Relevant bibliographies by topics / Horror Fiction

Contents

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

Academic literature on the topic 'Horror Fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Horror Fiction"

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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 (December 26, 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. In this regard, multimodal means stir fresh interest since they implicitly complement and clarify the information transmitted verbally. The research framework is designed with two primary objectives. Firstly, to disclose the phonic and graphic means utilized in recreating horror imagery in the TL text. Secondly, to examine the translation strategies employed in rendering the multimodal means into the TL. The principles of the comparative approach were chosen to identify the similarities and differences between translation strategies in the analyzed texts. The research methodology adopted in this study enables a comprehensive study of the multimodal means in the horror fiction genre, employing a meticulous approach that involves data collection, analysis, and interpretation through the lens of translation strategies, contextual and pragmatic analyses. The conducted research reveals the involvement of phonic and graphic means to influence the readership unconsciously. The frequency of phonic means depends on the context of their occurrence. Graphic means are represented by syngraphemic, supragraphemic, and topographemic elements. To render the sense of the SL adequately and meet the TL audience expectations, the translators of “Pet Sematary” and “Outsider” advocated semantic, grammatical, and pragmatic translation strategies. Synonymous and contextual substitution, loan, antonymous and descriptive translation, addition, and compression proved to be the dominant translation transformations. The in-depth analysis has shown that the translators faced multiple hindrances, making some errors in encoding polysemiotic signs. However, the TL version makes sense, undeniably affecting the reader and retaining the author’s communicative intent.
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Middleton, Jason. "Documentary Horror: The Transmodal Power of Indexical Violence." Journal of Visual Culture 14, no. 3 (December 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 film Earthlings (2005) demands of viewers a mode of spectatorial discipline derived from the horror film experience. Earthlings and its viewer reaction videos reinvent the collective performance of terror among theatrical horror film audiences for a documentary context and for online media platforms like YouTube. Earthlings functions as a form of spreadable media in which viewers’ horrified reactions are harnessed in the production of knowledge and political commitment.
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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 (August 5, 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 horror fiction, become critical research nodes for developing the necessary societal, cultural, and intellectual framework for living in a destroyed world. I suggest a label for the crossover between cli-fi and horror fiction: terrestrial horror. Analyzing multiple texts within this subgenre renders visible the societal, cultural, and intellectual changes necessary for the kinds of posthumanism needed in a destroyed world.
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d’Hont, Coco. "The (un)death of the author: Authorship as horror trope in Stephen King’s fiction." Horror Studies 12, no. 2 (October 1, 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 authorship and its literary status.
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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 (December 15, 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 writers, and including the horror genre in literature syllabus is regarded by Russian professors and teachers as a forbidden topic. The situation is different in the United States where a long-standing tradition of interpreting the category of the horrible has been created. Modern American scientists, philosophers, writers and educators agree that horror fiction in its best manifestations touches upon essential problems of a human soul. It allows to exert a powerful positive influence on the formation and development of a personality. Throughout the 20th century, the genre of horror was systematically evolving in the U.S., and as of today, it is American horror fiction that sets the standards of the genre all over the world. The aim of this research is to describe horror fiction as a dynamically developing genre from three points of view: 1) through comparative and genre analyzis of horror fiction in the U.S. and Russia; 2) by studying narrative strategies which are used by horror writers in the U.S.; 3) by surveying principles of teaching the horror genre in an American multicultural educational environment. After experiencing decades of oblivion, the genre of horror can revive in Russia thanks to the critical mastering of the U.S. experience, where the genre tradition has never been interrupted. A list of bibliography is attached to help beginner researchers with their study of the subject.
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Reynolds, Kimberley. "FRIGHTENING FICTION: BEYOND HORROR." New Review of Children's Literature and Librarianship 11, no. 2 (November 2005): 151–61. http://dx.doi.org/10.1080/13614540500324146.

