Indian Streams Research Journal
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
National Conference
NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION In Memoriam We honor those members who passed away this last year: Mortimer W. Gamble V Mary Elizabeth “Mery-et” Lescher Martin J. Manning Douglas A. Noverr NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION APRIL 15–18, 2020 Philadelphia Marriott Downtown Philadelphia, PA Lynn Bartholome Executive Director Gloria Pizaña Executive Assistant Robin Hershkowitz Graduate Assistant Bowling Green State University Sandhiya John Editor, Wiley © 2020 Popular Culture Association Additional information about the PCA available at pcaaca.org. Table of Contents President’s Welcome ........................................................................................ 8 Registration and Check-In ............................................................................11 Exhibitors ..........................................................................................................12 Special Meetings and Events .........................................................................13 Area Chairs ......................................................................................................23 Leadership.........................................................................................................36 PCA Endowment ............................................................................................39 Bartholome Award Honoree: Gary Hoppenstand...................................42 Ray and Pat Browne Award -
Kamron Klitgaard Big Dog Publishing
Kamron Klitgaard Inspired by the 1922 silent film Nosferatu: a Symphony of Horror Cover photo of Max Schreck in his film 1922 role as Count Orlok Big Dog Publishing Nosferatu 2 Copyright © 2010, Kamron Klitgaard ALL RIGHTS RESERVED Nosferatu: A Vampire Symphony of Horror is fully protected under the copyright laws of the United States of America, and all of the countries covered by the Universal Copyright Convention and countries with which the United States has bilateral copyright relations including Canada, Mexico, Australia, and all nations of the United Kingdom. Copying or reproducing all or any part of this book in any manner is strictly forbidden by law. No part of this book may be stored in a retrieval system or transmitted in any form by any means including mechanical, electronic, photocopying, recording, or videotaping without written permission from the publisher. A royalty is due for every performance of this play whether admission is charged or not. A “performance” is any presentation in which an audience of any size is admitted. The name of the author must appear on all programs, printing, and advertising for the play. The program must also contain the following notice: “Produced by special arrangement with Big Dog Publishing Company, Sarasota, FL.” All rights including professional, amateur, radio broadcasting, television, motion picture, recitation, lecturing, public reading, and the rights of translation into foreign languages are strictly reserved by Big Dog Publishing Company, www.BigDogPlays.com, to whom all inquiries should be addressed. Big Dog Publishing P.O. Box 1400 Tallevast, FL 34270 Nosferatu 3 To my daughter Kati, who wouldn’t mind being a vampire. -
Catriona Helen Miller
Vlood Spirits A cjungian Approach to the Vampire JKyth Catriona Helen Miller Submitted for the degree of Doctor of Philosophy University of Stirling Stirling Scotland December 1998 r., 4. , Dedication To my parents, Irene and Jack Miller, without whom.... For all the support, guidance and encouragement above and beyond the call of parental duty. Your many favours can never be repaid. Acknowledgements I would like to thank Dr. John Izod for the skillful and unfailingly tactful supervision of this thesis, and for the companionshipon the j ourney. To Lari, for the chair; the commas and comments;the perpetual phone calls; and for going to Santa Cruz with me all those years ago. To everybody in the Late Late Service for sustenanceof various kinds. And everyone else who asked about my thesis and then listened to the answer without flinching. I also acknowledge the kind financial support