BiographyCoco d’Hont is an independent scholar who researches contemporary American fiction and popular culture. She holds a PhD from the University of East Anglia (UK). Recent projects include explorations of Marilyn Manson, published in the European Journal of American Studies, Mary Harron’s American Psycho, and Chuck Palahniuk’s post-9/11 fiction.
Areas of Research / Professional Expertise
American Studies, Literature, Popular Culture, Gender and Sexuality, Horror
Published: Nov 26, 2018 by The Palgrave Handbook to Horror Literature
Authors: Kevin Corstorphine and Laura R. Kremmel (eds.)
This chapter explores transgressive horror, which crosses the boundaries that shape social order, not to destroy them, but to critically interrogate them. It focuses on transgressive horror of the 1990s, a decade during which horror studies, as well as gender and queer studies, gained prominence as academic disciplines. Transgressive horror uses the violated body as a metaphorical space to interrogate the boundaries between high and low culture, mind and matter, and fiction and reality.
Published: Jan 10, 2017 by Universitas Press
Authors: Coco d'Hont (book chapter)
Subjects: Film and Video
The ubiquitous presence of the monstrous on screen evokes myriad interpretations. In certain cases, we love to love the monster. In others, we bond over mutual desire to see it conquered, vanquished. The inherent mutability of the monster provides us with endless opportunities to reimagine, reenvision, and reencounter these creatures. In its entirety, this volume endeavors to examine how 21st-century media presents and contends with the body and mind of the monster.
Published: Jan 07, 2017 by European Journal of American Studies
Authors: Coco d'Hont
This article explores how Marilyn Manson functions as a transgressive artist to demonstrate how his music crosses socio-cultural boundaries. In contrast to existing definitions of transgression as a synonym for the breaking of taboos, I define transgression as the (re)construction of social order through boundary negotiation. I do not read Manson’s work as political radicalism or anti-social shock, but as a creative process which (re)constructs the ideologies it appears to attack.