As someone who nurses a goddess of fertility back into health, and as the woman upon whose belly the image of Iaachos‐Dionysus (i.e., Dionysus as an infant) is etched, she seems more powerful than he is. Yet, if I were to carry the implications of her genealogy even further, it appears that Baubo is more than Dionysus' twin. Kofman states: “In the Eleusinian mysteries, the female sexual organ is exalted as the symbol of fertility and a guarantee of the regeneration and eternal return of all things.” Kaufman's position, that “Baubo can appear as a female double of Dionysus,” effectively locates Baubo and Dionysus as masks for life as eternally self‐generating and protean. Strong (Chicago: University of Chicago Press, 1988), 175–202. I draw this argument partially from Sarah Kofman, “Baubo: Theological Perversion and Fetishism” in Nietzsche's New Seas, ed. Picart, The Cinematic Rebirths of Frankenstein (Westport, CT: Praeger, 2001) as well as her article “James Whale's (Mis)reading of Mary Shelley's Frankenstein,” Critical Studies in Mass Communication, 12 (1998): 40–68. Barbara Creed, The Monstrous‐Feminine: Film, Feminism, Psychoanalysis (New York: Routledge, 1993), 30.įor more background, refer to Janice Rushing and Thomas Frentz, Projecting the Shadow: The Cyborg Hero in American Film (Chicago: University of Chicago Press, 1995) as well as their article “The Frankenstein Myth in Contemporary Cinema,” Critical Studies in Mass Communication 6 (1989): 61–80.įor more background, refer to Caroline Joan S.
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