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Aims to review e‐recruiters' web site platform features and tools that are designed to facilitate job seekers' job applications. Also intends to elucidate the financial performance of two international and two Malaysian e‐recruiters.

Discusses and compares three international (Monster.com, CareerBuilder.com, and HotJobs.com) and three Malaysian (JobStreet.com, JobLinkAsia.com, and JobDB.com) e‐recruiters' backgrounds and initiatives. Presents the e‐recruiters' and online platforms, their current practices and overall strategies and financial performances.

Observes that the e‐recruiters' revenues are growing rapidly while profits are still elusive.

Presents an overview of e‐recruitment service providers, both international and malaysian.

It is easy to imagine some monstrous other embodying the unknown that is under one's bed, but hardly anyone imagines that the monster is the one tucking you into bed. The one you call mom. Departing from Cristina Santos's work, in this chapter, I will be examining the role of ‘pre-social’ news media (pre-Instagram, Twitter, Facebook, etc.) in depicting the ‘monstrous mother’, the mother who kills her own children. The television news medium holds large potential for the construction and maintenance of stagnant hegemonic values. Women, predominately mothers, continue to be characterised in media as nurturing, gentle and comforting. With a strategic absence of discourses surrounding the ‘monstrous mother’ in the early 2000 news media, it is important to consider the ways these mothers are constructed when these sweet caretakers turn into murderous villains. By examining the cases of Patsy Ramsey and Casey Anthony, I will be discussing how their stories were presented in the media as doubly monstrous, since they both committed crimes that contradict the expected role of a mother. Regardless of the time gap between these cases, ultimately, until ideas about women, women's bodies and women's roles change, women and mothers will continue to face constant scrutiny as media reflects current beliefs, ultimately allowing women and mothers to be equated with the monster.

Del Toro's adult fairy tales create their horror via a disruption in the familiarities of place and identity using a connection between a purposeful mise en scène and techniques of sound design world-building that he borrows from the long tradition of horror filmmaking. Though the discussion of the relation between image and sound in del Toro's films would (and do) fill a number of volumes and monographs, this chapter will focus on one particular technique long-employed by horror film sound designers, music supervisors and composers: extra-diegetic sound. Where diegetic sound is the audio that is part of the world of the film and non-diegetic sound its inverse, extra-diegesis points out that these bits of audio effectively collapse the world of the character with the world of the audience. Extra-diegetic audio is a diegetic audio effect (the source being clearly seen or pointed to in the visuals) that has been sweetened, enhanced or noticeably processed to include extra audio elements that are non-diegetic, making the whole of the audio both of the world of the film and simultaneously of the world of the audience. The audience notices and can clearly hear the extra enhancements, though in the stress and horror (which is the point) of the moment these distinctions may collapse and lead the audience to confuse the real with the pretend.

This paper aims to explore the topic of adaptive reuse referring to urban open spaces into a more-than-human perspective. It underlines that dealing with heritage means being part of an inherent and ongoing process of transformation and so that reuse is inextricably an adaptive practice, constantly facing mutations, and that adaptation is a coral practice that involves different kinds of users and makers, inclusive of human and not human livings.

This paper looks at the lexicon of abandonment, in search of the more essential and intense meanings of words, and at some pioneering practices in Europe to comprehend the aesthetic and ethical implications of adaptive reuse of neglected landscapes.

Processes of reuse involve many different communities of users who in turn continuously redesign the site, into a comprehensive, coral and conflicting collaboration, whose results are never given once for all and are both uncanny and beautiful, scaring and marvellous, like a monster.

Accepting the idea that humans are not the only users and makers of urban sites can widen the range of tools, methods and values involved in heritage adaptive reuse.

This paper tries to widen the meanings of adaptation into a multispecies perspective. It intends to broaden the range of agents that can be involved as users and makers, assuming a more-than-human point of view that is not yet commonly applied.

The purpose of the paper is to offer a new view on economic growth and use this view to add to the explanation of economic growth as a powerful agent that determines policies regarding urgent issues such as climate change, loss of biodiversity and pollution.

