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Journal articles on the topic 'Fiction Horror fiction'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

d’Hont, Coco. "The (un)death of the author: Authorship as horror trope in Stephen King’s fiction." Horror Studies 12, no. 2 (2021): 175–88. http://dx.doi.org/10.1386/host_00036_1.

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Both in his fiction and in his non-fiction, Stephen King has reflected in more depth on authorship than most of his peers. Critically negotiating Roland Barthes’s declaration of the death of the Author (1967), King ‘resurrects’ the author persona in his fiction and turns it into an ‘undead’ horror trope. This article explores how this narrative mechanism operates in four King novels: Misery, The Dark Half, Bag of Bones and Lisey’s Story. King’s development of authorship into a fictional horror trope, the analysis demonstrates, metaphorically negotiates King’s anxiety regarding his own authorsh

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Nykytchenko, Kateryna P., and Halyna V. Onyshchak. "TRANSLATION, MULTIMODALITY AND HORROR FICTION." Alfred Nobel University Journal of Philology 2, no. 26/2 (2023): 253–69. http://dx.doi.org/10.32342/2523-4463-2023-2-26/2-16.

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The paper outlines a framework for approaching the complexities of translating multimodal means in horror fiction. Nowadays, the horror genre is reaching its peak, becoming the most remarkable mass product in demand. It is sharply distinguished from other literary genres due to generating a morbid mood and heart-stopping suspense in the textual canvas. From this perspective, the research aims to identify multimodal means essential for creating suspense in King’s horror novels “Pet Sematary” (1983) and “Outsider” (2018) and determine the translation strategies used to render them into Ukrainian

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Middleton, Jason. "Documentary Horror: The Transmodal Power of Indexical Violence." Journal of Visual Culture 14, no. 3 (2015): 285–92. http://dx.doi.org/10.1177/1470412915607913.

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This article reevaluates critical distinctions between so-called ‘art-horror’ and ‘natural’ or real-world horror to challenge larger modal distinctions between fiction and documentary film and their ostensibly divergent spectatorial practices. It focuses on images of animal slaughter, which traverse boundaries between fiction and documentary, art-horror and natural horror. The indexical force of animal slaughter may displace or undo the metaphorical in fictional horror film, producing a spectatorial wavering between the registers of the figurative and the literal. Shaun Monson’s documentary fi

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Elmore, Jonathan. "Terrestrial Horror or the Marriage between Horror Fiction and Cli-Fi: What the Language of Horror can Teach us about Climate Change." International Journal of Language and Literary Studies 4, no. 3 (2022): 158–64. http://dx.doi.org/10.36892/ijlls.v4i3.985.

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This paper focuses on the dystopian camp of climate fiction and its affinities with another fiction genre: horror. During cli-fi’s rise, horror has enjoyed a resurgence of popular interest and sustained and reinvigorated scholarly interest in the past few years. While horror and dystopian cli-fi have different roots and conceptual underpinnings, there are points of contact between the genres, when the horrible in horror fiction spawns from environmental collapse or when the climatic in cli-fi drives what horrifies. My central claim is that these contact points, the overlap between cli-fi and h

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Reynolds, Kimberley. "FRIGHTENING FICTION: BEYOND HORROR." New Review of Children's Literature and Librarianship 11, no. 2 (2005): 151–61. http://dx.doi.org/10.1080/13614540500324146.

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Malykh, Vyacheslav Sergeevich. "RUSSIAN AND AMERICAN HORROR FICTION AS A GENRE, CREATIVE WRITING AND EDUCATIONAL PHENOMENON: A PROBLEM STATEMENT." Russian Journal of Multilingualism and Education 11, no. 1 (2019): 63–69. http://dx.doi.org/10.35634/2500-0748-2019-11-63-69.

