Zombies Vampires And Philosophy

Author: Richard Greene
Editor: Open Court Publishing
ISBN: 0812696832
File Size: 42,15 MB
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"A collection of philosophical essays about the undead: beings such as vampires and zombies who are physically or mentally dead yet not at rest. Topics addressed include the metaphysics and ethics of undeath"--Provided by publisher.

Zombies Vampires And Philosophy

Author: Richard Greene and K Silem Mohammad
Editor: ReadHowYouWant.com
ISBN: 1459601076
File Size: 51,75 MB
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Don't turn around - there's probably one behind you right now. Vampires and zombies are just everywhere. Bram Stoker had no idea what he was starting when he published his vampire novel Dracula in 1897, incidentally digging up and re-animating the word ''undead. Whether it's Twilight, Let the Right One In, True Blood, or the comic book series Thirty Days of Night, vampire stories seem to experience an eternal cycle of death and resurrection, growing more potent, if not more rosy-cheeked, with each successive manifestation. While vampires are suave, sexy, sophisticated, stay up all night, generally have good hair, and often deliver witty one-liners, zombies are just the opposite. Zombies have poor complexions, missing body parts, few social graces, and are conversationally challenged. Yet public fascination with zombies keeps proliferating, along with the popularity of vampires. There are more zombie books, zombie movies, and zombie games than ever before. About the only things vampires and zombies share is that they want to bite us and we are at risk of becoming like them. However, they both confront us with moral and metaphysical issues of life and death. In Zombies, Vampires, and Philosophy, an expanded edition of The Undead and Philosophy, twenty-two of our leading thinkers teach us the lessons we can absorb from the various forms of Undeath. ''This is a book worth buying just for the final chapter, which gives us the sensational and hitherto suppressed correspondence of tienne Lavec and Paulie Dori Williams. At long last we have a vital perspective that has been sadly lacking; authentic vampire reactions to the way vampires are depicted in popular culture.

Jeopardy And Philosophy

Author: Shaun P. Young
Editor: Open Court
ISBN: 0812698045
File Size: 54,67 MB
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Since its debut in 1964, Jeopardy! has been one of America’s favorite and longest-running daytime quiz shows. It turns the question-answer format of traditional quiz shows on its head and requires contestants to pose correct questions to answers in selected categories. While mining information and facts from Alchemy to Zoology, Jeopardy!, is a uniquely intellectual, erudite, and challenging daytime television program. Far beyond entertaining its fans with nail-biting contests of knowledge, memory, and speed, it all but requires them to participate. Few people watch Jeopardy! without pressing an invisible button and blurting out questions to their TV screen. Because of this personal and intellectual investment, most Jeopardy! fans are devout. Watching the show is valued as a daily ritual in which genuine intellectual skill and encyclopedic knowledge (as opposed to thin Hollywood depictions such as those in Big Bang Theory or Rain Man) are not only respected and placed in the spotlight, but also rewarded with national prestige and prize winnings. Champion Ken Jennings (who contributes to this volume) has won over three million dollars and remained champion seventy-four times. For those who embrace Jeopardy! as an intellectual oasis in the arid desert of popular culture, it is the geeks who shall inherit the earth. Jeopardy!’s celebration of intellect and forward-thinking is well recognized throughout popular culture and among all age groups. Ken Jennings, Chuck Forrest, and other all-time champions are near celebrities, while the show itself regularly reaches out through special tournaments to different segments of American culture, such as actors and musicians (Celebrity Jeopardy!), high-school and college students (Teen Tournament and College Championship Jeopardy!) and senior citizens (Senior Tournament Jeopardy!). Still, despite its widespread respect and, some might complain, smug self-respect, neither the show nor its fans take themselves too seriously. Jokes about host Alex Trebek’s hair and famous parodies of Jeopardy! on Saturday Night Live are as familiar as Weird Al Yankovic’s MTV-mainstay “I Lost on Jeopardy!” (to the tune of “Our Love’s in Jeopardy”): Don't know what I was thinkin' of, I guess I just wasn't too bright. Well, I sure hope I do better Next weekend on The Price Is Right.

