LEADER 04612nam 2200733Ia 450 001 9910465519503321 005 20200520144314.0 010 $a0-674-06540-9 010 $a0-674-06960-9 024 7 $a10.4159/harvard.9780674065406 035 $a(CKB)2560000000082497 035 $a(OCoLC)794003978 035 $a(CaPaEBR)ebrary10568036 035 $a(SSID)ssj0000656249 035 $a(PQKBManifestationID)11430187 035 $a(PQKBTitleCode)TC0000656249 035 $a(PQKBWorkID)10632303 035 $a(PQKB)10131132 035 $a(MiAaPQ)EBC3301092 035 $a(DE-B1597)178148 035 $a(OCoLC)840441788 035 $a(DE-B1597)9780674065406 035 $a(Au-PeEL)EBL3301092 035 $a(CaPaEBR)ebr10568036 035 $a(OCoLC)923119219 035 $a(EXLCZ)992560000000082497 100 $a20111003d2012 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aGothicka$b[electronic resource] $evampire heroes, human gods, and the new supernatural /$fVictoria Nelson 210 $aCambridge, Mass. $cHarvard University Press$d2012 215 $a1 online resource (350 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-674-05014-2 320 $aIncludes bibliographical references and index. 327 $t Frontmatter -- $tContents -- $tPreface -- $tOne. White Dog, the Pequel -- $tTwo. Faux Catholic -- $tThree. Gothick Gods -- $tFour. Decommissioning Satan -- $tFive. Gothick Romance -- $tSix. The Bright God Beckons -- $tSeven. Postapocalyptic Gothick -- $tEight. The Gothick Theater of Halloween -- $tNine. The Ten Rules of Sitges -- $tTen. Cathedral Head -- $tEleven. The New Christian Gothick -- $tTwelve. Epilogue -- $tNotes -- $tAcknowledgments -- $tIndex 330 $aThe 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. 606 $aGoth culture (Subculture)$xHistory and criticism 606 $aGothic fiction (Literary genre)$xHistory and criticism 606 $aGothic revival (Literature)$xHistory and criticism 606 $aHorror comic books, strips, etc$xHistory and criticism 606 $aHorror films$xHistory and criticism 606 $aHorror tales$xHistory and criticism 606 $aSpirituality in literature 608 $aElectronic books. 615 0$aGoth culture (Subculture)$xHistory and criticism. 615 0$aGothic fiction (Literary genre)$xHistory and criticism. 615 0$aGothic revival (Literature)$xHistory and criticism. 615 0$aHorror comic books, strips, etc.$xHistory and criticism. 615 0$aHorror films$xHistory and criticism. 615 0$aHorror tales$xHistory and criticism. 615 0$aSpirituality in literature. 676 $a700/.415 700 $aNelson$b Victoria$01040287 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910465519503321 996 $aGothicka$92463023 997 $aUNINA LEADER 04683nam 22006855 450 001 9910349530903321 005 20240314160424.0 010 $a9783030218485 010 $a3030218481 024 7 $a10.1007/978-3-030-21848-5 035 $a(CKB)4100000009191150 035 $a(DE-He213)978-3-030-21848-5 035 $a(MiAaPQ)EBC5897457 035 $a(PPN)252890248 035 $a(Perlego)3492029 035 $a(EXLCZ)994100000009191150 100 $a20190905d2019 u| 0 101 0 $aeng 135 $aurnn#008mamaa 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe Attention Deficit $eUnintended Consequences of Digital Connectivity /$fby Swati Bhatt 205 $a1st ed. 2019. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Macmillan,$d2019. 215 $a1 online resource (XXIII, 190 p. 35 illus.) 311 0 $a9783030218478 311 0 $a3030218473 327 $a1. Connectivity, Attention and Risk -- 2. Time: The Measure of Connectivity -- 3. The Psychology of Connectivity: Follower Counts and Identity -- 4. The Economics of Connectivity: Communication Markets -- 5. Streaming Technology and the Entertainment Industry -- 6. Content Tsunami -- 7. Attention Deficit and Diminished Risk Taking -- 8. Restoring Boldness and Reducing Apathy -- 9. Conclusion: Dialogue, not Walls. 330 $aDigital technology has enabled connectivity on an unimagined scale. Human beings are social animals and economic activity promotes this socialization. Market transactions are based on optimism about the future, faith that the world is good and trust that growth is organic or coming from within the system. Individuals therefore invest in the future by having children, by extending credit and accepting risk, and by building connections with others in the sincere expectation of this connectivity being reciprocated. This book explores the unintended consequences of ubiquitous connectivity. The first effect is captured by the sharing model. Technology offers multiple avenues for sharing experiences and personal information, so active engagement with this increased content uses mental effort. Connection inevitably leads to comparisons with other groups and individuals, so despite the benefits of affirmation and group inclusion, these links corrode social networks, leading to depressionand mental apathy. The second effect--the result of the commercialization of sharing--is encapsulated in the attention deficit model. Loss of self-worth, driven by the first effect, encourages further connectivity and sharing as buyers seek more comfort and reassurance via social media, paying with time and personal information. The product is digital content and the payment is with time and data. Correspondingly, social media fulfills this demand with exuberance, both via user-generated content and commercially curated content. We are overwhelmed with even more information, paying with increasingly scarce time and attention. Finally, the third and most consequential effect is diminished risk taking. Attention scarcity, as a consequence of the content tsunami, throttles cognitive effort, impairing judgment and decision-making. So the safe bet may be to do nothing . . . take no risks and no gambles. Weaving together the latest research on economics, psychology, and neuroscience, this book fills a void for readers wanting a smart, clear analysis of communications markets and the commercialization of Internet-inspired connectivity. 606 $aEconomics 606 $aEconomic development 606 $aExperimental economics 606 $aEconomics$xPsychological aspects 606 $aTechnology$xSociological aspects 606 $aEconomics 606 $aEconomic Development, Innovation and Growth 606 $aExperimental Economics 606 $aEconomic Psychology 606 $aScience, Technology and Society 615 0$aEconomics. 615 0$aEconomic development. 615 0$aExperimental economics. 615 0$aEconomics$xPsychological aspects. 615 0$aTechnology$xSociological aspects. 615 14$aEconomics. 615 24$aEconomic Development, Innovation and Growth. 615 24$aExperimental Economics. 615 24$aEconomic Psychology. 615 24$aScience, Technology and Society. 676 $a330 676 $a004 700 $aBhatt$b Swati$4aut$4http://id.loc.gov/vocabulary/relators/aut$0925432 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910349530903321 996 $aThe Attention Deficit$92214248 997 $aUNINA