Post-Millennial Gothic: Comedy, Romance and the Rise of Happy Gothic
Autor Dr Catherine Spooneren Limba Engleză Paperback – 22 feb 2017
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Specificații
ISBN-13: 9781441101211
ISBN-10: 1441101217
Pagini: 232
Dimensiuni: 156 x 234 x 16 mm
Greutate: 0.39 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:London, United Kingdom
ISBN-10: 1441101217
Pagini: 232
Dimensiuni: 156 x 234 x 16 mm
Greutate: 0.39 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:London, United Kingdom
Caracteristici
Historicises contemporary trends by examining neglected elements of comedy and romance in earlier Gothic literature.
Notă biografică
Catherine Spooner is Senior Lecturer in English Literature at Lancaster University, UK. She is co-editor (with Emma McEvoy) of The Routledge Companion to Gothic (2007) and author of Contemporary Gothic (2006) and Fashioning Gothic Bodies (2004).
Cuprins
Introduction 1. Consuming the Edible Graveyard: Gothic Lifestyles and Lifestyle Gothic 2. 'The images, for me, are the story': Tim Burton's Gothic Aesthetics 3. 'Forget Nu Rave, We're Into Nu Grave!': High Street Style and the uses of Gothic Romance4. Gothic Charm School, or, How Vampires Learned to Sparkle5. Pretty in Black: The Goth Girl and the Whimsical Macabre6. 'Happy Nights Are Here Again': Having a Laugh with Vampires and Other Monsters7. 'I'm the Shoreditch Vampire': Making Over Goth Masculinities in Television Comedy8. 'Swishing about and spookiness': Whitby and Gothic Literary Tourism from Bram Stoker's Dracula to Paul Magrs's Never the BrideConclusion: Gothic CelebrationsWorks citedIndex
Recenzii
The range of sources that Spooner uses to uncover this strand of Gothic and the work it's doing in the twenty-first century is as impressive as the primary texts that she explores throughout the book.
Spooner is especially persuasive in her argument that the rise in the fusion of comedy and Gothic needs not to be viewed as on the fringes of what is quintessentially Gothic, but rather a turn toward a new form of Gothic altogether . Spooner's writing style, as well as her intriguing references and anecdotes, provides for a very enjoyable and accessible read-for those inside and outside academia.
Post-Millennial Gothic is well rounded, accessible and very readable study that arguably succeeds in its mission statement and more.
This book expands our understanding of the Gothic and uses lots of interesting contemporary examples. I think this book would be of interest to not just Gothic scholars, but also those interested in post-millennial and material culture.
Don't judge a book by its cover, or so the old adage goes; when it comes to Catherine Spooner's most recent publication, Post-Millennial Gothic: Comedy, Romance and the Rise of Happy Gothic, though, it is hard not to ... Post-Millennial Gothic is foremost an academic study, but one that is pleasingly free of convoluted jargon, which makes it an enjoyable whistle-stop tour of post-millennial happy Gothic.
Spooner is especially persuasive in her argument that the rise in the fusion of comedy and Gothic needs not to be viewed as on the fringes of what is quintessentially Gothic, but rather a turn toward a new form of Gothic altogether . Spooner's writing style, as well as her intriguing references and anecdotes, provides for a very enjoyable and accessible read-for those inside and outside academia.
Post-Millennial Gothic is well rounded, accessible and very readable study that arguably succeeds in its mission statement and more.
This book expands our understanding of the Gothic and uses lots of interesting contemporary examples. I think this book would be of interest to not just Gothic scholars, but also those interested in post-millennial and material culture.
Don't judge a book by its cover, or so the old adage goes; when it comes to Catherine Spooner's most recent publication, Post-Millennial Gothic: Comedy, Romance and the Rise of Happy Gothic, though, it is hard not to ... Post-Millennial Gothic is foremost an academic study, but one that is pleasingly free of convoluted jargon, which makes it an enjoyable whistle-stop tour of post-millennial happy Gothic.