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Dissertations / Theses on the topic 'Horror Fiction'
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1
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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Previous issue date: 2010-03-15This 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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Kermode, Mark James. "The radical, ethical and political implications of modern British and American horror fiction." Thesis, University of Manchester, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.493395.
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Elens, James N. II. "Facility 47 - A Novel." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/598.
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FACILITY 47 is a psychological horror novel set in Germany just after the end of World War II. The novel is written in a naturalistic style that seeks to ground paranormal genre elements in a believable world. The story follows a group of Americans, led by Michael Powell, as they seek out and become trapped within an abandoned Nazi research facility in the Harz Mountains that contains a very dangerous secret; an unknown force capable of controlling people’s actions and forcing them to destroy themselves. FACILITY 47 focuses on a character driven by greed, moral outrage at dubious American postwar policy, and a desire to create a world for himself where he is in control. In the end of the novel, Michael learns that the obsessive quest for control can have catastrophic consequences, but this discovery is made too late to save himself or his friends from the mysterious power inside the facility.
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Gilder, John M. "The First Rule of Improv." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2607.
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The First Rule of Improv is a collection of fictional short stories concerned with loss, life’s unfairness, the weight of the past, and how people succeed or fail in coping. Each story explores these notions through its characters, who vary wildly in terms of both dramatic severity and success in the face of adversity, with the first rule of improv—to accept and build—being suggested by the author as the healthiest manner of approach, if not necessarily the easiest.
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Miguel, Alcebiades Diniz. "A morfologia do horror : construção e percepção na obra lovecraftiana." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268922.
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Orientador: Suzi Frankl SperberDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O horror ficcional é uma das constantes na produção cultural do século XX, como um reflexo que acompanha o horror político. Esse horror culturalmente produzido, que é estético, podemos vislumbrar em vasta produção da indústria cultural ¿ que cobre as mais diversas mídias e formas de representação ¿, tendo seu momento inicial na ficção fantástica dos séculos XVIII-XIX. Na década de 1920-30, o escritor norte-americano Howard Phillips Lovecraft retomaria essa tradição do fantástico, acrescentando novos significados, formas, usos e estratégias. Neste trabalho, nossa meta foi realizar um panorama da ficção de horror abordando analiticamente elementos das narrativas de seu criador, H. P. Lovecraft
Abstract: An persistent principle in the contemporary cultural productions, as a reflection and a shadow of certains aspects of the reality, are the fictional horror. These horror, a cultural product as well, esthetical in its essence, can be discerned at wide areas of mass culture ¿ including several medias and representations ¿ and its start point are the fantastic fictions on the 18-19th centuries. Howard Phillips Lovecraft, in the first decades of the 20th century, retrivied this tradiction of the fantastic fictions, adding new meanings, forms, usages and strategies. In our work, the goal are made something like a panorama of the horror fiction through the analisys of H. P. Lovecraft fiction key-elements
Mestrado
Literatura em Lingua Inglesa
Mestre em Linguística
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Holcomb, Will. "The Sunken Country & Other Stories." OpenSIUC, 2020. https://opensiuc.lib.siu.edu/theses/2735.
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TITLE: THE SUNKEN COUNTRY & OTHER STORIESMAJOR PROFESSOR: Dr. Rebekah Frumkin The Sunken Country & Other Stories collects five works that place personal tales of alienation, repression, isolation, obsession, and romance and broader themes of dramatic shifts in the workings of culture and environment under a microscope and vivisect them with tools gathered from the New Weird tradition
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Johnson, Jessica Leigh. "Shriekers." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1512509179302886.
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Tomlinson, Emily Jane. "Torture, fiction, and the repetition of horror : ghost-writing the past in Algeria and Argentina." Thesis, University of Cambridge, 2002. https://www.repository.cam.ac.uk/handle/1810/284634.
