Relevant bibliographies by topics / Buffy the Vampire Slayer

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Reports

Academic literature on the topic 'Buffy the Vampire Slayer'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Buffy the Vampire Slayer"

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Bosseaux, Charlotte. "Buffy the Vampire Slayer." Translator 14, no. 2 (November 2008): 343–72. http://dx.doi.org/10.1080/13556509.2008.10799262.

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Stratton, Jon. "Buffy the Vampire Slayer." Television & New Media 6, no. 2 (May 2005): 176–99. http://dx.doi.org/10.1177/1527476403255828.

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Mastracci, Sharon. "Public Service Motivation in Buffy the Vampire Slayer." Public Voices 12, no. 1 (November 23, 2016): 67. http://dx.doi.org/10.22140/pv.71.

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In this paper, the author examines public service as depicted in the television series Buffy the Vampire Slayer (BtVS). First, she shows how slaying meets the economist’s definition of a public good, using the BtVS episode “Flooded” (6.04). Second, she discusses public service motivation (PSM) to determine whether or not Buffy, a public servant, operates from a public service ethic. Relying on established measures and evidence from shooting scripts and episode transcripts, the author concludes Buffy is a public servant motivated by a public service ethic. In this way, BtVS informs scholarship on public service by broadening the concept of PSM beyond the public sector; prompting one to wonder whether it is located in a sector, an occupation, or in the individual. These conclusions allow the author to situate Buffy alongside other idealized public servants in American popular culture.
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Tarnasi, Susan. "Book Review: Slayer Slang: A Buffy the Vampire Slayer Lexicon." Journal of English Linguistics 33, no. 1 (March 2005): 91–94. http://dx.doi.org/10.1177/007542420503300106.

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BAILEY, R. W. "NEOLOGIZE MUCH?: Slayer Slang: A "Buffy the Vampire Slayer" Lexicon." American Speech 79, no. 1 (March 1, 2004): 92–97. http://dx.doi.org/10.1215/00031283-79-1-92.

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McKee, Alan. "Review: Why Buffy Matters: The Art of Buffy the Vampire Slayer." Media International Australia 121, no. 1 (November 2006): 222–23. http://dx.doi.org/10.1177/1329878x0612100140.

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Cascajosa-Virino, Concepción Carmen. "Studying at the hellmouth: the school experiencein «Buffy, the vampire slayer»." Comunicar 14, no. 27 (October 1, 2006): 193–98. http://dx.doi.org/10.3916/c27-2006-29.

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In this paper we will analyze the representation of the school experience particularly higheschool and college in the American televisión program «Buffy, the vampire slayer». The series tells a story about maturation and responsibility showing values with which young people can easily identify themselves, but it is also an intelligent and honest representation of the school life using the resource of fantasy to symbolize the fears which teens face during their educational life. En este artículo se analiza la representación de la experiencia escolar concretamente el instituto y la universidad en el programa de televisión norteamericano «Buffy, cazavampiros». La serie es un relato sobre la maduración y la responsabilidad con valores con los que los jóvenes pueden fácilmente identificarse, pero también una inteligente y honesta representación de la vida escolar que utiliza el recurso de la fantasía para simbolizar los temores a los que se enfrentan los adolescentes durante su etapa de formación.
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van Rysbergen, Felicity. "Review: Undead TV: Essays on Buffy the Vampire Slayer." Media International Australia 129, no. 1 (November 2008): 157. http://dx.doi.org/10.1177/1329878x0812900121.

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Cardow, Andrew, and Robert Smith. "Using Innovative Pedagogies in the Classroom." Industry and Higher Education 29, no. 5 (October 2015): 361–74. http://dx.doi.org/10.5367/ihe.2015.0268.