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Although the genre of horror has gained an extraordinary popularity in contemporary literature, it still raises controversy among specialists. The situation in Russia is especially complicated. Until the beginning of the 20th century, Russian horror fiction used to develop concurrently with the evolution of horror genre in the U.S., but after the revolution of 1917 and until the late 1980s this tradition was interrupted in Russia. Therefore, nowadays the question “What is horror fiction?” is unclear for Russian philologists, the question “How to write horror fiction?” is unclear for Russian wr

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Clasen, Mathias. "Monsters Evolve: A Biocultural Approach to Horror Stories." Review of General Psychology 16, no. 2 (2012): 222–29. http://dx.doi.org/10.1037/a0027918.

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Horror fiction is a thriving industry. Many consumers pay hard-earned money to be scared witless by films, books, and computer games. The well-told horror story can affect even the most obstinate skeptic. How and why does horror fiction work? Why are people so fascinated with monsters? Why do horror stories generally travel well across cultural borders, if all they do is encode salient culturally contingent anxieties, as some horror scholars have claimed? I argue that an evolutionary perspective is useful in explaining the appeal of horror, but also that this perspective cannot stand alone. An

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Jets, Kairi. "How is Fear Constructed? A Narrative Approach to Social Dread in Literature." Interlitteraria 23, no. 2 (2019): 427–41. http://dx.doi.org/10.12697/il.2018.23.2.16.

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Fear-inducing narratives can be divided into two subtypes of horror and dread. While horror stories concentrate on a concrete visible object such as a monster, in dread narratives the object of fear is abstract or absent altogether. Pure forms of either are rare and most narratives mix both types, usually with dominant in one or the other. An interesting subtype of dread narratives is the narrative of social dread, where the fear is social in nature. One of the few narratologists to study construction of fear in arts, Yvonne Leffler suggests a variety of narrative techniques often used i

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Malykh, V. S. "TRANSFORMATION OF A FAIRY TALE IN «HYBRID» SCIENCE FICTION (BASED ON AMERICAN AND RUSSIAN PROSE OF THE XXth CENTURY)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 99–109. http://dx.doi.org/10.35634/2500-0748-2020-12-99-109.

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The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this r

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Malykh, V. S. "TRANSFORMATION OF A FAIRY TALE IN «HYBRID» SCIENCE FICTION (BASED ON AMERICAN AND RUSSIAN PROSE OF THE XXth CENTURY)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 99–109. http://dx.doi.org/10.35634/2500-0748-2020-12-99-109.

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The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this r

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11

Belling, Catherine. "Ghost Meat." English Language Notes 59, no. 2 (2021): 66–80. http://dx.doi.org/10.1215/00138282-9277271.

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Abstract The ambivalent attraction of feeling horror might explain some paradoxes regarding the consumption of representations of atrocities committed in the real world, in the past, on actual other people. How do horror fictions work in the transmission or exploitation of historical trauma? How might they function as prosthetic memories, at once disturbing and informative to readers who might otherwise not be exposed to those histories at all? What are the ethical implications of horror elicited by fictional representations of historical suffering? This article engages these questions through

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Gómez Pato, Rosa Marta. "Paloma Ortiz-de-Urbina (ed.), German Expressionism in the Audiovisual Culture. Myths, Fantasy, Horror, and Science Fiction / Der deutsche Expressionismus in den Audiovisuellen Medien. Mythen, Fantasy, Horror und Science-Fiction, Tübingen, Narr Francke Attempto Verlag, 2022." Matèria. Revista internacional d'Art, no. 22 (November 1, 2023): 180–83. http://dx.doi.org/10.1344/materia2023.22.9.

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Ressenya del llibre: Paloma Ortiz-de-Urbina (ed.), German Expressionism in the Audiovisual Culture. Myths, Fantasy, Horror, and Science Fiction / Der deutsche Expressionismus in den Audiovisuellen Medien. Mythen, Fantasy, Horror und Science-Fiction, Tübingen, Narr Francke Attempto Verlag, 2022.

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Buur, Lars, and Eric Harper. "Horror Unmasked: Truth or Fiction?" Human Rights & Human Welfare 2, no. 1 (2001): 1–12. https://doi.org/10.56902/hrhw.2002.2.1.1.