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The object of this thesis is to study the attempts made by writers and filmmakers in two very different socio-cultural contexts to depict and elucidate the experience of political violence, particularly torture, in the periods 1954-1962 and 1976-1983. I seek to apply the hypotheses of Anglo-American and French theorists with an interest in historical representation, as well as trauma, to both 'realist' and experimental accounts of the widespread oppression that occurred during the Algerian war of independence and later during the so-called 'Dirty War' in Argentina. The texts analysed in detail include novels and short stories by Kateb Yacine, Assia Djebar, Julio Cortázar and Luisa Valenzuela; the films I examine most closely are the Algerian-Italian 'docudrama' La Bataille d'Alger and the Argentine melodrama La historia oficial. However, the thesis also addresses other non-factual portrayals of brutality, such as the Nouvelle Vague's meditations on decolonization, and autobiographical writings, such as military memoirs and survivors' testimony, as a means of elaborating more fully on the issues at stake in the works cited above. It explores the difficulty - and the possibility - of giving voice to histories that simultaneously resist and demand articulation, and ultimately, of reconstituting the fragmented or 'disappeared' subject through narrative: of using fiction to summon the 'ghosts' of the past.
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Tan, Sumei Karen Anne. "The comfort of horror and the ambiguities of youth : contemporary Gothic fiction and young readers." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/417859/.
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Contemporary young readers have not just derived comfort from their consumption of gothic texts, they have offered generative responses that indicate huge diversity in both content and format in their interrogation of the gothic. These generative responses, ranging from persuasive writing containing complex argument structures; parodies and satiric play, among other responses, indicate young readers’ confidence and comfort critiquing gothic texts. This is in contrast to well-documented adult fears and moral panic, past and present, about gothic texts’ perceived negative influence on young readers, such as having difficulty differentiating fact from fiction, or being easily misled by gothic’s compelling narratives. Borrowing research from sociology and psychology, in addition to literary theories, and data from neurological studies, this thesis offers a systematic investigation on young readers consuming gothic texts which are targeted at them, as opposed to the implied young reader of the gothic, or gothic texts targeted at adults. Using a historical case study of young adult readers, this study also demonstrates that the phenomenon of young readers avidly and comfortably interrogating the gothic, with no signs of being confused, is in fact, not new. Instead, having identified and defined two separate genres of gothic texts – romance gothic focusing on romance with the monster; and horror gothic which has explicit violence, and grotesque and disgusting elements – this investigation presents original data from fieldwork conducted at two local schools of 23 students (age eleven to thirteen) reading and discussing Darren Shan’s horror gothic text, Lord Loss. Data on reader reception for romance gothic is from young adult readers (age 25 and below), who have comfortably and confidently posted their responses online based on Stephenie Meyer’s romance gothic Twilight series of books and films. Evidence indicates that contemporary young readers are carving out their own unique (albeit transient) conceptual space, in which they have derived great comfort and enjoyment in consuming gothic texts of romance gothic or horror gothic. By sharing their opinions online, and in discussion groups, these young readers are discovering their own voice in passionately embracing or gleefully vanquishing the monster in the comfort of consuming horror.
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McAvan, Em. "The postmodern sacred: popular culture spirituality in the genres of science fiction, fantasy and fantastic horror." Thesis, McAvan, Em (2007) The postmodern sacred: popular culture spirituality in the genres of science fiction, fantasy and fantastic horror. PhD thesis, Murdoch University, 2007. https://researchrepository.murdoch.edu.au/id/eprint/188/.
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In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is 'unreal' texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of 'real world' epistemology.
I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.
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McAvan, Em. "The postmodern sacred : popular culture spirituality in the genres of science fiction, fantasy and fantastic horror /." McAvan, Em (2007) The postmodern sacred: popular culture spirituality in the genres of science fiction, fantasy and fantastic horror. PhD thesis, Murdoch University, 2007. http://researchrepository.murdoch.edu.au/188/.
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In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is 'unreal' texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of 'real world' epistemology.
I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.
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Shinholser, John H. "The Wolves of Gehenna." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1832.
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A novel by JS Harlow. Mattock Corwin, a young man living in the vampire ruled kingdom of Gehenna, discovers that he is a mage and must escape the land of his birth before the rulers of his land destroy him as a potential threat to their power.
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com, estrangedcognition@hotmail, and Em McAvan. "The Postmodern Sacred Popular Culture Spirituality in the Genres of Science Fiction, Fantasy and Fantastic Horror." Murdoch University, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080908.140222.
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In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is unreal texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of real world epistemology.
I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.
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Wagner, Carsten. "Sie kommen! Und ihr seid die Nächsten! politische Feindbilder in Hollywoods Horror- und Science-Fiction-Filmen." Marburg Tectum-Verl, 2009. http://d-nb.info/999258834/04.
