and called for Muslims around the world to migrate there. Over the next five years, around 150 women left the UK to heed this invitation, and the so- called 'jihadi brides' were rarely out of the news. This book traces the media fascination with those who joined the 'caliphate', including Sally Jones, Aqsa Mahmood and Shamima Begum. Through an analysis of the media that presented the 'brides' for public consumption, Leonie B. Jackson reveals the gendered dualistic construction of IS women as either monstrous or vulnerable. Just as the monstrous woman was sensationalised as irredeemably evil, the vulnerable girl was represented as groomed and naïve. Both subjects were constructed in such a way that women's involvement in jihadism was detached from men's, scrutinised more closely, and explained through gender stereotypes that both erased the agency of female extremists and neglected their stated motivations. As Jackson demonstrates, these media representations also contributed to the development of new norms for dealing with the 'brides', including targeted killing and the revocation of citizenship. While the vulnerable girl was potentially redeemable, the monstrous woman was increasingly considered expendable.

Written by one of the most distinguished commentators in the field, this book asks why we see some bodies as ′monstrous′ or ′vulnerable′ and examines what this tells us about ideas of bodily ′normality′ and bodily perfection. Drawing on feminist theories of the body, biomedical discourse and historical data, Margrit Shildrick argues that the response to the monstrous body has always been ambivalent. In trying to organize it out of the discourses of normality, we point to the impossibility of realizing a fully developed, invulnerable self. She calls upon us to rethink the monstrous, not as an abnormal category, but as a condition of attractivenes, and demonstrates how this involves an exploration of relationships between bodies and embodied selves, and a revising of the phenomenology of the body.

In June 2014, Abu Bakr al-Baghdadi declared an Islamic State in Iraq and Syria and called for Muslims around the world to migrate there. Over the next five years, around 150 women left the UK to heed this invitation, and the so- called ‘jihadi brides’ were rarely out of the news. This book traces the media fascination with those who joined the ‘caliphate’, including Sally Jones, Aqsa Mahmood and Shamima Begum. Through an analysis of the media that presented the ‘brides’ for public consumption, Leonie B. Jackson reveals the gendered dualistic construction of IS women as either monstrous or vulnerable. Just as the monstrous woman was sensationalised as irredeemably evil, the vulnerable girl was represented as groomed and naïve. Both subjects were constructed in such a way that women’s involvement in jihadism was detached from men’s, scrutinised more closely, and explained through gender stereotypes that both erased the agency of female extremists and neglected their stated motivations. As Jackson demonstrates, these media representations also contributed to the development of new norms for dealing with the ‘brides’, including targeted killing and the revocation of citizenship. While the vulnerable girl was potentially redeemable, the monstrous woman was increasingly considered expendable.

An "analysis of deeper meaning behind the string of deaths of unarmed citizens like Michael Brown, Eric Garner, and Freddie Gray, providing ... [commentary] on the intersection of race and class in America today"--

A fascinating, beautifully illustrated guide to the monsters that are part of our collective psyche, featuring stories from the Lore podcast—now a streaming television series—including “They Made a Tonic,” “Passed Notes,” and “Unboxed,” as well as rare material. They live in shadows—deep in the forest, late in the night, in the dark recesses of our minds. They’re spoken of in stories and superstitions, relics of an unenlightened age, old wives’ tales, passed down through generations. Yet no matter how wary and jaded we have become, as individuals or as a society, a part of us remains vulnerable to them: werewolves and wendigos, poltergeists and vampires, angry elves and vengeful spirits. In this beautifully illustrated volume, the host of the hit podcast Lore serves as a guide on a fascinating journey through the history of these terrifying creatures, exploring not only the legends but what they tell us about ourselves. Aaron Mahnke invites us to the desolate Pine Barrens of New Jersey, where the notorious winged, red-eyed Jersey Devil dwells. He delves into harrowing accounts of cannibalism—some officially documented, others the stuff of speculation . . . perhaps. He visits the dimly lit rooms where séances take place, the European villages where gremlins make mischief, even Key West, Florida, home of a haunted doll named Robert. In a world of “emotional vampires” and “zombie malls,” the monsters of folklore have become both a part of our language and a part of our collective psyche. Whether these beasts and bogeymen are real or just a reflection of our primal fears, we know, on some level, that not every mystery has been explained and that the unknown still holds the power to strike fear deep in our hearts and souls. As Aaron Mahnke reminds us, sometimes the truth is even scarier than the lore. The World of Lore series includes: MONSTROUS CREATURES • WICKED MORTALS • DREADFUL PLACES

