This highbrow yet accessible analysis of a genre dedicated to "outrageousness" and "lowbrow ways" will appeal to history, literature, and pop culture buffs in addition to studious devotees of the domain. -- Jillian Mandelkern Library Journal 20120415 A fun, well-written and original read that offers flashes of insight. -- Deborah D. Rogers Times Higher Education 20120419 [A] spirited examination of the role of pulp Gothic fiction in contemporary culture...Nelson's overview of the origins of the Gothic genre and its later ramification into sub-genres such as the ghost story, vampire tale, esoteric thriller and post-apocalyptic survival narrative is lively and sharp. She is equally at home discussing high and low art, and is at her most persuasive when tracing the literary evolution of specific motifs. -- Elizabeth Lowry Wall Street Journal Nelson knows her turf and, unlike many academics who dine below the salt, she gives the impression of being genuinely affectionate towards her disreputable subject matter. She is sometimes thought-provoking and has clearly read more proper historians and solid thinkers than most pop-culture pundits. -- Kevin Jackson Literary Review 20120701From the Publisher:
The 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 century. 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.
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Descripción Harvard University Press, 2012. Estado de conservación: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: There are other books in the field of religion and popular culture, but none really do what Nelson does, that is, point out that strictly secular, Marxist, materialist, or psychological readings will no longer do. This is the real genius or daemon of this book. Nelson's voice is without peer in this domain--she is carving out a most unique and most brave stance. Nº de ref. de la librería ABE_book_new_0674050142
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