Well-behaved monsters are making history. In the twenty-first century, the most popular vampires do not want to drink human blood, and zombies try to abstain from eating brains. The Cullens in the Twilight saga (2005–08, 2020) and Melanie, the zombie protagonist of The Girl with All the Gifts (2014), exhibit far more self-control than the humans whom they are ostensibly emulating. The blockbuster zomromcom Warm Bodies (2010) is narrated by the angsty zombie, R, who demonstrates greater self-consciousness and self-awareness than most of the humans he meets. If, as Nina Auerbach has suggested, every age gets the monsters it deserves, then what does the popularity of the reformed monster say about contemporary culture?

The undead who refuse to stay buried often represent the return of the repressed. The figure of the vampire, for example, has been interpreted as signaling, among other things, anxieties about homosexuality, female sexual agency, and fears of reverse colonization by the empire’s Others. In a remarkable turn, however, some of the most popular recent vampire and zombie characters have instead begun to repress their monstrous appetites through rigid self-control. In Julia Kristeva’s formulation, the monstrous aligns with the abject, which she defines as discarded excess—in other words, that which does not fit in. But Twilight’s Cullens and the zombie protagonists of Warm Bodies and The Girl with All the Gifts are dying to fit in, so to speak. They do this by enacting extreme forms of self-discipline, repressing, and ultimately reconfiguring their monstrosity into posthumanity in the process.

The rise of undead monsters as masters of self-control is predicated in large part on their embrace of self-surveillance. They have internalized the surveilling gaze of the punitive social apparatus, which is described by Michel Foucault via his account of Jeremy Bentham’s Panopticon in Discipline and Punish. According to Foucault, Bentham’s design of the Panopticon prison aims “to induce in the inmate a state of conscious and permanent visibility that assures the automatic functioning of power” (201). Because it habituates its inmates to the idea that they can be observed at any point, the panoptical regime creates self-disciplining subjects, whose behavior and identity are shaped by their internalization of the warden’s watchful eye. Foucault’s theorization of this disciplinary apparatus emphasizes that this eye need not actually be present, anticipating developments in surveillance, such as data and digital surveillance, and their impacts on individuals’ self-monitoring. Bauman and Lyon have termed the outcome of these developments “liquid surveillance,” in that it is diffuse and pervasive. However, even now certain physical spaces still reiterate panoptical design and train individuals to accede to monitoring. Foucault underlines the function of such spaces when he points out that given the pervasiveness of the panoptical regime, “Is it surprising that prisons resemble factories, schools, barracks, hospitals, which all resemble prisons?” (228). All of the protagonists in the three novels examined in this article reside in such panoptical spaces. Rather than hide in coffins, the Cullens of Twilight perpetually attend high school and live in a transparent, glass house. In Warm Bodies, R and the other zombies make their home in an airport, a space that epitomizes the modern surveillance state. The Girl with All the Gifts makes its portrayal of the disciplinary apparatus even more overt when it opens in a prison school for zombie children, who have internalized the effects of their upbringing and perceive their subjection to constant observation and disciplinary control as normal.

Even before they became cinema darlings, vampires have been particularly associated with the power of the surveilling gaze. As Simon Bacon points out, Bram Stoker’s Dracula (1897) reveals an intense interest in observation and recording technologies, while also foreshadowing the development of the contemporary self-surveilling subject (105–09). Dracula was not able to tell his side of the story, but his successors in the mid-twentieth century were granted the power to narrate and to reflect on their experiences. This shift in perspective coincided and most likely contributed to the rise of the figure of the sympathetic vampire. For zombies, however, self-reflection is a much more recent phenomenon, and certainly more surprising when we consider the fact that they are supposed to lack sentience by definition. This striking confluence in popular portrayals of two otherwise distinct monsters invites an examination of the way that young adult monster literature deals with the omnipresence of surveillance in contemporary society. This examination will begin with a discussion of Twilight in the context of the trend toward increasingly sympathetic vampires, necessarily touching on other examples of self-controlling monsters, such as Angel from Buffy the Vampire Slayer. It will subsequently move on to the zombie bestsellers Warm Bodies and The Girl with All the Gifts to analyze how their protagonists’ mode of internalized surveillance reflects on the modern experience and demonstrates our evolving conceptions of discipline, monstrosity, and humanity.

