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Genre, Authorship, and Quality in Teen TV horror
Rebecca Williams

The Vampire Diaries began life as a series of novels before being adapted into a television series screened on the CW channel in the US and ITV2 in the UK. This article explores how the show contributes to debates over genre and authorship within the context of the TV vampire via its status as a teen horror text. It also investigates how the show intersects with debates over quality television via the involvement of teen-TV auteur Kevin Williamson. In exploring genre and authorship, the article considers how The Vampire Diaries functions as a teen drama and a TV vampire/horror text.

Gothic Studies
A Deleuzian Gothic
Anna Powell

The insights of Gilles Deleuze‘s film-philosophy offers a distinctive theoretical approach to Gothics remarkable affects and temporal effects. Introducing key critical tools, I apply them to Neil Jordan‘s Interview with the Vampire (1994), as well as asserting the broader relevance of Deleuze to Gothic studies.

Gothic Studies
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Jeffrey Andrew Weinstock

a shriek, Varney took one tremendous leap, and disappeared into the burning mouth of the mountain. 1 James Malcolm Rymer, Varney the Vampire; or, The Feast of Blood So ends the inglorious career of terror practised for over two centuries by the antagonist of James Malcolm Rymer’s sprawling 666,000-word penny dreadful, Varney the Vampire; or, The Feast of Blood , published serially from 1845–47. And while Bram Stoker’s Dracula , published fifty years later, is generally considered to

in Suicide and the Gothic
Towards a globalised notion of vampire identity
Aspasia Stephanou

Even people who don’t like vampires know what one is. The vampire is as common as a Big Mac. A vampire fan, qtd in Dresser if we celebrate hybridity and heterogeneity, we must remember that

in Globalgothic
Fred Botting

Gothic fictions have, from their beginning, been fabrications. Shaped by their time, Anne Rice‘s vampire novels – Interview With The Vampire and The Vampire Lestat – participate in a logic of simulation: the former offers a nostalgic pastiche of Romantic and Baudelairean modernity; the latter an overblown reanimation of pagan and ancient mythologies. For all their nostalgia and recyclings, these postmodern romances remain tied to contemporary ahistorical and reversible axes of consumption and exhaustion, fatally in-human desiring and technological novelties, flaccid fantasies and tired trangressions.

Gothic Studies
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Folklore and fiction – writing My Swordhand Is Singing
Marcus Sedgwick

Ever Since I Became a published author, in 2000, it was my strong ambition to write a vampire novel. Why? Well, simply, I thought it would be enormously good fun to do so. I grew up as a fan of vampire cinema and fiction. One summer in the early 1980s the BBC screened a series of classic horror double bills every Saturday night, beginning with Tod Browning’s 1931 Dracula

in Open Graves, Open Minds
Biting into the Global Myth
Svitlana Krys

This article discusses the manner in which the vampire fiction of contemporary Ukrainian author Halyna Pahutiak enters into a dialogue with the global vampire discourse whose core or ‘cultural capital’ finds its origins largely in Bram Stoker’s novel Dracula (1897). Through discussion of thematic, stylistic, and structural similarities and differences between Pahutiak and Stoker’s portrayals of the vampire myth, my paper sheds light on the conscious mythmaking strategies that Pahutiak employs to return the vampire symbolically from the West to Eastern Europe where it originated, and reassess the core characteristics of the Dracula myth.

Gothic Studies
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The economics of salvation in Dracula and the Twilight Saga
Jennifer H Williams

The Problem of Vampires has always been a peculiarly religious one. When Professor Van Helsing explains to his ‘Crew of Light’ what is at stake in their quest to destroy the vampire, Dracula, he casts it in religious terms: My friends … it is a terrible task that we undertake, and there may be consequence to make the brave

in Open Graves, Open Minds
Open Access (free)
Chantal Chawaf ’s melancholic autofiction
Kathryn Robson

   The female vampire: Chantal Chawaf ’s melancholic autofiction Julia Kristeva opens her text, Soleil noir: dépression et mélancolie, with the claim that ‘Ecrire sur la mélancolie n’aurait de sens, pour ceux que la mélancolie ravage, que si l’écrit même venait de la mélancolie’ (‘For those who are racked by melancholia, writing about it would have meaning only if writing sprang out of that very melancholia’).1 This chapter explores the possibility of writing ‘de la mélancolie’ through focusing on the work of Chantal Chawaf, whose writing may be

in Women’s writing in contemporary France
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Marie Mulvey-Roberts

Our lads crucified, babies spiked On bayonets by vampire Aryans. 1     Robert Greacen, ‘Hun’ (1995) In all men’s hearts it is. Some spirit old Hath turned with malign kiss Our lives

in Dangerous bodies