• Complain

Rhonda V. Wilcox - Fighting the Forces: Whats at Stake in Buffy the Vampire Slayer

Here you can read online Rhonda V. Wilcox - Fighting the Forces: Whats at Stake in Buffy the Vampire Slayer full text of the book (entire story) in english for free. Download pdf and epub, get meaning, cover and reviews about this ebook. year: 2002, publisher: Rowman & Littlefield Publishers, genre: Art. Description of the work, (preface) as well as reviews are available. Best literature library LitArk.com created for fans of good reading and offers a wide selection of genres:

Romance novel Science fiction Adventure Detective Science History Home and family Prose Art Politics Computer Non-fiction Religion Business Children Humor

Choose a favorite category and find really read worthwhile books. Enjoy immersion in the world of imagination, feel the emotions of the characters or learn something new for yourself, make an fascinating discovery.

Rhonda V. Wilcox Fighting the Forces: Whats at Stake in Buffy the Vampire Slayer
  • Book:
    Fighting the Forces: Whats at Stake in Buffy the Vampire Slayer
  • Author:
  • Publisher:
    Rowman & Littlefield Publishers
  • Genre:
  • Year:
    2002
  • Rating:
    5 / 5
  • Favourites:
    Add to favourites
  • Your mark:
    • 100
    • 1
    • 2
    • 3
    • 4
    • 5

Fighting the Forces: Whats at Stake in Buffy the Vampire Slayer: summary, description and annotation

We offer to read an annotation, description, summary or preface (depends on what the author of the book "Fighting the Forces: Whats at Stake in Buffy the Vampire Slayer" wrote himself). If you haven't found the necessary information about the book — write in the comments, we will try to find it.

For every television series, the original vision grows within a press of forces-both social and artistic expectations, conventions of the business, as well as conventions of the art. Bad televisionpredictable, commercial, exploitativesimply yields to the forces. Good television, like the character of Buffy the Vampire Slayer, fights them. Fighting the Forces explores the struggle to create meaning in an impressive example of popular culture, the television series phenomenon Buffy the Vampire Slayer. In the essays collected here, contributors examine the series using a variety of techniques and viewpoints. They analyze the social and cultural issues implicit in the series and place it in its literary context, not only by examining its literary influences (from German liebestod to Huckleberry Finn) but also by exploring the series purposeful literary allusions. Furthermore, the book explores the extratextual, such as fanfiction and online discussion groups. The book is additionally supplemented by an online journal Slayage (www.slayage.tv), created by the book editors in acknowledgement of the ongoing nature of television art. Rhonda V. Wilcox and David Lavery have written and edited several books and articles exploring the social, literary, and artistic merit of quality television. In addition to Buffy the Vampire Slayer, their work has covered a variety of programs including Twin Peaks, Northern Exposure, The X-Files, and The Sopranos.

Rhonda V. Wilcox: author's other books


Who wrote Fighting the Forces: Whats at Stake in Buffy the Vampire Slayer? Find out the surname, the name of the author of the book and a list of all author's works by series.

Fighting the Forces: Whats at Stake in Buffy the Vampire Slayer — read online for free the complete book (whole text) full work

Below is the text of the book, divided by pages. System saving the place of the last page read, allows you to conveniently read the book "Fighting the Forces: Whats at Stake in Buffy the Vampire Slayer" online for free, without having to search again every time where you left off. Put a bookmark, and you can go to the page where you finished reading at any time.

Light

Font size:

Reset

Interval:

Bookmark:

Make
Table of Contents Acknowledgments First of all we both wish to thank - photo 1
Table of Contents

Acknowledgments

First of all, we both wish to thank all the wonderful contributors to this volume (and indeed all those who wanted to contribute)without them we would have no book. In particular, we wish to thank Elyce Rae Helford, both for introducing us to the folks at Rowman & Littlefield and for agreeing to comment on parts of the manuscript, and Mary Alice Money, for help during e-mail difficulties (among many other reasons). Thanks also to Christine Gatliffe of Rowman & Littlefield for her encouragement of the project. We are indebted to Richard Gess for the cover photography (and to Rachel Pomberg for lending a hand). And, above all, we thank the creators of our primary source.

