Sex, Lies & Vampire Hunters (Paranormal Romantic Comedy) (Night Shift Book 1)

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ISBN Lacy, Garland, Serial Monogamy? Of all the charges that have been set upon the romance novels, the most pervasive one is that they are predictable and formulaic, that they repeat the same story over and over again. John Cawelty defines literary formulas as " ways in John Cawelty defines literary formulas as " ways in which specific cultural themes and stereotypes become embodied in more universal story archetypes " 6.

The romance novel captures the archetypical love story and presents it in a formula that addresses contemporary culture. Literary formulas are successful because " Audiences find satisfaction and a basic emotional security in a familiar form; in addition, the audience's past experience with a formula gives it a sense of what to expect in new individual examples, thereby increasing its capacity for understanding and enjoying the details of a work.

One of the characteristics of formulas, though, is that they evolve over time, and one of the most visible changes in the romance novel over the last couple of decades has been the move from single title novels to serialization.

Other " formula genres " , such as the detective novel, have been produced in series since the 19 th Century, however, according to An Goris, the serial romance novel only made its first appearances in the s, increased gradually in the s, and became a common way of production in the 21 st Century. As Goris indicates, this new narrative presentation has the tension inherent in the combination of the impulse of the serial to continuity versus the impulse of the romance toward definitive endings with a HEA.

A serial romance novel presents a great opportunity to study the ever changing limits of acceptability of different characters as protagonists of a romance. The multiplication of the formula forces a wider range of variation.

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41 Best Paranormal Audiobooks of All Time - BookAuthority

A valid approach to it, then is to pay extreme attention, as non. Courses on romance are still rare, although the number has increased in the last few years. However, other than monographic courses on the Twilight Saga, paranormal romance has normally attained little to no attention in those courses However, other than monographic courses on the Twilight Saga, paranormal romance has normally attained little to no attention in those courses.

This presentation will discuss the experience of teaching such a course as an Honors colloquium, with a group of highly qualified but very science-oriented students, most of them freshmen. Interestingly, and contrary to the experiences of those who teach romance courses on a regular basis Selinger, Matthews, etc This presentation will briefly discuss the reading materials selected for the course, both primary and secondary, and logic behind those selections.

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It will emphasize the dual function of the course as very specific in its subject matter, but very general in its learning outcomes. Topics of discussion included recent history, gender roles and images in the media and the differences between representations on books versus film and television , race, love, sexuality, and others. This diversity allowed for close reading of novels, and application of literary criticism to a very specific corpus while developing critical thinking about popular culture and its effect on our lives. It forced students out of their comfort zone to become open to discussion and critical analysis of issues they would have mostly avoided otherwise.

The perceived simplicity of the subject matter and the fact that the novels contained fantastic elements that introduced another layer of distance that made delicate topics easier to discuss facilitated a class environment in which assumptions were questioned and diversity was not only accepted but also celebrated. Both the successes and the lessons learned in the course will be shared, with recommendations for other scholars who may wish to offer a similar course in the future. Yasmine Galenorn created a complex magical universe in her Sisters of the Moon series.

Camille is a fledging witch, Delilah is a werecat and Menolly is an acrobat-turned-vampire. Because of their mixed heritage their powers go awry and they are odd-one-outs everywhere. Still, they support each other the best they can and defend the magical community against threats.

Such series might not have stood out among many others had it not been for its curious narration strategy and clever use of language. From language perspective the composition of the series is interesting. Each book is narrated by a different sister and thus gives the story a particular atmosphere and hue. This is reflected in the language. For the purpose of this chapter I will focus on the first nine books of the series.

I would like to explore what language choices the sisters make to tell their stories, and how their personalities, their sexuality and outcast status are reflected in the language. Vampire Hearts, Modern Killers: An evening of live horror music and talks. Following on from a talk given by Paul Adams on vampire serial killers, this talk is about the emergence of the sympathetic vampire. In contrast In contrast vampires in fiction are becoming, if not more human, than more sympathetic which offers a different way of engaging with monsters, difference and what makes someone 'other'.

Vampires have long stood as a metaphor for the cultural outsider, the Other. Yet in contemporary paranormal romance novels, there is a distinct lack of racial diversity, which mirrors the lack of inclusion within the broader publishing Yet in contemporary paranormal romance novels, there is a distinct lack of racial diversity, which mirrors the lack of inclusion within the broader publishing industry.

Just where are all the vampire heroes of color? While mainly absent, there are representations of Blackness, but these prove to be problematic. These characterizations rely heavily upon a contemporary type of Blackface that asks Black men to create caricatures of their personalities that fulfill the white cultural expectations of Blackness and allow white men to appropriate Blackness and Black vernacular in order to enact hegemonic masculinity. In this article we will explore how Teen Wolf functions as a femi-nist and queer-friendly text, paying particular attention to how it deals with issues of consent, gender equality and sexual identity.

This urban fantasy series tells the story of three Fae sisters from Otherword, who are now based in Seattle. Each sister is different: the eldest, Camille, is a witch. Delilah is a shapeshifter, turning into a tabby cat, and later also a panther. And Menolly is an acrobat-turned-vampire. Camille, Delilah and Menolly take turns in narrating each book, so the reader gets more rounded perspective of their lives and struggles with their awry powers, result of their half-human half-Fae heritage.

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In this paper I will focus on the middle sister, Delilah. She is a werecat, but because of her mixed heritage, she does not turn into a large wild feline, but into a tabby cat. As her story progresses in the series, she becomes a Death Maiden which comes with another were form: a panther. Her already dual personality — a young woman and a house cat — becomes even more complicated when she discovers her inner panther. I will show how the urban fantasy genre provides a platform to discuss multiple facets of such creatures.

Buffy the Vampire Slayer has been a hugely popular series, re-watched and re-broadcast even today. It has also been influential on TV series that followed. Its biggest contribution has been a strong female protagonist Its biggest contribution has been a strong female protagonist. However, it has also changed the way vampires are represented. I will then take this examination further towards a different medium, and look at how both Buffy and Charmed influenced Sisters of the Moon series, a supernatural romance series written by Yasmine Galenorn.


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Buffy influenced Charmed; for a while both series were made by the same network. The protagonists in Charmed are three sisters-witches. In it, the Covenant of St. Creatures of myth and legend.

Unfortunately for them, not all the monsters agreed with this plan…and neither did all the human beings. From this arose a small group whose mission was to protect the cryptids of the world from those who would harm them without just cause. I am a late, albeit rabid addition to the In Death fan club. Written by Nora Roberts under the pen-name J. Robb , it was originally set to be only a trilogy. While Eve is the focus and Roarke steals the show, there is still room for the supporting cast to shine, as well. Anything by Ilona Andrews makes the list, period.

25 Great Urban Fantasy Series

Or at least it seems that way. The Innkeeper Chronicles is no exception — but it is a bit different. Offered as a free serialized story on their website and available in both print and eformat, the Innkeeper Chronicles have a bit of everything. Although the Gertrude Hunt seems to be little more than a small bed and breakfast in an even smaller Texas town, it is in fact a sentient magical galactic waystation that plays host to beings from worlds far removed from our own.

Innkeeper Dina DeMille is not only responsible for the safety of her guests, but she must also keep the existence of worlds beyond our own secret from the rest of mankind — all while dealing with one very alpha werewolf. The series is set in a fictionalized version of the modern day world where supernatural creatures such as witches, vampires, werewolves, demons, and elementals, as well as many deities from various mythologies, exist.

Written by Kevin Hearne.