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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
Werewolves, wolves and wild children
Editors: Sam George and Bill Hughes

The book explores crucial questions concerning human social existence and its animal substrate, and the intersection between the human and the wolfishly bestial. The collection connects together innovative research on the cultural significance of wolves, wild children and werewolves from a variety of perspectives. We begin with the wolf itself as it has been interpreted as a cultural symbol and how it figures in contemporary debates about human existence, wilderness and nature. Alongside this, we consider eighteenth-century debates about wild children – often thought to have been raised by wolves and other animals – and their role in key questions about the origins of language and society. The collection continues with analyses of the modern werewolf and its cultural connotations in texts from nineteenth-century Gothic through early cinema to present-day television and Young Adult fiction, concluding with the transitions between animal and human in contemporary art, poetry and fashion.

Michelle J. Smith

The Gothic has become a dominant mode in children’s and young adult fiction published in the past decade. This chapter considers how Sonya Hartnett’s The Ghost’s Child (2007), Chris Priestley’s Uncle Montague’s Tales of Terror (2007), Neil Gaiman’s The Graveyard Book (2008), and Ransom Riggs’ Miss Peregrine’s Home for Peculiar Children (2011) all represent dead or ghostly children who, in diverse ways, work to critique or remedy adult actions, particularly through their interactions with history. Contemporary Gothic children’s literature is, this chapter argues, distinctly different from Gothic fictions for adults, which often represent children as the bearers of death. In contrast, Gothic children’s literature displaces the anxieties that ordinarily accompany the representation of child death in realist fiction.

in The Gothic and death

The gothic and death is the first ever published study to investigate how the multifarious strands of the Gothic and the concepts of death, dying, mourning, and memorialization – what the Editor broadly refers to as "the Death Question" – have intersected and been configured cross-culturally to diverse ends from the mid-eighteenth century to the present day. Drawing on recent scholarship in Gothic Studies, film theory, Women’s and Gender Studies, and Thanatology Studies, to which fields it seeks to make a valuable contribution, this interdisciplinary collection of fifteen essays by international scholars considers the Gothic’s engagement, by way of its unique necropolitics and necropoetics, with death’s challenges to all systems of meaning, and its relationship to the culturally contingent concepts of memento mori, subjectivity, spectrality, and corporeal transcendence. Attentive to our defamiliarization with death since the advent of enlightened modernity and the death-related anxieties engendered by that transition, The gothic and death combines detailed attention to socio-historical and cultural contexts with rigorous close readings of artistic, literary, televisual, and cinematic works. This surprisingly underexplored area of enquiry is considered by way of such popular and uncanny figures as corpses, ghosts, zombies, and vampires, and across various cultural and literary forms as Graveyard Poetry, Romantic poetry, Victorian literature, nineteenth-century Italian and Russian literature, Anglo-American film and television, contemporary Young Adult fiction, Bollywood film noir, and new media technologies that complicate our ideas of mourning, haunting, and the "afterlife" of the self.

The representation of incest in children’s literature
Alice Mills

maturity of individual children. Nevertheless, they offer a set of definitions of the contemporary child as understood by the marketplace, and it is in these terms that I shall work through my examination of the (very small) field of children’s literature concerned with incest. The division between young adult fiction and the rest of children’s literature was forced on the market by the phenomenal

in Incest in contemporary literature
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Sam George and Bill Hughes

, with their fervid entwinings of human and sparkly vampire. Given the decade in which this volume has been produced, the shadowy presence of Twilight is inescapable. Many of the chapters below engage with Twilight , as book and film, or with affiliated Young Adult fictions; the humanised incarnation of the once-monstrous (such as Meyer’s Cullen family) provides one of the themes that unifies this

in Open Graves, Open Minds
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Maria Holmgren Troy, Johan Höglund, Yvonne Leffler, and Sofia Wijkmark

Defining ‘Nordic Gothic’ In the Nordic countries, Gothic fiction has become increasingly pervasive and popular in the past few decades and invaded all cultural registers – popular, highbrow, children's and young adult fiction – and contemporary Nordic Gothic has been well received by critics and general audiences, both nationally and internationally. In view of this, it is striking that Nordic Gothic remains a more or less unexplored territory in the internationally extensive field of Gothic Studies. Addressing this dearth

in Nordic Gothic
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Queer theory, literature and the politics of sameness
Author: Ben Nichols

In its contributions to the study of material social differences, queer theoretical writing has mostly assumed that any ideas which embody 'difference' are valuable. More than this, where it is invoked in contemporary theory, queerness is often imagined as synonymous with difference itself. This book uncovers an alternative history in queer cultural representation. Through engagement with works from a range of queer literary genres from across the long twentieth century – fin-de-siècle aestheticism, feminist speculative fiction, lesbian middle-brow writing, and the tradition of the stud file – the book elucidates a number of formal and thematic attachments to ideas that have been denigrated in queer theory for their embodiment of sameness: uselessness, normativity, reproduction and reductionism. Exploring attachments to these ideas in queer culture is also the occasion for a broader theoretical intervention: Same Old suggests, counterintuitively, that the aversion they inspire may be of a piece with how homosexuality has been denigrated in the modern West as a misguided orientation towards sameness. Combining queer cultural and literary history, sensitive close readings and detailed genealogies of theoretical concepts, Same Old encourages a fundamental rethinking of some of the defining positions in queer thought.

Essence, difference and assimilation in Daniel Waters’s Generation Dead
Bill Hughes

, alongside the apocalyptic horrors of 28 Days Later and Walking Dead , there are glimpses of a more humanised incarnation. The current fascination with the zombie may well be due to the need to fill a monstrous gap left by the assimilation of the vampire into human society. 17 But the non-vampiric Undead is also employed – particularly in Young Adult fiction – to dramatise coping with

in Open Graves, Open Minds
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Sorcha Ní Fhlainn

neither dampened his vision nor compromised his material; if anything, the young adult fiction spark that began with the success of The Thief of Always would inform the next fifteen years of his work in writing and painting for his ambitious Abarat series ( 2002 ; 2004; 2011–). Following the commercial success of Bernard Rose's film Candyman (on which Barker served as executive producer

in Clive Barker