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164 THE CURSE OF THE WEREWOLF
16. See, for example, Douglas, The Beast Within (London: Orion, 1993), pp.
169–70.
17. Whitney Davis, Drawing the Dream of the Wolves: Homosexuality, Interpretation,
and Freud’s ‘Wolf Man’ (Bloomington and Indianapolis: Indiana
University Press, 1995), p. 190.
18. See, for example, Judith Halberstam, Skin Shows: Gothic Horror and the
Technology of Monsters (Durham NC and London: Duke University Press,
1995), p. 19.
19. The Wolf-Man was psychoanalysed twice by Freud, and twice by Freud’s
disciple, Ruth Mack Brunswick. He became close friends with another
psychoanalyst, Muriel Gardiner, who encouraged him to write his memoirs
later in life. For many years he received a stipend from Freud, and later
the Freud Archives, in exchange for which he seems to have been tacitly
expected to make himself available to psychoanalysts visiting Vienna.
He also contributed his own perceptions of psychoanalysis and Freud in
a variety of forums. His sense of identity was so profoundly tied up with
the psychoanalytic movement that he would frequently sign his name as
‘the Wolf-Man’.
20. S. Freud, ‘The Question of Lay Analysis: Conversations with an Impartial
Person’, in J. Strachey (ed.), The Standard Edition of the Complete Psychological
Works of Sigmund Freud, vol. 20 (London: Hogarth Press, 1959),
p. 212.
21. Lynne Segal, Slow Motion: Changing Masculinities, Changing Men
(London: Virago, 1990), p. 70.
22. R.W. Connell, Masculinities (St Leonards NSW: Allen & Unwin, 1995),
p. 8.
23. Ibid., p. 10.
24. Ibid., p. 9.
25. Dorothy Scarborough, The Supernatural in Modern English Fiction
(London and New York: G.P. Putnam’s Sons, 1917), p. 172.
26. Richard Bagot, A Roman Mystery (London: Digby Long, 1899), p. 283.
27. See, for example, H. Warner Munn, ‘The Werewolf of Ponkert’, Weird
Tales, July 1925, reprinted in Brian J. Frost, Book of the Werewolf (London:
Sphere, 1973), pp. 161–95; and Greye La Spina, ‘The Devil’s Pool’, Weird
Tales, June 1932, pp. 728–62. This figure shared many characteristics with
the Devil of Christian tradition; indeed, two novels appearing around 1930
developed this type of scenario into a form of religious allegory; see James
Branch Cabell, The White Robe: A Saint’s Summary (New York: Robert
M. McBride, 1928); and Aino Kallas, The Wolf’s Bride, trans. A. Matson
and B. Rhys (London: Jonathon Cape, 1930).
28. Halberstam, Skin Shows, p. 108. Also see Carol C. Clover, Men, Women and
Chainsaws: Gender in the Modern Horror Film (Princeton NJ: Princeton