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Dadswell, Aksel. "Unravel. A novel – and – A diverse palette: Cosmic horror and weird fiction with/out Lovecraft. A critical essay." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2179.
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The fiction of HP Lovecraft – known broadly as weird fiction and more specifically as cosmic horror – ushered in a genre that rejected the “clanking chains” inherent to the Gothic and supernatural fiction (Lovecraft, 2012, p. 28). The weird is defined by its “atmosphere of breathless and unexplainable dread of outer, unknown forces”, and in Lovecraft's fiction the antagonist is the revelation of a cold and indifferent universe weighing down on the characters’ sanity and safety (Lovecraft, 2012, p. 28). This sense of a world in which humanity’s distinctly anthropocentric perspective, which positions everything “entirely in relation to the human”, manifests in Lovecraft's oeuvre in the form of unspeakable alien entities beyond the ken of human understanding (Clark, 2011, p. 3). These alien bodies imperil human dominance and existence, and in unison with Lovecraft's cosmicism, form a framework around which the author’s fictional universe holds fast. Lovecraft's work has been a seminal influence on this author’s own fictional output in terms of genre and the nature of the weird’s monsters, whose forms are untethered by the weight of existing mythic or folkloric antecedents (Miéville, 2009, p. 512).
However, as predicated on a cohesive worldview as Lovecraft's fiction is, it also unfortunately bears the weight of the man’s other driving ideology: a lifelong and passionate belief in the “biological inferiority of blacks” (Joshi, 2013, p. 504). Lovecraft's racial attitudes saturate his work, his fears around “hybridity, impurity … degeneration” and miscegenation manifesting as metaphor in the form of backward townsfolk breeding with creatures from the sea (Sederholm & Weinstock, 2016, p. 27). In other stories Lovecraft simply portrays non-white people as vile practitioners of the occult, carrying out their “patterns of primitive half-ape savagery” as a form of iniquitous heredity; robbed of agency, they commit evil for evil’s sake, and because it is intrinsic to their nature (Lovecraft, 2011, p. 317). In Lovecraft's two dominant ideologies – cosmicism and racism – we can see a drastic disconnect, an illogic in which the two contradict each other. Bullington (2014) suggests that “writing is always a dialogue with one’s literary predecessors. Authors push and pull against everything and everyone that came before” (2014, p. 7). The weird is an ever-evolving genre, defined from the outset by its unique monsters and methods of storytelling. But in order to continue this originality, the problems plaguing the genre’s past – and its most renowned practitioner – must be challenged. As a person of mixed race, and in light of current events precipitating a swell in white supremacy – such as the 2016 US election – there is a significant personal impetus in challenging the troubling and penetrating views of an author who was also a seminal influence on this author’s work. This position is not unique in the field of the weird. Several contemporary writers recognise their fractious relationship with Lovecraft, drawing elements from his mythos while subverting the more distasteful aspects for a modern reader. Of particular focus is Lovecraft's racism and lack of distinctive female characters. These issues are tackled in works such as The Ballad of Black Tom (2016) by Victor LaValle, Lovecraft Country (2016) by Matt Ruff, and Kij Johnson’s The Dream-Quest of Vellitt Boe (2016), among others.
Unravel bears the marks of this evolution, too; its narrator is mixed-race, the product of a white father and a black mother of mixed African descent, the inclusion of which challenges the exclusively white perspective of Lovecraft's protagonists. Unravel attempts to replace the xenophobic foundations of Lovecraft's fiction with an ecocritical framework that, firstly, challenges ideas of anthropocentrism, and secondly, presents humanity’s relationship with both the natural world and the notion of the monstrous, or other. Accompanying this is the exploration of racism in Lovecraft's fiction, as well as an examination of contemporary writers whose fiction directly challenges that racism, such as The Ballad of Black Tom. It goes on to examine the portrayal of the natural world and its relationship to the human in the first book of Jeff VanderMeer’s Southern Reach trilogy, Annihilation (2014a). In both cases, Unravel is examined in comparison to these two pieces, and as far as it both challenges and is indebted to Lovecraft's work. Unravel destabilises the conflicting anthropocentrism in Lovecraft's fiction as well as challenging his racist worldview with explorations of both through Unravel’s characters. The novel breaks new ground for the weird, situating itself among works like Black Tom and Annihilation in their examination of both the shortcomings of the genre’s past and new foundations being laid for its future.
