1,721,039 research outputs found
Edward Cullen : el nuevo concepto de vampiro
No full textEl vampiro, como esa parte de sombra del inconsciente, evoluciona de diablo a ángel como se manifiesta en Crepúsculo de Stephenie Meyer. Para analizar este proceso, se traza el paso del vampiro moderno al post-moderno a través de tres figuras básicas: Drácula, Lestat y Edward Cullen, con la ayuda de los conceptos de Jung de sombra y héroe, y la teoría del cerebro triuno de McLean. Sangre, alma y sexo se desarrollan con este nuevo concepto de vampiro que comienza a revelar su reflejo para dejar de ser la sombra que fue exponiendo su evolución hacia la figura del héroe.El vampir, com aquella part d'ombra de l'inconscient, evoluciona de diable a àngel com es manifesta a Crepúsculo de Stephenie Meyer. Per analitzar aquest progrés, passem del vampir modern al postmodern mitjançant tres figures bàsiques: Dràcula, Lestat y Edward Cullen, amb l'ajuda dels conceptes de Jung d'ombra i heroi, i la teoria del cervell triú de McLean. Sang, ànima i sexe es desenvolupen amb aquest nou concepte de vampir que comença a revelar el seu reflexa per deixar de ser l'ombra que fou, evolucionant cap a la figura del heroi
Edward Cullen : el nuevo concepto de vampiro
Get PDFEl vampiro, como esa parte de sombra del inconsciente, evoluciona de diablo a ángel como se manifiesta en Crepúsculo de Stephenie Meyer. Para analizar este proceso, se traza el paso del vampiro moderno al post-moderno a través de tres figuras básicas: Drácula, Lestat y Edward Cullen, con la ayuda de los conceptos de Jung de sombra y héroe, y la teoría del cerebro triuno de McLean. Sangre, alma y sexo se desarrollan con este nuevo concepto de vampiro que comienza a revelar su reflejo para dejar de ser la sombra que fue exponiendo su evolución hacia la figura del héroe.El vampir, com aquella part d'ombra de l'inconscient, evoluciona de diable a àngel com es manifesta a Crepúsculo de Stephenie Meyer. Per analitzar aquest progrés, passem del vampir modern al postmodern mitjançant tres figures bàsiques: Dràcula, Lestat y Edward Cullen, amb l'ajuda dels conceptes de Jung d'ombra i heroi, i la teoria del cervell triú de McLean. Sang, ànima i sexe es desenvolupen amb aquest nou concepte de vampir que comença a revelar el seu reflexa per deixar de ser l'ombra que fou, evolucionant cap a la figura del heroi
Edward Cullen: el nuevo concepto de vampiro
No full textEl vampiro, como esa parte de sombra del inconsciente, evoluciona de diablo a ángel como se manifiesta en Crepúsculo de Stephenie Meyer. Para analizar este proceso, se traza el paso del vampiro moderno al post-moderno a través de tres figuras básicas: Drácula, Lestat y Edward Cullen, con la ayuda de los conceptos de Jung de sombra y héroe, y la teoría del cerebro triuno de McLean. Sangre, alma y sexo se desarrollan con este nuevo concepto de vampiro que comienza a revelar su reflejo para dejar de ser la sombra que fue exponiendo su evolución hacia la figura del héroe.El vampir, com aquella part d’ombra de l’inconscient, evoluciona de diable a àngel com es manifesta a Crepúsculo de Stephenie Meyer. Per analitzar aquest progrés, passem del vampir modern al postmodern mitjançant tres figures bàsiques: Dràcula, Lestat y Edward Cullen, amb l’ajuda dels conceptes de Jung d’ombra i heroi, i la teoria del cervell triú de McLean. Sang, ànima i sexe es desenvolupen amb aquest nou concepte de vampir que comença a revelar el seu reflexa per deixar de ser l’ombra que fou, evolucionant cap a la figura del heroi
Is Edward Cullen a “good” boyfriend? Young men talk about Twilight, masculinity and the rules of (hetero)romance
No full textThe popular romance is a pervasive and ubiquitous part of popular culture, which has been critically and rigorously analysed by a wide range of scholars. While this body of work is diverse in its critiques of popular romance, studies often share a common research question: how are the narratives embedded within these love stories understood by those who consume them? While women are undoubtedly the target market for this genre, my research takes a different, less orthodox approach to answering this question. Drawing from a broader study on how young men make sense of being boyfriends and (hetero)romance, I asked twenty-two young men from a high school in Aotearoa/New Zealand about their interpretations of a well-known young adult text that can also be classified as contemporary popular romance, Twilight. By talking with young men about Twilight, and, in particular, Edward Cullen, I was able to garner insights into how they decoded gendered performances of (hetero)romance within the film and more generally, what it means to be a “good” boyfriend
Is Edward Cullen a "good" boyfriend: Young men talk about Twilight, masculinity and the rules of (hetero)romance
