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Gothicka : Vampire Heroes, Human Gods, and the New Supernatural / Victoria Nelson.

By: Material type: TextTextPublisher: Cambridge, MA : Harvard University Press, [2012]Copyright date: ©2012Description: 1 online resource : 14 halftonesContent type:
Media type:
Carrier type:
ISBN:
  • 9780674050143
  • 9780674065406
Subject(s): DDC classification:
  • 700.415 23
LOC classification:
  • PN3435 .N45 2012
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- Contents -- Preface -- One. White Dog, the Pequel -- Two. Faux Catholic -- Three. Gothick Gods -- Four. Decommissioning Satan -- Five. Gothick Romance -- Six. The Bright God Beckons -- Seven. Postapocalyptic Gothick -- Eight. The Gothick Theater of Halloween -- Nine. The Ten Rules of Sitges -- Ten. Cathedral Head -- Eleven. The New Christian Gothick -- Twelve. Epilogue -- Notes -- Acknowledgments -- Index
Summary: The Gothic, Romanticism's gritty older sibling, has flourished in myriad permutations since the eighteenth century. In Gothicka, Victoria Nelson identifies the revolutionary turn it has taken in the twenty-first. Today's Gothic has fashioned its monsters into heroes and its devils into angels. It is actively reviving supernaturalism in popular culture, not as an evil dimension divorced from ordinary human existence but as part of our daily lives. To explain this millennial shift away from the traditionally dark Protestant post-Enlightenment Gothic, Nelson studies the complex arena of contemporary Gothic subgenres that take the form of novels, films, and graphic novels. She considers the work of Dan Brown and Stephenie Meyer, graphic novelists Mike Mignola and Garth Ennis, Christian writer William P. Young (author of The Shack), and filmmaker Guillermo del Toro. She considers twentieth-century Gothic masters H. P. Lovecraft, Anne Rice, and Stephen King in light of both their immediate ancestors in the eighteenth century and the original Gothic-the late medieval period from which Horace Walpole and his successors drew their inspiration. Fictions such as the Twilight and Left Behind series do more than follow the conventions of the classic Gothic novel. They are radically reviving and reinventing the transcendental worldview that informed the West's premodern era. As Jesus becomes mortal in The Da Vinci Code and the child Ofelia becomes a goddess in Pan's Labyrinth, Nelson argues that this unprecedented mainstreaming of a spiritually driven supernaturalism is a harbinger of what a post-Christian religion in America might look like.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780674065406

Frontmatter -- Contents -- Preface -- One. White Dog, the Pequel -- Two. Faux Catholic -- Three. Gothick Gods -- Four. Decommissioning Satan -- Five. Gothick Romance -- Six. The Bright God Beckons -- Seven. Postapocalyptic Gothick -- Eight. The Gothick Theater of Halloween -- Nine. The Ten Rules of Sitges -- Ten. Cathedral Head -- Eleven. The New Christian Gothick -- Twelve. Epilogue -- Notes -- Acknowledgments -- Index

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http://purl.org/coar/access_right/c_16ec

The Gothic, Romanticism's gritty older sibling, has flourished in myriad permutations since the eighteenth century. In Gothicka, Victoria Nelson identifies the revolutionary turn it has taken in the twenty-first. Today's Gothic has fashioned its monsters into heroes and its devils into angels. It is actively reviving supernaturalism in popular culture, not as an evil dimension divorced from ordinary human existence but as part of our daily lives. To explain this millennial shift away from the traditionally dark Protestant post-Enlightenment Gothic, Nelson studies the complex arena of contemporary Gothic subgenres that take the form of novels, films, and graphic novels. She considers the work of Dan Brown and Stephenie Meyer, graphic novelists Mike Mignola and Garth Ennis, Christian writer William P. Young (author of The Shack), and filmmaker Guillermo del Toro. She considers twentieth-century Gothic masters H. P. Lovecraft, Anne Rice, and Stephen King in light of both their immediate ancestors in the eighteenth century and the original Gothic-the late medieval period from which Horace Walpole and his successors drew their inspiration. Fictions such as the Twilight and Left Behind series do more than follow the conventions of the classic Gothic novel. They are radically reviving and reinventing the transcendental worldview that informed the West's premodern era. As Jesus becomes mortal in The Da Vinci Code and the child Ofelia becomes a goddess in Pan's Labyrinth, Nelson argues that this unprecedented mainstreaming of a spiritually driven supernaturalism is a harbinger of what a post-Christian religion in America might look like.

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 08. Jul 2019)