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Clasen, Mathias. "Monsters Evolve: A Biocultural Approach to Horror Stories." Review of General Psychology 16, no. 2 (June 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 exhaustive, vertically integrated theory of horror fiction incorporates the cultural dimension. I make the case for a biocultural approach, one that recognizes evolutionary underpinnings and cultural variation.
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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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Antonyan, Zaruhi. "LINGUO-STYLISTICS OF HORROR IN E. A. POE’S SHORT STORIES." Armenian Folia Anglistika 20, no. 1 (29) (May 15, 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 the linguo-stylistic and case study methods of analyses aims to disclose the very distinct role of horror fiction in the perspective of human emotions – a kind of “mediator” between the world and its reflection in the language. The results show that emotions as a psychological, physiological and philosophical phenomenon verbally reproduce the emotional attitude of the person towards the world, that emotions are contained, fixed, expressed and indicated in utterances in the form of ideas – and as such – emotions are a perfect object of linguo-stylistic study.
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Le, Vincent. "Philosophy’s dark heir: On Nick Land’s abstract horror fiction." Horror Studies 11, no. 1 (April 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 from his earlier academic writings as a philosopher, this article argues that Land turns to writing horror fiction, because he sees the genre as a better compositional form than traditional philosophy to continue his critique of anthropomorphism insofar as it is able to stage a confrontation with that which lies beyond all parochial human comprehension. I begin by outlining Land’s earlier critique of anthropocentric philosophies with recourse to the brute fact of humanity’s inexorable extinction as a way to undermine their attempts to project human values and concepts onto an inhuman cosmos for all time. I then examine Land’s theory of abstract horror to see how he envisions horror fiction as the best aesthetic means for transcendentally channeling the traumatic limits of human experience. I conclude with an analysis of Land’s two horror novellas, Phyl-Undhu and Chasm, to draw out the ways in which his earlier critical philosophy continues to inform their literary motifs. What ultimately emerges from this analysis of Land’s fiction is a conception of horror as the dark heir to critical philosophy.
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Dissertations / Theses on the topic "Horror Fiction"

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Hervey, Benjamin Alan. "Late Victorian horror fiction." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397430.

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Stewart-Shaw, Lizzie. "The cognitive poetics of horror fiction." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/43340/.

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This thesis explores the emotional experience of reading horror fiction from a cognitive-poetic perspective. The approach adopted in this thesis combines thorough consideration of Text World Theory, attention and resonance, emotion studies, and online reader responses to provide a detailed analysis of the texture of the horror-reading experience. Three classic contemporary horror novels are the analytical focus of this investigation: Ira Levin’s (1967) Rosemary’s Baby, Stephen King’s (1986) IT, and William Peter Blatty’s (1971) The Exorcist. These popular novels were chosen for their ability to evoke anxiety, fear, and disgust in readers, respectively. The primary intention of this thesis is to be an original contribution to the fields of stylistics, cognitive poetics, and the literary critical understanding of horror fiction. This thesis argues for a multifaceted approach to understanding the emotional experience of horror fiction, which is considered in terms of movement. As the conceptual metaphor EMOTION IS MOVEMENT recurs as an experiential effect of the horror-reading process throughout the reader-response data in this thesis, the frameworks applied aim to give insight to the readerly experience of conceptual movement. This thesis proposes that negation and other negatively oriented lexis establish the macabre ambience of the text-world space and that manipulation of movement through world-switching contributes to negative emotions evoked through the experience of these horror text-worlds.
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Reinhart, Marilee J. "The evolution of women's roles in horror fiction." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1990. http://www.kutztown.edu/library/services/remote_access.asp.

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Shafiq, Zubair. "Beyond 'Masala' : horror and science fiction in contemporary Bollywood." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/383878/.

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Since the early 1990s, Bollywood has witnessed a significant shift from its traditional ‘formulae’, particularly in terms of formal elements (i.e. narrative, themes, mise-en-scène) in its attempt to reach international audiences. The term Masala, often used to refer to all Bollywood films, has become one of the most popular genres of Bollywood. The ‘angry young man’ era of the 1970s and 1980s has lost its popularity in the last two decades as a self-conscious genre cinema has developed in Bollywood. This change has not only influenced genre conventions but also audience expectations. As a result, genres such as horror and science fiction have gained popularity within India and abroad. Despite changes in form and expectation, the critical discourse on Bollywood has mostly retained its focus on the genres of ‘classical’ Bollywood and its ‘golden era’. These shifts in Bollywood in the new millennium require re-visiting our understanding of this cinema. One of my central arguments is that horror and science fiction have developed through a process of Bollywoodization while the dominant discourse often credits Indianization as the main factor. Bollywoodization, in this case, refers to the transnational cinematic shifts in which genre conventions from other industries are appropriated to a specific Bollywood style. This thesis aims to expand the understanding of genre cinema in Bollywood whilst claiming it as what Tom Ryall has called a ‘cinema of genres’.
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Ethridge, Benjamin Kane. "Causes of unease: Horror rhetoric in fiction and film." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2766.