Curb Your Enthusiasm And Philosophy

Author: Mark Ralkowski
Editor: Open Court Publishing
ISBN: 0812697669
File Size: 14,94 MB
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What makes Larry a monster, and why doesn't he know that he's a monster? This title discusses philosophical answers to these questions. It also discusses the ethical and existential issues, such as whether Larry is a bad apple or perhaps worth emulating.

Dexter And Philosophy

Author: Richard Greene
Editor: Open Court
ISBN: 081269726X
File Size: 68,56 MB
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What explains the huge popular following for Dexter, currently the most-watched show on cable, which sympathetically depicts a serial killer driven by a cruel compulsion to brutally slay one victim after another? Although Dexter Morgan kills only killers, he is not a vigilante animated by a sense of justice but a charming psychopath animated by a lust to kill, ritualistically and bloodily. However his gory appetite is controlled by “Harry’s Code,” which limits his victims to those who have gotten away with murder, and his job as a blood spatter expert for the Miami police department gives him the inside track on just who those legitimate targets may be. In Dexter and Philosophy, an elite team of philosophers don their rubber gloves and put Dexter’s deeds under the microscope. Since Dexter is driven to ritual murder by his “Dark Passenger,” can he be blamed for killing, especially as he only murders other murderers? Does Dexter fit the profile of the familiar fictional type of the superhero? What part does luck play in making Dexter who he is? How and why are horror and disgust turned into aesthetic pleasure for the TV viewer? How essential is Dexter’s emotional coldness to his lust for slicing people up? Are Dexter’s lies and deceptions any worse than the lies and deceptions of the non-criminals around him? Why does Dexter long to be a normal human being and why can’t he accomplish this apparently simple goal?

Orange Is The New Black And Philosophy

Author: Richard Greene
Editor: Open Court
ISBN: 0812699084
File Size: 29,39 MB
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This collection of eighteen chapters by talented philosophical minds probes some of the many lessons to be learned from Orange Is the New Black (mostly the addictive Netflix comedy-drama but with some attention to the best-selling real-life book by Piper Kerman). The show and the book that inspired it both dramatically highlight the troubling, stressful situation of millions of incarcerated Americans. How do the show’s shower scenes shed light on the classical mind-body problem? How can we make our lives meaningful when our options are curtailed by authority? What does it mean to manipulate someone, and why is it bad? What can we learn about the peculiarity of human beliefs from Pennsatucky’s notion of the gay agenda? Is Litchfield Prison a preparation for life outside—or just a scale model of life outside? What could the governors of Litchfield learn from Jeremy Bentham and his panopticon? How is it that even in prison we find ourselves condemned to be free? Why is one of the worst things about prison being forced to see who and what we really are? It so happens that life in prison is absolutely full and overfull of philosophical implications. Orange Is the New Black and Philosophy stays close to the characters and scenes of the TV show, applying insights from ethics, existentialism, metaphysics, epistemology, and political philosophy. The book is aimed at thoughtful fans of this amazingly fine TV show, who want to learn more about its disturbing issues.

Dharma Of The Dead

Author: Christopher M. Moreman
Editor: McFarland
ISBN: 1476632960
File Size: 54,30 MB
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With the increased popularity of zombies in recent years, scholars have considered why the undead have so captured the public imagination. This book argues that the zombie can be viewed as an object of meditation on death, a memento mori that makes the fact of mortality more approachable from what has been described as America's "death-denying culture." The existential crisis in zombie apocalyptic fiction brings to the fore the problem of humanity's search for meaning in an increasingly global and secular world. Zombies are analyzed in the context of Buddhist thought, in contrast with social and religious critiques from other works.

Power And Marginalization In Popular Culture

Author: Lisa A. King
Editor: McFarland
ISBN: 1476640165
File Size: 42,66 MB
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In many pop culture texts, "monsters" can be read as metaphors for marginalized Others in U.S. culture. This book applies the philosophical lens of Michel Foucault's normalizing and bio-powers to zombies, vampires, magicians, genetic mutants and others, asking whether these stories of apparent liberation really are so. Exploring a single theme in depth across a series of pop culture texts, this book encourages a radical new understanding of liberation narratives and of political activism as a mechanism of social change.

