Relevant bibliographies by topics / Chamber of Horrors

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

Academic literature on the topic 'Chamber of Horrors'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Chamber of Horrors"

1

Marchand, Marie-Ève. "L’impossible « chambre des horreurs » du Museum of Ornamental Art : une archéologie du design criminel." RACAR : Revue d'art canadienne 39, no. 1 (2014): 40–51. http://dx.doi.org/10.7202/1026201ar.

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In 1852, the Museum of Ornamental Art, today the Victoria and Albert Museum, opened its doors to the public. Taking part in a general reform of the British art and design education system, the museum sought to instill what were considered good design principles. To do so, a museographic strategy that proved to be as popular as it was controversial was chosen: the exhibition gallery entitled “Decorations on False Principles,” which immediately became known as the “Chamber of Horrors.” This gallery, a dogmatic expression of the functionalist conception of ornament advocated by the museum, referr
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Stratford, Aoise. "Reopening Sarah Kane’s “Chamber of Horrors”:Blastedas Gothic Drama." Modern Drama 62, no. 1 (2019): 23–44. http://dx.doi.org/10.3138/md.0874r.

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Krätz, Otto. "The Chemical Laboratory: Source of Progress or Chamber of Horrors?" Angewandte Chemie International Edition 43, no. 14 (2004): 1770–80. http://dx.doi.org/10.1002/anie.200330064.

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Mohammadi, Abolfazl, and Javad Momeni. "Non-Identity and Parodoxicality in Angela Carter’s The Bloody Chamber." International Letters of Social and Humanistic Sciences 75 (January 2017): 32–40. http://dx.doi.org/10.18052/www.scipress.com/ilshs.75.32.

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Angela Carter (1940-92) in her famous short story,The Bloody Chamber, depicts a protagonist whose identity seems to be a predetermined sign in a signifying loop from which she can make no escape. In the first part of our paper, we attempt to show how The protagonist’s ensuing psychological tension is aggravated by the conflict which she feels between her ideal ego (as an innocent girl) and her ego-ideal (a rare talent for corruption) and which leads her to unrelenting introspection and interior dialogue with her existential states. Such interior dialogue provides the protagonist with an existe
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Frankfurter, David. "Horrors of the Inner Chamber: Temples, Homes, and Secret Atrocities in Late Antiquity." Journal of Early Christian History 10, no. 2 (2020): 82–107. http://dx.doi.org/10.1080/2222582x.2020.1816486.

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Crumplin, Michael, and Nick Ronald. "Blood and guts in Southwark: Other interesting places to visit while in London." Bulletin of the Royal College of Surgeons of England 91, no. 10 (2009): 354–55. http://dx.doi.org/10.1308/147363509x476889.

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The Bulletin asked me to review a new surgical display within the London Dungeon® – the sort of crowd shocker that I'd not visited since childhood, when allowed to go to the Chamber of Horrors in Madame Tussauds. This particular exposition comes at a time of a plethora of publications, programmes, exhibitions, shows and lectures on medical history, clearly responding to public demand and curiosity. It was clear that this performance was not to be judged other than as entertainment.
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Yasuko, Suga. "Designing the Morality of Consumption: “Chamber of Horrors” at the Museum of Ornamental Art, 1852–53." Design Issues 20, no. 4 (2004): 43–56. http://dx.doi.org/10.1162/0747936042312048.

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Cooke, Steven. "‘A modern chamber of horrors’? Temporary Holocaust exhibitions as sites of memory: the 1961 Warsaw Ghetto commemoration exhibition, Melbourne." Holocaust Studies 24, no. 4 (2018): 445–65. http://dx.doi.org/10.1080/17504902.2018.1468666.

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9

Loboda, C., J. Vigneron, C. Mulot, I. May, and B. Demore. "A “chamber of errors” adaptation to assess pharmaceutical assistants’ knowledge in chemotherapy preparation." Journal of Oncology Pharmacy Practice 25, no. 2 (2017): 454–59. http://dx.doi.org/10.1177/1078155217743311.

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French preparation guidelines state that pharmacy staff who manipulate cytotoxic drugs have to follow specific training. In order to assess the pharmaceutical assistants’ skills and knowledge, we developed a “Cytotoxic Preparation Centralized Unit (CPCU) of errors,” derived from the Canadian concept of “Chamber of horrors.” A table listing 20 mistakes to track down was created and each pharmaceutical assistant spent 20 min in the “CPCU of errors” with the pharmacist, who wrote down the spotted mistakes in real time. Among the 21 trained pharmaceutical assistants, 15 were evaluated. On average,
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Talbot, Lucy. "Unclean Truth." Fieldwork in Religion 8, no. 2 (2013): 175–87. http://dx.doi.org/10.1558/firn.v8i2.175.

