Post-millennial cultures of fear in literature: fear, risk and safety
The words fear, risk and safety have come to define our contemporary age and have been construed as a dynamic background in the human sciences against which most risk narratives, imaginative or otherwise, can be read. This volume brings together original articles to investigate "cultures of fea...
Gespeichert in:
| Weitere Verfasser: | , |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Newcastle upon Tyne
Cambridge Scholars Publishing
2024
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Zusammenfassung: | The words fear, risk and safety have come to define our contemporary age and have been construed as a dynamic background in the human sciences against which most risk narratives, imaginative or otherwise, can be read. This volume brings together original articles to investigate "cultures of fear" in post-millennial works and covers a wide variety of topics ranging from post-millennial political fictions, post-humanist and postcolonial rewritings to trauma narratives, risk narratives, literary disaster discourses and apocalyptic scenarios. Featuring theoretical and analytical approaches with insights borrowed from multiple disciplines, this book will be of interest for scholars and researchers working in the fields of literary and cultural studies, as well as the general reader |
| Beschreibung: | x, 284 Seiten |
| ISBN: | 9781036403133 1036403130 |
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Introduction. vii Adelheid Rundholz and Mustafa Kirca Chapter One. 1 Through the Transmutation of My Own Personal Experiences: Affective Autotheoretical Accounts of Fear as Critical Engagements with White Supremacy and Heteropatriarchy Yola Gômez and Paddy Farr Chapter Two. 24 From Frightful Monsters to Monstrous Fear: The Evolution of Zombies from Horror to Social Criticism Adelheid Rundholz Chapter Three. 44 Going Beyond Risk Society from an Affirmative Posthumanist Perspective in Sarah Hall’s The Carhullan Army and Megan Hunter’s The End We Start From Mahinur Gözde Kasurka Chapter Four. 66 Kazuo Ishiguro’s Critique of the Creation of Fearful Nonhuman Subjects for a “Safer” World in Never Let Me Go and Klara and the Sun Yagmur Sönmez Demir Chapter Five. 91 Fear Fallacies: Everyday Rhetoric of Fear in Ian McEwan’s Post Millennial Novels Elif Toprak Sakiz Chapter Six. 115 “Mysterious Emotions”: The Fear of Artificial Friends in Ian
McEwan’s Machines Like Me and Kazuo Ishiguro’s Klara and the Sun Anastasia Logotheti
Chapter Seven.141 Rising Fear, Populism, and Social Media Surveillance: Post-Brexit Britain in Sam Byers’s Perfidious Albion Deniz Kirpikh Chapter Eight. 164 Nuclear Threat and State Oppression in The Genius by Howard Brenton Elvan Karaman Mez Chapter Nine. 185 Culture of Fear in a Liquid Modern World: Peripeteia of Western Society in Zinnie Harris’s How to Hold Your Breath Mert Güçlü Chapter Ten. 207 Family as a Precarious Community in Rachel Cusk’s In the Fold Buket Dogan Chapter Eleven. 231 Language of Fear and Safety; Brick Lane and The Few Mustafa Güneç Chapter Twelve. 251 Reframing Identities and Cultural Politics in Post-9/11 Contemporary Pakistani Literature: H. Μ. Naqvi’s Home Boy and Mohsin Hamid’s The Reluctant Fundamentalist Hira Naz Conclusion. 274 Constructions of Fear as Subject or Object Hywel Dix
The words fear, risk and safety have come to define our contemporary age and have been construed as a dynamic background in the human sciences against which most risk narratives, imaginative or otherwise, can be read. This volume brings together original articles to investigate “cultures of fear” in post-millennial works and covers a wide variety of topics ranging from post-millennial political fictions, post-humanist and postcolonial rewritings to trauma narratives, risk narratives, literary disaster discourses and apocalyptic scenarios. Featuring theoretical and analytical approaches with insights borrowed from multiple disciplines, this book will be of interest for scholars and researchers working in the fields of literary and cultural studies, as well as the general reader. |
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