Film And Philosophy

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The Philosophical Review

Author: Jacob Gould Schurman
Editor:
ISBN:
File Size: 36,76 MB
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An international journal of general philosophy.

Zombie Culture

Author: Shawn McIntosh
Editor: Scarecrow Press
ISBN: 0810860430
File Size: 59,63 MB
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Why have zombies resonated so pervasively in the popular imagination and in media, especially films? Why have they proved to be one of the most versatile and popular monster types in the growing video game industry? What makes zombies such widespread symbols of horror and dread, and how have portrayals of zombies in movies changed and evolved to fit contemporary fears, anxieties, and social issues? Zombies have held a unique place in film and popular culture throughout most of the 20th century. Rare in that this enduring monster type originated in non-European folk culture rather than the Gothic tradition from which monsters like vampires and werewolves have emerged, zombies have in many ways superseded these Gothic monsters in popular entertainment and the public imagination and have increasingly been used in discussions ranging from the philosophy of mind to computer lingo to the business press. Zombie Culture brings together scholars from a variety of fields, including cinema studies, popular culture, and video game studies, who have examined the living dead through a variety of lenses. By looking at how portrayals of zombies have evolved from their folkloric roots and entered popular culture, readers will gain deeper insights into what zombies mean in terms of the public psyche, how they represent societal fears, and how their evolving portrayals continue to reflect underlying beliefs of The Other, contagion, and death.

Zombies Are Us

Author: Christopher M. Moreman
Editor: McFarland
ISBN: 0786488085
File Size: 21,99 MB
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On the surface, the zombie seems the polar opposite of the human—they are the living dead; we, in essence, are the dying alive. But the zombie is also “us.” Although decaying, it looks like us, dresses like us, and sometimes (if rarely) acts like us. In this volume, essays by scholars from a range of disciplines examine the zombie as a thematic presence in literature, film, video games, legal language, and philosophy, exploring topics including zombies and the environment, litigation, the afterlife, capitalism, and the erotic. Through this wide-ranging examination of the zombie phenomenon, the authors seek to discover what the zombie can teach us about being human. Instructors considering this book for use in a course may request an examination copy here.

American Horror Story And Philosophy

Author: Richard Greene
Editor: Open Court Publishing
ISBN: 0812699742
File Size: 59,75 MB
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In American Horror Story and Philosophy, philosophers with varying backgrounds and interests explore different aspects of this popular “erotic thriller” TV show, with its enthusiastic cult following and strong critical approval. The result is a collection of intriguing and provocative thoughts on deeper questions prompted by the creepy side of the human imagination. As an “anthology show,” American Horror Story has a unique structure in the horror genre because it explores distinct subgenres of horror in each season. As a result, each season raises its own set of philosophical issues. The show’s first season, Murder House, is a traditional haunted house story. Philosophical topics expounded here include: the moral issues pertaining to featuring a mass murderer as one of the season’s main protagonists; the problem of other minds—when I see an old hag, how can I know that you don’t see a sexy maid? And whether it is rationally justified to fear the Piggy Man. Season Two, Asylum, takes place inside a mid-twentieth-century mental hospital. Among other classic horror subgenres, this season includes story lines featuring demonic possession and space aliens. Chapters inspired by this season include such topics as: the ethics of investigative reporting and whistleblowing; personal identity and demonic possession; philosophical problems arising from eugenics; and the ethics and efficacy of torture. Season Three, Coven, focuses on witchcraft in the contemporary world. Chapters motivated by this season include: sisterhood and feminism as starkly demonstrated in a coven; the metaphysics of traditional voodoo zombies (in contrast to the currently fashionable “infected” zombies); the uses of violent revenge; and the metaphysics of reanimation. Season Four, Freak Show, takes place in a circus. Philosophical writers look at life under the Big Top as an example of “life imitating art”; several puzzles about personal identity and identity politics (crystallized in the two-headed girl, the bearded lady, and the lobster boy); the ethical question of honor and virtue among thieves; as well as several topics in social and political philosophy. Season Five, Hotel, is, among other disturbing material, about vampires. Chapters inspired by this season include: the ethics of creating vampire progeny; LGBT-related philosophical issues; and existentialism as it applies to serial killers, Season Six, Roanoke, often considered the most creative of the seasons so far, partly because of its employment of the style of documentaries with dramatic re-enactments, and its mimicry of The Blair Witch Project and Paranormal Activity. Among the philosophical themes explored here are what happens to moral obligations under the Blood Moon; the proper role of truth in storytelling; and the defensibility of cultural imperialism.

