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Drakul. Nosferatu. Upyr. Vampyre. There have been many names for what we know today as the vampire. For over a century, literature, television, cinema and many other areas in our daily lives cannot be imagined without the appearance of this fictional character. Almost everyone is familiar with the image of the walking undead that creeps out of its coffin at night and sucks the blood out of humans. The undead has always been appealing to its audience. It is the ‘otherness’ of such monsters, their frightful darkness and exoticism that makes them so interesting. This book deals with the figure of the vampire regarded as the ‘unknown other’ and how it is fictionally represented in the American TV series True Blood (2008 - ). Considering both psychoanalytical concepts as well identity theory, the author depicts the literary and cinematographic development of the fictional figure of the vampire since the late nineteenth century, and analyzes different representations of the vampire and its “otherness” as well as their appeal to the audience in the True Blood.
Initial point and working hypothesis Drakul. Nosferatu. Upyr. Vampyre. There have been many names for what we know today as the vampire. It is believed that the existence of the vampires goes back in time for almost one thousand years. At least since Bram Stoker’s successful novel Dracula from 1897, almost everyone is familiar with the image of the walking undead that creeps out of its coffin at night and sucks the blood out of humans. Today’s American popular culture makes it even inevitable to not be faced with vampires on television, in advertisement, on cereal boxes, or even in educational programs for children. The undead has always been appealing to viewers especially of the horror and fantasy genre. Zombies, ghosts, demons, mummies, and vampires have been present in movies and on television ever since the invention of the motion picture at the turn of the twentieth century. It is the “otherness” of such monsters, their frightful darkness and exoticism that makes them so interesting. Since the turn of the twenty-first century, a striking popularity of the undead figure of the vampire in American popular culture is particularly notable. Since F.W. Murnau’s masterpiece Nosferatu in 1922, it is not possible anymore to imagine cinema and television without these nocturnal creatures. The vampire has always been serving as a metaphor for something strange, for anxieties and hidden desires in society. What it has in common with other undead figures in American popular culture is its representation as a monster. The vampires’ “otherness”, their mystical darkness, hypnotizing men, seducing women, longing for life and its taste in human blood – that is what makes the figure of the vampire so extraordinary fascinating and engaging to today’s movie and television audience. This thesis deals with the figure of the vampire regarded as the “unknown other” and how it is fictionally represented in the American TV series True Blood (2008 - ). The thesis argues that the figure of the vampire in postmodern American popular culture lost some of its “otherness” to a certain extent and cannot be regarded as a “monster” per se anymore.
Even though the fantastic (in its most inclusive definition) has been a part of our culture for as long as it exists, it has not been a prominent feature of European academic interest. With its inherent transgressive moment the fantastic allows for an ideal space of the cultural negotiation of political, social and physical boundaries, which should place it at the center of popular cultural research, not as is the case, at its periphery. But the commencing boom of fantastic themes in contemporary media production has facilitated a paradigmatic change in research, prompting a wide interest in the fantastic in all its forms, from fantasy to horror, from fairy tale to science fiction. This volume addresses this growing interest by reviewing the status of research on the fantastic in Europe so far and by providing a necessary outlook for the future. In the essays current trends, such as the liminality debate, as well as established discourses, as for example on genre theory, are brought together to show interested researchers a network of interdisciplinary (from literary, media and social studies) approaches towards the fantastic.
Delves into the myths, legends, literature, and history surrounding that ever-frightening and yet strangely seductive creature, the vampire.
This collection of essays by scholars with expertise in a range of fields, cultural professionals and policy makers explores different ways in which the arts and humanities contribute to dealing with the challenges of contemporary society in ways that do not rely on simplistic and questionable notions of socio-economic impact as a proxy for value.
The record-breaking phenomenon from Elizabeth Kostova is a celebrated masterpiece that "refashioned the vampire myth into a compelling contemporary novel, a late-night page-turner" (San Francisco Chronicle). Breathtakingly suspenseful and beautifully written, The Historian is the story of a young woman plunged into a labyrinth where the secrets of her family’s past connect to an inconceivable evil: the dark fifteenth-century reign of Vlad the Impaler and a time-defying pact that may have kept his awful work alive through the ages. The search for the truth becomes an adventure of monumental proportions, taking us from monasteries and dusty libraries to the capitals of Eastern Europe—in a feat of storytelling so rich, so hypnotic, so exciting that it has enthralled readers around the world. “Part thriller, part history, part romance...Kostova has a keen sense of storytelling and she has a marvelous tale to tell.” —Baltimore Sun
Varney the Vampire Or the Feast of Blood is a horror story by Thomas Peckett Prest. Structured in different episodes, these are classic tales of blood sucking horrors at midnights, for fans of the genre.
As the inaugural volume of the new Brill book series Gendering the Trans-Pacific World: Diaspora, Empire, and Race, this anthology presents an emergent interdisciplinary and multidisciplinary field that highlights the inextricable link between gender and the trans-Pacific world. The anthology features twenty-one chapters by new and established scholars and writers. They collectively examine the geographies of empire, the significance of intimacy and affect, the importance of beauty and the body, and the circulation of culture. This is an ideal volume to introduce advanced undergraduate and graduate students to Transpacific Studies and gender as a category of analysis. Gendering the Trans-Pacific World: Diaspora, Empire, and Race is now available in paperback for individual customers.
From the earliest days of oral history to the present, the vampire myth persists among mankind's deeply-rooted fears. This encyclopedia, with entries ranging from "Abchanchu" to "Zmeus," includes nearly 600 different species of historical and mythological vampires, fully described and detailed.
Fledgling, Octavia Butler’s last novel, is the story of an apparently young, amnesiac girl whose alarmingly un-human needs and abilities lead her to a startling conclusion: she is in fact a genetically modified, 53-year-old vampire. Forced to discover what she can about her stolen former life, she must at the same time learn who wanted—and still wants—to destroy her and those she cares for, and how she can save herself. Fledgling is a captivating novel that tests the limits of "otherness" and questions what it means to be truly human.