Fear in its many facets appears to constitute an intriguing and compelling subject matter for writers and screenwriters alike. The contributions address fictional representations and explorations of fear in different genres and different periods of literary and cultural history. The topics include representations of political violence and political fear in English Renaissance culture and literature; dramatic representations of fear and anxiety in English Romanticism; the dramatic monologue as an expression of fears in Victorian society; cultural constructions of fear and empathy in George Eliot's Daniel Deronda (1876) and Jonathan Nasaw's Fear Itself (2003); facets of children's fears in twentieth- and twenty-first-century stream-of-consciousness fiction; the representation of fear in war movies; the cultural function of horror film remakes; the expulsion of fear in Kazuo Ishiguro's novel Never Let Me Go and fear and nostalgia in Mohsin Hamid's post-9/11 novel The Reluctant Fundamentalist.
Inhaltsverzeichnis
1;Title Page;4 2;Copyright;5 3;Table of Contents;6 4;Body;8 5;Marion Gymnich: Fictions of Fear Representations of Fear in Anglophone Literature and Audiovisual Media;8 5.1;I. Introduction;8 5.2;II. Fear on the Plot Level Thrills for the Reader and Viewer;10 5.3;III. Genres of Fear;15 5.4;IV. Case Study: The Village;18 5.5;References;26 6;Uwe Baumann: Ruling by Fear / Ruled by Fear: Representations of Political Violence and Political Fear in English Renaissance Culture and Literature;28 6.1;I. Prologue;28 6.2;II. Representations of Political Fear: Facets of the Classical Tradition;30 6.3;III. Representations of Fear in the Declamatio, the Epigrams of Thomas More and the Politics of Henry VIII;39 6.4;IV. Representations of Political Violence and Political Fear on the English Renaissance Stage;51 6.4.1;Christopher Marlowe, Tamburlaine (1587);56 6.4.2;William Shakespeare, Macbeth (1605/1606);59 6.4.3;Colley Cibber, Xerxes, A Tragedy (1699);65 6.5;V. Epilogue;69 6.6;Plate I: Henkel, Arthur and Albrecht Schöne (eds.). Emblemata. Handbuch zur Sinnbildkunst des XVI. und XVII. Jahrhunderts. Stuttgart: Metzler, 1967. 1248;72 6.7;Plate II: Henkel, Arthur and Albrecht Schöne (eds.). Emblemata. Handbuch zur Sinnbildkunst des XVI. und XVII. Jahrhunderts. Stuttgart: Metzler, 1967. 555;73 6.8;References;74 7;Andrea Rummel: Romanticism, Anxiety and Dramatic Representation;82 7.1;I. Gothic Drama: George Colman the Younger, Bluebeard;84 7.2;II. Anti-Revolutionary Theatre: Edmund John Eyre, The Maid of Normandy;87 7.3;III. Historical Tragedies: Percy Bysshe Shelley, The Cenci;90 7.4;IV. Enacting Fear on the Romantic Stage;94 7.5;References;95 8;Gislind Rohwer-Happe: The Dramatic Monologue and the Preservation of Victorian Fears;98 8.1;I. The Contextualization of the Dramatic Monologue;98 8.2;II. Religion and the Dramatic Monologue;101 8.3;III. Crime, Madness and the Dramatic Monologue;103 8.4;IV. Death and the Dramatic Monologue;104 8.5;V. `The Great Social Evil' and the Dramatic Monol
ogue;106 8.6;VI. Conclusion;108 8.7;References;109 9;Stella Butter: Cultural Constructions of Fear and Empathy: The Emotional Structure of Relationships in George Eliot's Daniel Deronda (1876) and Jonathan Nasaw's Fear Itself (2003);110 9.1;I. George Eliot: Daniel Deronda (1876);113 9.2;II. Jonathan Nasaw: Fear Itself (2003);126 9.3;III. Conclusion;136 9.4;References;138 10;Sara Strauß: Facets of Children's Fears in Twentieth- and Twenty-First-Century Stream-of-Consciousness Fiction;142 10.1;References;156 11;Marcel Inhoff: Fearing, Loathing: Robert Lowell, Hunter S. Thompson and the Rise of Richard Nixon;158 11.1;References;178 12;Klaus Scheunemann: Fight or Flight Fear in War Movies;182 12.1;I. Introduction;182 12.2;II. Days of Heroes The Longest Day;184 12.3;III. War as a Psychological Challenge Saving Private Ryan;186 12.4;IV. War's Ugly Face Die Brücke;190 12.5;V. Conclusion;191 12.6;References;192 13;Christian Knöppler: Remaking Fear: The Cultural Function of Horror Film Remakes;194 13.1;I. Scare Me Again;195 13.2;II. Defining the Film Remake;197 13.3;III. Horror and Remakes: A Match Made in Hell?;200 13.4;IV. Case Study: Invasion of the Body Snatchers and its Three Remakes;204 13.5;V. A Horror Remake Complex;207 13.6;References;208 14;Elena Baeva: `A Little Gasp Went Around [] Like a Scream' The Use of Time-Tried Motifs of Fear in Shirley Jackson's We Have Always Lived in the Castle and Quentin Tarantino's Inglourious Basterds;212 14.1;I. Introduction;212 14.2;II. We Have Always Lived in the Castle;213 14.3;III. Inglourious Basterds;220 14.4;IV. Conclusion and Implications for our Concept of Fear;226 14.5;References;227 15;Barbara Puschmann-Nalenz: Nothing to be Frightened of? The Expulsion of Fear in Kazuo Ishiguro's Novel Never Let Me Go;230 15.1;I. The Explicit Expression of Fear by Characters of the Novel;230 15.2;II. Absence of Fear;231 15.3;III. Gender, Fear and the State of the Nation;233 15.4;IV. The Implicit Distribution of Fear in the Novel;235 15.5
;V. Relation between Fear and Value-System;237 15.6;VI. Fear and Lack of Fear as Agents;240 15.7;VII. The Fear of the Readers;241 15.8;References;243 16;Nina Liewald: `Do not be frightened by my beard. I am a lover of America' Fear and Nostalgia in Mohsin Hamid's The Reluctant Fundamentalist;246 16.1;References;258 17;Imke Lichterfeld: `Timor mortis conturbat me. Fear of death disturbs me' Fear and Terror in Frank McGuinness' Speaking like Magpies;260 17.1;References;274 18;Antonio Wojahn: Fear of Death in J.G. Ballard's Crash;276 18.1;I. Accessways;276 18.2;II. Gateways to Crash;278 18.3;III. The Imaginary World of Crash;282 18.4;IV. Repetition and Rehearsing Death in Crash;286 18.5;V. Destinations and Departures;291 18.6;References;292 19;Contributors;294
