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1 | (12) |
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10 | (3) |
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Part I Welcome to the Night: Issues of Reading and Media |
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13 | (56) |
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2 The Medium Is the Model |
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15 | (16) |
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29 | (2) |
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3 The Adaptive Marketing of Penny Dreadful: Listening to The Dreadfuls |
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31 | (18) |
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31 | (2) |
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Showtime's Inferior Status |
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33 | (2) |
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35 | (3) |
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38 | (5) |
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43 | (1) |
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44 | (5) |
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4 Penny Dreadful and Frankensteinian Collection: Museums, Anthologies, and Other Monstrous Media from Shelley to Showtime |
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49 | (20) |
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Part I Penny Dreadful Collections |
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49 | (4) |
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Part II Canons and Characters |
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53 | (5) |
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Part III Frankenstein and the Anthology |
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58 | (5) |
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Part IV Penny Dreadful as Frankensteinian Collection |
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63 | (3) |
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66 | (3) |
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Part II Anatomy of a Monster: Horror and the Gothic in Literature and on the Screen |
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69 | (70) |
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5 In the House of the Night Creatures: Penny Dreadful's Dracula |
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71 | (16) |
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73 | (2) |
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The Woman Question and The Vampire's Wife |
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75 | (4) |
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Feminism, Suffrage, and Lily |
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79 | (3) |
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Psychoanalysis and the Occult |
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82 | (2) |
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84 | (1) |
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85 | (2) |
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6 Vampirism, Blood, and Memory in Penny Dreadful and Only Lovers Left Alive |
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87 | (18) |
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The Myth of Blood: The Body in (Vampire) Films |
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87 | (4) |
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Penny Dreadful: The Syncretic Vampire of Popular Culture |
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91 | (6) |
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Melancholizing the Visceral in Only Lovers Left Alive |
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97 | (6) |
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103 | (2) |
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7 "The Dead Place": Cosmopolitan Gothic in Penny Dreadful's London |
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105 | (16) |
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Cosmopolitan Gothic and the Echoes of Empire |
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107 | (11) |
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118 | (1) |
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119 | (2) |
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8 Adapting the Universal Classic Monsters in Penny Dreadful: An Uncanny Resurrection |
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121 | (18) |
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"I Know This Place, I've Been Here Before": Home Texts and Unhomely Adaptations |
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124 | (5) |
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House of Vanessa Ives: John Logan's Monster Mash(up) |
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129 | (7) |
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136 | (3) |
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Part III The Monster Unbound: Theatrical Performance, Western Dime Novels, and TV Noir |
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139 | (56) |
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9 Penny Dreadful and the Stage: Lessons in Horror and Heritage |
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141 | (16) |
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Victorian Legacies: The Heritage of Performance in Penny Dreadful |
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142 | (6) |
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Showtime: The Performance of Heritage in Penny Dreadful |
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148 | (3) |
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Performance and Spectatorship in Penny Dreadful |
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151 | (3) |
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154 | (3) |
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10 Ethan Chandler, Penny Dreadful, and the Dime Novel; or, Dancing with American Werewolves in London |
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157 | (20) |
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158 | (8) |
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166 | (6) |
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Conclusion: The American Monster |
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172 | (3) |
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175 | (2) |
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11 Dreadful Noir, Adaptation, and City of Angels: "Monsters, All, Are We Not?" |
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177 | (18) |
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"Where Strangeness is Not Shunned But Celebrated": Adapting to City of Angels |
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178 | (3) |
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181 | (3) |
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"You May Think You Know What You're Dealing With": Adapting toward Complexity |
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184 | (8) |
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192 | (3) |
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Part IV Meanings of Monstrosity: Identity, Difference, and Experience |
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195 | (74) |
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12 Penny Dreadful's Palimpsestuous Bride of Frankenstein |
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197 | (20) |
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The Bride: A Palimpsest of Consent, Class, and Hypersexualization |
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199 | (4) |
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Pygmalion's "Perfect" Woman |
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203 | (3) |
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Gendered Trauma and a "Revolution in Female Manners" |
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206 | (6) |
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212 | (2) |
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214 | (3) |
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13 Predators Far and Near: The Sadean Gothic in Penny Dreadful |
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217 | (16) |
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219 | (5) |
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The Marquis de Sade and the Gothic |
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224 | (3) |
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A Dreadful Mix of High and Low |
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227 | (4) |
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231 | (2) |
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14 "All Those Sacred Midnight Things": Queer Authorship, Veiled Desire, and Divine Transgression in Penny Dreadful |
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233 | (20) |
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251 | (2) |
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15 Borderland Identities in Penny Dreadful: City of Angels |
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253 | (16) |
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266 | (3) |
Index |
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269 | |