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"The word death is not pronounced in New York, in Paris, in London,
because it burns the lips. The Mexican, in contrast, is familiar
with death, jokes about it, caresses it, sleeps with it, celebrates
it, it is one of his favorite toys and his most steadfast
love."Thus Octavio Paz describes a cultural phenomenon that has for
centuries fascinated scholars and aficionados of virtually every
field of Mexican studies, "el culto a la muerte," the cult of
death, a term that readily calls to the mind of anyone familiar
with Mexico and her culture the unusually constant place of death
in the minds and lives of the Mexican people. In this volume,
author Brodman examines the Mexican cult of death from a variety of
disciplinary perspectives to provide the most comprehensive
analysis yet of the origins and nature of the Mexican cult of death
and its relationship to Mexican arts, literature and culture.
Utopia and Dystopia in the Age of Trump:Images from Literature and
Visual Arts treats literature, film, television series, and comic
books dealing with utopian and dystopian worlds reflecting on or
anticipating our current age. From Henry James's dreamlike utopia
of "The Great Good Place" to the psychotic world of Brett Easton
Ellis's American Psycho, from science fiction and recent horror
films, television adaptations of books such as Margaret Atwood's
The Handmaid's Tale, and new series such as Black Mirror to the
repressive Hitlerian dystopia of Katherine Burdekin's Swastika
Night, the contributors examine the development of scenarios that
either prefigure the rise of individuals such as Donald J. Trump or
suggest alternatives to them. Ultimately, one might say of the
worlds presented here, viewed from different social and political
perspectives: one person's utopia is another's dystopia. This is
the fifth in a series of books edited by Barbara Brodman and James
E. Doan, and published by Rowman & Littlefield with Fairleigh
Dickinson University Press. The Universal Vampire: Origins and
Evolution of a Legend and Images of the Modern Vampire: The Hip and
the Atavistic (both in 2013) focused on the vampire legend in
traditional and modern thought. The Supernatural Revamped: From
Timeworn Legends to Twenty-First-Century Chic (2016) examined a
range of supernatural beings in literature, film, and other forms
of popular culture. Apocalyptic Chic: Visions of the Apocalypse and
Post-Apocalypse in Literature and Visual Arts (2017) dealt with
legends and images of the apocalypse and post-apocalypse in film
and graphic arts, literature and lore from early to modern times,
and from peoples and cultures around the world.
Utopia and Dystopia in the Age of Trump treats literature, film,
television series and comic books dealing with utopian and
dystopian worlds reflecting on or anticipating our current age.
From Henry James' dreamlike utopia of "The Great Good Place" to the
psychotic world of Brett Easton Ellis' American Psycho, from
science fiction and recent horror films, television adaptations of
books such as Margaret Atwood's The Handmaid's Tale and new series
such as The Black Mirror, to the repressive Hitleria dystopia of
Katherine Burdekin's Swastika Knight, the authors examine the
development of scenaarios which either prefigure the rise of
individuals such as Donald J. Trump or suggest alternatives to it.
Ultimately, one might say of the worlds presented here, viewed from
different social and political perspectives: one person's utopia is
another one's dystopia. This is the fifth in a series of books
edited by Brodman and Doan, and published by Rowman &
Littlefied with Fairleigh Dckinson University Press. The Universal
Vampire: Origins and Evolution of a Legend and Images of the Modern
Vampire: The Hip and the Atavistic (both in 2013) focused on the
vampire legend in tradiitonal and modern thought. The Supernatural
Revamped: From Timeworn Legends to Twenty-First-Century Chic (2016)
examined a range of supernatural beings in literature, film, and
other forms of popular culture. Apocalyptic Chic: Visions of the
Apocalypse and Post-Apocalypse in Literature and Visual Arts (2017)
dealt with legends and images of the apocalypse and post-apocalypse
in film and graphic arts, literature and lore from early to modern
times and from peoples and cultures around the world.
