Buradasınız

EVERY GENERATION GETS THE VAMPIRE IT DESERVES : CHANGE IN VAMPIRE IDENTITY IN CONTEMPORARY SUPERNATURAL FICTION

DÖNEMSEL KAYGILAR, DÖNEMSEL KİMLİKLER: VAMPİR KİMLİĞİNİN ÇAĞIMIZDAKİ DEĞİŞİM

Journal Name:

Publication Year:

Author NameUniversity of Author
Abstract (2. Language): 
This study aims to explore the change in vampire identity in contemporary supernatural fiction. As Auerbach (1995) has stated, vampires are personifications of their age and thus, their appeal is generational. Vampires are strong metaphors that tell a lot about national fears and traumatic past of one society. This fascinating dark image talks about ideological and generational spirit of a culture. Earlier, vampires have been literary characters that point to otherness and the fears of one culture. Vampire was an outsider, a threatening stranger with fangs and old-fashioned clothes, living on the outskirts of the town and who killed for a reason behind. However, the monster image has been changed so far. Not to forget their monster nature all together, vampires with leading roles represented in contemporary supernatural fiction have become mainstream, civilized, tamed, vulnerable and almost human in many ways. In order to exemplify this argument, two narratives are chosen: The Twilight series by Stephenie Meyer (Twilight 2005, New Moon 2006, Eclipse 2007, Breaking Dawn 2008) and The Southern Vampire Mysteries (2001-2010) -aka True Blood- by Charlaine Harris. Their evolution or rather demystification of their true vampire nature can be explained in terms of globalization of consumer capitalism, postmodernity and audience reception theory. Additionally, purpose of this study is to discuss the change in contemporary representation of the vampire from “anti-Christ to sympathetic next-door neighbor” (Zanger, 1997) as reflected in the texts, Twilight Saga and True Blood.
Abstract (Original Language): 
Bu çalışma, çağımızdaki değişen vampir algısını tartışmayı hedeflemektedir. Bu konudaki araştırmalarıyla tanınan Profosör Nina Auerbach’ın belirttiği gibi, vampir kimliği dönemsel kaygılarla şekillenen, yaratıldıkları çağın sosyo-politik ve ideolojik tutumunu ortaya koyan güçlü metaforlardır. Edebiyattaki vampir kimliği, bir kültürün korku ve travmatik geçmişine ilişkin çok şey ifade eder. On dokuzuncu yüzyıldan bu yana Batı yazınındaki vampir temsili çoğunlukla ürkütücü, yalnız, toplumdan uzak yaşayan bir aristokrat olarak çizilmiştir ama çağımızda, özellikle 2000’lerden bu yana, bu algı çok değişmiştir. Yeni vampir, kapı komşumuz kadar bize yakın yaşayan içimizden biri, sevimli, insani, medeni ve duygusal bir kimliğe bürünmüştür. Kısacası vampir kimliği bir evrim geçirerek, bozulmuş, oynanmış, değiştirilmiştir. İfade ettiği ötekilik durumundan eser kalmamıştır. Bunun sebepleri çeşitlidir ama bu çalışmada değişen vampir kimliğinin nedenleri olarak, kapitalist tüketim toplumu ve değerlerinin pompalandığı küreselleşme olgusu, post-modernite ve okuyucu algısı üzerinde durulacaktır. Bu nedenlerin örneklenecek olduğu yazınsal metinler ise, Stephenie Meyer’in tüm dünyada büyük yankı uyandıran beş kitaplı Alacakaranlık serisi (2005-2008) ile Charlaine Harris’in televizyona uyarlanan ve genellikle True Blood ismiyle bilinen 13 serilik romanlarıdır.
157
169

REFERENCES

References: 