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It can be difficult to interest students in academic topics if they have no prior exposure to or experience of the subject. The authors introduce and discuss a pedagogic innovation designed to trigger interest in entrepreneurship and ‘enterprise culture’. They use fiction in the form of Gothic context and the vampire motif to move the student through Bloom's cognitive levels of learning. The vampire is a mythic creature spawned from the deepest recesses of folkloric imagination. The entrepreneur might be seen in a similar light. The authors therefore explore these ‘Byronic heroes’ and vampirism as heuristic devices to help re-story and better understand entrepreneurial processes and narratives. They demonstrate that there are elements of enterprise discourse in contemporary narratives and images of vampires. The analysis is based on observations of the late 1990s early 2000s teenage television serial ‘Buffy the Vampire Slayer’, which retains its popular and academic cult status. Through the identification of the familiar (vampires and Buffy) as examples of the entrepreneurial construct, the unfamiliar (the construct of entrepreneurship) is made more accessible because both students and faculty approach it from a shared understanding rather than from a position of inequality. Themes of morphology and transformation emerge, but the paper's main contribution lies in its account of a novel way of teaching entrepreneurship to a new generation of students. It offers insights into making entrepreneurship more interesting for students and so into developing an entrepreneurial mindset. At the same time, the process allows for discussion of how the student has become aware of the concepts of entrepreneurship, thus facilitating knowledge in a non-threatening way.
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Burr, Vivien. "Ambiguity and Sexuality in Buffy the Vampire Slayer: A Sartrean Analysis." Sexualities 6, no. 3-4 (November 2003): 343–60. http://dx.doi.org/10.1177/136346070363005.

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Dissertations / Theses on the topic "Buffy the Vampire Slayer"

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Gianniny, Megan E. ""Other than Dead": Queering Vampires in Buffy the Vampire Slayer, Interview with the Vampire, and The Gilda Stories." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/382.

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This thesis examines three diverse vampire narratives from around the 1990s, arguing that the liminal figure of the vampire, forever in between life and death, is also then well-positioned to queer norms around gender, sexuality, and relationships. This queering, however, manifests differently in each narrative. My analysis looks at each of these three narratives in turn, while also considering how each text’s placement as mainstream or not mainstream affected the manifestation of the vampires’ queering.
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Sjöberg, Jakob. "Beauty and the Beasts : the Vampire Slayer." Thesis, Linköping University, Department for Studies of Social Change and Culture, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-11413.

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Bilden av ”manligt” och ”kvinnligt” har i skräck- och action-filmer/TV-serier länge varit väldigt stereotyp. Kvinnan har ofta spelat rollen som den utsatta, den svaga, det som kallas ”Damsel in distress” i karaktärsbeskrivningar. Mannen har å sin sida varit den mer eller mindre felfria hjälten, som alltid vet råd. Under 1990-talet och 2000-talet började bilden ändras inom den genren. Starka kvinnor dök upp i form av karaktärer och filmer som Lara Croft och Resident Evil. TV-serien Buffy – the Vampire Slayer, som sändes mellan 1997 och 2003, var också en del i detta, främst genom att låta huvudrollen spelas av en ung blond kvinna, som i regel annars snabbt hade fått falla offer för mördaren/monstret. Det jag är intresserad av att undersöka i min uppsats är hur de manliga karaktärerna påverkas och utvecklas i en TV-serie som domineras av starka kvinnliga karaktärer. Vad får de representera för ideal för sin publik? Reduceras mannen här till en liknande stereotyp roll som kvinnan tidigare gjorde inom samma genre?

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Farghaly, Nadine. "Patriarchy Strikes Back: Power and Perception In Buffy the Vampire Slayer." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1241804608.

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Pearl, Michael S. ""All that we become" renegotiating vampire/performative masculinity in Buffy the Vampire Slayer and Angel /." [Gainesville, Fla.] : University of Florida, 2004. http://purl.fcla.edu/fcla/etd/UFE0004891.

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Byers, Michele. "Buffy the Vampire Slayer, the insurgence of television as a performance text." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ53861.pdf.

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Nygren, Anna. "Vampyrers död och Andra(s) kroppar : En studie av True Blood, Vampire Diaries och Buffy the Vampire Slayer." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-65056.

