Gymnich Who’s afraid of…?

Facets of Fear in Anglophone Literature and Film
1. Auflage 2012
ISBN: 978-3-8470-0050-1
Verlag: V&R unipress
Format: PDF
Kopierschutz: 0 - No protection

E-Book, Englisch, Band Band 008, 294 Seiten

Reihe: Representations & Reflections

Fear in its many facets appears to constitute an intriguing and compelling subject matter for writers and screenwriters alike. The contributions address fictional representations and explorations of fear in different genres and different periods of literary and cultural history. The topics include representations of political violence and political fear in English Renaissance culture and literature; dramatic representations of fear and anxiety in English Romanticism; the dramatic monologue as an expression of fears in Victorian society; cultural constructions of fear and empathy in George Eliot's Daniel Deronda (1876) and Jonathan Nasaw's Fear Itself (2003); facets of children's fears in twentieth- and twenty-first-century stream-of-consciousness fiction; the representation of fear in war movies; the cultural function of horror film remakes; the expulsion of fear in Kazuo Ishiguro's novel Never Let Me Go and fear and nostalgia in Mohsin Hamid's post-9/11 novel The Reluctant Fundamentalist.

Prof. Dr. Marion Gymnich lehrt Anglistische Literatur- und Kulturwissenschaft an der Universität Bonn.

Autoren/Hrsg.

Gymnich, Marion

Weitere Mitwirkende

Baumann, Uwe

Gymnich, Marion

Schmidt-Haberkamp, Barbara

Fachgebiete

• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmtheorie, Filmanalyse
• Geisteswissenschaften Literaturwissenschaft Rezeption, literarische Einflüsse und Beziehungen
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmgattungen, Filmgenre
• Geisteswissenschaften Literaturwissenschaft Literarische Stoffe, Motive und Themen
• Geisteswissenschaften Geschichtswissenschaft Geschichtliche Themen Kultur- und Ideengeschichte

