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Arielle El-Amin
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Women as Monsters
Women as Monsters
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Digital Erotica/Cyberfeminism
Women As Bodies
Women as Monsters
Women as Gods
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Women as Monsters
Lous and the Yakuza by Lee Wei Swee (Marie-Pierra Kakoma)
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Women as Monsters
Untitled draft
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Women as Monsters
Mermaids (Florence and the Machine)
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"I thought that I was hungry for love Maybe I was just hungry for blood Sea foam woman on the shore Your prairie ghost, I'm a cottage whore All the mermaids have sharp teeth Razorblades all in your feet And with your mermaid hair and your teeth so sharp You crawled from the sea to break that sailor's heart You only get one night upon the shore So dance like you've never danced before And the dance floor is filling up with blood But oh, Lord, you've never been so in love Cheerful oblivion Cheerful oblivion Cheerful oblivion" Mermaids, Florence and the Machine
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20w
Women as Monsters
Siren (2024) Antoinet Tass
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Women as Monsters
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Women as Monsters
Queen of the Damned (2002)
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1
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Women as Monsters
Grace Bol by Txema Yeste for Numero Magazine May 2017
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Women as Monsters
Jennifer's Body(Beauty and Madness, Original Essay)
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Beauty and Madness: Locating Jennifer's Body within Monstrous Heterosexism(Arielle El-Amin) "There exists a disquieting connection often between the commodification of women and the turn to madness. A connection conceived by violence and abasement. A paradox of exaltation and humiliation. Of violence and praise. Of fear and desire. It is known to many, this attention, if that’s what we shall call it, is nothing but brutal to the senses, the body, and psyche. Within the backdrop of Highschool Americana, “cult classic”, Jennifer's Body, poses a rhetorical reality. Where women serve as both the proprietors of their own fate; and casualties within the heterosexist patriarchy. This stark dichotomy examines the complexity and politics of desirability and feminine commodification within a male dominated network. To pursue this paradox, Diablo Cody, writer, and architect of this reality; crafts a paradigm juxtaposing the levity and normalcy of adolescent behavior, with the cruelty of female exploitation and commodification. In this reality, a seemingly invisible push-pull effect is developed. Glaring violence coupled with the surface level irresistibility of teenage humor, girlhood, and sensuality, ultimately driving the narrative voice of the film, and illustrating the fallacy of adolescent behavior. Cody’s rhetorical devices force us to dissect the maddening nature of heterosexual environments, questioning the intrinsic subjugation of female ontology." El-Amin Arielle, Beauty & Madness, Culture Jock, (2023).
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Women as Monsters
Serpent (Original Artwork, Arielle El-Amin)
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Original Artwork (Serpent), Arielle El-Amin: Deemed as monstrous, the snake has been vilified in Western mythos and folklore for millennia. The work, The Great Cosmic Mother: Rediscovering the Religion of the Earth, unearths a different reality, however. It poses the serpent, as an ancient symbol of the goddess, a representation of earth's integral life cycle. Birth, Life, Death, Rebirth. The Wheel of Life. As I reflect, and probe into the symbols, motifs, and rhetorical devices which have constructed our Western imaginary, I find peace and levity in the serpent as an ancient truth, and rightful past. El-Amin, Arielle, Serpent, 2025.
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Women as Monsters
pomegranates
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Women as Monsters
The Madonna, The Whore, The Myth: Deconstructing the Madonna/Whore Dichotomy in the Scarlet Letter, the Awakening, and the Virgin Suicides
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"This vilification of Eve was setting the stage within early Christianity for the redemptive character of the Virgin Mary and the “Eve-Mary typology," which can be extrapolated as the Madonna/Whore dichotomy. It would be male Christian theologians in the following centuries who would develop this image of Eve as a temptress far beyond what the biblical text describes, referring to her as “beguiling the man by means of pleasure”28 to where “it is still Eve the temptress that we must beware of in any woman”29, with Chrystostom stating “what happened to the first woman [Eve] occasioned the subjection of the whole sex”30 so that “a well-shaped body is merely a whitewashed tomb; the parts within are full of filth” Greer, Whitney, "The Madonna, The Whore, The Myth: Deconstructing the Madonna/Whore Dichotomy in the Scarlet Letter, the Awakening, and the Virgin Suicides" (2016). Honors Theses. 943. https://egrove.olemiss.edu/hon_thesis/943
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Women as Monsters
Adut Akech (Vogue Australia)
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Photographer: Andrew Nuding
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Women as Monsters
Women Who Run With the Wolves (Clarissa Pinkola Estés)
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“Bone by bone, hair by hair, Wild Woman comes back. Through night dreams, through events half understood and half remembered...” ― Clarissa Pinkola Estés, Women Who Run With the Wolves
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Women as Monsters
Cate Kennan - “Devil’s Hour”
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Women as Monsters
The Lighthouse (Halsey)
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Well, the waves were tall and they were crashing down He's laying in the water begging God to let him drown So I showed him all my teeth and then I laughed out loud 'Cause I never wanted saving, I just wanted to be found There is a lighthouse in the Middle of the deep end I'm still stranded on the shoreline And nobody hears me scream And I'll lure you like a landslide And I'll show you lovely things If you rescue me but they'll make believe The lighthouse by the sea Well, that should teach a man to mess with me He was never seen again And I'm still wandering the beach And I'm glad I met the devil 'Cause he showed me I was weak And a little piece of him is in a little piece of me The Lighthouse (Halsey, 2021)
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Women as Monsters
chemtrails over the country club (lana del rey)
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Women as Monsters
Vampire in Brooklyn (Angela Bassett)
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Women as Monsters
Nastassja Kinski and the Serpent, (1981) Los Angeles, California
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