Philip L. Simpson présente un vaste aperçu de l’évolution de la figure du tueur en série dans les deux médias les plus responsables de sa popularité : la littérature et le cinéma des années 1980 et 1990. L’auteur explore comment le genre du tueur en série résulte d’une combinaison de représentations antérieures de meurtriers multiples.
Format: Monographie
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The Man Who Collected Psychos: Critical Essays on Robert Bloch
«The author best known for his fictional cross-dressing serial killer Norman Bates in Psycho has seen little critical review of his work. These 12 essays examine Robert Bloch’s novels, short stories and life, as well as the themes and issues explored in his influential canon. Bloch’s fascination with killers, man’s inhumanity to man, the dichotomy of tragedy and comedy, and his contributions to screen adaptations of his work are here covered by leading scholars of fantastic literature. The volume charts the growth of Robert Bloch from a writer of amateur pastiches to an acclaimed author bridging the gap between H.P. Lovecraft and Stephen King.» [Résumé]
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Pirating fictions : ownership and creativity in nineteenth-century popular culture
«Two distinctly different meanings of piracy are ingeniously intertwined in Monica Cohen’s lively new book, which shows how popular depictions of the pirate held sway on the page and the stage even as their creators were preoccupied with the ravages of literary appropriation. The golden age of piracy captured the nineteenth-century imagination, animating such best-selling novels as Treasure Island and inspiring theatrical hits from The Pirates of Penzance to Peter Pan. But the prevalence of unauthorized reprinting and dramatic adaptation meant that authors lost immense profits from the most lucrative markets. Infuriated, novelists and playwrights denounced such literary piracy in essays, speeches, and testimonies. Their fiction, however, tells a different story. Using landmarks in copyright history as a backdrop, Pirating Fictions argues that popular nineteenth-century pirate fiction mischievously resists the creation of intellectual property in copyright legislation and law. Drawing on classic pirate stories by such writers as Walter Scott, James Fenimore Cooper, Robert Louis Stevenson, and J. M. Barrie, this wide-ranging account demonstrates, in raucous tales and telling asides, how literary appropriation was celebrated at the very moment when the forces of possessive individualism began to enshrine the language of personal ownership in Anglo-American views of creative work.» [Résumé]
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Fugitives, Smugglers, and Thieves: Piracy and Personhood in American Literature
«The ideal of brotherhood so central to American sea fiction was severely compromised by the biological reality of a competitive, warring nature. Twentieth-century sea fiction has continued to center on the biological world and address the possibility of democratic brotherhood, but the issues were fundamentally changed by Darwin’s theories.» [Résumé de l’éditeur]
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Postmodern Pirates : Tracing the Development of the Pirate Motif with Disney’s Pirates of the Caribbean
«Postmodern Pirates offers a comprehensive analysis of Disney’s Pirates of the Caribbean series and the pirate motif in British literature and Hollywood movies through the lens of postmodern film theories.» [Quatrième de couverture]
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Pirates in English Literature
«Literature about pirates remains one of the most enduringly popular topics for adults and children alike. In recent years, key works in pirate studies have discussed piracy and pirates as cultural intermediaries, as actors in both the formation and destruction of national and imperial identities, and as transnational and transoceanic mediators of global geo-political forces. Pirate literature is an equally diverse and energetic genre, producing notable novels, poetry, and drama, as well as other, hybrid, and experimental literary forms. Pirate literature is both multicultural and multilingual, and has been a focus of human creativity across time. This Special Issue on Pirates in English Literature explores and interrogates similarities and differences in how pirates and piracy are represented across historical periods. ‘English’ literature is interpreted capaciously, to include works of translation and works that engage issues of cultural and linguistic transmission. It includes comparative treatments of piracy and pirates and essays discussing non-traditional literary forms, including travel writing and the literature of exploration and trade.» [Résumé de l’éditeur]
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Writing pirates : vernacular fiction and oceans in late Ming China
«In Writing Pirates, Yuanfei Wang connects Chinese literary production to emerging discourses of pirates and the sea. In the late Ming dynasty, so-called “Japanese pirates” raided southeast coastal China. Hideyoshi invaded Korea. Europeans sailed for overseas territories, and Chinese maritime merchants and emigrants founded diaspora communities in Southeast Asia. Travel writings, histories, and fiction of the period jointly narrate pirates and China’s Orient in maritime Asia. Wang shows that the late Ming discourses of pirates and the sea were fluid, ambivalent, and dialogical; they simultaneously entailed imperialistic and personal narratives of the “other”: foreigners, renegades, migrants, and marginalized authors. At the center of the discourses, early modern concepts of empire, race, and authenticity were intensively negotiated. Connecting late Ming literature to the global maritime world, Writing Pirates expands current discussions of Chinese diaspora and debates on Sinophone language and identity.» [Résumé]
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British pirates in print and performance
«This book tracks the interconnections among pirates, pirates in print, and pirates on stage. Performance is the shared strategy for all three. Our chapters examine accounts of piracy in historical records, in adventure stories and romance, and, crucial to the emphasis on performativity, in stage representation. British pirates, in both print and performance, are discussed within a nexus of influence that cares very little for generic distinction beyond the constant of performativity. In fact and in fiction, the role-playing pirate is traced through dozens of stage performances, including the nautical Gothic melodrama, the adaptations of Byron, Scott, and Cooper, and the exploits of lusty she-pirates.» [Résumé de l’éditeur]
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Essais sur la littérature maritime américaine (American Sea Fiction)
Les ouvrages listés ici portent sur la littérature maritime, principalement américaine, mieux connue en anglais sous l’appelation «nautical fiction» ou «sea fiction».
«La fiction nautique, souvent également appelée fiction navale, fiction maritime, fiction d’aventure navale ou fiction maritime, est un genre littéraire dont l’action se déroule en mer ou à proximité, qui se concentre sur la relation humaine avec la mer et les voyages en mer et qui met en lumière la culture nautique dans ces environnements. Les décors de la fiction nautique sont très variés : navires marchands, paquebots, navires de guerre, bateaux de pêche, canots de sauvetage, etc. ainsi que les ports maritimes et les villages de pêcheurs. Lorsqu’ils décrivent la fiction nautique, les spécialistes font le plus souvent référence à des romans, des nouvelles et des récits, parfois sous le nom de romans de mer ou d’histoires de mer. Ces œuvres sont parfois adaptées pour le théâtre, le cinéma et la télévision.» (Nautical fiction sur Wikipédia, traduit avec DeepL, https://en.wikipedia.org/wiki/Nautical_fiction)