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Nikam, Dr Sudhir V., and Mr Rajkiran J. Biraje. "A Critical Study of Stephen King and Horror Fiction." SMART MOVES JOURNAL IJELLH 7, no. 5 (2019): 23. http://dx.doi.org/10.24113/ijellh.v7i5.10176.

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This present research undertakes the extensive study of horror fiction genre with reference to the select novels of one of the finest and celebrated horror fiction writers of all time, Stephen King. This paper is a substantial assessment of the select horror fiction of King. The research problem revolves extensively around the word fear. Stephen King has conjured up the images of most horrific creatures, monsters, places, and stories, and some of the most enduring villains in fiction. These unimaginable evil beings test the limits of the protagonist. Some of these villains have gone to the ext

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Antonyan, Zaruhi. "LINGUO-STYLISTICS OF HORROR IN E. A. POE’S SHORT STORIES." Armenian Folia Anglistika 20, no. 1 (29) (2024): 80–92. http://dx.doi.org/10.46991/afa/2024.20.1.80.

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Horror is a genre of science fiction which is intended to, or has the capacity to frighten, scare or disgust the readers by inducing feelings of horror and terror. This piece of fiction in prose of variable length also shocks and startles the readers inducing feelings of repulsion or loathing through creating a frightening atmosphere. Horror is frequently supernatural, though it can be non-supernatural. Often the central menace of a work of horror fiction can be interpreted as a metaphor for the larger fears of a society. The present investigation of horror in E. A. Poe’s short stories through

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Le, Vincent. "Philosophy’s dark heir: On Nick Land’s abstract horror fiction." Horror Studies 11, no. 1 (2020): 25–42. http://dx.doi.org/10.1386/host_00009_1.

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Nick Land is a British philosopher who developed a compelling transcendental materialist critique of anthropocentric philosophies throughout the 1990s before leaving academia at the turn of the century and moving to Shanghai. While he is now best known for his controversial pro-capitalist political writings, he has also recently developed a theory of what he calls ‘abstract horror fiction’, as well as applied it in practice by writing two abstract horror novellas. Although one might think that Land’s horror fiction, like his recent far-right politics, marks a new and independent body of work f

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González, Aníbal. "La ciencia ficción latinoamericana y el arte del anacronismo: "Otra" ciencia ficción es posible." Revista de Estudios Hispánicos 58, no. 1 (2024): 145–61. http://dx.doi.org/10.1353/rvs.2024.a931923.

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Abstract: This essay seeks to establish a broader conceptual framework for studying the historical development of Latin American science fiction and its recent turn—in a genre usually focused on other times and worlds—to references to the past and present of Latin American history and culture. Valuable current studies of Latin American science fiction have been devoted primarily to the history of the genre itself and to tropes that have recurred in certain periods of the development of Latin American science fiction, such as cyborgs, androids, and zombies. Few have been devoted to the issues a

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Mr., S. M. Bagwan Dr. S.B. Karande. "A BRIEF STUDY OF EMERGENCE AND DEVELOPMENT OF SCIENCE FICTION." International Journal of Advance and Applied Research 2, no. 20 (2022): 252–55. https://doi.org/10.5281/zenodo.7050225.

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<strong><em>Abstract:</em></strong> <em> Science fiction i.e. sci-fi is a popular trend of writing fiction based on speculative fiction. It consists of horror, supernatural, heroic stories and many other creations of imagination. It has paved the way to the speculative fiction which exists in the virtual world. Virtual reality is one of the important facets of science fiction. This paper throws light on the development and some of the important works and also the writers of science fiction. </em>

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Soman, S., J. Parameshwaran, and J. KP. "Films and fiction leading to onset of psycho-phenomenology: Case reports from a tertiary mental health center, India." European Psychiatry 41, S1 (2017): S747. http://dx.doi.org/10.1016/j.eurpsy.2017.01.1385.