This book deals with legends and images of the apocalypse and
post-apocalypse in film and graphic arts, literature and lore from
early to modern times and from peoples and cultures around the
world. It reflects an increasingly popular leitmotif in literature
and visual arts of the 21st century: humanity's fear of extinction
and its quest for survival -- in revenant, supernatural, or living
human form. It is the logical continuation of a series of collected
essays examining the origins and evolution of myths and legends of
the supernatural in Western and non-Western tradition and popular
culture. The first two volumes of the series, The Universal
Vampire: Origins and Evolution of a Legend (Fairleigh Dickinson
University Press, 2013) and Images of the Modern Vampire: The Hip
and the Atavistic. (Fairleigh Dickinson University Press, 2013)
focused on the vampire legend. The third, The Supernatural
Revamped: From Timeworn Legends to Twenty-First-Century Chic
(2016), focused on a range of supernatural beings in literature,
film, and other forms of popular culture.
This book is the logical continuation of a series of collected
essays examining the origins and evolution of myths and legends of
the supernatural in Western and non-Western tradition and popular
culture. The first two volumes of the series, The Universal
Vampire: Origins and Evolution of a Legend (Fairleigh Dickinson
University Press, 2013) and Images of the Modern Vampire: The Hip
and the Atavistic. (Fairleigh Dickinson University Press, 2013)
focused on the vampire legend. The essays in this collection expand
that scope to include a multicultural and multigeneric discussion
of a pantheon of supernatural creatures who interact and cross
species-specific boundaries with ease. Angels and demons are
discussed from the perspective of supernatural allegory, angelic
ethics and supernatural heredity and genetics. Fairies, sorcerers,
witches and werewolves are viewed from the perspectives of popular
nightmare tales, depictions of race and ethnicity, popular public
discourse and cinematic imagery. Discussions of the "undead and
still dead" include images of death messengers and draugar, zombies
and vampires in literature, popular media and Japanese anime.
This book is the logical continuation of a series of collected
essays examining the origins and evolution of myths and legends of
the supernatural in Western and non-Western tradition and popular
culture. The first two volumes of the series, The Universal
Vampire: Origins and Evolution of a Legend (Fairleigh Dickinson
University Press, 2013) and Images of the Modern Vampire: The Hip
and the Atavistic. (Fairleigh Dickinson University Press, 2013)
focused on the vampire legend. The essays in this collection expand
that scope to include a multicultural and multigeneric discussion
of a pantheon of supernatural creatures who interact and cross
species-specific boundaries with ease. Angels and demons are
discussed from the perspective of supernatural allegory, angelic
ethics and supernatural heredity and genetics. Fairies, sorcerers,
witches and werewolves are viewed from the perspectives of popular
nightmare tales, depictions of race and ethnicity, popular public
discourse and cinematic imagery. Discussions of the "undead and
still dead" include images of death messengers and draugar, zombies
and vampires in literature, popular media and Japanese anime.
In the predecessor to this book, The Universal Vampire: Origins and
Evolution of a Legend, Brodman and Doan presented discussions of
the development of the vampire in the West from the early Norse
draugr figure to the medieval European revenant and ultimately to
Dracula, who first appears as a vampire in Anglo-Irish Bram
Stoker's novel, Dracula, published in 1897. The essays in that
collection also looked at the non-Western vampire in Native
American and Mesoamerican traditions, Asian and Russian vampires in
popular culture, and the vampire in contemporary novels, film and
television. The essays in this collection continue that
multi-cultural and multigeneric discussion by tracing the
development of the post-modern vampire, in films ranging from
Shadow of a Doubt to Blade, The Wisdom of Crocodiles and Interview
with the Vampire; the male and female vampires in the Twilight
films, Sookie Stackhouse novels and True Blood television series;
the vampire in African American women's fiction, Anne Rice's novels
and in the post-apocalyptic I Am Legend; vampires in Japanese
anime; and finally, to bring the volumes full circle, the
presentation of a new Irish Dracula play, adapted from the novel
and set in 1888.
