Titlebook: Supernatural, Humanity, and the Soul; On the Highway to He Susan A. George,Regina M. Hansen Book 2014 Susan A. George and Regina M. Hansen

Kidnap

A Man and His 1967 Impala: ,, U.S. Car Culture, and the Masculinity of Dean Winchestery—in almost every era of American history” (2). These U.S. masculinity crises manifest themselves at times of rapid social and political change. This was true of the 1950s when the residual ideologies of the rugged individualist were challenged by the new standard of the time—the team player. The 19

inflame

“How Is That Not Rape-y?”: Dean as Anti-Bella and Feminism without Women in of a reaction to and refutation of .’s challenge to gender paradigms, arguing that “Buffy gave the world a story in which the traditional roles of masculine hero figures were questioned, and . responded… by attempting to restore those pre-Buffy tropes” (112). Borsellino reads . as a response to and

extrovert

车床

Who’s Your Daddy?: Father Trumps Fate in e Winchesters as an intact household is quickly replaced by that of a family ravaged by the death of a beloved mother and wife. Following Mary’s (Samantha Smith) death, the family becomes less like kin and more like an elite fighting squad with John (Jeffrey Dean Morgan) as the stern general. John’s

florid

Metal and Rust: Postindustrial White Masculinity and ,’s Classic Rock Canoniegetic contexts.. Music frequently takes center stage as characters listen to songs from the late 1960s through the 1980s, share stories and anecdotes about these works and the bands that created them, and argue over different notions of musical aesthetics and authenticity. In addition, selections

毗邻

Introduction: The Highway to Hell and Backfamily, capitalism, and postmodernism—that not only contextualize and add depth to the show’s ongoing plots, but also reflect our era’s intellectual concerns and may, in the end, be part of the reason for the program’s popularity.

相符

“We’re Justchrw… Food and Perverse Entertainment”: ,’s New God and the Narrative Objectification of n sharper relief after the events of “The Monster at the End of This Book” (4.18)—ultimately affords them the narrative agency they need to subvert the Apocalypse. However, this flash of authorial self-control is quickly disrupted by an unexpected source: the Winchesters’ greatest ally, their savior, their friend—the angel Castiel (Misha Collins).

Isthmus

All That Glitters: The Winchester Boys and Fairy Talesf aristocratic prince who rescues and marries the damsel-in-distress. Like the huntsman, the Winchesters simply move on to the next monster. Yet the family business is as much about the lore that explains monsters and how to kill them as it is about weapons stored in the Impala’s trunk and people saved.

手工艺品

Leaven

The Greatest of These: The Theological Virtues and the Problem of an Absent God in cal Christian thought can explain a great deal about these characters, their relationships to one another through the first eight seasons, and the problems they face in a world where God is willfully absent.