The Philosophy Of Horror

Author: Thomas Richard Fahy
Editor: University Press of Kentucky
ISBN: 0813125731
File Size: 26,18 MB
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Sitting on pins and needles, anxiously waiting to see what will happen next, horror audiences crave the fear and exhilaration generated by a terrifying story; their anticipation is palpable. But they also breathe a sigh of relief when the action is over, when they are able to close their books or leave the movie theater. Whether serious, kitschy, frightening, or ridiculous, horror not only arouses the senses but also raises profound questions about fear, safety, justice, and suffering. From literature and urban legends to film and television, horror's ability to thrill has made it an integral part of modern entertainment. Thomas Fahy and twelve other scholars reveal the underlying themes of the genre in The Philosophy of Horror. Examining the evolving role of horror, the contributing authors investigate works such as Mary Shelley's Frankenstein (1818), horror films of the 1930s, Stephen King's novels, Stanley Kubrick's adaptation of The Shining (1980), and Alfred Hitchcock's Psycho (1960). Also examined are works that have largely been ignored in philosophical circles, including Truman Capote's In Cold Blood (1965), Patrick Süskind's Perfume (1985), and James Purdy's Narrow Rooms (2005). The analysis also extends to contemporary forms of popular horror and "torture-horror" films of the last decade, including Saw (2004), Hostel (2005), The Devil's Rejects (2005), and The Hills Have Eyes (2006), as well as the ongoing popularity of horror on the small screen. The Philosophy of Horror celebrates the strange, compelling, and disturbing elements of horror, drawing on interpretive approaches such as feminist, postcolonial, Marxist, and psychoanalytic criticism. The book invites readers to consider horror's various manifestations and transformations since the late 1700s, probing its social, cultural, and political functions in today's media-hungry society.

The Undead And Theology

Author: Kim Paffenroth
Editor: Wipf and Stock Publishers
ISBN: 1610978757
File Size: 76,97 MB
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The academy and pop culture alike recognize the great symbolic and teaching value of the undead, whether vampires, zombies, or other undead or living-dead creatures. This has been explored variously from critiques of consumerism and racism, through explorations of gender and sexuality, to consideration of the breakdown of the nuclear family. Most academic examinations of the undead have been undertaken from the perspectives of philosophy and political theory, but another important avenue of exploration comes through theology. Through the vampire, the zombie, the Golem, and Cenobites, contributors address a variety of theological issues by way of critical reflection on the divine and the sacred in popular culture through film, television, graphic novels, and literature.

The Undead And Philosophy

Author: Richard Greene
Editor: Open Court Publishing Company
ISBN: 9780812696011
File Size: 49,56 MB
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"A collection of philosophical essays about the undead: beings such as vampires and zombies who are physically or mentally dead yet not at rest. Topics addressed include the metaphysics and ethics of undeath"--Provided by publisher.

Radical Philosophy

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Race Oppression And The Zombie

Author: Christopher M. Moreman
Editor: McFarland
ISBN: 078648800X
File Size: 63,39 MB
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The figure of the zombie is a familiar one in world culture, acting as a metaphor for “the other,” a participant in narratives of life and death, good and evil, and of a fate worse than death—the state of being “undead.” This book explores the phenomenon from its roots in Haitian folklore to its evolution on the silver screen and to its radical transformation during the 1960s countercultural revolution. Contributors from a broad range of disciplines here examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more—including potential signs that the zombie hordes may have finally achieved oversaturation. Instructors considering this book for use in a course may request an examination copy here.