[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-114829-en":3,"doc-seo-114829-105":29,"detail-sidebar-cat-0-en-105":89},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":4,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":13,"seo_description":14,"update_tm":27,"read_time":28},114829,1374391974585,"Genevieve","https://ap-avatar.wpscdn.com/davatar_276721f389ce27ea32af1340a28f341c",2,"Literature","Plant Horror - Approaches to the Monstrous Vegetal in Fiction and Film","Plant Horror - Approaches to the Monstrous Vegetal in Fiction and Film examines why vegetation, from flowers and bushes to trees, repeatedly appears as monstrous in horror fiction and film. Through six theses articulated in the introduction and expanded across chapters, the volume connects plant alterity, latent presence, purposeless growth, and human vegetal co-dependence to narrative violence and retaliation. Case studies range from early modern tendril imagery and literary romances to twentieth-century cinema and major works within popular culture.","Edited By  \nDAWN KEETLEY & ANGELA TENGA  \nAPPROACHES TO THE MONSTROUS  \nVEGETAL IN FICTION AND FILM  \nPlant Horror  \nDawn Keetley • Angela Tenga  \nEditors  \nPlant Horror  \nApproaches to the Monstrous Vegetal in Fiction  \nand Film  \nEditors  \nDawn Keetley  \nLehigh University Bethlehem, Pennsylvania, USA  \nAngela Tenga  \nFlorida Institute of Technology Melbourne, Florida, USA  \nISBN 978-1-137-57062-8 ISBN 978-1-137-57063-5 (eBook)  \nDOI 10. 1057/978-1-137-57063-5  \nLibrary of Congress Control Number: 2016960682  \n© The Editor(s) (if applicable) and The Author(s) 2016  \nThe author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988.  \nThis work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed.  \nThe use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made.  \nCover image © Westend61/Markus Keller Printed on acid-free paper  \nThis Palgrave Macmillan imprint is published by Springer Nature The registered company is Macmillan Publishers Ltd. The registered company address is: The Campus, 4 Crinan Street, London, N1 9XW, United Kingdom  \nabStractS  \n1. IntroductIon: SIx theSeS on Plant horror; or, Why are PlantS horrIfyIng?  \nDawn Keetley  \nEvoking Jeffrey Jerome Cohen’s influential 1996 essay “Monster Culture (Seven Theses),” this Introduction maps out six theses suggesting why plants—defined broadly as vegetation, flowers, bushes, trees—have figuredas monstrous within horror fiction and film: (1) Plants embody an absolute alterity; (2) Plants lurk in our blindspot; (3) Plants menace with their wild, purposeless growth; (4) The human harbors an uncanny constitutive vegetal; (5) Plants will get their revenge; and (6) Plant horror marks an absolute rupture of the known.  \n2. the Pre-coSmIc SquIggle: tendrIl exceSSeS In early modern art and ScIence fIctIon cInema  \nAgnes Scherer  \nThis chapter explores parallels between early modern tendril-arabesquesand those plant monsters that send forth tendrils in modern cinematic horror. In both contexts, a beautiful and horrifying impression is grounded in the ambivalence evoked by movements of growth. This horror connects the discourses of inner and outer space, tame and wild, order and chaos, self and other. From the tendril-scrollwork that dominates the margins  \nvi ABSTrACTS  \nof painted books, artistic craftwork, and interior walls from the fifteenth century onwards through to modern plant horror films, vegetal growth and movement have represented an unmanageable wildness. The horror of The Thingfrom Another World (1951) and The Day of the Triffids (1962) still bears a residue of the discourse around wildness and tameness out of which the scrollwork of the fifteenth century emerged.  \n3. SeedS of horror: SacrIfIce and SuPremacy In Sir  \nGawain and the Green KniGht, the wicKer Man, and children of the corn  \nAngela Tenga  \nAlthough notions of subjectivity and agency are seldom applied to plants in Western thou","cbCaiiiEa894IcFA","https://ap.wps.com/l/cbCaiiiEa894IcFA","pdf",5407991,1,291,"English","en",105,"# Introduction: Six Theses on Plant Horror; or, Why are Plants Horrifying?\n# The Pre-Cosmic Squiggle: Tendril Excesses in Early Modern Art and Science Fiction Cinema\n# Seeds of Horror: Sacrifice and Supremacy in Sir Gawain and the Green Knight, the Wicker Man, and Children of the Corn\n# The Mandrake’s Lethal Cry: Homuncular Plants in J. K. Rowling’s Harry Potter and the Chamber of Secrets\n# Green Hell(s): Monstrous Vegetations in Twentieth-Century Representations of Amazonia","[{\"question\":\"What six theses explain why plants are horrifying in fiction and film?\",\"answer\":\"The introduction argues that plants embody alterity, lurk in human blind spots, threaten through purposeless growth, reflect an uncanny vegetal constitutive in humans, will get revenge, and mark a rupture of the known.\"},{\"question\":\"How does tendril imagery connect early modern art and modern cinematic plant horror?\",\"answer\":\"The chapter links tendril-arabesques with plant monsters that send forth tendrils, emphasizing how growth’s ambivalence produces a horror that bridges inner/outer space and order/chaos.\"},{\"question\":\"What role do plants play in works like Sir Gawain and the Green Knight, The Wicker Man, and Children of the Corn?\",\"answer\":\"These narratives present empowered vegetal forces that demand sacrifice and challenge assumptions that humans are separate from nature or inherently superior, reframing plant dominance through cultural tensions about 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six theses explain why plants are horrifying in fiction and film?","Question",{"text":73,"@type":74},"The introduction argues that plants embody alterity, lurk in human blind spots, threaten through purposeless growth, reflect an uncanny vegetal constitutive in humans, will get revenge, and mark a rupture of the known.","Answer",{"name":76,"@type":71,"acceptedAnswer":77},"How does tendril imagery connect early modern art and modern cinematic plant horror?",{"text":78,"@type":74},"The chapter links tendril-arabesques with plant monsters that send forth tendrils, emphasizing how growth’s ambivalence produces a horror that bridges inner/outer space and order/chaos.",{"name":80,"@type":71,"acceptedAnswer":81},"What role do plants play in works like Sir Gawain and the Green Knight, The Wicker Man, and Children of the Corn?",{"text":82,"@type":74},"These narratives present empowered vegetal forces that demand sacrifice and challenge assumptions that humans are separate from nature or 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