The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein...The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein＇s monster. This paper argues that, if the monster is seen not only as the product of Frankenstein＇s workshop of filthy creation, but also as the child from whom Frankenstein as parent recoils in horror; the works of Kiki Smith, Abigail Lane, and Cindy Sherman, created out of body parts, may also be considered hideous progenies of female creativity. Like Mary Shelley＇s gothic novel, the body, in the work of these three women artists, is not only the raw material of their art, but also the screen on which we project our bad dreams. Through the art of Smith, Lane, and Sherman, we can certainly feel the shudder of body horror that ripples through the Gothic canon from Frankenstein, whose manmade monster＇s yellow skin barely covered the work of muscles and arteries beneath. Departing from their artistic examples, we will be able to perceive how the monstrous feminine in contemporary art can be grounded in a very famous hallmark work of Gothic literature.展开更多
Monsters are commonly stereotyped as horrible and grotesque creatures. But in Frankenstein and The Island of Doctor Moreau, Shelly and Wells both delineate some complicated but meaningful monster characters. These mon...Monsters are commonly stereotyped as horrible and grotesque creatures. But in Frankenstein and The Island of Doctor Moreau, Shelly and Wells both delineate some complicated but meaningful monster characters. These monsters’ features and natures represent their creator’s intention and purpose. In both texts, monsters are ugly but benevolent, while their creators are eccentric and monstrous. The relationship between men and monsters allows us to view the definition of humanity from a more critical and objective perspective.展开更多
A two years'old,white and brown Yankassa ewe,weighing 20 kg was presented with dystocia of about 48 h duration at Mabs Veterinary Centre Ltd,Lagos.On thorough physical and vaginal examination,there were evidences ...A two years'old,white and brown Yankassa ewe,weighing 20 kg was presented with dystocia of about 48 h duration at Mabs Veterinary Centre Ltd,Lagos.On thorough physical and vaginal examination,there were evidences of feotal parts and foul smelling discharges per vagina.A systematic and calculated traction and retropulsion revealed schistosomus reflexus cojoined twins.There was a complete recovery of the ewe 3 days post operative management.Finally,this case reported a true schistosomus reflexus cojoined twins in Yankassa ewe which was successfully relieved through traction and retropulsion despite the supposedly small birth canal which precluded the procedure in ewes except for caesarian section or fetotomy.展开更多
文摘The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein＇s monster. This paper argues that, if the monster is seen not only as the product of Frankenstein＇s workshop of filthy creation, but also as the child from whom Frankenstein as parent recoils in horror; the works of Kiki Smith, Abigail Lane, and Cindy Sherman, created out of body parts, may also be considered hideous progenies of female creativity. Like Mary Shelley＇s gothic novel, the body, in the work of these three women artists, is not only the raw material of their art, but also the screen on which we project our bad dreams. Through the art of Smith, Lane, and Sherman, we can certainly feel the shudder of body horror that ripples through the Gothic canon from Frankenstein, whose manmade monster＇s yellow skin barely covered the work of muscles and arteries beneath. Departing from their artistic examples, we will be able to perceive how the monstrous feminine in contemporary art can be grounded in a very famous hallmark work of Gothic literature.
文摘Monsters are commonly stereotyped as horrible and grotesque creatures. But in Frankenstein and The Island of Doctor Moreau, Shelly and Wells both delineate some complicated but meaningful monster characters. These monsters’ features and natures represent their creator’s intention and purpose. In both texts, monsters are ugly but benevolent, while their creators are eccentric and monstrous. The relationship between men and monsters allows us to view the definition of humanity from a more critical and objective perspective.
文摘A two years'old,white and brown Yankassa ewe,weighing 20 kg was presented with dystocia of about 48 h duration at Mabs Veterinary Centre Ltd,Lagos.On thorough physical and vaginal examination,there were evidences of feotal parts and foul smelling discharges per vagina.A systematic and calculated traction and retropulsion revealed schistosomus reflexus cojoined twins.There was a complete recovery of the ewe 3 days post operative management.Finally,this case reported a true schistosomus reflexus cojoined twins in Yankassa ewe which was successfully relieved through traction and retropulsion despite the supposedly small birth canal which precluded the procedure in ewes except for caesarian section or fetotomy.
