LEADER 04578nam 2200721Ia 450 001 9910822029003321 005 20230802012612.0 010 $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 $aSpirituality in literature 615 0$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$01689955 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910822029003321 996 $aGothicka$94065368 997 $aUNINA