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Focusing on the understudied, opening chapters of the novel, I show how Harker's appropriation of dominant meat-eating ideology fosters a 'nutritional imperialism', and how, by contrast, the Count's meatless, cannibalistic diet explodes the distinctions between carnivorism and cannibalism, giving him the upper hand in a consumption-based power struggle with the Victorians.
John Miller's 'Meat, Cannibalism, and Humanity in Paul du Chaillu's Explorations and Adventures in Equatorial Africa, or, What Does a Gorilla Hunter Eat for Breakfast?', is the second of three essays in this issue that treats a critically neglected Gothic thematics: carnivorism and animal consumption.
Animal rights advocates, notably ethicist Peter Singer, have observed that the vocabulary of carnivorism ("meat" rather than "flesh") seeks to keep the division between human and nonhuman animal sacrosanct.
In many ways, the discourse of cannibalism participates in carnivorism by positing a difference between human and nonhuman, forbidding consumption of the former while permitting consumption of the latter.
Mohsin Hamid's The Reluctant Fundamentalist skilfully correlates carnivorism with the menace of both suspected 'terrorist' and 'anti-terrorist' violence.
Manfredo believes that the individual inner reflection practiced daily by the islanders could provide the basis for Evil to be progressively diminished and vegetarianism and naturism to spread worldwide: Were all Irmanians to simultaneously turn their individual meditative powers outwards and project their innate Goodness onto the rest of the world, the downfall and transcendence of carnivorism, corrupt science, and the old civilization would be hastened.
The dubious--at best naive--political and historical thinking in the novel is illustrated as well by another comparison: the heroic fight against "carnivorism" is meant to resemble the heroical fight of the Danish resistance to the German occupation during World War II.
(2) While critics, especially in the field of the Imperial Gothic, have emphasised the relation between vampirism and cannibalism, little attention has focused on carnivorism, primarily because it remains a tabooed subject in Western, flesh-eating society.
As the monster is himself the product of such practices--he is created from 'pieces' of nonhuman animals killed for their flesh--William's reaction illustrates a symbolic confrontation with the horrors of carnivorism. The monster is not merely an amalgam of the human and the nonhuman animal; rather the monster, as a being constructed, in part, from nonhuman animal remains obtained from slaughterhouses, is literally a bizarre by-product of meat-eating.