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Salles, Karina dos Santos. "Penny bloods: o horror urbano na ficção de massa vitoriana." Niterói, 2017. https://app.uff.br/riuff/handle/1/3115.
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Esta dissertação busca analisar como o horror se apresenta na ficção de massa produzida durante a era vitoriana na Inglaterra, mais especificamente a que se enquadra em um subgênero do romance vulgarmente conhecido como penny blood. Para cumprir esse propósito, duas obras representativas desse subgênero foram escolhidas como objeto de estudo: The Mysteries of London (1844-1848), de G. W. M. Reynolds, e The String of Pearls: A Romance (1846-1847), de autor anônimo. Nesta pesquisa, aborda-se a penny blood como uma das formas inauguradoras da ficção de massa, uma vez que ela surgiu a partir da combinação de fatores como a urbanização, a alfabetização em massa e o crescimento do mercado editorial e se caracterizou pela publicação extensiva de histórias sensacionalistas com o objetivo de atender à crescente demanda por leitura de entretenimento da classe trabalhadora e de produzir uma cultura impressa acessível e barata. Além disso, considera-se a penny blood como uma narrativa que se expressa por meio do gótico urbano, retratando a cidade como um lugar dominado pelo submundo do crime e povoado por vilões monstruosos. Desse modo, a penny blood, transpondo o horror para a cidade, refletiu certas ansiedades da sociedade vitoriana concernentes ao novo espaço urbano que se desenvolveu tão rapidamente ao longo do século XIX.
This dissertation aims to analyse how horror is represented in the popular fiction that was produced during the Victorian era in England, especially in the subgenre that came to be known as the penny blood. To this end, the selected body of work comprises two romances that have been considered typical of this subgenre: The Mysteries of London (1844-1848), by G. W. M. Reynolds, and The String of Pearls: A Romance (1846-1847), by an anonymous author. In this research, the penny blood is claimed to be one of the earliest forms of popular fiction, for it emerged from a combination of factors such as urbanisation, mass literacy and the development of the publishing market, and it was also characterised by the massive publication of sensational stories catering to the growing demand for light reading by the working class and creating an accessible, cheap kind of print culture. In addition, the penny blood is studied here as a set of narratives that incarnates the urban Gothic, since it often depicts the criminal underworld of the city and the monstrous villains that inhabit it. In this sense, the penny blood, by placing horror within the city, reflected certain anxieties displayed by Victorian society regarding the new urban space that developed itself so rapidly throughout the nineteenth century.
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Crowley, Dale Allen. "Eldritch Horrors: The Modernist Liminality of H.P. Lovecraft's Weird Fiction." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1496326220734249.
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Döring, Lutz. "Erweckung zum Tod : eine kritische Untersuchung zu Funktionsweise, Ideologie und Metaphysik der Horror- und Science-Fiction-Filme Alien 1-4 /." Würzburg : Königshausen und Neumann, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2756348&prov=M&dok_var=1&dok_ext=htm.
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Wallace, Nathaniel R. "H.P. Lovecraft's Literary "Supernatural Horror" in Visual Culture." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1417615151.
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Jespersdotter, Högman Julia. "Repeating Despite Repulsion: The Freudian Uncanny in Psychological Horror Games." Thesis, Malmö universitet, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-42829.
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This thesis explores the diverse and intricate ways the psychological horror game genre can characterise a narrative by blurring the boundaries of reality and imagination in favour of storytelling. By utilising the Freudian uncanny, four video game fictions are dissected and analysed to perceive whether horror needs a narrative to be engaging and pleasurable. A discussion will also be made if video game fictions should be considered in the literary field or its own, and how it compares to written fiction in terms of interactivity, engagement, and immersion.
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Döring, Lutz. "Erweckung zum Tod eine kritische Untersuchung zu Funktionsweise, Ideologie und Metaphysik der Horror- und Science-Fiction-Filme Alien 1-4." Würzburg Königshausen und Neumann, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2756348&prov=M&dok_var=1&dok_ext=htm.
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Crotty, Tammy J. "Left of mainstream : genre fiction and its ability to transcend formula." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313073.