Since the publication of John Polidori's The Vampyre (1819), the
vampire has been a mainstay of Western culture, appearing
consistently in literature, art, music (notably opera), film,
television, graphic novels and popular culture in general. Even
before its entrance into the realm of arts and letters in the early
nineteenth century, the vampire was a feared creature of Eastern
European folklore and legend, rising from the grave at night to
consume its living loved ones and neighbors, often converting them
at the same time into fellow vampires. A major question exists
within vampire scholarship: to what extent is this creature a
product of European cultural forms, or is the vampire indeed a
universal, perhaps even archetypal figure? In this collection of
sixteen original essays, the contributors shed light on this
question. One essay traces the origins of the legend to the early
medieval Norse draugr, an "undead" creature who reflects the
underpinnings of Dracula, the latter first appearing as a vampire
in Anglo-Irish Bram Stoker's 1897 novel, Dracula. In addition to
these investigations of the Western mythic, literary and historic
traditions, other essays in this volume move outside Europe to
explore vampire figures in Native American and Mesoamerican myth
and ritual, as well as the existence of similar vampiric traditions
in Japanese, Russian and Latin American art, theatre, literature,
film, and other cultural productions. The female vampire looms
large, beginning with the Sumerian goddess Lilith, including the
nineteenth-century Carmilla, and moving to vampiresses in
twentieth-century film, literature, and television series.
Scientific explanations for vampires and werewolves constitute
another section of the book, including eighteenth-century accounts
of unearthing, decapitation and cremation of suspected vampires in
Eastern Europe. The vampire's beauty, attainment of immortality and
eternal youth are all suggested as reasons for its continued
success in contemporary popular culture.
In the predecessor to this book, The Universal Vampire: Origins and
Evolution of a Legend, Broadman and Doan presented discussions of
the development of the vampire in the West from the early Norse
draugr figure to the medieval European revenant and ultimately to
Dracula, who first appears as a vampire in Anglo-Irish Bram Stoker
s novel, Dracula, published in 1897. The essays in that collection
also looked at the non-Western vampire in Native American and
Mesoamerican traditions, Asian and Russian vampires in popular
culture, and the vampire in contemporary novels, film and
television. The essays in this collection continue that
multi-cultural and multigeneric discussion by tracing the
development of the post-modern vampire, in films ranging from
Shadow of a Doubt to Blade, The Wisdom of Crocodiles and Interview
with the Vampire; the male and female vampires in the Twilight
films, Sookie Stackhouse novels and True Blood television series;
the vampire in African American women s fiction, Anne Rice s novels
and in the post-apocalyptic I Am Legend; vampires in Japanese
anime; and finally, to bring the volumes full circle, the
presentation of a new Irish Dracula play, adapted from the novel
and set in 1888.
For almost 200 years, since the publication of John Polidori's The
Vampyre (1819), the vampire has been a mainstay of Western culture,
appearing consistently in literature, art, music (notably opera),
film, television, graphic novels and popular culture in general.
Even before its entrance into the realm of arts and letters in the
early 19th century, the vampire was a feared creature of Eastern
European folklore and legend, rising from the grave at night to
consume its living loved ones and neighbors, often converting them
at the same time into fellow vampires. A major question exists
within vampire scholarship: to what extent is this creature a
product of European cultural forms, or is the vampire indeed a
universal, perhaps even archetypal figure? In this collection of
sixteen original essays, the editors shed light on this question.
One essay traces the origins of the legend to the early medieval
Norse draugr, an undead creature who reflects the underpinnings of
Dracula, the latter first appearing as a vampire in Anglo-Irish
Bram Stoker's novel, Dracula, published in 1897.In addition to
these investigations of the Western mythic, literary and historic
traditions, other essays in this volume move outside Europe to
explore vampire figures in Native American and Mesoamerican myth
and ritual, as well as the existence of similar vampiric traditions
in Japanese, Russian and Latin American art, theatre, literature,
film and other cultural productions. The female vampire looms
large, beginning with the Sumerian goddess Lilith, including the
19th-century Carmilla, and moving to vampiresses in 20th-century
film, literature and television series. Scientific explanations for
vampires and werewolves constitute another section of the book,
including 18th-century accounts of unearthing, decapitation and
cremation of suspected vampires in Eastern Europe. The vampire's
beauty, attainment of immortality and eternal youth are all
suggested as reasons for its continued success in contemporary
popular culture.
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