可互换
发表于 2025-3-27 00:18:33
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inchoate
发表于 2025-3-27 03:07:50
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dominant
发表于 2025-3-27 05:22:37
It’s a Love Story—Involving Vampires: The Cinematic Trope of the Wedded Bloodsuckerd Spike Lee (., 2015) refer to their films focusing on blood addicts in married relationships in a similar way. This prompts questions about the trope of the wedded vampire and how a creature that is archetypally solitary, predatory and, above all else, driven by a rapacious need for blood is depict
纪念
发表于 2025-3-27 12:36:52
The Lower Dog in the Room: Patriarchal Terrorism and the Question of Consent in Charlaine Harris’s ,rary series . (2001–2013), that became the basis for the HBO series . (Ball 2008–2014). In the course of her adventures, the main heroine Sookie Stackhouse becomes a repeated target of rape and murder attempts, assaults, stalking, sexual harassment and coercive behaviour. These violent acts are perf
咆哮
发表于 2025-3-27 17:12:34
Seductive Kindness: Power, Space and “Lesbian” Vampireslesbianism, in retrospect it is possibly one of its most ideologically subversive. In a tradition heavily influenced by Sheridan Le Fanu’s Gothic novella . (1871) and the figure of Erzsébet Báthory, lesbian vampires have become an enduring aspect of cinematic horror. Notions of place, hospitality an
Mercantile
发表于 2025-3-27 19:40:39
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百科全书
发表于 2025-3-27 23:11:32
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漂浮
发表于 2025-3-28 05:19:46
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散开
发表于 2025-3-28 06:54:47
Crossing Borders: Hospitality in Bram Stoker’s , and Florence Marryat’s ,e is allowed to cross thresholds only if he is invited in, a verbal performance which marks that interaction is based on consent. In ., abnormal eating habits and non-conforming behaviour confine mixed-race Harriet Brandt into the condition of a psychic vampire. Harriet’s struggle to overcome the bu
火车车轮
发表于 2025-3-28 12:04:46
“Come on in!” Home, Hospitality and the Construction of Power in , power is mirrored in the vampire’s ability to selectively confer hospitality and to grant outsiders entrance to their home. In ., the concept of home cannot be realised without family, and both are crucial to central character Klaus Mikaelson’s negotiation of hospitality as a tool for acquiring dom