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This collection of short stories studies the elements of genre fiction and applies them to literary fiction. Science fiction, fantasy, and horror have specific manners in which they speak to an audience. By using these elements, for example the desensitization of the current generation of readers to most horrors, an author can demonstrate the core of the human relationship to pain, faith, or hope. Though some genre fiction seems to fit certain formulas, there are also horror or science fiction stories which do not fit a conventional mold. This collection sets forth to break away from genre fiction conventions. Also, this project utilizes the genre of magical realism, which is the medium between genre fiction and literary fiction, by using fantastic events within a mundane setting to emphasize the author's ideas. By bridging the gap between genres, magical realism reveals how interrelated the elements of all genres are. In this study stories use magical and horrifying events while maintaining an intention beyond the formulaic thrill. Therefore, genre fiction can have a place amongst literature.Department of English
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Richards, Samantha. "The Construction of Truth in Fiction: An Analysis of the Faux Footage Genre in Television." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1197.
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This paper explores the way that “truth” is constructed in a fictional sphere through visual and narrative references. I draw upon Caetlin Benson-Allott’s Paranormal Spectatorship, and Jay David Bolter and Richard Grusin’s Remediation to inform my analysis of these constructions. I look specifically at Roanoke, the sixth season of American Horror Story, to provide examples of the way faux footage horror’s unique use of the subjective shot constructs the spectator as both a witness and an interrogator, and creates an aesthetic language of truth. While being immersed in the story, viewers are simultaneously invited to consider how the narrative is being constructed, and by whom. This parallactic viewing experience suggests a future for the unique challenge of serialized televisual horror.
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Hodgen, Jacob Michael. ""Boot Camp for the Psyche" : inoculative nonfiction and pre-memory structures as preemptive trauma mediation in fiction and film /." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2506.pdf.
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Ruben, Jennifer Lynn. "Illusionary Strength; An Analysis of Female Empowerment in Science Fiction and Horror Films in Fatal Attraction, Aliens, and The Stepford Wives." Wright State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=wright1355753729.
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Levine, Jonathan David. "'One wiser, better, dearer than ourselves' : gothic friendship /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6643.
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Björnström, Lovisa. "Vampyr och nagelbitare : En genre- och diskursanalys av barn- och ungdomsrysare och deras ämnesord." Thesis, Uppsala universitet, Institutionen för ABM, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-253494.
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This master's thesis in Library and Information Science examines how the genre division of the horror fictionis constructed at the children and youth department of a library by studying subject headings of the titles.The aim is to examine what is included in the genre, in the two labelings called vampire and nail-biter/spine-chiller, what separates them, and what difference there is between children and youth thrillers/horror fiction. Also the cover designs and how readers portray these books are studied. The study is made in order to develop the knowledge of the genre to help librarians and borrowers. The great popularity of the genre among borrowers and people in general, and the importance of having knowledge of things that borrowers are interested in, are the motivation of performing the study. The method is a case study and conducted with and based on genre theory which shows how a genre is defined, how it can be divided and what conventions there are for the horror fiction in particular. Discourse analysis helps to see in between what frames the thriller is constructed, and how these elements subdivide the genre and influence it and those who encounter it, library borrowers and librarians. Di-scourse analysis also examines the standards of the thriller.The analysis showed that the discourse of horror fiction includes both the expected features, in terms ofgenre conventions, such as ghosts and vampires, and more commonplace such as sisters. The differences and similarities of these parts in the genre were discussed and compared in the light of discourse analysis and genre theory in order to reveal how these constructions might influence the readers and the borrowers. The major conc-lusions of the study is that the encounter between the unexpected and menacing, and the everyday life is what makes the thriller frightening, now as in history, and so it follows its genre conventions. The discourse of the hor-ror fiction standards are difficult to influence by being expected of borrowers and otherwise they are not thrillers. The study has shown that certain subjects recur more often than other which may affect the borrower in its per-ception of the genre. The genre division helps giving the borrower different kinds of frights and experiences. The joint is that the supernatural is present in the whole genre and convey feelings of excitement and fear which is the most important representative of the genre. This is a two years master’s thesis in Archive, Library and Museum studies.
