Konstfacks bibliotek

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*020  $a1-910924-38-5$q(pbk.)
*020  $a978-1-910924-38-9$q(pbk.)
*035  $a9935234
*035  $a(SE-LIBR)21815882
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*050 4$aPN3503$b.F57 2016
*08204$a809.304$223
*084  $aG:d$2kssb/8
*1001 $aFisher, Mark,$d1968-2017$eauthor.
*24514$aThe weird and the eerie /$cMark Fisher.
*250  $a3rd edition.
*264 1$aLondon :$bRepeater Books,$c2016.
*264 2$aNew York :$bDistributed in the United States by Random House, Inc.
*264 4$c©2016
*300  $a133 pages ;$c20 cm
*336  $atext$btxt$2rdacontent
*337  $aunmediated$bn$2rdamedia
*338  $avolume$bnc$2rdacarrier
*504  $aIncludes bibliographical references (pages 129-132), discography (page 132) and videography (pages 133-134).
*5050 $aIntroduction : the weird and the eerie (beyond unheimlich) -- The weird. The out of place and the out of time: lovecraft and the weird -- The weird against the worldly: H.G. Wells -- "Body a tentacle mess": the grotesque and the weird: The Fall -- Caught in the coils of ouroboros: Tim Powers -- Simulations and the unworlding: Rainer Werner Fassbinder and Philip K. Dick -- Curtains and holes: David Lynch -- The eerie. Approaching the eerie -- Something where there should be nothing: nothing where there should be something: Daphne du Maurier and Christopher Priest -- On vanishing land: M.R. James and Eno -- Eerie Thanatos: Nigel Kneale and Alan Garner -- Inside out: outside in: Margaret Atwood and Jonathan Glazer -- Alien traces: Stanley Kubrick, Andrei Tarkovsky, Christopher Nolan -- "...The eerieness remains": Joan Lindsay.
*520  $a"What exactly are the 'weird' and the 'eerie'? In this new essay, Mark Fisher argues that some of the most haunting and anomalous fiction of the 20th century belongs to these two modes. The 'weird' and the 'eerie' are closely related but distinct modes, each possessing its own distinct properties. Both have often been associated with Horror, yet this emphasis overlooks the aching fascination that such texts can exercise. The 'weird' and the 'eerie' both fundamentally concern the outside and the unknown, which are not intrinsically horrifying, even if they are always unsettling. Perhaps a proper understanding of the human condition requires examination of liminal concepts such as the 'weird' and the 'eerie'. These two modes will be analysed with reference to the work of authors such as H.P. Lovecraft, H.G. Wells, M.R. James, Christopher Priest, Joan Lindsay, Nigel Kneale, Daphne Du Maurier, Alan Garner and Margaret Atwood, and films by Stanley Kubrick, Jonathan Glazer and Christoper Nolan." -- Publisher's description
*599  $aImported from: catalog.library.cornell.edu:7090/voyager (Do not remove)
*648 7$a1900-1999$2fast
*650 7$aLitteraturteori$2sao
*650 7$aSkräck i litteraturen$2sao
*650 0$aFiction$y20th century$xHistory and criticism.
*650 0$aHorror in literature.
*650 7$aFiction.$2fast
*650 7$aHorror in literature.$2fast
*650 0$aHorror in literature
*650 0$aLiterature ¡ Philosophy
*655 7$aCriticism, interpretation, etc.$2fast
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*852  $5Ko$bKo$hG
*950  $aSkräcklitteratur$uSkräck i litteraturen
^

A noted cultural critic unearths the weird, the eerie, and the horrific in 20th-century culture through a wide range of literature, film, and music references-from H.P. Lovecraft and Daphne Du Maurier to Stanley Kubrick and Christopher Nolan.

What exactly are the Weird and the Eerie? Two closely related but distinct modes, and each possesses its own distinct properties. Both have often been associated with Horror, but this genre alone does not fully encapsulate the pull of the outside and the unknown.

In several essays, Mark Fisher argues that a proper understanding of the human condition requires examination of transitory concepts such as the Weird and the Eerie.

Featuring discussion of the works of- H. P. Lovecraft, H. G. Wells, M.R. James, Christopher Priest, Joan Lindsay, NigelKneale, Daphne DuMaurier, Alan Garner and Margaret Atwood, and films by Stanley Kubrick, JonathanGlazerand Christopher Nolan.