Are pretextual references distinctly marked within the series through direct quotations, allusions or by rather covert means of reference such as stereotypes? Are they obvious to the common reader? Are implicit intertextual references apparent to author and reader? Does Meyer employ intertextual markers in the paratext of her works? How far are intertextual markers contextualized in the themes of Twilight? How does Meyer handle already prominent motifs?
ajyhuhewekos.tk Ebooks and Manuals
What is the relation between the ideas in intertexts and pretexts — are they in agreement or do they contradict each other? Do they have the capacity to reflect on it? Which forms do pretexts take in the tetralogy? Are they simply referred to or can they form a physical part of the world Meyer created?
What is the nature of the pretexts Meyer relies on? Which genres do they adhere to? Meyer dwells on a number of themes, structures, and characters that have intertextual potential. A number of other pretexts are only covertly marked as they point back to literary traditions or character types.
This approach focuses more on description and systemization in order to analyze two or more interrelated literary works. These implicit references to pretexts refer to certain character types as the anti-mother, damsel in distress and the femme fatale or to a heroic tradition like the Byronic hero. Since Meyer adopts different point of views in her tetralogy and especially endows her themes, motifs, and symbols with intertextual potential it is also beneficial to begin with a closer look on the narrator as well as themes, motifs, and symbols.
Meyer situates her novels within a twenty-first-century framework displaying vampires that have the potential to be good as well as evil, thus making it necessary to place her work within the context of contemporary vampire fiction. As such it is of great relevance to take a closer look at the eighteenth- and nineteenth-century heroic tradition. Moreover, Meyer borrows a number of characteristics from the nineteenth-century vampire, who also inherited qualities from the Byronic hero, in her portrayal of the male and female vampires in her series.
The distinct perspective that she adopts for the largest part of her narration is innovative whereas the vampiric point of view which she assumes in Midnight Sun is intertextual. The vampire is one of the oldest and most powerful archetypes in modern media Gordon and Hollinger 1. As a creature of the night, he belongs to the group of the most popular Gothic monsters Abbott 1.
The notion of the vampire is mainly based on the folklore of South East Europe Ruthner Over the course of the last two centuries, the vampire has become an instrument and popular subject of fiction and the myth has been retold, extended and reinvented through literature, film and television Abbott The first vampire stories in English were published in the 19th century. In the 20th century the United States became the focal point of vampire stories Abbott 6 , with a specific resonance in the genres of horror, fantasy, and mystery.
Over time, stories concerned with vampires have gradually increased in popularity, reaching a climax in contemporary popular culture with the infiltration of the genre of romantic teenage drama.
During the last decade, successful films and television series such as The Twilight Saga film series, Buffy - The Vampire Slayer , Angel , True Blood , or The Vampire Diaries have created a kind of "vampire hype", primarily targeting teenage girls Dorn There have been endless representations of vampires in fiction and this precludes a single definition. However, vampires are associated with several long-standing traditional and stereotypical characteristics Pattis and Sigl It is fundamental for vampires to survive on blood, to have fangs that leave behind two puncture marks in the neck, to be immortal and at the same time dead with a living corpse, to loathe sunlight and to be in some way associated with the coffin.
In addition, vampires stop aging from the moment of their transition Brittnacher They have always been supernatural and powerful creatures that are physically and mentally superior to humans Clarke 9. Ann Davis describes the vampire as embodied heterotopia because of his or her immortality and unification of life and death Vampires are both dead and alive and therefore torn between two worlds, embodying life as well as death Ruthner Contemporary writers and film-makers have in particular attributed new and sometimes unique characteristics and rules which apply specifically to their own vampires Clarke 9.
Birte Richter: Literarische Vampirmotivik als Spiegel der Moral
Vampires are therefore anti-essential as there is no universal or consistent set of characteristics, but rather a growing variety of different transformations. Vampires have gone through a process of constant change and their varying images have evolved Murphy 57 throughout history and culture, something which is at least in part the result of the changing attitudes towards them.
Nina Auerbach emphasises the existence of different types and forms of vampires by stating that "[t]here is no such creature as 'The Vampire', there are only vampires" 5. Smith, deals with incidents of the supernatural in her books, concentrating principally on stories involving vampires and witches. One of her most famous works is the novel series The Vampire Diaries , which was published in Melton , long before the onset of the current vampire phenomenon.
However, it was not until after the release of the television series that the novels reached the height of their popularity. The premiere was watched by more than 4. The show was developed by Kevin Williamson, who is both head writer and executive producer, and Julie Plec, who is co-executive producer Jesionowski Although many story lines and characters have been altered in the television series it is nevertheless based on the novel series by L.
Currently the most successful television series on The CW Network, The Vampire Diaries is now in its third season and is to be renewed for a fourth, starting in September The Vampire Diaries infuses the genre of teenage and young adult romantic drama with elements of horror and the supernatural, an established and very effective technique of doubling and blending different genres in modern popular culture Robson This thesis undertakes an analysis of the image of vampires in contemporary fiction with particular reference to the first three seasons of the television series The Vampire Diaries.
Through an investigation of how the image of vampires has evolved and changed over the course of the 20th century, I will show that the contemporary vampire is not merely the embodiment of demonic evil, but rather a supernatural and complex creature that is closely related to the human species and which combines both good and evil characteristics.
In the second chapter I will address the development of fictional vampires, focussing mainly on the image of vampires in contemporary popular culture and their differing types and personalities. I will then present background information concerning the plot and main characters of The Vampire Diaries in the third chapter to facilitate the understanding of my subsequent analysis. The fourth chapter constitutes the greater part of my thesis and considers the representation of vampires in the television series The Vampire Diaries. Various good and evil aspects of vampires will be investigated in order to build an integral whole of their image in the television series.
I will initially deal with the origins of vampires, followed by their physical and psychological traits, their weaknesses as well as their powers, their interaction with human beings, their integration into society and their relationship with humans and other vampires.
From: viennabook Marc Podhorsky e. Wien, Austria. About this Item: Passagen Verlag, Wien, Condition: Sehr gut. Januar - Oktober Graz. Sprache Deutsch.
- vdngrep.tk Ebooks and Manuals;
- fknulfh.tk Ebooks and Manuals.
- Carmilla, First Edition.
- Birte Richter: Literarische Vampirmotivik als Spiegel der Moral?
Sehr guter sauberer Zustand. Size: Seiten, 23,5x15,6 cm, g. More information about this seller Contact this seller 6. Published by Nostromo, Madrid From: Perolibros S. Madrid, Spain.
About this Item: Nostromo, Madrid, Condition: Bueno. Cubierta de Diego Lara. More information about this seller Contact this seller 7. Condition: Bien. Dust Jacket Condition: Bien.
carmilla the vampyre Manual
Literatura en lengua inglesa. Novela corta. More information about this seller Contact this seller 8. Published by Masquerade Books: NY Paperback original. Very uncommon paperback. Fine as new copy. More information about this seller Contact this seller 9. More information about this seller Contact this seller Soft cover. Condition: As New.
- the annotated carmilla Manual.
- Tallulah Tumour, Friend or Foe?.
- Labor of Love!
- About this book?
- Another Sad Love Song.
- Assyria, Its Princes, Priests and People?
- bzsumnv.tk Ebooks and Manuals.
First Printing. First printing, chapbook, as new unread copy, in custom envelope. One of 26 lettered copies of which this is letter "Q". Le Fanu's classic tale in a neat chapbook edition complete with lettered envelope. From: Llibres del Mirall Barcelona, Spain.