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The Metropolitan Police’s Crime Museum, famously known as the Black Museum, exhibits evidence from some of the most appalling crimes committed within English society from the late-Victorian era into modernity. Public admittance to this museum is strictly prohibited, preventing all but police staff from viewing the macabre exhibitions held within. The physical objects on display may vary, but whether the viewer is confronted with household items, weaponry or human remains, the evidence before them is undeniably associated with the immorality surrounding the performance of a socially bad death,
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Dissertations / Theses on the topic "Chamber of Horrors"

1

Roberts, Phillip Christopher. "Madeline Usher: An Opera in One Act." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395398280.

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2

Kornmeier, Uta. "Taken from life." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2006. http://dx.doi.org/10.18452/15547.

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Wachsfigurenkabinette waren nicht immer die billigen Sensationsmaschinen, als die sie heute verstanden werden. Vor der Erfindung und Verbreitung von Photographie und illustrierten Zeitschriften waren sie Bildmedien, die der Vermittlung von visuellen Informationen dienten. Kein anderes Medium konnte die Protagonisten der Weltgeschichte so unmittelbar darstellen wie die Sammlungen lebensgroßer Wachsfiguren. Das Material Wachs trug wesentlich zu ihrem Erfolg bei, denn es ermöglichte die täuschend echten und bis dahin realistischsten Darstellungen von bekannten Persönlichkeiten. Die Operationswe
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Books on the topic "Chamber of Horrors"

1

Chapman, Pauline. Madame Tussaud's Chamber of Horrors: Two hundred years of crime. Grafton, 1985.

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2

Terrio, Bob. Witches, ghosts & goblins: Haunted mansion, ghoulish graveyard, witches' convention, chamber of horrors, western ghost town, and more! Publications International, 1992.

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3

Susanne, Pfleger, Städtische Galerie Wolfsburg, and Galerie ftc, eds. Dunja Evers: Cowboys, drawings, apollo, videos, chamber of horrors ; [aus Anlass der Ausstellung: "Dunja Evers, We Are Not Alone", in der Städtischen Galerie Wolfsburg 2009]. Kehrer, 2009.

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4

Alexander, Brandon. Chamber of fear. Golden Books, 1998.

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5

ill, Organ-Kean Margaret, ed. The southwest chamber. Books of Wonder, 1997.

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6

Chigas, Frank. The damp chamber: And other bad places. Medusa Press, 2004.

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7

King, Stephen. Different seasons. Thorndike Press, 2000.

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8

King, Stephen. Différentes saisons: Roman. France Loisirs, 1986.

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9

King, Stephen. Si ji qi tan. Yuan liu chu ban shi ye gu fen you xian gong si, 2005.

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10

King, Stephen. Different seasons. Warner, 2001.

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Book chapters on the topic "Chamber of Horrors"

1

McEvoy, Emma. "Madame Tussaud’s Chamber of Horrors: Wounded Spectators, Perverse Appetites and Gothic History." In Gothic Tourism. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137391292_3.

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Chez, Keridiana W. "The Mandrake’s Lethal Cry: Homuncular Plants in J. K. Rowling’s Harry Potter and the Chamber of Secrets." In Plant Horror. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-57063-5_4.

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3

"A Chamber of Horrors." In Seeking Ezekiel. Penn State University Press, 1993. http://dx.doi.org/10.5325/j.ctv14gpbdw.8.

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Briggs, Jo. "A ‘Chamber of Horrors’." In Novelty fair. Manchester University Press, 2016. http://dx.doi.org/10.7765/9781784997038.00012.

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"3. A Chamber of Horrors." In Seeking Ezekiel. Penn State University Press, 1993. http://dx.doi.org/10.1515/9780271071572-006.

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Briggs, Jo. "A ‘Chamber of Horrors’: class and consumption at mid century." In Novelty fair. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719089640.003.0007.

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McLaren, Peter, and Zeus Leonardo. "Jean Baudrillard’s Chamber of Horrors: From Marxism to Terrorist Pedagogy." In Revolutionary Multiculturalism. Routledge, 2018. http://dx.doi.org/10.4324/9780429497599-5.

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Gracey, James. "Introduction." In The Company of Wolves. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325314.003.0001.

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This chapter focuses on The Company of Wolves, as a dark fantasy film about the horrors of the adult world and of adult sexuality glimpsed through the dreams of an adolescent girl. It analyses how The Company of Wolves amalgamates aspects of horror, the Female Gothic, fairy tales, werewolf films and coming-of-age parables. It also illustrates how The Company of Wolves is drenched in atmosphere and an eerily sensual malaise that boasts striking imagery immersed in fairy-tale motifs and startling Freudian symbolism. The chapter mentions Neil Jordan as the director of The Company of Wolves, his second film and his first foray into the realms of Gothic horror. It cites several short stories from Angela Carter's The Bloody Chamber from 1979 as the basis for The Company of Wolves.
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"Entering the Chamber of Horrors. Uses and Misuses of Epistemology in Educational Discourses." In Bildungsphilosophie. Nomos Verlagsgesellschaft mbH & Co. KG, 2017. http://dx.doi.org/10.5771/9783845275376-275.

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10

Gregory, Dart. "Chambers of Horror." In Thomas De Quincey. Routledge, 2012. http://dx.doi.org/10.4324/9780203933749-10.

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