From David Lavery : Thanks to Rhonda Wilcox for her most excellent collaboration during a very difficult time in her professional life. Thanks to my family, who have endured my newfound obsession. And special thanks to my students Chris Peltier, Erin Gonzalez, Becky Short, and Brian Logginswithout their powers of persuasion (and videotapes), I would never have come over to Buffy.

From Rhonda Wilcox : Thanks first to David Lavery, for his energy, acuity, expertise, and generosity of mind. That my first time editing such a collection should be with David is a gift. Thanks to all my family and friends for their support and, even more important, their understanding of the significance of this work. Special thanks to my husband, Richard Gess (That was Tales of Brave Ulyssesits Cream), and my son, Jefferson Gess (Look, Spike can bite her because shes already dead): their enthusiastic attention and, ultimately, their patience were important contributions. I want to express appreciation, too, to Cindy Bowers, whose work as a list mistress years ago sparked early commentary about Buffy (on a list devoted to another series) by J. P. Williams, Catherine Siemann, and me, as well as Grace Lee, Cynthia Hoffman, and others I will wish I had named. Some who will read this book know that I have been in a very stressful situation over the course of the project: I am one of over a dozen people who have been involved in a particular fight for freedom of speech and against sexual discrimination. It has meant a great deal to be part of a supportive group during this timeas any Buffy watcher could tell you. I therefore want to add my thanks to Marlin Adams, Jeanne Beckwith, Don Butts, Brett Cox, Gary Cox, Tricia Daughrity, Bill Day, Deborah Johnston, Mary Alice Money, Rhonda Morgan, and Marvin Thomas and also to AAUP members Luanne Fowler, Jon House, and Hutch Johnson (not to mention the members of the Popular Culture Association in the South). You all have helped me to keep going.

Sooner or later, everyone has to decide whether or not to fight the forces.

Bibliography

Abbott, Stacey. A Little Less Ritual and a Little More Fun: The Modern Vampire in Buffy the Vampire Slayer. Slayage: The Online International Journal of Buffy Studies Number 3 (June 2001) < http://www.middleenglish.org/slayage/essays/slayage3/abbott.htm >.

Abrams, M. H. Natural Supernaturalism: Tradition and Revolution in Romantic Literature. New York: Norton, 1971.

Adams, Michael. Slayer Slang (Parts I and II). Verbatim: The Language Quarterly 24.34 (Summer/Autumn 1999): 14, 17.

Aldiss, Brian. Vampiresthe Ancient Fear. Gordon and Hollinger ixxi.

Allen, John L., Jr. Teens on Screen: How Teenagers Are Portrayed. National Catholic Reporter 35.2 (26 Mar. 1999): 17.

Allen, Robert C. Introduction to the Second Edition: More Talk about TV. Channels of Discourse, Reassembled. Ed. Robert C. Allen. Chapel Hill: U of North Carolina P, 1992. 130.

Anderson, Lisa M. Mammies No More: The Changing Image of Black Women on Stage and Screen. New York: Rowman & Littlefield, 1997.

Astle, Richard. Dracula as Totemic Monster: Lacan, Freud, Oedipus and History. Sub-Stance 25 (1980): 98105.

Auerbach, Nina. Our Vampires, Ourselves. Chicago: U of Chicago P, 1995.

Augustine. The Confessions of St. Augustine. Trans. Rex Warner. New York: Penguin, 1963.

Bacon-Smith, Camille. Enterprising Women: Television Fandom and the Creation of Popular Myth. Philadelphia: U of Pennsylvania P, 1992.

Barber, Paul. Vampires, Burial and Death: Folklore and Reality. New Haven: Yale UP, 1988.

Barlow, John Perry. Declaration of Independence for Cyberspace < http://www.clas.ufl.edu/users/seeker1/cyberanthro/decl-indep.html >.

Barreca, Regina. They Used to Call Me Snow White... but I Drifted: Womens Strategic Use of Humor. New York: Viking, 1991.

Barthes, Roland. A Lovers Discourse. Trans. Richard Howard. New York: Hill and Wang, 1978.

