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Antiheroes
The most interesting characters are almost never the good guys. Doing the right thing is great and all, but a little bit of darkness—or a lot of it—often makes for a more engaging story. Antiheroes: Heroes, Villains, and the Fine Line Between is dedicated to the dark heroes and sympathetic villains we love. Find out why William McKinley High's agonist Sue Sylvester is essential to Glee. Discover where your favorite comic book character falls on the continuum of good and evil. Weigh in on Twilight's very dangerous boy Edward Cullen: romantic, sparkly hero, or sociopath suffering from Antisocial Personality Disorder? Plus other essays on: • The Vampire Diaries' most antiheroic antihero, ...
The Antihero in American Television
The antihero prevails in recent American drama television series. Characters such as mobster kingpin Tony Soprano (The Sopranos), meth cook and gangster-in-the-making Walter White (Breaking Bad) and serial killer Dexter Morgan (Dexter) are not morally good, so how do these television series make us engage in these morally bad main characters? And what does this tell us about our moral psychological make-up, and more specifically, about the moral psychology of fiction? Vaage argues that the fictional status of these series deactivates rational, deliberate moral evaluation, making the spectator rely on moral emotions and intuitions that are relatively easy to manipulate with narrative strategies. Nevertheless, she also argues that these series regularly encourage reactivation of deliberate, moral evaluation. In so doing, these fictional series can teach us something about ourselves as moral beings—what our moral intuitions and emotions are, and how these might differ from deliberate, moral evaluation.
Antihero
There are few figures as captivating as the antihero: the character we can't help but root for, even as we turn away in revulsion from many of the things they do. What is it that draws us to characters like Breaking Bad's Walter White, Patricia Highsmith's Tom Ripley, and Stieg Larsson's Lisbeth Salander even as we decry the trail of destruction they leave in their wake? Crime Uncovered: Antihero tackles that question and more. Mixing the popular and iconic, contemporary and ancient, the book explores the place and appeal of the antihero. Using figures from books, TV, film, and more, including such up-to-the-minute examples as True Detective's Rust Cole, the book places the antihero's actions within the society he or she is rejecting, showing how expectations and social and familial structures create the backdrop against which the antihero's posture becomes compelling. Featuring interviews with genre masters James Ellroy and Paul Johnston, Crime Uncovered: Antiherois an accessible, engaging analysis of what drives us to embrace those characters who acknowledge--or even flaunt--the dark side we all have somewhere deep inside.
The Antiheroes
The world needed heroes...It got them instead. A swordsman past his prime who has vowed to never wield a blade again. A mage who'd rather throw fists than fireballs and thinks magic is for sissies. An assassin who grows sick at the sight of blood. And a man with a pet squirrel he believes to be an ancient god from long ago. An evil has risen in the land, one that, if not dealt with, threatens to start a war which would include the gods themselves. To counter it, the realm must call on its greatest heroes, its most courageous adventurers. Unfortunately, those great heroes, those brave adventurers, are all busy-being dead mostly. So it is left to Dannen Ateran, known in his youth as the Bloody Butcher but, more recently as the passed-out drunk at the table in the corner, to lead his companions against an army of the dead. They are not heroes. But perhaps they just might do. The Antiheroes is the first book in a new epic fantasy series by bestselling author Jacob Peppers. It is a tale of fast-paced action, swordfights, magic, and humor. Think you can't laugh at undead armies and battles of life and death? Come find out.
The New Female Antihero
The New Female Antihero examines the hard-edged spies, ruthless queens, and entitled slackers of twenty-first-century television. The last ten years have seen a shift in television storytelling toward increasingly complex storylines and characters. In this study, Sarah Hagelin and Gillian Silverman zoom in on a key figure in this transformation: the archetype of the female antihero. Far from the sunny, sincere, plucky persona once demanded of female characters, the new female antihero is often selfish and deeply unlikeable. In this entertaining and insightful study, Hagelin and Silverman explore the meanings of this profound change in the role of women characters. In the dramas of the new mi...
Heroes and Anti-heroes in Medieval Romance
Investigations into the heroic - or not - behaviour of the protagonists of medieval romance. Medieval romances so insistently celebrate the triumphs of heroes and the discomfiture of villains that they discourage recognition of just how morally ambiguous, antisocial or even downright sinister their protagonists can be, and, correspondingly, of just how admirable or impressive their defeated opponents often are. This tension between the heroic and the antiheroic makes a major contribution to the dramatic complexity of medieval romance, but it is not an aspect of the genre that has been frequently discussed up until now. Focusing on fourteen distinct characters and character-types in medieval narrative, this book illustrates the range of different ways in which the imaginative power and appeal of romance-texts often depend on contradictions implicit in the very ideal of heroism. Dr Neil Cartlidge is Lecturer in English at the University of Durham. Contributors: Neil Cartlidge, Penny Eley, David Ashurst, Meg Lamont, Laura Ashe, Judith Weiss, Gareth Griffith, Kate McClune, Nancy Mason Bradbury, Ad Putter, Robert Rouse, Siobhain Bly Calkin, James Wade, Stephanie Vierick Gibbs Kamath
In Praise of Antiheroes
In an age of upheaval and challenged faith, traditional heroes are hard to come by, and harder still to love, with their bloodstained hands and backs unbowed by the consequences of their actions. Through penetrating readings of key works of modern European literature, Victor Brombert shows how a new kind of hero—the antihero—has arisen to replace the toppled heroic model. Though they fail, by design, to live up to conventional expectations of mythic heroes, antiheroes are not necessarily "failures." They display different kinds of courage more in tune with our time and our needs: deficiency translated into strength, failure experienced as honesty, dignity achieved through humiliation. Brombert explores these paradoxes in the works of Büchner, Gogol, Dostoevsky, Flaubert, Svevo, Hašek, Frisch, Camus, and Levi. Coming from diverse cultural and linguistic traditions, these writers all use the figure of the antihero to question handed-down assumptions, to reexamine moral categories, and to raise issues of survival and renewal embodying the spirit of an uneasy age.
The Anti-Hero in the American Novel
The Anti-Hero in the American Novel rereads major texts of the 1960s to offer an innovative re-evaluation of a set of canonical novels that moves beyond entrenched post-modern and post-structural interpretations towards an appraisal which emphasizes the specifically humanist and idealist elements of these works.
Antiheroes
Presentation of the author's psychoanalytic beliefs and experiences inchild psychoanalytic therapy.