Late medieval motet texts are brimming with chimeras, centaurs and other strange creatures. In The Monstrous New Art, Anna Zayaruznaya explores the musical ramifications of this menagerie in the works of composers Guillaume de Machaut, Philippe de Vitry, and their contemporaries. Aligning the larger forms of motets with the broad sacred and secular themes of their texts, Zayaruznaya shows how monstrous or hybrid exempla are musically sculpted by rhythmic and textural means. These divisive musical procedures point to the contradictory aspects not only of explicitly monstrous bodies, but of such apparently unified entities as the body politic, the courtly lady, and the Holy Trinity. Zayaruznaya casts a new light on medieval modes of musical representation, with profound implications for broader disciplinary narratives about the history of text-music relations, the emergence of musical unity, and the ontology of the musical work.

This collection explores artistic representations of vegetal life that imperil human life, voicing anxieties about our relationship to other life forms with which we share the earth. From medieval manuscript illustrations to modern works of science fiction and horror, plants that manifest monstrous agency defy human control, challenge anthropocentric perception, and exact a violent vengeance for our blind and exploitative practices. Plant Horror explores how depictions of monster plants reveal concerns about the viability of our prevailing belief systems and dominant ideologies— as well as a deep-seated fear about human vulnerability in an era of deepening ecological crisis. Films discussed include The Day of the Triffids, Invasion of the Body Snatchers, The Wicker Man, Swamp Thing, and The Happening.

Left Vulnerable is an adolescent account of incest. The author describes how her culture, family, and community ignored the signs of repeated molestation happening behind closed doors for over 10 years. This story often graphically exposes not only the physical pain of sexual trauma, but also the emotional and mental struggles caused by it. The author like many other victims of incest learned at a young age to keep incest a family secret. The author shares her journey through incest and abuse, but also shares her journey in finding the strength to heal.

Fierce, seductive mermaid Syrenka falls in love with Ezra, a young naturalist. When she abandons her life underwater for a chance at happiness on land, she is unaware that this decision comes with horrific and deadly consequences. Almost one hundred forty years later, seventeen-year-old Hester meets a mysterious stranger named Ezra and feels overwhelmingly, inexplicably drawn to him. For generations, love has resulted in death for the women in her family. Is it an undiagnosed genetic defect . . . or a curse? With Ezra's help, Hester investigates her family's strange, sad history. The answers she seeks are waiting in the graveyard, the crypt, and at the bottom of the ocean - but powerful forces will do anything to keep her from uncovering her connection to Syrenka and to the tragedy of so long ago.

In her past, the Important Man took away Jacey's brother. Now Jacey has David, who is sometimes a monster. Together, they hunt those who prey on the vulnerable. But the Important Man is still out there. MONSTERS WALK BESIDE US ALL, AND SOMETIMES LURK WITHIN. In Jacey’s past is the Important Man who took away her brother. Now Jacey has David, who sometimes transforms into a terrifying beast. Together, they’ve found a way to live--and to hunt, sniffing out men who prey on the vulnerable. But Jacey and David are about to run into the Important Man again. From Paul Cornell (Wolverine, Doctor Who, Elementary) and Sally Cantirino (Human Remains; Door to Door, Night by Night; Last Song, We Have To Go Back) comes a haunting story about the monsters that walk beside us all, and sometimes lurk within. Collects the complete six-issue series. "Really looking forward to it." - Neil Gaiman (The Sandman, American Gods, Anansi Boys, Good Omens, Coraline, The Graveyard Book, and more) Named one of "The Best Comic Books and Graphic Novels of 2021"- Thrillist