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Mind is influenced by socio-cultural religious belief systems, experiences and attributions in the development of psychophenomenology. Film viewing is a common entertainment among young adults.ObjectivesInfluence of repetitive watching of films of fiction and horror genres on onset phenomenology in young adults.MethodTwo case reports on onset of psychotic features and mixed anxiety depressive phenomenology were seen in two patients aged 16 and 20 years respectively and based on the fantastic imagination created by films. The 28-year-old female patient diagnosed with schizoaffective disorder ha

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Gudmanian, Artur G., and Andriana O. Ivanova. "RENDERING LINGUISTIC REPRESENTATION OF DEATH IMAGE IN CLASSICAL HORROR FICTION." Alfred Nobel University Journal of Philology 1, no. 29 (2025): 362–73. https://doi.org/10.32342/3041-217x-2025-1-29-21.

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The article sheds light upon the problem of rendering English horror literature genre peculiarities into Ukrainian within the scope of translation studies not only in Europe but all over the world. The investigated genre has been marginal towards the other literature genres as it has been considered the one to have no aesthetic effect on the reader. Horror literature as an object of translational studies has been declared only during the last decades. Most of the studies are aimed at exploring horror literature relevantly by studying its roots, especially the gothic novel. The issue of reprodu

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Majidova, Ilaha Adil. "The conceptual interpretation of S. King`s literary heritage." SCIENTIFIC WORK 62, no. 01 (2021): 159–61. http://dx.doi.org/10.36719/2663-4619/62/159-161.

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S.King is a modern American writer of supernatural, horror fiction, science fiction and fantasy. His works are powerful because he integrates his life experiences and observations into idiosyncratic stories. He uses a free style of writing. Generally By the help of supernatural beings, vampire, demon, insubstantial events he mystifies and shocks readers, confuses their minds. The writer’s psycho-emotional situation, inner world rebound his works. This article is devoted to the conceptual interpretation of S.King’s creativity. In his works he tries to show the depth of his imagination. Key word

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Nakamura, Miri. "Horror and Machines in Prewar Japan: The Mechanical Uncanny in Yumeno Kyûsaku’s Dogura magura." Science Fiction Studies 29, Part 3 (2002): 364–81. https://doi.org/10.1525/sfs.29.3.0364.

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popular genre known as “irregular detective fiction” (henkaku tantei shôsetsu), the forerunner of Japanese science fiction, flourished in Japan during the 1920s and the 1930s. Yumeno Kyusaku’s Dogura magura (1935) is a representative work of this group of texts and is perceived as the culmination of the author’s literary career. For Yumeno, the mode of horror was an essential ingredient for his detective fiction, and in Dogura magura, this horror arises from what I refer to as “the mechanical uncanny”—the blurring of the line between human and machine resulting from the “mechanization” of huma

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Nakhjavani, Bahiyyih. "Fact and Fiction." Journal of Bahá’í Studies 10, no. 3-4 (2000): 1–24. http://dx.doi.org/10.31581/jbs-10.3-4.449(2000).

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We have inherited an uneasy legacy of tension, in the East and West, between “fact” and “fiction,” between objective history and our many relative and subjective “stories,” between art as the representation of reality and faith based on the Word of God. Depending on how this tension has been “read” and “written” into action, our civilizations in the past have produced beauty or horror, high culture or blind prejudice. But while we may have inherited “facts” like these from the past, our future can only be created by the power of the imagination to believe, by the spiritual force of our lives w

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Williams, Anne. "The Horror, The Horror: Recent Studies in Gothic Fiction." MFS Modern Fiction Studies 46, no. 3 (2000): 789–99. http://dx.doi.org/10.1353/mfs.2000.0059.

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Griffin, Grahame. "‘It was a Serious Kitchen Knife’: Witnessing and Reporting Horror Crime." Media International Australia 97, no. 1 (2000): 123–36. http://dx.doi.org/10.1177/1329878x0009700114.

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News reports of major crime can be linked to popular fiction genres. This linkage extends to the role of the crime witness and to the reporter as witness of crime and its aftermaths. It is argued that audience identification with witnesses and witnessing creates a ‘breathing space’ for reconsideration and reassessment of the crime. To illustrate how this might work in the reporting of horror and atrocity crimes, some newspaper ‘horror’ stories, and their relationship with horror fiction conventions, are discussed along with the television ‘eyewitness' reporting of international atrocity storie

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Johnston, Sarah Iles. "The Religious Affordance of Supernatural Horror Fiction." Numen 70, no. 2-3 (2023): 113–37. http://dx.doi.org/10.1163/15685276-20231688.

