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The Vampire in the Detective Story
-^---'^ vfr . —1{^ i W:' .— » j«^,.. • >-«i j/^-^j\.V. > J^X^ MONSTRUM: THE VAMPIRE IN THE DETECTIVE STORY A THESIS SUBMITTED TO THE GRADUATE PROGRAM IN POPULAR CULTURE OF BROCK UNIVERSITY ST. CATHARINES, ONTARIO IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN POPULAR CULTURE By Caroline Stikkelbroeck May 2007 © Caroline Stikkelbroeck For Chris and Jake, with love and thanks. I couldn't have done it without you guys. My sincere thanks to Professor Jeanette Sloniowski, thesis advisor extraordinaire, and her partner in crime, Professor Marilyn Rose, for the ongoing support and encouragement. ABSTRACT My approach to the vampire detective highlights its connections to the private detective's story and reveals the monstrous investigators' debt to early feminist forms of detection ~ specifically in their reformation of the 'other' and of traditional forms of power and authority. Seen in this light the movement of horror's imaginary 'other' into the rational world of detection can be seen as not an abrupt breach of detection's realist conventions, but an almost seamless transition into symbolic spaces that point to the detective's primary function ~ to make sense of the senseless. It is in this light that I explore the monster that is a detective as a symbol that is also a sense-maker, and a quintessential postmodern figure. I argue that the distinctions between monsters and 'others', and between popular narratives and postmodern religion have faded, culminating in a character that can not only model 'otherness' as an exemplary condition, but also provide strategies for modeling the form of active postmodern subjectivity that postmodern theorist Jim Collins' (1989) conceives of as heretical activity. -
The Monster As Romantic Hero in Contemporary Fiction
Cleveland State University EngagedScholarship@CSU ETD Archive 2014 Taming the Perfect Beast: the Monster as Romantic Hero in Contemporary Fiction Lara Klaber Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/etdarchive Part of the English Language and Literature Commons How does access to this work benefit ou?y Let us know! Recommended Citation Klaber, Lara, "Taming the Perfect Beast: the Monster as Romantic Hero in Contemporary Fiction" (2014). ETD Archive. 841. https://engagedscholarship.csuohio.edu/etdarchive/841 This Thesis is brought to you for free and open access by EngagedScholarship@CSU. It has been accepted for inclusion in ETD Archive by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. TAMING THE PERFECT BEAST: THE MONSTER AS ROMANTIC HERO IN CONTEMPORARY FICTION LARA KLABER Bachelor of Arts in Communication, English Literature, and Film & Digital Media Cleveland State University December 2010 submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN ENGLISH at the CLEVELAND STATE UNIVERSITY August 2014 We hereby approve this thesis For Lara Klaber Candidate for the Master of Arts in English degree for the department of English and CLEVELAND STATE UNIVERSITY’S College of Graduate Studies by Dr. Frederick J. Karem Department and Date Dr. Adam T. Sonstegard Department and Date Dr. Rachel K. Carnell Department and Date Defended on August 7, 2014 ACKNOWLEDGMENTS I owe thanks to many people who fostered my interest in this project and helped me shape it. Enormous gratitude goes to Dr. F. Jeff Karem, who saw this in its earliest iterations and graciously signed on to suffer through four years of its development as my Advisor. -
Representations of the Soul in Contemporary Vampire Film and Television
THE MORAL UNDEAD: REPRESENTATIONS OF THE SOUL IN CONTEMPORARY VAMPIRE FILM AND TELEVISION Emma Somogyi M.A.App.Ling (TESOL); G.Dip.Ed (Sp.Nds); B.A; Cert IV Proj.Man. Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Media, Entertainment, and Creative Arts: Film & Screen Faculty of Creative Industries Queensland University of Technology 2017 Keywords Soul, vampire, personhood, undead, horror film, horror television, horror cinema, humanity, morality, Twilight, True Blood, The Vampire Diaries The Moral Undead: Representations of the soul in contemporary vampire film and television i Abstract The vampire was introduced to the cinema in the early 1920s and has become a popular and prevalent character in both cinematic and televised forms. In film studies, it is widely recognised that the vampire has traditionally been represented as a monster embodying the societal anxieties of particular times—as Auerbach notes, ‘every age embraces the vampire it needs’ (1995, 145). However, at various times in film history, and in its literary, televisual and cinematic forms, the vampire has also been represented as a sympathetic and reluctant creature—as Smith explains, this depiction encourages viewers to align with the vampire character (1995, 83). Since the early 2000s, there has been a marked shift in how the vampire is represented; since the 2008 release of The Twilight Saga films (Hardwicke 2008; Weitz 2009; Slade 2010; Condon 2011, 2012) in particular, numerous films and television shows have portrayed the vampire as a character that exhibits increasingly human-like traits. Precursors to the post-millennial vampire include the vampires Angel and Spike, the protagonists (and sometimes antagonists) of the television series Buffy the Vampire Slayer (Whedon 1997-2003) and Angel (Whedon and Greenwalt 1999- 2004), who were portrayed as having souls, and many plotlines from both series revolved around this notion. -
Buffy the Vampire Slayer