of the Glasgow Society for Sons and Daughters of Ministers of the Church of Scotland, and, of course, my parents. Contents Page Acknowlegements i Abstract .v INTRODUCTION PART ONE APPROACH & CONTEXT 10 " The Study of Myth & the Cartesian/Newtonian Framework 11 " The Advent of Psychology 13 " Freud & the Vampire Myth 17 " Beyond Descartes & Newton: the New Paradigm 21 " Jung & the New Model 24 " Archetypes & the Collective Unconscious 31 " The Study of Myth After Freud & Jung 35 The Vampire Myth 40 " I " Jung & the Vampire Myth 41 " Symbols: A Jungian Definition 44 PART TWO ENCOUNTERS WITH SHADOW VAMPIRES 49 " Folklore & Fiction 49 " The Vampire in Folklore 51 " Vampirý Epidemics? 54 " The Shadow Archetype 57 " The Dead 58 " The Living Dead 61 " The Shadow Vampire in the Twentieth Century 65 " Nosferatu: A Symphony of Horror (Dir: F. -
'Nosferatu' Revisted
Fewster: 'Nosferatu' Revisted What is it about the Dracula narrative that is attractive dramatically? Its format is hardly exciting in that it is written as a series of letters. Similarly what could one possibly do in a theatrical production that has not been done? This would form the key research question that underlined my own subsequent production i.e. how does one approach such a classic? Indeed, when I ran a research seminar on the intended production, I was met with initial scepticism and resistance with a general response of “Why bother?” This is a fair question when one considers the plethora of dramatic renditions on stage and screen, in particular the ubiquitous vampire television series. Ultimately the answer to this question could only be explored through practice: textual in adapting the script, and physical in rehearsing the play. The capacity for Dracula and the vampires to turn into—variously—wolves, bats, rats and from smoke into the flesh of the living dead stimulated my creative thinking about how one might stage these transformations. I also began to imagine how an audience might literally follow the story’s protagonist, Jonathan Harker and his journey to Transylvania and back through everyday spaces such as corridors, café, paths and old buildings on the University Campus where I work. I re-read the Stoker novel and re-examined the two German films Nosferatu (1922 Dir. Friedrich Murnau) and the remake: Nosferatu the Vampyre (1979 Dir. Werner Herzog). As a playwright, I chose these sources for two reasons: I did not want to overload my creative sensibility with too much source material and the novel and the 1922 film are in my view historically the key transmitters of the Dracula fable. -
Univerzita Palackého V Olomouci Filozofická Fakulta Katedra Anglistiky a Amerikanistiky Hana Zámečníčková the Metamorphos
Univerzita Palackého v Olomouci Filozofická fakulta Katedra anglistiky a amerikanistiky Hana Zámečníčková The Metamorphosis of the Character of Count Dracula during the Century Bakalářská práce Studijní obor: anglická filologie Vedoucí práce: PhDr. Libor Práger, Ph.D Olomouc 2013 Prohlašuji, že jsem tuto bakalářskou práci vypracovala samostatně a uvedla úplný seznam citované a použité literatury. V Olomouci dne ............................. .................................. Table of contents: 1 Introduction.......................................................................................................................1 1.1 Dracula as a subject of study.................................................................................2 2 Dracula in the novel..........................................................................................................6 2.1 The visual appearance of Count Dracula...............................................................6 2.2 Dracula's Personality.............................................................................................7 2.3 Dracula as a supernatural being.............................................................................8 2.4 Dracula as a metaphor..........................................................................................11 3 Dracula emerges on screen.............................................................................................15 3.1 Dracula in the 1920s............................................................................................15 -
