L'imaginaire de la << maison des
zombi >> : case a esclaves, captiverie
Zombies' evolution in fiction is central to understanding how Diego Velazquez Betancourt in La noche que asolaron Tokio (2013) draws from various walking-dead narratives to address the ways in which modern ills have made human existence precarious, converting citizens into metaphoric
zombies.
El
zombi es una figura arquetipica del folclore haitiano de la que se reapropio occidente a partir de su popularizacion en peliculas como Yo anduve con un zombie (1943), de Jacques Tourneur, Los ladrones de cuerpos (1956), de Don Siegel, y
Zombi (1978), de George A.
In a similar vein, Ana Maria Hernandez del Castillo's "Vampiras, basilicos,
zombies y munecas en 62 modelo para armar" (Vampires, Basilisks,
Zombies and Dolls in 62 modelo para armar) analyzes the nonconforming females in Julio Cortazar's novel.
The monsters of Shelley, Stevenson, and Stoker are recast as the
zombis and soucriants of the obeah tradition, in whose monstrosity Rhys's heroines recognize the hybridity and abjection of their own divided identities.