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Titlebook: American Horror Fiction; From Brockden Brown Brian Docherty Book 1990 Palgrave Macmillan, a division of Macmillan Publishers Limited 1990

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发表于 2025-3-21 16:34:32 | 显示全部楼层 |阅读模式
期刊全称American Horror Fiction
期刊简称From Brockden Brown
影响因子2023Brian Docherty
视频videohttp://file.papertrans.cn/155/154525/154525.mp4
图书封面Titlebook: American Horror Fiction; From Brockden Brown  Brian Docherty Book 1990 Palgrave Macmillan, a division of Macmillan Publishers Limited 1990
影响因子This volume offers critical and theoretical perspectives on a genre which has remained popular for nearly two hundred years: American horror fiction. There are essays on Charles Brockden Brown, Edgar Allan Poe, H.P.Lovecraft, William Faulkner, Robert Bloch, Patricia Highsmith, Shirley Jackson, Stephen King and Suzy McKee Charnas, covering the period from 1798 to 1983. Each essay deals with a major figure in the genre, from Gothic orginators to modern feminist reworkings. A variety of reading strategies are employed to interrogate these texts, with feminist and psychoanalytic approaches well represented. These essays illustrate the fact that modern literary theory can usefully be applied to any text or genre. Students of horror fiction seeking new readings, and readers interested in modern approaches to literature, will find this book useful and informative. The essays are all new, and have been specially written for Insights by leading academics.
Pindex Book 1990
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发表于 2025-3-21 23:43:14 | 显示全部楼层
fiction. There are essays on Charles Brockden Brown, Edgar Allan Poe, H.P.Lovecraft, William Faulkner, Robert Bloch, Patricia Highsmith, Shirley Jackson, Stephen King and Suzy McKee Charnas, covering the period from 1798 to 1983. Each essay deals with a major figure in the genre, from Gothic orgina
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,Robert Bloch’s Psycho: Some Pathological Contexts,c questions about it. It needs to be noted at the outset that this is an odd and difficult task, because of a peculiarity in the story itself: which is that it contains its own psychological explanation, attached near the end as an authenticated account by a psychiatrist of a series of events which were, in fact, closely based on real incidents.
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https://doi.org/10.1007/978-3-662-34618-1ade death the culminating horror, but had concentrated on making the moment of death itself the ultimate horror. For Poe the horror lies in the animation of death itself. In his imagination, and in his hands as a writer, the terror lies in the vitality of death.
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https://doi.org/10.1007/978-3-662-34618-1ence, a figure of departure. For it fell to him to take his place as America’s first fiction writer of consequence, a begetter of that line of ‘romance’ which begins at the turn of the nineteenth century, and which, with key stop-overs at the likes of Poe, Melville and Hawthorne, evolves through to Faulkner and well beyond.
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