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Wandering Monsters. Serial Peregrinations and Transfictionality

Ksenia Olkusz

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  <identifier identifierType="DOI">10.5281/zenodo.3515100</identifier>
      <creatorName>Ksenia Olkusz</creatorName>
      <affiliation>Facta Ficta Research Centre</affiliation>
    <title>Wandering Monsters. Serial Peregrinations and Transfictionality</title>
    <subject>transfictionality, TV series, horror, literature, gothic fiction, narrative</subject>
    <date dateType="Issued">2019-10-21</date>
  <resourceType resourceTypeGeneral="JournalArticle"/>
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    <relatedIdentifier relatedIdentifierType="DOI" relationType="IsVersionOf">10.5281/zenodo.3515099</relatedIdentifier>
    <rights rightsURI="">Creative Commons Attribution 4.0 International</rights>
    <rights rightsURI="info:eu-repo/semantics/openAccess">Open Access</rights>
    <description descriptionType="Abstract">&lt;p&gt;The post-modern gothic simultaneously makes reference to already well-grounded experience, such as the repertoire of motifs and narrative prefigurations which have entered the artistic canon of the convention for good. A lot of figures and characters identified with horror become a part of the transfictional process of allocating them in new settings and re-designing their fictional biographies. Although in TV series reinterpretations of classical literary narratives quite often focus on instilling a positive image of erstwhile impersonation of numinosum, they do offer in return a construal of more contemporaneous fears, aligned with today&amp;rsquo;s &amp;nbsp;socio-political-economic landscape. This article will include the following series based on literary &amp;nbsp;prototypes representing the very canon of gothic fiction: Dracula, Penny Dreadful, Jekyll and Hyde, Second Chance and Sleepy Hollow &amp;nbsp;as well as elements of productions connected with literary narrations of horror, such as Once Upon a Time.&lt;/p&gt;</description>
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