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| | The Byronic Hero | Stein |
 | | In her scrutiny of characters ranging from Manfred to the Sandman, from Melmoth to Lestat, from Heathcliff to Angel, Stein suggests that the Byronic hero serves its audience as an emblem of defiance and complacence. |
 | | The Byronic Hero in Film, Fiction, and Television bridges nineteenth- and twentieth-century studies in pursuit of an ambitious, antisocial, arrogant, and aggressively individualistic mode of hero from his inception in Byron’s Manfred, Childe Harold, and Cain, through his incarnations as the protagonists of Westerns, action flicks, space odysseys, vampire novels, neo-Gothic comics, and sci-fi television. |
 | | While audiences may not seek to emulate the Byronic hero, Stein notes that he desires to emulate them; recent texts plot to “rehumanize” the hero or to voice through him approbation and admiration of ordinary human values and experiences. |
| www.siu.edu /~siupress/titles/f04_titles/stein_byronic.htm (0 words) |
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