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Titlebook: A Critical Companion to Neil Gaiman‘s "Neverwhere"; Jeffrey Andrew Weinstock Book 2022 The Editor(s) (if applicable) and The Author(s), un

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樓主: 淺吟低唱
21#
發(fā)表于 2025-3-25 03:48:32 | 只看該作者
Agent Intelligence Through Data MiningThis brief concluding chapter to . Neverwhere introduces other approaches to the novel that could be pursued including psychoanalytic, queer theory, and postcolonial. It is also suggested that the novel could be more fully contextualized in light of its late twentieth-century historical moment and addressed from a fan studies perspective.
22#
發(fā)表于 2025-3-25 09:05:28 | 只看該作者
23#
發(fā)表于 2025-3-25 12:22:50 | 只看該作者
24#
發(fā)表于 2025-3-25 17:22:52 | 只看該作者
25#
發(fā)表于 2025-3-25 20:57:20 | 只看該作者
https://doi.org/10.1007/978-3-319-23850-0 transformations of . from BBC television series to novel to comics; introduces the author, Neil Gaiman; highlights important aspects of the novel including the idea of a parallel world and Gaiman’s wordplay; and draws some connections between . and other works by Neil Gaiman.
26#
發(fā)表于 2025-3-26 02:21:35 | 只看該作者
Jeffrey Andrew WeinstockHighlights a variety of theoretical approaches to the text.Addresses Neverwhere’s contribution to the genre of fantasy and speculative fiction.Studies unique questions of adaptation relevant to Gaiman
27#
發(fā)表于 2025-3-26 07:35:13 | 只看該作者
Palgrave Science Fiction and Fantasy: A New Canonhttp://image.papertrans.cn/a/image/140548.jpg
28#
發(fā)表于 2025-3-26 08:52:39 | 只看該作者
29#
發(fā)表于 2025-3-26 12:56:01 | 只看該作者
Juergen Musil,Angelika Musil,Stefan Biffl Brian Attebery’s characteristics of fantasy, outlined in his 1992 . study, are introduced, as are Farah Mendlesohn’s categories of fantasy from her . (2008). After exploring .’s generic features, the novel is then considered more broadly in relation to the familiar framework of the Hero’s Journey,
30#
發(fā)表于 2025-3-26 17:00:12 | 只看該作者
Mining Knowledge for Agent Communitiesexamining Neil Gaiman’s playful use of language in the novel, with a focus on his attribution of actual referents corresponding to the names of London Underground stops, but also extending as well to his use of symbolism, allusion, and other extensions or manipulations of meaning. From there, the ch
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