John Edgar Browning – författare

Employing a range of approaches to examine how "monster-talk" pervades not only popular culture but also public policy through film and other media, this book is a "one-stop shop" of sorts for students and instructors employing various approaches and media in the study of "teratologies," or discourses of the monstrous.

This Norton Critical Edition includes:The first edition of the novel, published by Archibald Constable in London in 1897 and chosen by the editors in order to give readers—insofar as such a thing is possible—a more historically authentic reading experience than has been generally available. Arcane words and usages are footnoted at first appearance.Editorial matter by John Edgar Browning and David J. Skal.Eight background pieces, five of them new to the Second Edition, on Count Dracula specifically and vampires more generally; seven reviews and reactions to Dracula’s publication, five of them new to the Second Edition; and six selections, two of them new to and two others updated for the Second Edition, on Dracula’s many dramatic and filmic variations.Eleven critical essays on Dracula’s central themes, six of them new to the Second Edition.A selected bibliography.About the SeriesRead by more than 12 million students over fifty-five years, Norton Critical Editions set the standard for apparatus that is right for undergraduate readers. The three-part format—annotated text, contexts and criticism—helps students to better understand, analyse and appreciate the literature, while opening a wide range of teaching possibilities for instructors. Whether in print or in digital format, Norton Critical Editions provide all the resources students need.

This is a comprehensive sourcebook on the world's most famous vampire, with more than 700 citations of domestic and international Dracula films, television programs, documentaries, adult features, animated works, and video games, as well as nearly a thousand comic books and stage adaptations. While they vary in length, significance, quality, genre, moral character, country, and format, each of the cited works adopts some form of Bram Stoker's original creation, and Dracula himself, or a recognizable vampiric semblance of Dracula, appears in each.The book includes contributions from Dacre Stoker, David J. Skal, Laura Helen Marks, Dodd Alley, Mitch Frye, Ian Holt, Robert Eighteen-Bisang, and J. Gordon Melton.

When reality becomes fantastic, what literary effects will render it credible or comprehensible? To respond meaningfully to the surreality of the Holocaust, writers must produce works of moral and emotional complexity. One way they have achieved this is through elements of fantasy.Covering a range of theoretical perspectives, this collection of essays explores the use of fantastic story-telling in Holocaust literature and film. Writers such as Jane Yolen and Art Spiegelman are discussed, as well as the sci-fi television series V (1983), Stephen King's novella Apt Pupil (1982), Guillermo del Toro's Pan's Labyrinth (2006) and Martin Scorsese's dark thriller Shutter Island (2010).

Since the publication of Dracula in 1897, Bram Stoker's original creation has been a source of inspiration for artists, writers, and filmmakers. From Universal's early black-and-white films and Hammer's Technicolor representations that followed, iterations of Dracula have been cemented in mainstream cinema. This anthology investigates and explores the far larger body of work coming from sources beyond mainstream cinema reinventing Dracula.Draculas, Vampires and Other Undead Forms assembles provocative essays that examine Dracula films and their movement across borders of nationality, sexuality, ethnicity, gender, and genre since the 1920s. The essays analyze the complexity Dracula embodies outside the conventional landscape of films with which the vampire is typically associated. Focusing on Dracula and Dracula-type characters in film, anime, and literature from predominantly non-Anglo markets, this anthology offers unique perspectives that seek to ground depictions and experiences of Dracula within a larger political, historical, and cultural framework.

Zombie Talk offers a concise, interdisciplinary introduction and deep analytical set of theoretical approaches to help readers understand the phenomenon of zombies in contemporary and modern culture.

Employing a range of approaches to examine how "monster-talk" pervades not only popular culture but also public policy through film and other media, this book is a "one-stop shop" of sorts for students and instructors employing various approaches and media in the study of "teratologies," or discourses of the monstrous.

Reader, have you ever wondered who struck fear into the heart of H. P. Lovecraft? It was Robert Chambers. Now, the terror visits you.  A wicked link in a terrifying lineage, the tales contained in The King in Yellow have inspired generations of American horror writers. Look toward unspeakable Hastur and tell yourself these are only tales. Behold the Yellow Sign and convince yourself that, after all—it’s only a book.   Welcome, dear reader, to Carcosa.  Edited with notes and an introduction by John Edgar Browning.

As Carol A. Senf has noted of some of Bram Stoker’s less prominent fictions in Science and Social Science in Bram Stoker’s Fiction (2002), they often occupy an elusive place, “a realm that is not precisely Gothic but that is somehow beyond the scientific and rational world of the late nineteenth and early twentieth centuries.” The present anthology demonstrates how even Stoker’s nonfictive works, including his jokes, often find themselves at home in the elusive realm of which Senf is here speaking. After more than six years of archival inquiry, the editors present here nineteen previously unknown or relatively unglimpsed published letters, works of short fiction, and journalistic writing by Stoker (1847-1912), including “Gibbet Hill” (1890), a Gothic short story the editors discovered in 2016. Additionally, they present fifty-five other unknown period writings by or about Stoker, including interviews, public addresses, speeches, and testimonies. The works in this anthology, together with the extensive research offered in the introduction, prefatory note, and annotations, not only highlight the intertextuality between Dracula and other of Stoker’s works, but support the conclusion that Stoker’s periodical writings indeed denote a much greater force in his literary repertoire than previously accepted. Not surprisingly, many of the works in this anthology exhibit the same curious sprinkling of characteristically delicate Gothicisms and “other knowledges” for which Stoker has become known outside of his ubiquitous vampire novel.