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I den här uppsatsen undersöks hur vampyrer dör i TV-serierna True Blood (2008-2014), Vampire Diaries (2009-2017) och Buffy the Vampire Slayer (1997-2003). Genom närläsning och jämförelser mellan dessa olika sätt att skildra vampyrers död diskuteras vad detta innebär för den roll vampyren får i respektive serie, och vad det betyder för skildringen av kropp och kroppslighet. Jag använder mig av teorier kring skildringen av (mänsklig) död på film, samt för en diskussion i relation till bland annat Judith Butlers begrepp ”sörjbara kroppar” och Giorgio Agambens ”bare life”. Utifrån detta ställs frågor om hur vampyrer, deras död och skildringen av denna relaterar till de diskurser om mänsklighet som genomsyrar serierna och deras kontext.
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Harmath, Emilia. "Familjemaskinen - En schizoanalytisk studie om vänskap i Buffy the Vampire Slayer." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-5473.

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Denna uppsats studerar kultserien Buffy the Vampire Slayer (1997–2003) utifrån ett schizoanalytiskt perspektiv genom att applicera tre huvudsakliga begrepp inom Gilles Deleuzes och Félix Guattaris teorier på sju avsnitt, en från varje säsong; dessa begrepp är Anti-Oidipus, begärsmaskinen och krigsmaskinen. Syftet med uppsatsen är att undersöka huruvida vännerna i serien först och främst är en anti-oidipal familj. Den utgår från tre analysfrågor: Är de som en grupp en begärsmaskin? Är gruppen ”schizofren”? Utgör de tillsammans en krigsmaskin? Studien visar på karaktärernas samspel och sammanhållning som en grupp på ett sätt som visar att begreppet familj inte endast kan definieras av blodsrelationer utan av sammankopplingar vilka snarast är att beskriva som maskiner. Den finner emellertid att det också finns inslag av en oidipal ordning i skildringen av individers problem och lösningen av dem samt i en idealisering av det normala familjelivet. Den kommer därför till slutsatsen att serien i sig i en mening är ”schizofren”.
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Ryderberg, Sanni. "Strong female characters and femininity : Exploring feminine language in Buffy the vampire slayer." Thesis, Stockholms universitet, Engelska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-138888.

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It is widely accepted that gender is actively performed and a part of identity rather than biology, and that this is where gender differences in language stem from. Researchers have attempted to define what constitutes men and women’s language, and this paper uses some of these definitions to analyse the speech of the main character in the first season of the television show Buffy the vampire slayer. This research project investigates Buffy’s use of feminine language as well as whether her language changes when her performance is otherwise more masculine in the role of the slayer. This is done by comparing conversations between Buffy and her friends with conversations between Buffy and her enemies. The results show that Buffy uses some feminine linguistic features but that her speech is not distinctly feminine in general. Her language also does not change significantly when performing the role of the slayer.
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Shepherd, Dawn. "Marketing Subjectivity: Buffy the Vampire Slayer and Construction of the Problematic Female Television Audience." NCSU, 2004. http://www.lib.ncsu.edu/theses/available/etd-04012004-143839/.

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Though some work has been done on the relationship between the series and its audience, most notably Tjardes's examination of the audience's constructions of Faith the Vampire Slayer, little has been written about the ways in which power relationships within the series contribute to the discursive construction of the audience, specifically the female audience. In order to examine power relationships within the series and their impact on the discursive construction of the female audience, I use the fields of rhetoric and critical discourse analysis to frame my discussion. Initially in Chapter 2, I present an overview of major critical perspectives on audience, specifically delineating the essentialist and socially constructed conceptions of audience. Synthesizing scholarship on the construction of audience and tools from critical discourse analysis, I outline three principles for examining the construction of the television audience. Next in Chapter 3, I discuss levels of social organization and the subject positions available in Buffy, examining specific character interactions, paying particular attention to the ways in which power relationships develop within and through the interactions. Then in Chapter 4, I consider the impact of the cultural context and the text's medium on the series. Finally in Chapter 5, I expose the problematic nature of constructing the female television audience, revisit Buffy and how the series interacts with dominant ideologies, offer potential for multiple audiences, and propose avenues meriting further exploration.
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Goile, Joanne Elizabeth. "Fascinations of fiction an examination of devices used within the television programme Buffy the Vampire Slayer that succeed in blurring the boundaries between viewers and the fictional diegesis of the show : thesis submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Art and Design, 2003." Full thesis. Abstract, 2003.