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Taiari, Hassen. "'Brains are Survival Engines, not Truth Detectors': Machine-Oriented Ontology and the Horror of Being Human in Blindsight." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22298.
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This paper is an examination of the horror elements found in Peter Watts’ Blindsight. In depicting an encounter with aliens, this science fiction novel explores topics such as the nature of sentience, mankind’s relationship with technology, posthumanism, and the limitations of the human body and mind. Blindsight also envisions entities (aliens, vampires, and artificial intelligences) capable of interacting with material realities inaccessible to human beings. Using Levi R. Bryant’s machine-oriented ontology, this thesis demonstrates how Watts employs these themes and issues to problematize anthropocentrism and the notion of selfhood. These elements—and more—will be discussed and shown to match the criteria associated with ontological horror.
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Koras, Demetra. "Primrose and Other Stories." Digital Commons @ Butler University, 2020. https://digitalcommons.butler.edu/grtheses/519.
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Snoey, Abadías Christian. "Experiencia y sentido: la escritura de la historia y del horror en la obra de Martín Caparrós." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/668523.
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El trabajo que se presenta aspira a analizar los mecanismos a través de los que se escribe la historia, por un lado, y el horror, por el otro, en la obra del escritor argentino Martín Caparrós, con especial atención a novelas como Ansay o los infortunios de la gloria (1984), La Historia (1999), Los living (2011) o a crónicas como Larga distancia (1992) El interior (2006), La Voluntad (2008) o El Hambre (2014). Partiendo de la concepción de la historia entendida como un horizonte de reflexión, se analiza la hipótesis de que Martín Caparrós, en su obra, cuestiona la construcción de la historiografía oficial reproduciendo sus formas, sus lenguajes, parodiándolos, con el fin de evidenciar y cuestionar las distintas mediaciones a través de las que nos pensamos y pensamos el mundo. Se detecta un procedimiento semejante respecto a la escritura del horror: partiendo de la asunción de que el lenguaje vehicula y posibilita el horror, reproduce ese lenguaje, estrechado por el poder, con el fin de recuperarlo y resignificarlo.
El trabajo se articula en tres partes: en la primera sección se revisa el marco teórico de la denominada «nueva novela histórica» para reflexionar sobre el estatuto de la historia en relación con la ficción. El objetivo de atender a este corpus es el de desarrollar la idea de que la historia, en la narrativa de las últimas décadas, actúa como un cogito, es decir, como un concepto fundante, como un horizonte de reflexión.
En la segunda parte se aborda el análisis de la narrativa histórica de Martín Caparrós, con especial énfasis en La Historia y en Ansay o los infortunios de la gloria. En La Historia, Caparrós efectúa una relectura crítica del concepto de fundación y, en Ansay, atiende a la conformación de la identidad en el siglo XIX, así como en el pasado colonial. Por ello, el análisis se centra en dilucidar la manera en que trata de desarticular la construcción de la historiografía oficial, que es mediante la reproducción de los lenguajes del poder para cuestionarlos. Evidencia sus formas, las reproduce y de esta forma crea un contra discurso desde la ficción.
