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One-of-a-kind cultural critic and New York Times bestselling author Chuck Klosterman offers up great facts, interesting cultural insights, and thought-provoking moral calculations in this look at our love affair with the anti-hero (New York magazine).Chuck Klosterman, The Ethicist for The New York Times Magazine, has walked into the darkness. In I Wear the Black Hat, he questions the modern understanding of villainy. When we classify someone as a bad person, what are we really saying, and why are we so obsessed with saying it? How does the culture of malevolence operate? What was so Machiavellian about Machiavelli? Why dont we see Bernhard Goetz the same way we see Batman? Who is more worthy of our vitriolBill Clinton or Don Henley? What was O.J. Simpsons second-worst decision? And why is Klosterman still haunted by some kid he knew for one week in 1985? Masterfully blending cultural analysis with self-interrogation and imaginative hypotheticals, I Wear the Black Hat delivers perceptive observations on the complexity of the antihero (seemingly the only kind of hero America still creates). As the Los Angeles Times notes: By underscoring the contradictory, often knee-jerk ways we encounter the heroes and villains of our culture, Klosterman illustrates the passionate but incomplete computations that have come to define American cultureand maybe even American morality. I Wear the Black Hat is a rare example of serious criticism thats instantly accessible and really, really funny.

Villains in mass media --- Villains in popular culture

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Les héros des séries télé américaines ont changé. Ce ne sont plus ces personnages monolithiques dont on admire le courage et les valeurs. Selon François Jost, spécialiste de l’analyse de la télévision, ils sont désormais des personnages que l’on peut qualifier de “méchants”, mais aussi, surtout, des caractères le plus souvent imprévisibles et qui évoluent au fil des saisons. Ces “nouveaux méchants” ne sont pas nés méchants, ils le sont devenus et c’est cette transformation qui nous passionne, car pour la comprendre, il faut peu à peu approcher une vérité intérieure de plus en plus secrète et sombre. Enfin, l’auteur de ce passionnant essai montre avec brio comment ces nouveaux méchants ont tous en commun de remettre en cause le “rêve américain”, et comment ces séries, aussi différentes soient-elles, constituent en fait une histoire du capitalisme revisitée du côté de la violence et de la désillusion. Un regard pertinent, original qui prend les séries que nous connaissons tous pour de formidables outils à explorer l’âme humaine et à mieux comprendre l’évolution du monde.

Television series --- Good and evil in motion pictures --- Villains in motion pictures --- Villains in popular culture

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Based on the lives and crimes of no less than twenty real women, dokufu (poison women) narratives emerged as a powerful presence in Japan during the 1870s. During this tumultuous time, as the nation moved from feudalism to oligarchic government, such accounts articulated the politics and position of underclass women, sexual morality, and female suffrage. Over the next century, the figure of the oversexed female criminal, usually guilty of robbery or murder, became ubiquitous in modern Japanese culture. In Poison Woman, Christine L. Marran investigates this powerful icon, its shifting meanings, and its influence on defining women's sexuality and place in Japan. She begins by considering Meiji gesaku literature, in which female criminality was often medically defined and marginalized as abnormal. She describes the small newspapers (koshinbun) that originally reported on poison women, establishing journalistic and legal conventions for future fiction about them. She examines zange, or confessional narratives, of female and male ex-convicts from the turn of the century, then reveals how medical and psychoanalytical literature of the 1920s and 1930s offered contradictory explanations of the female criminal as an everywoman or a historical victim of social circumstances and the press. She concludes by exploring postwar pulp fiction (kasutori), film and underground theater of the 1970s, and the feminist writer Tomioka Taeko's take on the transgressive woman. Persistent stories about poison women illustrate how a few violent acts by women were transformed into myriad ideological, social, and moral tales that deployed notions of female sexual desire and womanhood. Bringing together literary criticism, the history of science, media theory, and gender and sexuality studies, Poison Woman delves into genre and gender in ways that implicate both in projects of nation-building.

Villains in popular culture --- Women in popular culture --- Women --- Social conditions. --- Japan --- Civilization --- Criminology. Victimology --- Sociology of culture --- Fiction --- Film --- Sexology --- Sociology of the family. Sociology of sexuality --- Mass communications --- J4176.80 --- J4000.70 --- J5500.70 --- J5930 --- Popular culture --- Social conditions --- Japan: Sociology and anthropology -- gender roles, women, feminism -- history --- Japan: Social history, history of civilization -- Kindai (1850s- ), bakumatsu, Meiji, Taishō --- Japan: Literature -- history and criticism -- modern, Kindai (1850s- ), bakumatsu, Meiji, Taishō --- Japan: Literature -- modern fiction and prose (1868- ) --- Public opinion --- Movies --- Literature --- Media --- Sexuality --- Images of women --- Book --- Criminality --- Culture