PRESS RELEASE Classic Horror Film, Nosferatu, Being Shown at Stambaugh Auditorium with Live Organ Accompaniment
PRESS RELEASE Classic horror film, Nosferatu, being shown at Stambaugh Auditorium with live organ accompaniment Contact: Kelly Fertig Secondary Contact: Matt Pagac Director of Marketing & Advertising General Manager Stambaugh Auditorium Stambaugh Auditorium [email protected] [email protected] Telephone: 330-747-5175 Telephone: 330-747-5175 For Immediate Release: On Sunday, October 23rd at 4pm, Stambaugh Auditorium will present the classic, silent, horror film, Nosferatu featuring live organ accompaniment by Peter Richard Conte. While the film is free to the public, tickets are required. Tickets are available now through the Florence and Ward Beecher Box Office at Stambaugh Auditorium. This classic, silent film follows the tale of Thomas Hutter as he tries to sell a house across from his own to the mysterious Count Orlok who lives in a remote Transylvania castle. During his visit with the Count, Hutter discovers strange behaviors by Orlok and begins to suspect that he may in fact be Nosferatu, a vampire. Orlok becomes fascinated by Hutter’s wife after seeing a photo of her, and Hutter is hurt as he escapes returning to save his wife. Shot in 1921 and originally released in 1922, Nosferatu was directed by F.W. Murnau. Unable to attain the rights to Bram Stoker’s version of Dracula, the names and titles of characters were changed while the story’s vampire premise remained. Stoker’s family successfully sued and the ruling was that all copies of the film be destroyed. A few copies managed to survive. The film stars Max Schreck as Count Orlok, Gustav von Wangenheim as Thomas Hutter, and Greta Schroder as Ellen Hutter. -
The Proto-Filmic Monstrosity of Late Victorian Literary Figures
Bamberger Studien zu Literatur, 14 Kultur und Medien “Like some damned Juggernaut” The proto-filmic monstrosity of late Victorian literary figures Johannes Weber 14 Bamberger Studien zu Literatur, Kultur und Medien Bamberger Studien zu Literatur, Kultur und Medien hg. von Andrea Bartl, Hans-Peter Ecker, Jörn Glasenapp, Iris Hermann, Christoph Houswitschka, Friedhelm Marx Band 14 2015 “Like some damned Juggernaut” The proto-filmic monstrosity of late Victorian literary figures Johannes Weber 2015 Bibliographische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliographie; detaillierte bibliographische Informationen sind im Internet über http://dnb.d-nb.de/ abrufbar. Diese Arbeit hat der Fakultät Geistes- und Kulturwissenschaften der Otto-Friedrich- Universität Bamberg als Dissertation vorgelegen. 1. Gutachter: Prof. Dr. Christoph Houswitschka 2. Gutachter: Prof. Dr. Jörn Glasenapp Tag der mündlichen Prüfung: 28. Januar 2015 Dieses Werk ist als freie Onlineversion über den Hochschulschriften-Server (OPUS; http://www.opus-bayern.de/uni-bamberg/) der Universitätsbibliothek Bamberg erreichbar. Kopien und Ausdrucke dürfen nur zum privaten und sons- tigen eigenen Gebrauch angefertigt werden. Herstellung und Druck: Docupoint, Magdeburg Umschlaggestaltung: University of Bamberg Press, Anna Hitthaler Umschlagbild: Screenshot aus Vampyr (1932) © University of Bamberg Press Bamberg 2015 http://www.uni-bamberg.de/ubp/ ISSN: 2192-7901 ISBN: 978-3-86309-348-8 (Druckausgabe) eISBN: 978-3-86309-349-5 (Online-Ausgabe) URN: urn:nbn:de:bvb:473-opus4-267683 Danksagung Mein besonderer Dank gilt meinem Bruder Christian für seinen fachkundigen Rat und die tatkräftige Unterstützung in allen Phasen dieser Arbeit. Ich danke meinem Doktorvater Prof. Dr. Christoph Houswitschka für viele wichtige Denkanstöße und Freiräume. -
Vampire Movies Final.Indd