The study is based on analysis of scholarship and media, interviews and observations in a multi-sited ethnography of economic growth.

The article argues that the circulation of economic growth has contributed to a shaping of institutions and language to an extent where environmental policy proposals framed as harmful to economic growth can easily be rejected. Furthermore, the article offers an operationalisation of the term ecologisation by promoting a new inclusive language in decision-making.

The paper fills a gap in literature by offering an empirical philosophical take on economic growth and by offering a suggestion for the operationalisation of the term ecologisation.

This paper analyzes Drew Goddard and Joss Whedon's recent film, Cabin in the Woods (2012), using Thomas J. Catlaw's Fabricating the People (2007), to illustrate the precarious position of youth at the beginning of the twenty-first century. The author argues that just as the film requires young people to sacrifice themselves for the good of humanity, recent political events ask young people to sacrifice their well-being for the sake of neo-liberalism. Throughout the film, youth refuse the sacrificial logic of the Director, choosing instead a “logic of subtraction.” While the film seemingly ends with the nihilistic end of the world, when viewed through the lens of Fabricating the People it may also offer a hopeful suggestion for how young people can resist and change oppressive systems of governance.

X-Men is a movie franchise spanning 11 films centered on monsters and mutants (Braidotti, 1996), that is, the superheroes that appeared in the Marvel comics (Lauren Shuler Donner, 2000–2017). The franchise includes a rich compendium of male and female characters. Characters from both gender categories are gifted with powers and enjoy a remarkable focus from the plot. However, there are fewer female characters than male, and the former's powers are mainly related to the mind, rather than physical strength. If it is possible to immediately criticise the above-mentioned male focus, or the unequal distribution of powers, at the same time it is impossible to deny that both gender categories – male and female – reintroduce the gender binary that structures everyday reality in our current society (Butler, 2015). Such binary is a structural part of the cisgender and heteronormative system, inside which human beings carry out their existence. For these reasons, X-Men was interpreted by many transgender movements as a possible monstrous reclamation because it confers visibility to those bodies which are outside the norm (Preciado, 2020b) and it includes them in the context of a possible recognition as part of the cultural imaginary. This analysis, therefore, glimpses a possible liberation from the epistemological and material violence of the cisgender norm. This chapter will focus on the way in which the X-Men saga isn't faithful to a revolutionarily monstrous possibility, but rather carries out, through an apparatus of capture (Deleuze & Guattari, 2009), the reenactment of cis- and heteronormativity. In fact, those mutant and monstrous bodies represented here can be part of a highly popular franchise because they are part of the cisgender and heterosexual norm (Wittig, 1992) and because they put their monstrosity not outside the devices of power (Foucault, 2015), but at their service.

The teenage girl constructs her identity amidst a chorus of conflicting voices. She both replicates and resists the patterns of good girl/bad girl as displayed by earlier generations, trying to figure out who she is and how she might live in her body, in the world.

Evil women – bad girls – defy the binary definitions of good and bad, both in body and spirit. They are the bad feminist, they are the Sea Witch, they are the art monster. But when we claim the monster as our role model, we commit her (and ourselves) to the constraints of the patriarchy – replicating a predetermined way of being a girl. There must be a way to define ourselves beyond these constraints. How does one become the monster?

Teen identity is constructed via research, rehearsal and performance: the trying on of multiple possible selves. One person's performed identity becomes the benchmark that others measure themselves against.

Like Courtney Love, who said she didn't want to be with the band, she wanted to be in the band, we all want to belong. We all want to stand out. How sharply we carve the edges of ourselves to fit.

This interactive ‘Fakebook dialogue’ allows Bec and Simmone to draw a line through theory and personal experience, bringing the voices of academia to life, and imagining them in conversation with ourselves and the women whom we have resisted, used as role models or temporarily dreamed ourselves into being. Our piece is set in the nexus of the body and the self. We incorporate autotopography and self-representation as shaped by shared cultural objects to interrogate existing modes of replication and resistance and try to imagine the monstrous shape of our true identity.