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How do artists scare us? Horror filmmakers and novelists alike can accomplish fear, revulsion, and disturbance in their respective audiences. The rhetorical and stylistic strategies employed to evoke these feelings are unique to the genre. Divulging these strategies will be the major focus of this thesis, yet there will also be discussion on the social and cultural background of the Horror genre.
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Bodley, Antonie Marie. "Gothic horror, monstrous science, and steampunk." Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Summer2009/a_bodley_052109.pdf.

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Dutra, Daniel Iturvides. "O horror sobrenatural de H. P. Lovecraft : teoria e praxe estética do horror cósmico." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/128999.

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H.P. Lovecraft, em seus ensaios e cartas, nos oferece uma reflexão riquíssima sobre a narrativa de horror e como esta deve se expressar na literatura. O autor cunhou o termo Horror Cósmico para denominar sua teoria estética. Porém, mais do que ser uma teorização sobre o horror na literatura, o Horror Cósmico é uma teorização sobre como deve ser a narrativa que Lovecraft julga ser a ideal para as histórias que deseja contar. Nessa perspectiva, a análise de sua ficção, acompanhado dos conhecimentos adquiridos pela análise pormenorizada de seus ensaios e cartas sobre o tema, permitem ao leitor compreender melhor sua obra, chegando assim a uma interpretação aproximadamente correta de sua ficção. O objetivo deste trabalho, portanto, é compreender como suas teorizações se refletem em seus textos ficcionais. Os contos e respectivas transposições fílmicas selecionadas foram analisados sobre o prisma destas teorizações. Para alcançarmos esse objetivo primeiro analisamos os seus contos comparativamente com os textos não ficcionais, a fim de compreendermos a forma como o autor expressa o conceito de Horror Cósmico em sua prosa ficcional. Após a compreensão dos elementos teóricos de Lovecraft em sua ficção, analisamos as transposições fílmicas selecionadas sob esse mesmo prisma. Pesquisas bibliográficas foram realizadas com o objetivo de construir um referencial teórico para a abordagem proposta.
H.P. Lovecraft, in his essays and letters, offers the reader powerful insights into the subject of horror and how it should be expressed in literature. The author coined the term Cosmic Fear to name his aesthetic theory. However, in addition to being a theory about horror in literature, Cosmic Fear is a theory about how the ideal horror story (as Lovecraft wishes to write it) should be. From this perspective, the analysis of Lovecraft´s fiction, accompanied by the knowledge acquired through a detailed analysis of his essays and letters on the subject, allows the reader to better understand his work, thus reaching an approximately correct interpretation of his fiction. The goal of our research, therefore, is to understand how Lovecraft´s aesthetic theory works in his fiction. The short stories, novels and the filmic transpositions we selected for this research were analyzed under the prism of these theories. To achieve this goal we analyzed his fiction by comparing it first to his non-fiction in order to understand the concept of Cosmic Fear in his fiction. After understanding Cosmic Fear in Lovecraft´s fiction, we analyzed the selected filmic transpositions under the same prism. Bibliographic references were used with the purpose of building a theoretical framework for the proposed approach.
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Ogunfolabi, Kayode Omoniyi. "History, horror, reality the idea of the marvelous in postcolonial fiction /." Diss., Connect to online resource - MSU authorized users, 2008.

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Price, Thomas. "Wolf at the Door: A Novella." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2485.

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Wolf at the Door concerns a thirteen year old boy, Wilmer, during the summer of his sexual awakening, where he explores the boundaries of his sexuality and his attraction to violence and danger, primarily through an older teenage boy, Bricktone, all while young women from his working class community are being kidnapped, abused, and murdered by a human predator. Wilmer considers what kind of man he will become and whether can escape the influence of the wolf.
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Melo, Marcelo Briseno Marques de. "ZÉ DO CAIXÃO: PERSONAGEM DE HORROR." Universidade Metodista de São Paulo, 2010. http://tede.metodista.br/jspui/handle/tede/894.

