Post-9/11 American gothic family in The hills have eyes duology and Twilight saga

2012 ◽  
Author(s):  
Wai-ho Tsang
Keyword(s):  
American Gothic ◽  
Twilight Saga

American Gothic Culture

2016 ◽  
Author(s):  
Joel Faflak
Keyword(s):  
American Culture ◽  
First Century ◽  
Serial Killers ◽  
Dark Side ◽  
Eighteenth Century Literature ◽  
Repressed Memories ◽  
American Gothic ◽  
Film And Television ◽  
Frontier Narratives ◽  
Global Events

This Companion surveys the traditions and conventions of the dark side of American culture - its repressed memories, its anxieties and panics, its fears and horrors, its obsessions and paranoias. Featuring new critical essays by established and emerging academics from a range of national backgrounds, this collection offers new discussions and analyses of canonical and lesser-known literary and other works. Its scope ranges from the earliest manifestations of American Gothic traditions in frontier narratives and colonial myths, to its recent responses to contemporary global events. Moving from analyses of eighteenth-century literature to twenty-first century video games, and touching upon visual art, film, and television, serial killers, monsters, education and cityscapes, this Companion aims to demonstrate the centrality of the gothic to American culture writ large through four key sections: Gothic Histories, Gothic Identities; Gothic Genres, Gothic Sites; Gothic Media; and American Creatures.

Speaking in Tongues, Speaking without Tongues: Transplanted Voices in Charles Brockden Brown's Wieland

2016 ◽  
Vol 51 (2) ◽  
pp. 535-552
Author(s):  
STEFAN SCHÖBERLEIN
Keyword(s):  
American Indians ◽  
Native Peoples ◽  
American Gothic ◽  
Speaking In Tongues ◽  
Indian Context ◽  
History Of ◽  
Main Plot ◽  
Colonial Violence ◽  
Recent Claim

This essay examines an underexplored aspect of Charles Brockden Brown's Wieland – namely its German–Indian context – and reads it through the story's main plot device: ventriloquism. Using some of Brown's manuscripts as well as journalistic pieces, the essay brings together the more puzzling aspects of this central US American gothic tale into a study of colonial violence and transplanted voices. Following Sarah Rivett's recent claim of a “spectral presence of American Indians” in the story, this essay argues for a rereading of the character of the “bioloquist” that brings to the surface a deep history of the dispossession of Native peoples (especially the Lenape) carefully interwoven into the novel's subtext.

scholarly journals MOVING AWAY FROM TRADITION: PORTRAYAL OF MODERN WEREWOLVES AND VAMPIRES IN THE TWILIGHT SAGA

1970 ◽  
Vol 11 (1) ◽  
Author(s):  
Nassima Kaid
Keyword(s):  
Virtual Reality ◽  
Young Adult ◽  
Contemporary Literature ◽  
Technological Advancement ◽  
Fantasy Fiction ◽  
The Past ◽  
Actual Environment ◽  
The Fantastic ◽  
Twilight Saga ◽  
Psychosexual Dysfunction

Many writers have shown their preoccupation with and interest in the representation of the fantastic body over the past centuries. The figure of the vampire, werewolves, and zombies keep coming back in those works although today’s monsters are humanized. In Contemporary Young Adult fantasy, readers are presented with characters that usually adapt to the real world. The fantastic body does no more refer to psychosexual dysfunction but generates mainly from socioeconomic and cultural malaise (Badley, 17-18). In other words, the fantastic becomes a virtual reality that symbolizes the changing ‘self’ within the postmodern era though contemporary literature has transcended the actual environment as it copes with technological advancement. Unlike other fantasy fiction, Meyer has focused on traditional fantastic creatures originating in folklores and myths; they are an integral part of the fantastic as they cross lines between natural and supernatural elements. The present paper aims at addressing the representation of body transformations into vampires and werewolves in Stephenie Meyer’s The Twilight Saga. It will evaluate body metamorphosis into vampires and werewolves discovering new dimensions of one’s own identity and personality. It will further demonstrate how Meyer has succeeded in creating her own monsters without untying some of the mythical substratum.

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