The Vampire Library ADAM WOOG San Diego, CA ® For Stephanie Wichmann and Mary Alice Tully, my favorite vampire fans. About the Author Adam Woog has written many books for adults, young adults, and children. He and his wife live in Seattle, Washington. ey have a daughter who is in college. ©2011 ReferencePoint Press, Inc. For more information, contact: ReferencePoint Press, Inc. PO Box 27779 San Diego, CA 92198 www.ReferencePointPress.com ALL RIGHTS RESERVED No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means —graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution, or information storage retrieval systems—without the written permission of the publisher. Picture credits: Cover: iStockphoto.com Fortean Picture Library: 6 iStockphoto.com: 14, 41 Photofest: 10, 19, 26, 31, 49, 52, 56, 60, 66, 70 Series design and book layout: Amy Stirnkorb LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Woog, Adam, 1953- Vampires in the movies / by Adam Woog. p. cm. -- (The vampire library series) Includes bibliographical references and index. ISBN-13: 978-1-60152-135-4 (hardback) ISBN-10: 1-60152-135-9 (hardback) 1. Vampire fi lms--History and criticism--Juvenile literature. I. Title. PN1995.9.V3W66 2010 791.43’675--dc22 2010017982 Contents Introduction: Blood-Sucking Stars of the Silver Screen 4 Chapter 1: Dawn of the Movie Undead 8 Chapter 2: e Vampire Evolves 22 Chapter 3: Blockbusters and Other Twists on an Immortal Tale 35 Chapter 4: e Building Blocks of Vampire Flicks 50 Chapter 5: Breaking the Mold 63 Source Notes 76 For Further Exploration 77 Index 78 Introduction Blood-Sucking Stars of the Silver Screen ampires, those bloodthirsty creatures of the night, have been staples of horror movies since the dawn Vof fi lmmaking. -
Recording Angels: Examining Female Narrators in Vampire Fiction and Film Jacqueline T
College of the Holy Cross CrossWorks Honors Theses Honors Projects 4-1-2017 Recording Angels: Examining Female Narrators in Vampire Fiction and Film Jacqueline T. Bashaw College of the Holy Cross, [email protected] Follow this and additional works at: https://crossworks.holycross.edu/honors Part of the Feminist, Gender, and Sexuality Studies Commons, Film and Media Studies Commons, and the Literature in English, British Isles Commons Recommended Citation Bashaw, Jacqueline T., "Recording Angels: Examining Female Narrators in Vampire Fiction and Film" (2017). Honors Theses. 12. https://crossworks.holycross.edu/honors/12 This Thesis is brought to you for free and open access by the Honors Projects at CrossWorks. It has been accepted for inclusion in Honors Theses by an authorized administrator of CrossWorks. Recording Angels: Examining Female Narrators in Vampire Fiction and Film Jacqueline Bashaw College Honors Program English Honors Program Advisor: Professor Debra Gettelman Reader: Professor Toby Mountain 2 Table of Contents Abstract…………………………………………………………………………………………...3 Introduction………………………………………………………………………………………4 Chapter I: The Struggle for Narrative Authority in Le Fanu’s Carmilla…………………..11 I. Introduction II. Female narrators and Gothic frame narratives III. Le Fanu’s frame narrator IV. Laura’s narrative insecurity V. Carmilla’s narrative voice VI. Conclusion Chapter II: Mina Harker: Recording Angel………………………………………………….27 I. Introduction II. Other women in Dracula III. Mina’s religious role IV. Mina as narrator and compiler V. The Recording Angel Chapter III: The Silent Narrator: Mina on Screen……………………………………..……54 I. Introduction II. Murnau’s Nosferatu III. Murnau’s narrative structure IV. Nina’s supernatural perspective V. Herzog’s Nosferatu the Vampyre VI. -
Plague, Shadows, and Antisemitism: Re-Thinking the Place of Nosferatu in the Classroom
Director: F.W. Murnau. Nosferatu, eine Symphonie des Grauens. Germany: Prana-Film, 1922, re-release DVD Kino-International 2007. Film/DVD. Not Rated. B/W. Silent with German Intertitles with English subtitles or English Intertitles. Runtime: 94 min. Reviewed by Amanda Hobson Published on H-German (October, 2009) Commissioned by Benita Blessing (Oregon State University) One image from Nosferatu, eine Symphonie Dracula, but they could not receive the rights to des Grauens is so fercely prevalent in today's hor‐ make the flm. This problem did not prevent them ror and Halloween repertoire that most people from pursuing the project. First, they changed all know the scene even if they have never seen the of the characters' names--Count Dracula becomes film: Count Orlok (played by Max Shreck) rises, Count Orlok, Jonathan Harker becomes Thomas with the help of only his mind, like a plank from Hutter, Mina Harker becomes Ellen Hutter, and the foor of the cargo-hold of the ship that has fer‐ Professor Abraham Van Helsing becomes Profes‐ ried him from Transylvania to Wisborg, Germany. sor