Inhaltsverzeichnis

1;Title Page;4
2;Copyright;5
3;Table of Contents;6
4;Body;8
5;Marion Gymnich: Fictions of Fear – Representations of Fear in Anglophone Literature and Audiovisual Media;8
5.1;I. Introduction;8
5.2;II. Fear on the Plot Level – Thrills for the Reader and Viewer;10
5.3;III. Genres of Fear;15
5.4;IV. Case Study: The Village;18
5.5;References;26
6;Uwe Baumann: Ruling by Fear / Ruled by Fear: Representations of Political Violence and Political Fear in English Renaissance Culture and Literature;28
6.1;I. Prologue;28
6.2;II. Representations of Political Fear: Facets of the Classical Tradition;30
6.3;III. Representations of Fear in the Declamatio, the Epigrams of Thomas More and the Politics of Henry VIII;39
6.4;IV. Representations of Political Violence and Political Fear on the English Renaissance Stage;51
6.4.1;Christopher Marlowe, Tamburlaine (1587);56
6.4.2;William Shakespeare, Macbeth (1605/1606);59
6.4.3;Colley Cibber, Xerxes, A Tragedy (1699);65
6.5;V. Epilogue;69
6.6;Plate I: Henkel, Arthur and Albrecht Schöne (eds.). Emblemata. Handbuch zur Sinnbildkunst des XVI. und XVII. Jahrhunderts. Stuttgart: Metzler, 1967. 1248;72
6.7;Plate II: Henkel, Arthur and Albrecht Schöne (eds.). Emblemata. Handbuch zur Sinnbildkunst des XVI. und XVII. Jahrhunderts. Stuttgart: Metzler, 1967. 555;73
6.8;References;74
7;Andrea Rummel: Romanticism, Anxiety and Dramatic Representation;82
7.1;I. Gothic Drama: George Colman the Younger, Bluebeard;84
7.2;II. Anti-Revolutionary Theatre: Edmund John Eyre, The Maid of Normandy;87
7.3;III. Historical Tragedies: Percy Bysshe Shelley, The Cenci;90
7.4;IV. Enacting Fear on the Romantic Stage;94
7.5;References;95
8;Gislind Rohwer-Happe: The Dramatic Monologue and the Preservation of Victorian Fears;98
8.1;I. The Contextualization of the Dramatic Monologue;98
8.2;II. Religion and the Dramatic Monologue;101
8.3;III. Crime, Madness and the Dramatic Monologue;103
8.4;IV. Death and the Dramatic Monologue;104
8.5;V. `The Great Social Evil' and the Dramatic Monologue;106
8.6;VI. Conclusion;108
8.7;References;109
9;Stella Butter: Cultural Constructions of Fear and Empathy: The Emotional Structure of Relationships in George Eliot's Daniel Deronda (1876) and Jonathan Nasaw's Fear Itself (2003);110
9.1;I. George Eliot: Daniel Deronda (1876);113
9.2;II. Jonathan Nasaw: Fear Itself (2003);126
9.3;III. Conclusion;136
9.4;References;138
10;Sara Strauß: Facets of Children's Fears in Twentieth- and Twenty-First-Century Stream-of-Consciousness Fiction;142
10.1;References;156
11;Marcel Inhoff: Fearing, Loathing: Robert Lowell, Hunter S. Thompson and the Rise of Richard Nixon;158
11.1;References;178
12;Klaus Scheunemann: Fight or Flight – Fear in War Movies;182
12.1;I. Introduction;182
12.2;II. Days of Heroes – The Longest Day;184
12.3;III. War as a Psychological Challenge – Saving Private Ryan;186
12.4;IV. War's Ugly Face – Die Brücke;190
12.5;V. Conclusion;191
12.6;References;192
13;Christian Knöppler: Remaking Fear: The Cultural Function of Horror Film Remakes;194
13.1;I. Scare Me Again;195
13.2;II. Defining the Film Remake;197
13.3;III. Horror and Remakes: A Match Made in Hell?;200
13.4;IV. Case Study: Invasion of the Body Snatchers and its Three Remakes;204
13.5;V. A Horror Remake Complex;207
13.6;References;208
14;Elena Baeva: `A Little Gasp Went Around [] Like a Scream' – The Use of Time-Tried Motifs of Fear in Shirley Jackson's We Have Always Lived in the Castle and Quentin Tarantino's Inglourious Basterds;212
14.1;I. Introduction;212
14.2;II. We Have Always Lived in the Castle;213
14.3;III. Inglourious Basterds;220
14.4;IV. Conclusion and Implications for our Concept of Fear;226
14.5;References;227
15;Barbara Puschmann-Nalenz: Nothing to be Frightened of? The Expulsion of Fear in Kazuo Ishiguro's Novel Never Let Me Go;230
15.1;I. The Explicit Expression of Fear by Characters of the Novel;230
15.2;II. Absence of Fear;231
15.3;III. Gender, Fear and the State of the Nation;233
15.4;IV. The Implicit Distribution of Fear in the Novel;235
15.5;V. Relation between Fear and Value-System;237
15.6;VI. Fear and Lack of Fear as Agents;240
15.7;VII. The Fear of the Readers;241
15.8;References;243
16;Nina Liewald: `Do not be frightened by my beard. I am a lover of America' – Fear and Nostalgia in Mohsin Hamid's The Reluctant Fundamentalist;246
16.1;References;258
17;Imke Lichterfeld: `Timor mortis conturbat me. Fear of death disturbs me' – Fear and Terror in Frank McGuinness' Speaking like Magpies;260
17.1;References;274
18;Antonio Wojahn: Fear of Death in J.G. Ballard's Crash;276
18.1;I. Accessways;276
18.2;II. Gateways to Crash;278
18.3;III. The Imaginary World of Crash;282
18.4;IV. Repetition and Rehearsing Death in Crash;286
18.5;V. Destinations and Departures;291
18.6;References;292
19;Contributors;294

Über Autor(innen)

Gymnich, Marion
Prof. Dr. Marion Gymnich lehrt Anglistische Literatur- und Kulturwissenschaft an der Universität Bonn.

Gymnich, Marion
Prof. Dr. Marion Gymnich lehrt Anglistische Literatur- und Kulturwissenschaft an der Universität Bonn.

Baumann, Uwe
Prof. Dr. Uwe Baumann lehrt Anglistik/Amerikanistik: Literatur- und Kulturwissenschaft an der Universität Bonn.

Schmidt-Haberkamp, Barbara
Prof. Dr. Barbara Schmidt-Haberkamp lehrt am Institut für Anglistik, Amerikanistik und Keltologie der Universität Bonn.