04578nam 2200721Ia 450 991079193730332120230802012612.00-674-06540-90-674-06960-910.4159/harvard.9780674065406(CKB)2560000000082497(OCoLC)794003978(CaPaEBR)ebrary10568036(SSID)ssj0000656249(PQKBManifestationID)11430187(PQKBTitleCode)TC0000656249(PQKBWorkID)10632303(PQKB)10131132(MiAaPQ)EBC3301092(DE-B1597)178148(OCoLC)840441788(DE-B1597)9780674065406(Au-PeEL)EBL3301092(CaPaEBR)ebr10568036(OCoLC)923119219(EXLCZ)99256000000008249720111003d2012 uy 0engurcn|||||||||txtccrGothicka[electronic resource] vampire heroes, human gods, and the new supernatural /Victoria NelsonCambridge, Mass. Harvard University Press20121 online resource (350 p.) Bibliographic Level Mode of Issuance: Monograph0-674-05014-2 Includes bibliographical references and index. Frontmatter -- Contents -- Preface -- One. White Dog, the Pequel -- Two. Faux Catholic -- Three. Gothick Gods -- Four. Decommissioning Satan -- Five. Gothick Romance -- Six. The Bright God Beckons -- Seven. Postapocalyptic Gothick -- Eight. The Gothick Theater of Halloween -- Nine. The Ten Rules of Sitges -- Ten. Cathedral Head -- Eleven. The New Christian Gothick -- Twelve. Epilogue -- Notes -- Acknowledgments -- IndexThe Gothic, Romanticism's gritty older sibling, has flourished in myriad permutations since the eighteenth century. In Gothicka, Victoria Nelson identifies the revolutionary turn it has taken in the twenty-first. Today's Gothic has fashioned its monsters into heroes and its devils into angels. It is actively reviving supernaturalism in popular culture, not as an evil dimension divorced from ordinary human existence but as part of our daily lives. To explain this millennial shift away from the traditionally dark Protestant post-Enlightenment Gothic, Nelson studies the complex arena of contemporary Gothic subgenres that take the form of novels, films, and graphic novels. She considers the work of Dan Brown and Stephenie Meyer, graphic novelists Mike Mignola and Garth Ennis, Christian writer William P. Young (author of The Shack), and filmmaker Guillermo del Toro. She considers twentieth-century Gothic masters H. P. Lovecraft, Anne Rice, and Stephen King in light of both their immediate ancestors in the eighteenth century and the original Gothic-the late medieval period from which Horace Walpole and his successors drew their inspiration. Fictions such as the Twilight and Left Behind series do more than follow the conventions of the classic Gothic novel. They are radically reviving and reinventing the transcendental worldview that informed the West's premodern era. As Jesus becomes mortal in The Da Vinci Code and the child Ofelia becomes a goddess in Pan's Labyrinth, Nelson argues that this unprecedented mainstreaming of a spiritually driven supernaturalism is a harbinger of what a post-Christian religion in America might look like.Goth culture (Subculture)History and criticismGothic fiction (Literary genre)History and criticismGothic revival (Literature)History and criticismHorror comic books, strips, etcHistory and criticismHorror filmsHistory and criticismHorror talesHistory and criticismSpirituality in literatureGoth culture (Subculture)History and criticism.Gothic fiction (Literary genre)History and criticism.Gothic revival (Literature)History and criticism.Horror comic books, strips, etc.History and criticism.Horror filmsHistory and criticism.Horror talesHistory and criticism.Spirituality in literature.700/.415Nelson Victoria1475775MiAaPQMiAaPQMiAaPQBOOK9910791937303321Gothicka3690083UNINA00972nam0 22002653i 450 VAN0013396020240806100840.862978-88-600-8446-020210428d2015 |0itac50 baitaIT|||| |||||Acusticafondamenti e applicazionia cura di Renato SpagnoloTorinoUtet2015XXXI, 1582 p.ill.26 cm.AcusticaVANC035514ARTorinoVANL000001SpagnoloRenatoVANV015344UTET <editore>VANV107949650ITSOL20240906RICABIBLIOTECA DEL DIPARTIMENTO DI ARCHITETTURA E DISEGNO INDUSTRIALEIT-CE0107VAN01VAN00133960BIBLIOTECA DEL DIPARTIMENTO DI ARCHITETTURA E DISEGNO INDUSTRIALE01CONS T-ESAME176 01BDA1617 20210428 Acustica802310UNICAMPANIA