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Books on the topic "Buffy the Vampire Slayer"

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Kirsten, Beyer, and Golden Christopher, eds. Buffy the Vampire Slayer, Vol. 3 (Buffy the Vampire Slayer). New York: Simon Pulse, 2010.

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Ellsworth, Carl. Buffy the vampire slayer. London: Scholastic, 2005.

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Cliff, Richards, ed. Buffy, the vampire slayer. Milwaukie, Or: Dark Horse Comics, 2002.

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Nancy, Holder, Gallagher Diana G, Askegren Pierce, and Whedon Joss 1964-, eds. Buffy the Vampire Slayer. New York, N.Y: Simon Pulse, 2010.

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Whedon, Joss. Buffy the vampire slayer. Milwaukie, Or: Dark Horse, 2008.

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Ruditis, Paul. Buffy, the vampire slayer. New York: Pocket Books, 2004.

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Fassbender, Tom. Buffy the Vampire Slayer: False Memories (Buffy the Vampire Slayer Comic #24). Milwaukie, OR: Dark Horse Comics, 2002.

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Holder, Nancy. Blooded (Buffy the Vampire Slayer). New York, USA: Pocket Books, 1998.

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Chambliss, Andrew. Buffy the Vampire Slayer: Guarded. Milwaukie, OR: Dark Horse Books, 2013.

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Slayer slang: A Buffy the vampire slayer lexicon. Oxford: Oxford University Press, 2003.

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Book chapters on the topic "Buffy the Vampire Slayer"

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Murphy, Bernice M. "‘Ah, But Underneath...’ Buffy the Vampire Slayer and Desperate Housewives." In The Suburban Gothic in American Popular Culture, 166–92. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230244757_7.

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Carter, Margaret L. "Slayer as Monster in Blood+ (2005–2006) and Buffy the Vampire Slayer (1997–2003)." In Speaking of Monsters, 73–81. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137101495_8.

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Stratton, Jon. "Buffy the Vampire Slayer: What Being Jewish Has to Do with It." In Jewish Identity in Western Pop Culture, 221–39. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230612747_11.

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Graves, Stephanie A. "The Transtextual Road Trip: Buffy the Vampire Slayer, Supernatural, and Televisual Forebears." In Transmediating the Whedonverse(s), 167–99. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24616-7_8.

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Dudek, Debra. "The Beloved That Does Not Bite: Genre, Myth, and Repetition in Buffy the Vampire Slayer." In Seriality and Texts for Young People, 206–17. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137356000_11.

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Allrath, Gaby. "Life in Doppelgangland: Innovative Character Conception and Alternate Worlds in Buffy the Vampire Slayer and Angel." In Narrative Strategies in Television Series, 132–50. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230501003_7.

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Masson, Cynthea. "“Can You Just Be Kissing Me Now?”: The Question(s) of Willow in Buffy the Vampire Slayer." In Televising Queer Women, 65–81. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230610200_5.

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Evans, Tania, and Amanda Potter. "Sacrificial Shadows: Tragic Greek Heroines Reinvented for Television in Buffy the Vampire Slayer and Game of Thrones." In Locating Classical Receptions on Screen, 43–65. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96457-7_3.

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Burr, Viv. "‘Oh Spike you’re covered in sexy wounds!’ The Erotic Significance of Wounding and Torture in Buffy the Vampire Slayer." In Sex, Violence and the Body, 137–56. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230228399_9.

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Nicol, Rhonda. "“When you kiss me, I want to die”: Arrested Feminism in Buffy the Vampire Slayer and the Twilight Series." In Bringing Light to Twilight, 113–23. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119246_9.

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Reports on the topic "Buffy the Vampire Slayer"

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Sanchez, Amber. Variation in Female and Male Dialogue in Buffy the Vampire Slayer: A Multi-dimensional Analysis. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.7454.

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