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Genetics
"Genetics : from genes to genomes represents a new approach to an undergraduate course in genetics. It reflects the way we, the authors, currently view the molecular basis of life. We integrate: formal genetics: the rules by which genes are transmitted. Molecular genetics: the structure of DNA and how it directs the structure of proteins. Digital analysis and genomics: recent technologies that allow a comprehensive analysis of the entire gene set and its expression in an organism. Human genetics: how genes contribute to health and diseases, including cancer. The unity of life-forms: the synthesis of information from many different organisms into coherent models. Molecular evolution: the molecular mechanisms by which biological systems, whole organisms, and populations have evolved and diverged."--Préface.
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The Bite, the Breast and the Blood
Central to every vampire story is the undead's need for human blood, but equally compelling is the human ingestion of vampire blood, which often creates a bond. This blood connection suggests two primal, natural desires: breastfeeding and communion with God through a blood covenant. This analysis of vampire stories explores the benefits of the bonding experiences of breastfeeding and Christian and vampire narratives, arguing that modern readers and viewers are drawn to this genre because of our innate fascination with the relationship between human and maker.
Children Beware!
How does a culture respond when the limits of childhood become uncertain? The emergence of pre-adolescence in the 1980s, which is signified by the new PG-13 rating for film, disrupted the established boundaries between childhood and adulthood. The concept of pre-adolescence affected not only America's pillar ideals of family and childhood innocence but also the very foundation of the horror genre's identity, its association with maturity and exclusivity. Cultural disputes over the limits of childhood and horror were explicitly articulated in the children's horror trend (1980-1997), a cluster of child-oriented horror titles in film and other media, which included Gremlins, The Gate, the Goosebumps series, and others. As the first serious analysis of the children's horror trend, with a focus on the significance of ratings, this book provides a complete chart of its development while presenting it as a document of American culture's adaptation to pre-adolescence. Each important children's horror title corresponds to a key moment of ideological negotiation, cultural power struggles, and industrial compromise.
Such a Dark Thing
Evil, death, demons, reanimation, and resurrection. While such topics are often reserved for the darker mindscapes of the vampire subgenre within popular culture, they are equally integral elements of religious history and belief. Despite the cultural shift of presenting vampires in a secular light, the traditional figure of the vampire within cinema and literature has a rich legacy of serving as a theological marker. Whether as a symbol of the allure of sin, as an apologetic for assorted religious icons, or as a gateway into a discussion of liberationist theology, the vampire has served as a spiritual touchstone from Bram Stoker's Dracula, to Stephen King's Salem's Lot, to the HBO televisio...
The Beloved Does Not Bite
In this new monograph, author Debra Dudek defines a new era of vampire texts in which vampires have moved from their iconic dark, feared, often seductive figure lingering in alleys, to the beloved and morally sensitive vampire winning the affections of teen protagonists throughout pop culture. Dudek takes a close look at three hugely-popular vampire series for young adults, drawing parallels between the TV series Buffy the Vampire Slayer, the Twilight Saga novels/films, and The Vampire Diaries TV series/book series. By defining a new era of vampire texts and situating these three series within this transition, The Beloved Does Not Bite signals their significance and lays the groundwork for future scholarship on the flourishing genre of paranormal romances for young adults.
