Sample Sociology Paper on Zombie and Sexuality

Since the advent of the 21st century, Zombies have increasingly dominated the landscape of popular culture with greater diversity in the representations of the undead being imagined. An increasing volume of narratives about zombies introduces human sexuality themes, granting the living dead their own sexual identities. The concept of zombie sexuality evokes a provocative thought, which interrogates the nature of sexuality, sex, desire, and the politics of sexual behaviors. Nonetheless, the idea of zombie sexuality remains mostly evasive in emerging scholarship. This collection of essays presents the unexploited aspect of zombiedom by utilizing various media texts such as television, novels, films, literature, graphic novels, pornography, and internet meme culture. The proponents’ Shaka McGlotten and Steve Jones are scholars and influencers from numerous disciplines encompassing theology, history, gender, film studies, and queer studies. The text Zombies and Sexuality covers the walking dead, Bruce LaBruce’s zombie-porn movies, and warm bodies to explore the cultural, philosophical, and political questions that emerge from undead sex and zombie sexuality.

Over the last couple of decades, we have witnessed a veritable surge of publications featuring zombies. Besides, there is increasing commercial popularity about the monsters, which indicates that just like the hordes of the undead in films and cinema, they will occur regularly in our context. This revelation augments the notion that zombies are dead, even though not literally. This statement resonates with the perception that art is dead, punk rock is dead, or literature is dead. The edited collection is uniquely familiar among the crowd, where various scholars from different disciplines address the undead at different platforms using different methodological and thematic approaches using multiple media. Ideally, when an individual asserts that a particular thing is dead, it means that there is a need for re-imagining the treatment of the subject. In this context, claiming that Zombies are dead inspires the need for a reconceptualization of zombies. Shaka McGlotten and Steve Jones, in their edition Zombies and Sexuality: Essays on Desire and the Living Dead, offers a valuable intervention in the domain, thus leading the way to create new criteria for evaluating the subject of zombies.

Previously, McGlotten and Jones have published essays on zombies such as ‘Dead and Live Life: Zombies, Queers, and Online Sociality,’ which is among the best scholarship articles published about zombies in the previous decade. From this approach, the living dead have been accorded more critical attention from the vantage point of both disability studies and queer studies. Hitherto, the discussion about zombie sexuality has been limited to the reception of a minority of explicitly eroticized texts. Therefore, this collection provides a constructive treatment of a previously ignored theoretical aperture for discussing the significance of zombies. From this perspective, the naturally occurring living-dead zombies’ paradoxical nature is critical for understanding various dichotomies, such as master/slave, self/others, and human/animal perspectives. The collection provides a different way of thinking of zombies as male/female, disabled/nondisabled, gay/straight, and particularly in terms of sex. Sex defines the reproductive or non-reproductive concepts, which is critical to understand whether the latter is predictive of homosexuality, non-fertile heterosexual sex, or numerous other sex acts.

Some of the most exciting parts of the collection include Marcus Harmes contributions Necrophilia and the Nineteenth Century in Zombie Films, which provides a novel approach to describing the few zombie films produced in the Victorian era. Harmes associates the perception of zombies in such films with the mourning rituals of the period, which is fascinating, especially when mourning is vital to preserving the body as an object resonating with zombification. For instance, in the Victorian mourning, the deceased are reduced to a dispersed collection of artifacts such as empty relics of the body.