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Abstract This article argues that some supernatural horror fiction has religious affordance – that is, provides ideas that readers can draw upon to build their own religious outlook. In this regard, supernatural horror fiction is an important but previously overlooked part of lived religion. It also demonstrates that the afforded ideas are entwined with the supernatural experiences that the stories describe and looks at rhetorical tropes that dispose readers to believe in those experiences (at least while reading the story), and by extension to entertain the credibility of the religious ideas,

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Oklopčić, Biljana. "JUŽNJAČKA GOTIČKA TRADICIJA I RODNA SUBVERZIJA U ROMANU CARRIE STEPHENA KINGA / THE TRADITION OF SOUTHERN GOTHIC AND GENDER SUBVERSION IN STEPHEN KING’S CARRIE." Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog fakulteta u Sarajevu, ISSN 2303-6990 on-line, no. 27 (December 31, 2024): 133–60. https://doi.org/10.46352/23036990.2024.133.

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The aim of this paper is to show how Stephen King creates horror in his first novel Carrie (1974) through the transfer of Southern Gothic elements into popular horror fiction. Contextualized by the concept of genretransfer based on Julia Kristeva’s intertextuality, Jessica Mason’s narrative interrelation and intertextual reference, and Southern Gothic genre conventions, the paper analyses the elements of the Southern Gothic in King’s Carrie by focusing not only on typical Southern Gothic topoi and thematic issues but also on the narrative techniques of William Faulkner and Flannery O’Connor, a

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Hatavara, Mari, and Jarkko Toikkanen. "Sameness and difference in narrative modes and narrative sense making: The case of Ramsey Campbell’s “The Scar”." Frontiers of Narrative Studies 5, no. 1 (2019): 130–46. http://dx.doi.org/10.1515/fns-2019-0009.

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AbstractThe article discusses basic questions of narrative studies and definitions of narrative from a historical and conceptual perspective in order to map the terrain between different narratologies. The focus is placed on the question of how fiction interacts with other realms of our lives or, more specifically, how reading fiction both involves and affects our everyday meaning making operations. British horror writer Ramsey Campbell’s (b. 1946) short story “The Scar” (1967) will be used as a test case to show how both narrative modes of representation and the reader’s narrative sense makin

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CARRERA GARRIDO, Miguel. "METAFÍSICA Y COMPROMISO. EL HORROR CÓSMICO EN LA OBRA NARRATIVA DE EMILIO BUESO Y GUILLEM LÓPEZ." Signa: Revista de la Asociación Española de Semiótica 34 (January 8, 2025): 45–69. https://doi.org/10.5944/signa.vol34.2025.43424.

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El término horror cósmico sugiere, en sí mismo, un cruce entre dos especies ficcionales que parecerían repelerse: el terror fantástico y la ciencia ficción. Definido en la literatura de H. P. Lovecraft, en textos como “The Call of Cthulhu” o At the Mountains of Madness, la progenie de tal subgénero ha sido amplia y diversa, repartiéndose entre los más diversos medios y atendiendo a todo tipo de principios ideológicos. Se repiten en esta producción dos aspectos o motivos temático-filosóficos interrelacionados: la acechanza de unas entidades de más allá del espacio-tiempo, suerte de deidades o s

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De Cruz, Helen. "Cosmic Horror and the Philosophical Origins of Science Fiction." Think 22, no. 63 (2023): 23–30. http://dx.doi.org/10.1017/s1477175622000197.

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AbstractThis piece explores the origins of science fiction in philosophical speculation about the size of the universe, the existence of other solar systems and other galaxies, and the possibility of alien life. Science fiction helps us to grapple with the dizzying possibilities that a vast universe affords, by allowing our imagination to fill in the details.