Abbott, S. (2007). Celluloid vampires. Austin: Texas UP.
Anyiwo, M. U. (2012). “It is not Television, It is Transmedia Storytelling.” True Blood:
Investigating vampires and southern gothic. Ed. Brigid Cherry. London: I.B.
Tauris. 158-171.
Auerbach, N. (1995). Our vampires, ourselves. Chicago: Chicago UP.
Barker, C. (1999). Cultural studies. London: Sage.
…. (2011). Cultural studies. 4th ed. London: Sage.
Berger, P. L. and Huntington, S. P. Many globalizations: Cultural diversity in
contemporary world. UK: Oxford UP.
Cherry, B. ed. (2012). True Blood: Investigating vampires and southern gothic. London:
I.B. Tauris.
Crothers, L. (2012). Globalization and american popular culture. NY: Rowman and
Littlefield Publication.
Dennison, M. J. (2001). Vampirism: Literary tropes of decadence and entropy. NY:
P. Lang.
Dijkstra, B. (1986). Idols of perversity: Fantasies of feminine evil in the fin de siècle
culture. Oxford UP.
Frayling, C. (2009). Ed. Vampirizm. Trans. Elif Ersavcı. 1st ed. Istanbul: Varlık.
Gordon, J. and V. Hollinger. Eds. (1997). Blood read. Philadelphia: Pennsylvania UP.
Granger, J. (2009). “Mormon vampires in the Garden of Eden.” Touchstone. November/
December 2009. Accessed 12 January 2010. http://www.touchstonemag.com
Harris, C. (2001-2013). The southern vampire mysteries: Sookie Stackhouse novels. Ace
Books.
Harvey, D. (1992). “The condition of postmodernity.” Modernity and its futures. Eds.
Stuart.
Hall and David Held. UK: Polity: 256-270.
Hills, M. (2002). Fan cultures. London: Routledge.
Holland, M. K. (2014). Succeeding postmodernism: Language and humanism in
contemporary American literature. New York: Bloomsbury Academic.
Jameson, F. (1991). Postmodernism, or, the cultural logic of late capitalism. Verso.
Accessed 7 March 2011.
http://www.marxists.org/reference/subject/philosophy/works/us/jameson.htm.
Jenkins, H. (2006). Convergence culture: where old and new media collide. NY: NY UP.
Kindinger, E. (2011). “Reading supernatural fiction as regional fiction: of vamps, supes
and places that suck.” Onlinejournal kultur & geschiecht. Number 8: 1-20.
Marling, W. H. (2006). How America is globalization? NY: John Hopkins UP.
Mc Grew, A. (1992). “A global society?” Modernity and its futures. Eds. Stuart Hall and
David Held. UK: Polity, 61-115.
Mellins, M. (2012). “The fangtasia experience: True Blood fans, commodification and
lifestyle.” True Blood: Investigating vampires and southern gothic. Ed. Brigid
Cherry. London: I.B. Tauris. 172-185.
Meyer, S. (2008). Breaking dawn. Britain: Atom.
….. (2007). Eclipse. US: Atom.
… (2006). New moon. US: Atom.
….. (2005). Twilight. US: Atom.
Moretti, F. (1982). “The dialectic of fear.” New left review. 136 (Nov-Dec): 67-85. Accessed
August 2012. http://knarf.english.upenn.edu/Articles/moretti.html
Paravese, R. (1939). “Bonifica antiborghese.” 1939. Accessed 17 January 2010.
http://en.wikipedia.org/wiki/Bourgeoisie.
Schott, G. and K. Moffat, eds. (2011). Fanpires: Audience consumption of the modern
vampire. DC: New Academia.
Skal, D. J. (1993). The monster show: a cultural history of horror. NY: Norton.
Smith, E. D. (2012). Globalization, utopia and post-colonial science-fiction: New maps of
hope. NY: Palgrave Macmillian.
Stanescu, J. (2012). “Toward a Dark Animal Studies: On Vegetarian Vampires, Beautiful
Souls, and Becoming- Vegan.” Journal for Critical Animal Studies, Volume 10(3).
Accessed July 2014. http://www.criticalanimalstudies.org/wp
content/uploads/2012/10/Volume-10-Issue-3-2012.pdf
Thompson, K. (1992). “Social pluralism and post-modernity.” Modernity and its futures.
Eds. Stuart Hall and David Held. UK: Polity: 221-273.
Twitchell, J. B. (1981). The living dead: A study of the vampire in romantic literature.
Duke UP.
Watters, E. (2011). Crazy like us: The globalization of the American psyche. NY: Free
Press.
Williamson, M. (2005). The lure of the vampire: Gender, fiction and fandom from Bram
Stoker to Buffy. UK: Wallflower. Accessed 2 July 2009.
http://books.google.com.tr/
Zanger, J. (1997). “Metaphor into metonymy.” Blood read. Eds. Joan Gordon and
Veronica
Hollinger. Philadelphia: Pennsylvania UP: 17-25.
Films and Television Series:
Twilight. (2008). Dir. Catherine Hardwicke. Summit Entertainment.
New Moon. (2009). Dir. Chris Weitz. Imprint Entertainment.
Eclipse. (2010). Dir. David Slade. Summit Entertainment.
True Blood. (2008-2010). Dir. Allan Ball. HBO. Accessed 10 November 2010.
http://www.yabancidiziizle.com

Thank you for copying data from http://www.arastirmax.com