. Myth Today. A Barthes Reader. Ed. Susan Sontag. New York: Hill and Wang, 1982. 93149.

. The Pleasure of the Text. Trans. Richard Miller. New York: Hill and Wang, 1975.

Belensky, Mary Field, Blythe McVicker Clinchy, Nancy Rule Goldberger, and Jill Mattuck Tarule. Womens Ways of Knowing: The Development of Self, Voice, and Mind. New York: Basic, 1986.

Bellafante, Ginia. Bewitching Teen Heroines: Theyre All Over the Dial, Speaking Out, Cracking Wise and Casting Spells. Time 5 May 1997: 8284.

Bettelheim, Bruno. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. New York: Vintage, 1989.

Bloom, Harold. The American Religion: The Emergence of the Post-Christian Nation. New York: Simon and Schuster, 1992.

Boese, Christine. The Ballad of the Internet Nutball: Chaining Rhetorical Visions from the Margins of the Margins to the Mainstream in the Xenaverse. 25 June 2000 < http://www.nutball.com >.

Bogle, Donald. Blacks in American Films and Television. New York: Simon and Schuster, 1988.

. Toms, Coons, Mulattoes, Mammies and Bucks: An Interpretive History of Blacks in American Films. 3rd ed. New York: Continuum, 1996.

Bosky, Bernadette Lynn. Making the Implicit, Explicit: Vampire Erotica and Pornography. Heldreth and Pharr 21766.

Bowers, Cynthia. Generation Lapse: The Problematic Parenting of Joyce Summers and Rupert Giles. Slayage: The Online International Journal of Buffy Studies Number 2 (Mar. 2001) < http://www.middleenglish.org/slayage/essays/slayage2/bowers.htm >.

Braun, Beth. Buffy Meets Freud: A Psychoanalytic Look at Televisions Vampire Slayer. Augusta: Popular Culture Association in the South Conference, 810 Oct. 1998.

Breton, Rob, and Lindsey McMaster. Dissing the Age of Moo: Initiatives, Alternatives, and Rationality in Buffy the Vampire Slayer. Slayage: The Online International Journal of Buffy Studies Number 2 (Mar. 2001) < http://www.middleenglish.org/slayage/essays/slayage2/bretonmcmaster.htm >.

Bronfen, Elisabeth. Over Her Dead Body: Death, Femininity and the Aesthetic. New York: Routledge, 1992.

Brown, Lyn Mikel. Raising Their Voices: The Politics of Girls Anger. Cambridge: Harvard UP, 1998.

Brown, Mary Ellen, ed. Television and Womens Culture: The Politics of the Popular. London: Sage, 1990.

Bunson, Matthew. The Vampire Encyclopedia. New York: Crown, 1993.

Burke, Kenneth. A Grammar of Motives. Los Angeles: U of California P, 1969.

. Language as Symbolic Action. Los Angeles: U of California P, 1966.

. A Rhetoric of Motives. Los Angeles: U of California P, 1969.

Callandar, Michelle. Bram Stokers Buffy: Traditional Gothic and Contemporary Culture. Slayage: The Online International Journal of Buffy Studies Number 3 (June 2001) < http://www.middleenglish.org/slayage/essays/slayage3/callandar.htm >.

Campbell, Bebe Moore. Your Blues Aint Like Mine. New York: Ballantine, 1992.

Next page
Light

Font size:

Reset

Interval:

Bookmark:

Make

Similar books «Fighting the Forces: Whats at Stake in Buffy the Vampire Slayer»

Look at similar books to Fighting the Forces: Whats at Stake in Buffy the Vampire Slayer. We have selected literature similar in name and meaning in the hope of providing readers with more options to find new, interesting, not yet read works.


Reviews about «Fighting the Forces: Whats at Stake in Buffy the Vampire Slayer»

Discussion, reviews of the book Fighting the Forces: Whats at Stake in Buffy the Vampire Slayer and just readers' own opinions. Leave your comments, write what you think about the work, its meaning or the main characters. Specify what exactly you liked and what you didn't like, and why you think so.