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El-Sayed, Wesam. "Language Performativity and Horror Fiction: A Cognitive Stylistic Approach." International Journal of Language and Literary Studies 2, no. 3 (2021): 225–43. http://dx.doi.org/10.36892/ijlls.v2i3.647.

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This paper argues that horror fiction creates its effect through exploiting the workings of language in the minds of readers. As a genre that crosses many art forms, it might be tempting to analyze the multimodal vehicles of horror; the visual effects, the jump scares and the ominous music. However, studying the ability of language, on its own and without any audio-visual effects, to instill horror in its readers becomes even more enticing. The idea that words have the power to disrupt the reality of its readers is deeply rooted in the view of language as performative. The paper further argues

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Clark, Cole. "Afraid to Live, Afraid to Die: Sources of Anxiety in She Dies Tomorrow." Film Matters 13, no. 2 (2022): 17–28. http://dx.doi.org/10.1386/fm_00223_7.

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She Dies Tomorrow (Seimetz, 2020) examines anxieties concerning gender roles for women and the depersonalizing effect of modern capitalism. Imagining a world where each character becomes certain they will die tomorrow, the film confronts purposefully and inadvertently hidden anxieties through science fiction and horror aesthetics, utilizing transcendental cinema styles. Through the lens of Susan Sontag, the film can be seen as a plea for personal connection amid anxiety, with an emphasis on science fiction and horror tropes that lead the viewer to question the sources of anxiety for the charac

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Koger, Grove. "Sources: Encyclopedia of Fantasy and Horror Fiction." Reference & User Services Quarterly 46, no. 2 (2006): 86–87. http://dx.doi.org/10.5860/rusq.46n2.86.

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Catherine Belling. "The Living Dead: Fiction, Horror, and Bioethics." Perspectives in Biology and Medicine 53, no. 3 (2010): 439–51. http://dx.doi.org/10.1353/pbm.0.0168.

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Dubrova, S. "VARIATIONAL MACHINE TRANSLATION OF AMERICAN HORROR FICTION." International Humanitarian University Herald. Philology, no. 71 (2025): 255–58. https://doi.org/10.32782/2409-1154.2025.71.56.

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Vorobej, Mark. "Monsters and the Paradox of Horror." Dialogue 36, no. 2 (1997): 219–46. http://dx.doi.org/10.1017/s0012217300009483.

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RésuméL'horreur en art vise à effrayer, bouleverser, dégoûter et terroriser. Puisque nous ne sommes pas normalement attirés par de ielles expériences, pourquoi quiconque s'exposerait-il délibérément a la fiction d'horreur? Noel Carroll soutient que le caractère constant du phénomène de l'horreur en art tient à certains plaisirs d'ordre cognitif, qui résultent de la satisfaction de notre curiosité naturelle à l'ègard des monstres. Je soutiens, quant è moi, que la solution cognitive de Carroll auparadoxe de l'horreur est profondément erronée, étant donné la façon dont les monsters sont représent

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Mckee, Gabriel. "“Reality – Is it a Horror?”." Journal of Gods and Monsters 1, no. 1 (2020): 1–17. http://dx.doi.org/10.58997/jgm.v1i1.1.

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This paper discusses the works of author Richard S. Shaver, who rose to prominence in the science fiction world in the 1940s with stories describing a vast underworld of caverns under the surface of the earth. These caverns were inhabited by evil beings called “dero” that used high-tech devices to torment the inhabitants of the surface world. Shaver, who had spent several years in mental institutions prior to his writing career, claimed his stories were true, and Amazing’s editor, Raymond A. Palmer, aggressively promted the “Shaver Mystery.” This prompted a backlash from science fiction fandom

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Yeung, Lorraine. "The Nature of Horror Reconsidered." International Philosophical Quarterly 58, no. 2 (2018): 125–38. http://dx.doi.org/10.5840/ipq2018326104.

