This response to the current crisis in the field of literary studies describes the fundamental flaws of poststructuralist literary criticism, which has become a self-serving enterprise at the expense of scholarship at large and students in particular. Outlining an improved approach that meets the expectations of 21st-century students and teachers, the author proposes a new definition of the literary object of study which addresses the inconsistencies of the literary canon by including nontraditional narratives such as films, comic books and pop songs.
This response to the current crisis in the field of literary studies describes the fundamental flaws of poststructuralist literary criticism, which has become a self-serving enterprise at the expense of scholarship at large and students in particular. Outlining an improved approach that meets the expectations of 21st-century students and teachers, the author proposes a new definition of the literary object of study which addresses the inconsistencies of the literary canon by including nontraditional narratives such as films, comic books and pop songs.
Not to be confused with fantasy or the supernatural, the fantastic is in actuality its own beast and perhaps the most deeply frightening of all narrative modes. From Dracula and Nightmare on Elm Street, to Carrie and Them, the fantastic has become an ideal vehicle to denounce deep cultural dysfunctions that affect not only the way we understand reality, but also how we construct it. This work studies the various dimensions of the fantastic mode, examining the influences of iconic authors such as H.P. Lovecraft and Jean Ray, and addressing key narrations such as Guy de Maupasasant's The Horla and Jordan Peele's Get Out. It explains why the fantastic is not about ghosts or monsters, but about the incomprehensible sides of our own reality, and the terrifying unknown.
This book is an analysis of the most significant elements that compose the "Bond formula," such as names, binary oppositions and narrative patterns. It tackles Ian Fleming's novels as well as the 22 films of the Eon Productions series and follows the evolution of certain determining features (paradigms) from the text to the screen, to determine their function within the narration. This study reveals how the James Bond universe goes well beyond mere spy adventures to become a genre in itself as well as, now, a standard cultural reference. The book also shows that the underlying ideology of the James Bond narration is not as conservative as it might appear, for it promotes ideals of the Enlightenment period such as secularity, pragmatism and the common good.
Crews focuses on Valdés's service as an imperial courtier and how his employments in Italy influenced both Spanish diplomacy and his own religious thought.
Not to be confused with fantasy or the supernatural, the fantastic is in actuality its own beast and perhaps the most deeply frightening of all narrative modes. From Dracula and Nightmare on Elm Street, to Carrie and Them, the fantastic has become an ideal vehicle to denounce deep cultural dysfunctions that affect not only the way we understand reality, but also how we construct it. This work studies the various dimensions of the fantastic mode, examining the influences of iconic authors such as H.P. Lovecraft and Jean Ray, and addressing key narrations such as Guy de Maupasasant's The Horla and Jordan Peele's Get Out. It explains why the fantastic is not about ghosts or monsters, but about the incomprehensible sides of our own reality, and the terrifying unknown.
This book is an analysis of the most significant elements that compose the "Bond formula," such as names, binary oppositions and narrative patterns. It tackles Ian Fleming's novels as well as the 22 films of the Eon Productions series and follows the evolution of certain determining features (paradigms) from the text to the screen, to determine their function within the narration. This study reveals how the James Bond universe goes well beyond mere spy adventures to become a genre in itself as well as, now, a standard cultural reference. The book also shows that the underlying ideology of the James Bond narration is not as conservative as it might appear, for it promotes ideals of the Enlightenment period such as secularity, pragmatism and the common good.
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