This book is dedicated to my mother, whose strength, courage and humor continue to inspire. Un-Dead TV The Ultimate Guide to Vampire Television second edition Brad Middleton Foreword by J. Gordon Melton By Light Unseen Media Pepperell, Massachusetts Un-Dead TV The Ultimate Guide to Vampire Television Second Edition Copyright © 2012, 2016 by Brad Middleton. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the prior written permission of the copyright holder, except for brief quotations in reviews and for academic purposes in accordance with copyright law and principles of Fair Use. Cover Design by Brad Middleton Photo Credit: Canadian Broadcasting Corporation (colorized by permission) Interior design and layout by Vyrdolak, By Light Unseen Media. Title page photo: Dracula (Norman Welsh) puts the bite on Lucy (Charlotte Blunt) in Purple Playhouse - “Dracula” (CBC Still Photo Collection) Thirsty for more? Visit http://un-dead.tv Perfect Paperback Edition ISBN-10: 1-935303-62-7 ISBN-13: 978-1-935303-62-6 LCCN: 2016956181 Published by By Light Unseen Media 325 Lake View Dr. Winchendon, Massachusetts 01475 Our Mission: By Light Unseen Media presents the best of quality fiction and non-fiction on the theme of vampires and vampirism. We offer fictional works with original imagination and style, as well as non-fiction of academic calibre. For additional information, visit: http://bylightunseenmedia.com Printed in the United States of America 0 9 8 7 6 5 4 3 2 1 5 CONTENTS Foreword by J. -
SLAV-T230 Vampire F2018 Syllabus-Holdeman-Draft
The Vampire in European and American Culture Dr. Jeff Holdeman SLAV-T230 13119 (SLAV) (please call me Jeff) SLAV-T230 13807 (HHC section) GISB East 4041 Fall 2018 812-855-5891 (office) TR 4:00–5:15 pm Office hours (GA 4041): Classroom: HU 108 * Mon. and Tues. 2:15–3:15 pm in BH 008 carries CASE A&H, GCC; GenEd A&H, WC * and by appointment (just ask!!!) * e-mail me beforehand to reserve a time * It is always best to schedule an appointment. [email protected] 812-335-9868 (home) This syllabus is available in alternative formats upon request. Overview The vampire is one of the most popular and enduring images in the world, giving rise to hundreds of monster movies around the globe every year, not to mention novels, short stories, plays, TV shows, and commercial merchandise. Yet the Western vampire image that we know from the film, television, and literature of today is very different from its eastern European progenitor. Nina Auerbach has said that "every age creates the vampire that it needs." In this course we will explore the eastern European origins of the vampire, similar entities in other cultures that predate them, and how the vampire in its look, nature, vulnerabilities, and threat has changed over the centuries. This approach will provide us with the means to learn about the geography, village and urban cultures, traditional social structure, and religions of eastern Europe; the nature and manifestations of Evil and the concept of Limited Good; physical, temporal, and societal boundaries and ritual passage that accompany them; and major historical and intellectual periods (the settlement of Europe, the Age of Reason, Romanticism, Neo-classicism, the Enlightenment, the Victorian era, up to today). -
Vampire Legends in Contemporary American Culture: What Becomes a Legend Most
University of Kentucky UKnowledge Literature in English, North America English Language and Literature 9-30-2002 Vampire Legends in Contemporary American Culture: What Becomes a Legend Most William Patrick Day Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Day, William Patrick, "Vampire Legends in Contemporary American Culture: What Becomes a Legend Most" (2002). Literature in English, North America. 3. https://uknowledge.uky.edu/upk_english_language_and_literature_north_america/3 Vampire Legends in Contemporary American Culture This page intentionally left blank VAMP IRE LEGENDS IN CONTEMPORARY AMERICAN CULTURE What Becomes a Legend Most William Patrick Day THIE UNIVERSITY PRESS OF KENTUCKY Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 2002 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508–4008 www.kentuckypress.com The Library of Congress has cataloged the hardcover edition as follows: Day, William Patrick. -
Television Reviews
Page 159 TELEVISION REVIEWS “ In Gore We Trust”: Horror and the Modern U.S. Crime Series Bernice M. Murphy Television crime in the United States has undergone a radical transformation in the past decade. Prior to the mid1990s, most detective series, with the exception of rare standouts such as Cagney and Lacey and NYPD Blue, were predictable, comfortable viewing fit for all the family – which is why reruns of Diagnosis Murder, Murder She Wrote, Matlock, Quincy, MD, and Columbo are still staples in the daytime viewing schedules. The only thing about the likes of Murder She Wrote that might keep you awake at night would be wondering why no police officer ever questioned the fact that Jessica Fletcher ‘just happened’ to be present at the site of so many suspicious deaths. Now, largely thanks to nonterrestrial stations such as the Dublinonly Channel 6, the UK’s Channel 5, and the Living Channel (ironic, since so much of its output focuses on the dead, be it in ghostly or corpse form), Irish television schedules are overflowing with prime examples of the new breed of American TV detective. Gone are the Private Investigators, enthusiastic amateurs and sleuthing pensioners of the past (although William Petersen’s Gil Grissom in CSI: Vegas is getting increasingly saggy looking). With the exception of precocious highschool student Veronica Mars, American detective shows overwhelmingly focus on government agencies and highly professional police departments staffed by beautiful people in sharp suits (or snappy casual wear made cooler by the strategic addition of Kevlar and handcuffs).