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There is a growing interest in the role of non-cognitive affective responses in the philosophical literature on fiction and emotion. This flurry of scholarly interest is partly a reaction to cognitivist accounts of fiction and emotion that have been found to be inadequate. The inadequacy is particularly salient when this approach is employed to account for narrative horror. Cognitivist conceptions of the emotion engendered by narrative horror prove to be too restrictive. Cognitivist accounts also fail to give the formal devices and stylistic elements deployed in narrative horror a proper place

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Thon, Jan-Noel. "Playing with Fear: The Aesthetics of Horror in Recent Indie Games." Eludamos: Journal for Computer Game Culture 10, no. 1 (2020): 197–231. http://dx.doi.org/10.7557/23.6179.

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This article explores the aesthetics of horror that recent indie games offer to their players. Following a general discussion of how the audiovisual, ludic, and narrative aesthetics of indie games relate to the fiction emotions, gameplay emotions, and artifact emotions that these games in general and horror indie games in particular invite their players to experience, the article offers in-depth analyses of Amnesia: The Dark Descent, Neverending Nightmares, Darkwood, and The Forest. These four case studies allow for an extensive reconstruction of the various ways in which indie horror games ar

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Gabriel, Maria Alice Ribeiro. "Edgar Allan Poe: A Source for Miriam Allen Deford." Aletria: Revista de Estudos de Literatura 29, no. 2 (2019): 79–99. http://dx.doi.org/10.17851/2317-2096.29.2.79-99.

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The influence of Edgar Allan Poe on North American culture and literature is still a subject of debate in contemporary literary theory. However, Poe’s creative legacy regarding the writings of Miriam Allen Deford remains neglected by the literary critics. Deford’s fiction explored a set of literary genres, such as biography, science fiction, crime and detective short stories. Taking these premises as a point of departure, this article aims to identify similarities between “A Death in the Family” and some of Poe’s works. Drawing on studies by J. T. Irwin, James M. Hutchisson and others, the obj

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Smith, Michelle J. "Imagining Colonial Environments: Fire in Australian Children's Literature, 1841–1910." International Research in Children's Literature 13, no. 1 (2020): 1–14. http://dx.doi.org/10.3366/ircl.2020.0324.

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This article examines children's novels and short stories published in the late nineteenth and early twentieth centuries that feature bushfires and the ceremonial fires associated with Indigenous Australians. It suggests that British children's novels emphasise the horror of bushfires and the human struggle involved in conquering them. In contrast, Australian-authored children's fictions represent less anthropocentric understandings of the environment. New attitudes toward the environment are made manifest in Australian women's fiction including J. M. Whitfield's ‘The Spirit of the Bushfire’ (

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Connor, Christina. ""Cut to the bone": An Interview with Grady Hendrix." Studies in the Fantastic 18, no. 1 (2025): 105–13. https://doi.org/10.1353/sif.2025.a953109.

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Abstract: Grady Hendrix is the best-selling author of Horrorstör (2014), My Best Friend's Exorcism (2016), We Sold Our Souls (2016), The Southern Book Club's Guide to Slaying Vampires (2020), The Final Girl Support Group (2021), How to Sell a Haunted House (2023), and Witchcraft for Wayward Girls (2025), most of which have been developed or optioned for film and television. His book Paperbacks from Hell: The Twisted History of '70s and '80s Horror Fiction (2017) won the Bram Stoker Award for Best Non-Fiction. In this interview, Hendrix discusses personal experience as a starting point for horr

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Malykh, Viacheslav Sergeyevich. "HYBRID SPECULATIVE FICTION AS A GENRE PHENOMENON IN MODERN LITERATURE OF THE U.S. AND RUSSIA." Russian Journal of Multilingualism and Education 14 (December 28, 2022): 79–85. http://dx.doi.org/10.35634/2500-0748-2022-14-79-85.

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The article is devoted to theoretical exploration of modern hybrid speculative fiction. This term comprises a huge body of creative works which are written at the intersection of genres related to speculative prose. On the one hand, hybrid speculative fiction is rooted in post-modern epoch, on the other hand, it returns to the principles of hybrid genre genesis, which flourished at the beginning of the 20th century. The tendency to genre eclecticism is a common feature of a great number of modern creative works and seems to be an efficient way out of conceptual crisis emerged in speculative fi

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Carbonell, Curtis D. "Answering Lovecraft: Clive Barker’s embodied fiction." Horror Studies 12, no. 1 (2021): 97–117. http://dx.doi.org/10.1386/host_00031_1.

