Florian Zappe – författare

Godless Polemics examines the role of pamphleteering as a medium for radical critique in the intellectual and cultural history of American atheism, focusing on its function as oppositional and counter-hegemonic discourse. It investigates how atheist pamphleteers, operating from the margins of public discourse, have challenged overt and covert religious influence on public and private life by producing and disseminating polemical texts that intervene in ongoing cultural, social, and political debates. The author argues that atheist pamphleteers have historically functioned as both critics of religious authority and proponents of intersectional struggles against social, political, and cultural power structures. Drawing on Pierre-Héli Monot’s concept of the “pamphletary event,” the book examines how these texts did more than articulate atheist positions—they actively shaped public debates, contested dominant narratives, and introduced a tradition of radical anti-religious dissent into American progressivism. By analyzing key pamphleteers from the nineteenth century to contemporary digital activists, this book redefines the role of pamphleteering in the history of unbelief in the United States, highlighting its vital role in introducing affirmative atheist ideas in emancipatory contexts. It will be of particular interest to scholars of religious studies and American studies.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC BY-NC-ND) 4.0 license.

Hitherto classified as a form of genre fiction, or as a particular aesthetic quality of literature by H. P. Lovecraft, the weird has now come to refer to a broad spectrum of artistic practices and expressions including fiction, film, television, photography, music, and visual and performance art. Largely under-theorized so far, The American Weird brings together perspectives from literary, cultural, media and film studies, and from philosophy, to provide a thorough exploration of the weird mode. Separated into two sections – the first exploring the concept of the weird and the second how it is applied through various media – this book generates new approaches to fundamental questions: Can the weird be conceptualized as a generic category, as an aesthetic mode or as an epistemological position? May the weird be thought through in similar ways to what Sianne Ngai calls the zany, the cute, and the interesting? What are the transformations it has undergone aesthetically and politically since its inception in the early twentieth century? Which strands of contemporary critical theory and philosophy have engaged in a dialogue with the discourses of and on the weird? And what is specifically “American” about this aesthetic mode?As the first comprehensive, interdisciplinary study of the weird, this book not only explores the writings of Lovecraft, Caitlín Kiernan, China Miéville, and Jeff VanderMeer, but also the graphic novels of Alan Moore, the music of Captain Beefheart, the television show Twin Peaks and the films of Lily Amirpour, Matthew Barney, David Lynch, and Jordan Peele.

Hitherto classified as a form of genre fiction, or as a particular aesthetic quality of literature by H. P. Lovecraft, the weird has now come to refer to a broad spectrum of artistic practices and expressions including fiction, film, television, photography, music, and visual and performance art. Largely under-theorized so far, The American Weird brings together perspectives from literary, cultural, media and film studies, and from philosophy, to provide a thorough exploration of the weird mode. Separated into two sections – the first exploring the concept of the weird and the second how it is applied through various media – this book generates new approaches to fundamental questions: Can the weird be conceptualized as a generic category, as an aesthetic mode or as an epistemological position? May the weird be thought through in similar ways to what Sianne Ngai calls the zany, the cute, and the interesting? What are the transformations it has undergone aesthetically and politically since its inception in the early twentieth century? Which strands of contemporary critical theory and philosophy have engaged in a dialogue with the discourses of and on the weird? And what is specifically “American” about this aesthetic mode?As the first comprehensive, interdisciplinary study of the weird, this book not only explores the writings of Lovecraft, Caitlín Kiernan, China Miéville, and Jeff VanderMeer, but also the graphic novels of Alan Moore, the music of Captain Beefheart, the television show Twin Peaks and the films of Lily Amirpour, Matthew Barney, David Lynch, and Jordan Peele.

Over his four-decade long career, Abel Ferrara has built himself a reputation as one of the most audacious and unconventional filmmakers in contemporary cinema. After his beginnings in the exploitation circuit of the late 1970s he become one of the central figures in the indie wave of the 1980s and 90s and is now an established arthouse director whose versatile oeuvre crosses the boundaries of cult, independent and Hollywood cinema.ReFocus: The Films of Abel Ferrara offers a comprehensive critical survey of the director's work. The volume brings together a broad range of methodological, theoretical, historical and philosophical perspectives on Ferrara's work, and case studies include Ms 45, The Driller Killer, Bad Lieutenant, Pasolini and Welcome to New York.

Over his four-decade long career, Abel Ferrara has built himself a reputation as one of the most audacious and unconventional filmmakers in contemporary cinema. After his beginnings in the exploitation circuit of the late 1970s he become one of the central figures in the indie wave of the 1980s and 90s and is now an established arthouse director whose versatile oeuvre crosses the boundaries of cult, independent and Hollywood cinema.ReFocus: The Films of Abel Ferrara offers a comprehensive critical survey of the director’s work. The volume brings together a broad range of methodological, theoretical, historical and philosophical perspectives on Ferrara’s work, and case studies include Ms 45, The Driller Killer, Bad Lieutenant, Pasolini and Welcome to New York.

This collection of essays discusses genre fiction and film within the discursive framework of the environmental humanities and analyses the convergent themes of spatiality, climate change, and related anxieties concerning the future of human affairs, as crucial for any understanding of current forms of “weird” and “fantastic” literature and culture. Given their focus on the culturally marginal, unknown, and “other,” these genres figure as diagnostic modes of storytelling, outlining the latent anxieties and social dynamics that define a culture’s “structure of feeling” at a given historical moment. The contributions in this volume map the long and continuous tradition of weird and fantastic fiction as a seismograph for eco-geographical turmoil from the nineteenth to the twenty-first century, offering innovative and insightful ecocritical readings of H. P. Lovecraft, Harriet Prescott Spofford, China Miéville, N. K. Jemisin, Thomas Ligotti, and Jeff VanderMeer, among others.

This collection of essays discusses genre fiction and film within the discursive framework of the environmental humanities and analyses the convergent themes of spatiality, climate change, and related anxieties concerning the future of human affairs, as crucial for any understanding of current forms of “weird” and “fantastic” literature and culture. Given their focus on the culturally marginal, unknown, and “other,” these genres figure as diagnostic modes of storytelling, outlining the latent anxieties and social dynamics that define a culture’s “structure of feeling” at a given historical moment. The contributions in this volume map the long and continuous tradition of weird and fantastic fiction as a seismograph for eco-geographical turmoil from the nineteenth to the twenty-first century, offering innovative and insightful ecocritical readings of H. P. Lovecraft, Harriet Prescott Spofford, China Miéville, N. K. Jemisin, Thomas Ligotti, and Jeff VanderMeer, among others.