No full textThe popular romance is a pervasive and ubiquitous part of popular culture, which has been critically and rigorously analysed by a wide range of scholars. While this body of work is diverse in its critiques of popular romance, studies often share a common research question: how are the narratives embedded within these love stories understood by those who consume them? While women are undoubtedly the target market for this genre, my research takes a different, less orthodox approach to answering this question. Drawing from a broader study on how young men make sense of being boyfriends and (hetero)romance, I asked twenty-two young men from a high school in Aotearoa/New Zealand about their interpretations of a well-known young adult text that can also be classified as contemporary popular romance, Twilight. By talking with young men about Twilight, and, in particular, Edward Cullen, I was able to garner insights into how they decoded gendered performances of (hetero)romance within the film and more generally, what it means to be a “good” boyfriend
Våldsamt beteende: En analys av Edward Cullen i Stephenie Meyer's Twilight
No full textStephenie Meyer's Twilight series has reached huge popularity among young adults and as a futureteacher I am concerned about what kind of a message these books send to teenagers. In this essay I arguethat the main character of the book, Edward Cullen, shows signs of an abusive personality and that thesesigns have been romanticized and idealized by the author. I also argue that the fans of Twilight haveromanticized Edward's behavior. I accomplish this by a close reading of the series and other relevantliterature. Edward has the following signs that an abusive person has: jealousy, controlling behavior,quick involvement, isolation, sudden mood changes, threats of violence and force during an argument.These signs the author has romanticized with the imagery that can be found in the books. Also, Meyerportrays Edward as better than everyone else and by doing so she idealizes his character. Edward'sabusive behavior has been interpreted as actions of true love by fans making these patterns of abusivebehavior seem romantic
A Boyfriend to Die For: Edward Cullen as Compensated Psychopath in Stephanie Meyer’s Twilight
Get PDFThis article is an analysis of the teen-targeted vampire novel Twilight. The series and
related merchandise have been a runaway financial success. Illustrative quotes from
Twilight are presented according to Guggenbühl-Craig’s concept of the “compensated
psychopath” (CP)—an individual who approaches the psychological extreme of
psychopathy but is able to pass for functional in society. The author argues the lead
male character Edward Cullen is a CP and that the representation is problematic.
The book’s main female character, Bella Swan, becomes completely dependent on
Edward, desires him in part because he seems unattainable, and is willing to die and
live a life of predation in order to be with him. The largely uncriticized idealization of
Edward as top boyfriend material flies under the radar of contemporary concern for
girls’ psychic and physical well-being
Greve Dracula och Edward Cullen : En komparativ studie av två vampyrer
No full textDenna kandidatuppsats utgör en komparativ studie av två vampyrkaraktärer, greve Dracula och Edward Cullen, utifrån Bram Stokers Dracula (1993) och Stephenie Meyers första roman i Twilightsagan, Twilight (2007). Jag vill försöka klargöra förändringar i skildringarna av vampyrkaraktärerna genom att jämföra hur dem skildras när det gäller utseende, liv samt beteende och handling och därefter finna likheter och skillnader vampyrkaraktärerna emellan utifrån dessa aspekter. Den komparativa studien bygger huvudsakligen på närläsning av romanerna eftersom jag endast ägnar mig åt att studera hur vampyrkaraktärerna skildras. Resultatet visar att det finns såväl likheter som skillnader när det gäller skildringarna av greve Dracula och Edward. Skildringarna av Dracula som en monstervampyr har förändrats, gått förlorade och likaledes bevarats när det gäller skildringarna av Edward som humanvampyr
MASCULINITY CHARACTERISTICS AND ITS TYPE REPRESENTED IN THE CHARACTER EDWARD CULLEN IN STEPHENIE MEYER’S NOVEL NEW MOON
Get PDFThis research aims at analyzing the personal characteristics of Edward Cullen character in New Moon novel using Masculinity theory. This research focuses on explaining and analyzing the Masculinity characteristics and its type founded in Edward as the main character in this novel.
This research used a descriptive qualitative method. The data were taken from reading the novel such as dialogues, narratives, and monologues. There were steps that used to collect the data such as reading the novel, identifying the data, classifying the data, and reducing the data.
This research finds the Masculinity characteristics in the main character based on Janet Saltzman Chafetz’s theory. Based on the references used in this study, Edward has all the characteristics of Masculinity, they are: physical, function of the man, sexual aggressive, emotion, intellectual, interpersonal and other personal characteristics. Based on the novel and the references it shows that Edward has a hegemony type of masculinity.
Keywords: Masculinity, Masculinity Characteristics, Hegemony, New Moon
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