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Made available in DSpace on 2016-08-03T12:31:08Z (GMT). No. of bitstreams: 1 Marcelo Briseno Marques de Melo.pdf: 738194 bytes, checksum: 741a4d2a79e560b56f7ce86cc8a858a5 (MD5) Previous issue date: 2010-03-15
This work attempts to understand the character Zé do Caixão (Coffin Joe) in two correlated aspects: 1) As a character which can be classified as one that belongs to the horror genre and; 2) Using a comparative procedure between this character and the character of Dracula, a central reference in the horror genre. To subsidize this discussions, firstly, we set up the main lines of a theoretical framework of the concept of the horror genre; after that, we focus in the construction of Dracula as a character. Finally, we concern ourselves with the character of Zé do Caixão, attempting to understand his specificity within the genre.(AU)
Esse trabalho busca entender a personagem Zé do Caixão em dois aspectos correlacionados: 1) enquanto uma personagem passível de ser classificada como pertencente ao gênero horror e; 2) no enfoque comparativo entre essa personagem e a personagem Drácula, referência central no gênero horror. Para subsidiar essas discussões, em primeiro lugar, esboçamos as linhas principais de um quadro teórico conceitual do gênero horror; e a seguir, nos detivemos na construção da personagem Drácula. Por fim, nos detemos na personagem Zé do Caixão buscando entender sua especificidade dentro do gênero.(AU)
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Books on the topic "Horror Fiction"

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Docherty, Brian, ed. American Horror Fiction. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20579-0.

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Kim, Newman, ed. Science fiction/horror. London: BFI Publishing, 2002.

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1952-, Schweitzer Darrell, ed. Discovering modern horror fiction. San Bernardino, Calif: Borgo Press, 1985.

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1952-, Schweitzer Darrell, ed. Discovering modern horror fiction. San Bernardino, Ca: Borgo Press, 1986.

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1952-, Schweitzer Darrell, ed. Discovering modern horror fiction. Mercer Island, Wash: Starmont House, 1985.

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Simmons, David. American Horror Fiction and Class. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-53280-0.

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1962-, Rowe Michael, ed. Queer fear: Gay horror fiction. Vancouver: Arsenal Pulp Press, 2000.

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F, Nolan William. How to write horror fiction. Cincinnati, Ohio: Writer's Digest Books, 1990.

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Kies, Cosette N. Presenting young adult horror fiction. New York: Twayne Publishers, 1992.

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1952-, Schweitzer Darrell, ed. Discovering classic horror fiction I. Mercer Island, WA: Starmont House, 1992.

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Book chapters on the topic "Horror Fiction"

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Docherty, Brian. "Introduction: Horror the Soul of the Plot." In American Horror Fiction, 1–12. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20579-0_1.

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Cranny-Francis, Anne. "De-fanging the Vampire: S. M. Charnas’s The Vampire Tapestry as Subversive Horror Fiction." In American Horror Fiction, 155–75. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20579-0_10.

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Lee, A. Robert. "A Darkness Visible: the Case of Charles Brockden Brown." In American Horror Fiction, 13–32. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20579-0_2.

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Giddings, Robert. "Poe: Rituals of Life and Death." In American Horror Fiction, 33–58. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20579-0_3.

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Bloom, Clive. "This Revolting Graveyard of the Universe: the Horror Fiction of H. P. Lovecraft." In American Horror Fiction, 59–72. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20579-0_4.

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Seed, David. "The Evidence of Things Seen and Unseen: William Faulkner’s Sanctuary." In American Horror Fiction, 73–91. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20579-0_5.

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Punter, David. "Robert Bloch’s Psycho: Some Pathological Contexts." In American Horror Fiction, 92–106. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20579-0_6.

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Evans, Odette L’Henry. "A Feminist Approach to Patricia Highsmith’s Fiction." In American Horror Fiction, 107–19. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20579-0_7.

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Newman, Judie. "Shirley Jackson and the Reproduction of Mothering: The Haunting of Hill House." In American Horror Fiction, 120–34. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20579-0_8.

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Hanson, Clare. "Stephen King: Powers of Horror." In American Horror Fiction, 135–54. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20579-0_9.

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You might also be interested in the extended bibliographies on the topic 'Horror Fiction' for particular source types:
Journal articles Dissertations / Theses Books
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