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This article asks how Clive Barker responds to H. P. Lovecraft as a horror writer. It sees in Barker a particular example of how cosmic horror emerges, even as expected Gothic tropes become renewed with interesting variations. In particular, it foregrounds a resistance by Barker to Lovecraft’s insistence that the Weird be a place where writers hint at the monsters that cause ultimate dread rather than drawing them. Barker, though, refuses to balk at such a demand, channelling the same instinct that the later Lovecraft himself developed in categorizing with scientific-like granularity the often

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Vasconcelos Neto, Hélio Parente de, Katarine Maria Linhares Calado, and Luana Ferreira de Freitas. "H. P. Lovecraft’s Ethnocentric Violence in The Horror at Red Hook." Revista da Anpoll 54, no. 1 (2023): e1911. http://dx.doi.org/10.18309/ranpoll.v54i1.1911.

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H. P. Lovecraft is considered one of the leading authors in weird fiction, science fiction, fantasy, and horror. His concept of cosmic horror changed genres and served as an inspiration for many modern writers. The author's xenophobic and ethnocentric ideas are present in his literary work, with an emphasis on the racist themes so intrinsic to the short story “The Horror at Red Hook” (1927). The paratexts of Marsely de Marco and Giovana Bomentre’s translations of the short story, both from 2018, will be analyzed. Berman's retranslation theory (1984) and Albachten and Gürçağlar's theories (2018

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Grosevych, I. V. "GOTHIC FICTION: FIGURATIVE PLOT PARADIGM." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 275–87. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-275-287.

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The article deals with the theoretical generalization of the attributes of a poetic of gothic, in particular in the article is analyzed in details the figurative-motive and plot-compositional levels; is traced the evolution of the image of Devil; is identified the triune category − mystery / horror / suspense – as a genre constant of gothic fiction; is identified the road archetype; is analyzed the functionality of gothic, contrast as the dominant feature of the gothic paradigm; and also is grounded the philosophical doctrine of the theodicy as one of the fundamental basis of all gothic fictio

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Hoefel, Diego, and Mariana Baltar. "Bacurau." European Journal of Humour Research 12, no. 3 (2024): 67–87. http://dx.doi.org/10.7592/ejhr.2024.12.3.924.

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When released in theatres, Bacurau sparked a massive controversy due to its graphic depiction of violence and its alleged connection to Brazil’s socio-political climate, marked in recent years by profound political polarisation and cultural wars. This article explores an often-overlooked aspect of the film: the use of humour and its articulation with horror and science fiction imaginations. Our argument is that humour plays a key role in Bacurau, establishing connections between speculative fiction and historical reality, which underpins the film’s political work. We look at the significant at

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Diamond-Ortiz, Anastasia. "Read on—Fantasy Fiction: Reading Lists for Every Taste and Read On—Horror Fiction." Collection Management 33, no. 4 (2008): 319–20. http://dx.doi.org/10.1080/01462670802356682.

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Kurbonova, Nilufar T. "THE CONCEPT OF HORROR IN ARTISTIC LITERATURE." Current Research Journal of Philological Sciences 5, no. 2 (2024): 33–41. http://dx.doi.org/10.37547/philological-crjps-05-02-07.

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The current article observes theoretical viewpoints of the concept of horror and devoted to the study of the concept and genre signs of horror in fiction. Throughover the work the notion of horror was investigated with the examples of wellknown writers, critics and scientists. It raises the question of the terminological status of the horror in modern literature, considers the points of view on the status of horror as a genre, and discusses the parameters that differentiate fantasy and horror. It is summarised that there are several subgenres and categories of the horror genre.

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High, Holly. "Anthropology and anarchy: Romance, horror or science fiction?" Critique of Anthropology 32, no. 2 (2012): 93–108. http://dx.doi.org/10.1177/0308275x12438426.

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