What is included with this book?
Foreword | p. ix |
Introduction | p. 1 |
The Sopranos, David Chase, HBO, and Television | |
The Sopranos as Tipping Point in the Second Coming of HBO | p. 7 |
From Made Men to Mad Men: What Matthew Weiner Learned from David Chase | p. 17 |
The Sopranos: If Nothing Is Real, You Have Overpaid for Your Carpet | p. 23 |
Author(iz)ing Chase | p. 41 |
Characters | |
ôHalf a Wiseguyö: Paulie Walnuts, Meet Tom Stoppard | p. 57 |
Christopher, Osama, and A.J.: Contemporary Narcissism and Terrorism in The Sopranos | p. 65 |
ôWhen It Comes to Daughters, All Bets Are Offö: The Seductive Father-Daughter Relationship of Tony and Meadow Soprano | p. 81 |
Gendering The Sopranos | |
ôBlabbermouth Cuntsö; or, Speaking in Tongues: Narrative Crises for Women in The Sopranos and Feminist Dilemmas | p. 93 |
Honoring the Social Compact: The Last Temptation of Melfi | p. 105 |
A ôFinookö in the Crew: Vito Spatafore, The Sopranos, and the Queering of the Mafia Genre | p. 114 |
Cinematic Concerns | |
The Producers: The Dangers of Filmmaking in The Sopranos | p. 127 |
Comfortably Numb? The Sopranos, New Brutalism, and the Last Temptation of Chris | p. 137 |
Dreams and Therapy | |
Fishes and Football Coaches: The Narrative Necessity of Dreams in The Sopranos | p. 149 |
From Here to InFinnerty: Tony Soprano and the American Way | p. 157 |
ôWhatever Happened to Stop and Smell the Roses?ö: The Sopranos as Anti-therapeutic Narrative | p. 166 |
Ethnic and Social Concerns | |
Mangia Mafia! Food, Punishment, and Cultural Identity in The Sopranos | p. 183 |
The Guinea as Tragic Hero: The Complex Representation of Italian Americans in The Sopranos | p. 196 |
ôAll Caucasians Look Alikeö: Dreams of Whiteness at the End of The Sopranos | p. 208 |
Images of Justice and The Sopranos | |
Representations of Law and Justice in The Sopranos: An Introduction | p. 221 |
Lawyer-Client Relations as Seen in The Sopranos | p. 229 |
ôThis Isn't a Negotiationö: ôGetting to Yesö with Tony Soprano | p. 232 |
The Price of Stereotype: The Representation of the Mafia in Italy and the United States in The Sopranos | p. 243 |
The Image of Justice in The Sopranos | p. 246 |
Narrative and Intertextuality | |
ôFunny about God, and Fate, and Shit Like Thatö: The Imminent Unexpected in The Sopranos | p. 257 |
The Sopranos and History | p. 266 |
Silence in The Sopranos | p. 277 |
Cut to Black: The Finale and the Sopranos Legacy | |
ôWhat's Different between You and Meö: Carmela, the Audience, and the End | p. 289 |
Unpredictable but Inevitable: That Last Scene | p. 297 |
No Justice for All: The FBI, Cut to Black, and David Chase's Final Hit | p. 303 |
The Sopranos and the Closure Junkies | p. 313 |
Acknowledgments | p. 317 |
Characters | p. 319 |
Episode Guide | p. 323 |
Intertextual References and Allusions in Season Six | p. 327 |
A Conversation with Dominic Chianese, The Sopranos' Uncle Junior | p. 339 |
Bibliography | p. 363 |
List of Contributors | p. 377 |
Index | p. 383 |
Additional Essays Available Online at http://davidlavery.net/sopranos | |
ôEven Brendan Filone's Got an Identity and He's Deadö: Christopher Moltisanti and the Reflexive Subjectivity of the Constructed Self | |
Carmela Soprano as Emma Bovary: European Culture, Taste, and Class in The Sopranos | |
The Sopranos as Art Cinema | |
Tony and Dora: Mastering the Art of Countertransference | |
The Sopranos: Asleep | |
Hospital Scenes, Nursing, and Health Care in The Sopranos | |
The New Serial Television Narrative: The Sopranos and Relay Race Structure | |
Table of Contents provided by Ingram. All Rights Reserved. |
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