乖巧的怪物正在创造历史。二十一世纪最流行的吸血鬼不愿喝人血，丧尸则尽量避免吃人脑。卡伦在暮光之城传奇（2005-08，2020年）和梅兰妮的僵尸主角的 女孩 与 所有 的 礼品（2014），表现出更自我控制跟谁比他们表面上模仿人类。轰动一时的 zomromcom温暖的 尸体(2010) 由愤怒的僵尸 R 讲述，他比他遇到的大多数人类表现出更强的自我意识和自我意识。如果，作为妮娜·奥尔巴赫已经暗示，每个时代都有它应得的怪物，那么改革怪物的流行对当代文化有什么看法？

拒绝埋葬的亡灵通常代表着被压抑者的回归。例如，吸血鬼的形象被解释为表示对同性恋的焦虑、女性性行为以及对帝国其他人反向殖民的恐惧。然而，在一个显着的转折中，一些最近最受欢迎的吸血鬼和僵尸角色开始通过严格的自我控制来压抑他们可怕的胃口。在克里斯蒂娃的配方，滔天对齐与赤贫，这是她定义为废弃多余的，换句话说，是不适合，但暮光之城的卡伦和僵尸主角暖 机构和该 女孩 与 所有 可以这么说，这些礼物急于适应。他们通过制定极端形式的自律、压抑并最终在此过程中将他们的怪物重新配置为后人类来做到这一点。

不死怪物作为自我控制大师的崛起在很大程度上取决于他们对自我监视的接受。他们已经内化了惩罚性社会机构的监视凝视，米歇尔·福柯通过他在《纪律 与 惩罚》中对杰里米·边沁 (Jeremy Bentham) 的全景监狱 (Panopticon ) 的描述对此进行了描述. 根据福柯的说法，边沁对全景监狱的设计旨在“使囚犯进入一种有意识和永久可见的状态，以确保权力的自动运作”（201）。因为它让囚犯习惯于他们可以在任何时候被观察到的想法，全景制度创造了自律的主体，他们的行为和身份是由他们对监狱长的警惕之眼的内化所塑造的。福柯对这种纪律机构的理论强调，这只眼睛实际上不需要存在，预测了监视的发展，例如数据和数字监视，以及它们对个人自我监视的影响。鲍曼和里昂将这些发展的结果称为“液体监视”，因为它是分散和普遍的。然而，即使是现在，某些物理空间仍然重申全景设计并培训个人接受监控。福柯强调了这种空间的功能，他指出鉴于全景政权的普遍性，“监狱与工厂、学校、军营、医院都与监狱相似，这是否令人惊讶？” (228)。本文考察的三部小说中的所有主人公都居住在这样的全景空间中。暮光之城的卡伦夫妇没有躲在棺材里，而是永远上高中，住在一个透明的玻璃房子里。在温暖的 身体里、R 和其他僵尸在机场安家，这是现代监控状态的缩影。该 女孩 与 所有 的 礼物使得其纪律设备的写照，更是明显的，当它在监狱学校僵尸的孩子，谁已经内他们的成长的影响，并认为他们屈从于不断观察和纪律控制正常打开。

甚至在成为电影宠儿之前，吸血鬼就与监视凝视的力量特别相关。正如西蒙·培根 (Simon Bacon) 所指出的，布拉姆·斯托克 (Bram Stoker) 的德古拉 (Dracula)（1897）揭示了对观察和记录技术的浓厚兴趣，同时也预示了当代自我监视主题（105-09）的发展。德古拉无法讲述他的故事，但他在 20 世纪中叶的继任者被授予叙述和反思他们经历的权力。这种观点的转变恰逢并且很可能促成了富有同情心的吸血鬼形象的兴起。然而，对于僵尸来说，自我反省是一种更近的现象，当我们考虑到它们根据定义应该缺乏感知力这一事实时，当然更令人惊讶。这种对两种截然不同的怪物的流行描绘的惊人融合，引发了对年轻成年怪物文学如何处理当代社会无处不在的监视的审视。本次考试将首先讨论在越来越有同情心的吸血鬼趋势的背景下，暮光之城必然会涉及其他自我控制怪物的例子，例如吸血鬼猎人巴菲的天使。它也将随之转移到僵尸畅销书暖 机构和该 女孩 与 所有 的 礼物来分析他们的主角内化监控的模式如何体现对现代经验，并证明了我们不断发展的学科，怪物，和人性化的概念。