Facets of Fear in Anglophone Literature and Film
E-Book, Englisch, 294 Seiten
Reihe: Representations & Reflections.
ISBN: 978-3-8470-0050-1
Verlag: V&R unipress
Format: PDF
Kopierschutz: 0 - No protection
Fachgebiete
- Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmgattungen, Filmgenre
- Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmtheorie, Filmanalyse
- Geisteswissenschaften Literaturwissenschaft Literarische Stoffe, Motive und Themen
- Geisteswissenschaften Literaturwissenschaft Rezeption, literarische Einflüsse und Beziehungen
- Geisteswissenschaften Geschichtswissenschaft Geschichtliche Themen Kultur- und Ideengeschichte
Weitere Infos & Material
1;Title Page;4
2;Copyright;5
3;Table of Contents;6
4;Body;8
5;Marion Gymnich: Fictions of Fear – Representations of Fear in Anglophone Literature and Audiovisual Media;8
5.1;I. Introduction;8
5.2;II. Fear on the Plot Level – Thrills for the Reader and Viewer;10
5.3;III. Genres of Fear;15
5.4;IV. Case Study: The Village;18
5.5;References;26
6;Uwe Baumann: Ruling by Fear / Ruled by Fear: Representations of Political Violence and Political Fear in English Renaissance Culture and Literature;28
6.1;I. Prologue;28
6.2;II. Representations of Political Fear: Facets of the Classical Tradition;30
6.3;III. Representations of Fear in the Declamatio, the Epigrams of Thomas More and the Politics of Henry VIII;39
6.4;IV. Representations of Political Violence and Political Fear on the English Renaissance Stage;51
6.4.1;Christopher Marlowe, Tamburlaine (1587);56
6.4.2;William Shakespeare, Macbeth (1605/1606);59
6.4.3;Colley Cibber, Xerxes, A Tragedy (1699);65
6.5;V. Epilogue;69
6.6;Plate I: Henkel, Arthur and Albrecht Schöne (eds.). Emblemata. Handbuch zur Sinnbildkunst des XVI. und XVII. Jahrhunderts. Stuttgart: Metzler, 1967. 1248;72
6.7;Plate II: Henkel, Arthur and Albrecht Schöne (eds.). Emblemata. Handbuch zur Sinnbildkunst des XVI. und XVII. Jahrhunderts. Stuttgart: Metzler, 1967. 555;73
6.8;References;74
7;Andrea Rummel: Romanticism, Anxiety and Dramatic Representation;82
7.1;I. Gothic Drama: George Colman the Younger, Bluebeard;84
7.2;II. Anti-Revolutionary Theatre: Edmund John Eyre, The Maid of Normandy;87
7.3;III. Historical Tragedies: Percy Bysshe Shelley, The Cenci;90
7.4;IV. Enacting Fear on the Romantic Stage;94
7.5;References;95
8;Gislind Rohwer-Happe: The Dramatic Monologue and the Preservation of Victorian Fears;98
8.1;I. The Contextualization of the Dramatic Monologue;98
8.2;II. Religion and the Dramatic Monologue;101
8.3;III. Crime, Madness and the Dramatic Monologue;103
8.4;IV. Death and the Dramatic Monologue;104
8.5;V. `The Great Social Evil' and the Dramatic Monologue;106
8.6;VI. Conclusion;108
8.7;References;109
9;Stella Butter: Cultural Constructions of Fear and Empathy: The Emotional Structure of Relationships in George Eliot's Daniel Deronda (1876) and Jonathan Nasaw's Fear Itself (2003);110
9.1;I. George Eliot: Daniel Deronda (1876);113
9.2;II. Jonathan Nasaw: Fear Itself (2003);126
9.3;III. Conclusion;136
9.4;References;138
10;Sara Strauß: Facets of Children's Fears in Twentieth- and Twenty-First-Century Stream-of-Consciousness Fiction;142
10.1;References;156
11;Marcel Inhoff: Fearing, Loathing: Robert Lowell, Hunter S. Thompson and the Rise of Richard Nixon;158
11.1;References;178
12;Klaus Scheunemann: Fight or Flight – Fear in War Movies;182
12.1;I. Introduction;182
12.2;II. Days of Heroes – The Longest Day;184
12.3;III. War as a Psychological Challenge – Saving Private Ryan;186
12.4;IV. War's Ugly Face – Die Brücke;190
12.5;V. Conclusion;191
12.6;References;192
13;Christian Knöppler: Remaking Fear: The Cultural Function of Horror Film Remakes;194
13.1;I. Scare Me Again;195
13.2;II. Defining the Film Remake;197
13.3;III. Horror and Remakes: A Match Made in Hell?;200
13.4;IV. Case Study: Invasion of the Body Snatchers and its Three Remakes;204
13.5;V. A Horror Remake Complex;207
13.6;References;208
14;Elena Baeva: `A Little Gasp Went Around [] Like a Scream' – The Use of Time-Tried Motifs of Fear in Shirley Jackson's We Have Always Lived in the Castle and Quentin Tarantino's Inglourious Basterds;212
14.1;I. Introduction;212
14.2;II. We Have Always Lived in the Castle;213
14.3;III. Inglourious Basterds;220
14.4;IV. Conclusion and Implications for our Concept of Fear;226
14.5;References;227
15;Barbara Puschmann-Nalenz: Nothing to be Frightened of? The Expulsion of Fear in Kazuo Ishiguro's Novel Never Let Me Go;230
15.1;I. The Explicit Expression of Fear by Characters of the Novel;230
15.2;II. Absence of Fear;231
15.3;III. Gender, Fear and the State of the Nation;233
15.4;IV. The Implicit Distribution of Fear in the Novel;235
15.5;V. Relation between Fear and Value-System;237
15.6;VI. Fear and Lack of Fear as Agents;240
15.7;VII. The Fear of the Readers;241
15.8;References;243
16;Nina Liewald: `Do not be frightened by my beard. I am a lover of America' – Fear and Nostalgia in Mohsin Hamid's The Reluctant Fundamentalist;246
16.1;References;258
17;Imke Lichterfeld: `Timor mortis conturbat me. Fear of death disturbs me' – Fear and Terror in Frank McGuinness' Speaking like Magpies;260
17.1;References;274
18;Antonio Wojahn: Fear of Death in J.G. Ballard's Crash;276
18.1;I. Accessways;276
18.2;II. Gateways to Crash;278
18.3;III. The Imaginary World of Crash;282
18.4;IV. Repetition and Rehearsing Death in Crash;286
18.5;V. Destinations and Departures;291
18.6;References;292
19;Contributors;294