Bulwer. The action in the flm takes place in Yet few modern audiences who watch the flm in Germany, instead of in England (the destination of movie halls or at home recognize that moment as Stoker's Dracula). Even the ending changed in a warning, repeated throughout the flm, about Nosferatu. Nonetheless, the novelist's widow Flo‐ the dangers that foreigners and especially Jews rence Stoker successfully sued in a German court posed to civilization, that is, Christendom. This of law to destroy all copies of the flm after its re‐ sign of Orlok's ability to suspend the laws of sci‐ lease, a key legal decision in both German eco‐ ence establishes him as an unnatural creature to nomic and cinematic history. -
Monsters, Dreams, and Discords: Vampire Fiction in Twenty-First Century American Culture
Monsters, Dreams, and Discords: Vampire Fiction in Twenty-First Century American Culture Jillian Marie Wingfield Submitted to the University of Hertfordshire in partial fulfilment of the requirements of the degree of Doctor of Philosophy June 2018 Abstract Amongst recent scholarly interest in vampire fiction, twenty-first century American vampire literature has yet to be examined as a body that demonstrates what is identified here as an evolution into three distinct yet inter-related sub- generic types, labelled for their primary characteristics as Monsters, Dreams, and Discords.1 This project extends the field of understanding through an examination of popular works of American twenty-first century literary vampire fiction, such as Stephenie Meyer’s Twilight series, alongside lesser-known works, such as Andrew Fox’s Fat White Vampire Blues. Drawing on a cultural materialist methodology, this thesis investigates vampires as signifiers of and responses to contemporary cultural fears and power dynamics as well as how they continue an ongoing expansion of influential generic paradigms. This thesis also incorporates psychological theories such as psychodynamics alongside theoretical approaches such as Freud’s consideration of the uncanny as means of understanding the undead as agents of fears and powerplays on a scale from individualized to global. Theories of power inform an argument for vampires as indicators of cultural threats, augmentations, or destabilizations within uchronic Americas. This thesis also draws on post-structuralism to inform an investigation of vampires as cultural indicators. Thus, theorists including Auerbach, Baudrillard, and Faludi are called on to underscore an examination of how modern undead narratives often defy – but do not disavow – cultural dominants, spanning a spectrum from reinforcing to questioning of environment. -
T.C. Istanbul Aydin University Institute of Graduate Studies the Genealogy of Bram Stoker's Dracula: an Evolutionary Literary
T.C. ISTANBUL AYDIN UNIVERSITY INSTITUTE OF GRADUATE STUDIES THE GENEALOGY OF BRAM STOKER’S DRACULA: AN EVOLUTIONARY LITERARY ANALYSIS OF THE VAMPIRE IN LITERATURE AS A MEME THESIS Ahmet Anıl AYGÜN Department of English Language and Literature English Language and Literature Program January, 2020 T.C. ISTANBUL AYDIN UNIVERSITY INSTITUTE OF GRADUATE STUDIES THE GENEALOGY OF BRAM STOKER’S DRACULA: AN EVOLUTIONARY LITERARY ANALYSIS OF THE VAMPIRE IN LITERATURE AS A MEME THESIS Ahmet Anıl AYGÜN Department of English Language and Literature English Language and Literature Program Thesis Advisor: Assist. Prof. Dr. Timuçin Buğra EDMAN January, 2020 DECLARATION I hereby declare that all information in this thesis document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results, which are not original to this thesis. Ahmet Anıl AYGÜN iii To my beloved wife, iv FOREWORD I would like to express my gratitude to my advisor Assist. Prof. Timuçin Buğra EDMAN who has supported me with his profound knowledge and thank him for the valuable advice with which he provided me as my supervisor. I am also grateful for my mother, Mediha AYGÜN, that never gives up supporting me. I am indebted to İdil Gülnihal YAZICI for all the help and support she offered. Last but not least, I would like to thank my beloved wife, Meltem GÜNEŞ AYGÜN for her endless support, encouragement, patience, and guidance. Without them, it would be impossible for me to finish this work.