En la tercera parte, se define el horror histórico y se plantean las problemáticas inherentes a la escritura del horror. Cuestionando la cualidad de indecible que la tradición le ha atribuido al horror, se abordan distintas vías de escritura que intentan dar respuesta a la pregunta sobre cómo transmitir, literariamente, el horror. El objetivo de plantear esta problemática es analizar la manera en que se resuelve en la obra de Martín Caparrós. Como se ha apuntado, la propuesta de Caparrós consiste en desautomatizar el lenguaje del poder, reproduciéndolo, para recuperarlo y resignificarlo.The work presented aims to analyze the mechanisms through which history is written, on the one hand, and horror, on the other, in the work of Argentine writer Martín Caparrós, with special attention to novels like Ansay o los infortunios de la gloria (1984), La Historia (1999), Los living (2011) or to chronicles like Larga distancia (1992) El interior (2006), La Voluntad (2008) o El Hambre (2014). Starting from the conception of history understood as a horizon of reflection, the hypothesis is analyzed that Martín Caparrós, in his work, questions the construction of official historiography reproducing its forms, its languages, parodying them, in order to evidence and question the different mediations through which we think and think about the world. A similar procedure is detected with respect to the writing of horror: starting from the assumption that language conveys and enables horror, it reproduces that language, strengthened by power, in order to recover and resignify it. The work is divided into three parts: the first section reviews the theoretical framework of the “new historical novel” to reflect on the status of history in relation to fiction. The aim of attending this corpus is to develop the idea that history, in the narrative of the last decades, acts as a cogito, as a founding concept, as a horizon of reflection. The second part deals with the analysis of the historical narrative of Martín Caparrós, with special emphasis on La Historia and Ansay o los infortunios de la gloria. In La Historia, Caparrós makes a critical rereading of the concept of foundation and, in Ansay, attends to the conformation of identity in the 19th century, as well as in the colonial past. Therefore, the analysis focuses on elucidating the way in which it tries to dismantle the construction of official historiography, which is through the reproduction of the languages of power to question them. It evidences its forms, reproduces them and in this way creates a counter discourse from fiction. In the third part, the historical horror is defined and the problems inherent to the writing of horror are posed. Questioning the quality of unspeakable that the tradition has attributed to the horror, different ways of writing are approached that try to give answer to the question on how to transmit, literarily, the horror. The objective of raising this problem is to analyze the way in which it is resolved in the work of Martín Caparrós. As it has been pointed out, Caparrós proposal consists in deautomating the language of power, reproducing it, in order to recover it and resignify it.
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Bezarias, Caio Alexandre. "Funções do mito na obra de Howard Phillips Lovecraft." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-08012008-101659/.
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O objetivo desta pesquisa é investigar a função e importância do mito na obra de Howard Phillips Lovecraft, escritor norte-americano considerado um dos mais importantes artífices da literatura fantástica moderna, notadamente por seu mais importante e influente grupo de narrativas, um grupo de doze histórias conectadas entre si conhecido como \"ciclo de Cthulhu\", justamente o centro de nossa pesquisa, que pretende demonstrar como o uso de um mito cosmogônico (aquele que narra a origem e a ordenação do cosmos), como base desse conjunto de narrativas, é um elemento fundamental do mesmo, o qual é uma crítica radical, ainda que niilista e reacionária, ao mundo administrado pela racionalidade técnica. Nossa intenção final é revelar o sentido da obras máxima de Lovecraft, seu valor como uma intensa e dialética crítica ao mundo industrial e urbano moderno.The aim of this research is to investigate the function and the importance of the myth in the work of Howard Phillips Lovecraft, known as one of the most important writers of modern fantastic literature, mainly for his most important and influential group of narratives, a set of a dozen interconnected stories known as \"The Cthulhu Cycle\". This cycle is the subject of our work, which intends to demonstrate how the application of a cosmogonic myth (one that narrates the origin and ordering of the cosmos) as the basis to this set of narratives is an essential element for a radical critique, albeit nihilist and reactionary, to a world ruled by technical rationality. Our final purpose is to reveal the meaning of Lovecraft´s masterwork and its value as an intense and dialectical critique to the urban and industrial modern world.
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Williams, K. E. R. "Manifestations of the house in the Victorian ghost story." Thesis, The University of Sydney, 2005. https://hdl.handle.net/2123/28032.
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The appearance of the ghostly is generally described as a manifestation, and to perceive the ghostly is predicated on the act of seeing. To be manifest is to be apparent, clear, evident and obvious and a manifestation is an act of revelation, even one of proof. The genre of the ghostly however is rarely truly seen in critical works, and the aim of this
thesis is to engage with and explore the implications raised by the act of seeing within the tradition of the British ghost story. The appearance of the ghostly not only requires the acknowledgement of the existence of ‘the other’ by witnesses, but also actively prompts the viewer to see all that surrounds them in a wholly new way. With the focus firmly on the issue of seeing, this thesis seeks to examine to what extent the ghost story offers a different, and challenging, view of the rational world, and whether the ghost story is more than just an entertaining popular diversion and can actually, as Kenneth Womack suggests, operate as “a mechanism for social critique."
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Littlejohn, Amonte. "HOPEFUL HOSTILITY:AN ANALYSIS OF THE EVOLUTION OF AMERICAN NATURALISM." Cleveland State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=csu1313609535.
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McKenzie, Keira Jane. "A fabulist’s alternity & Lovecraft and the grotesque sublime." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1657.
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The Creative Work:
The creative work is a novel titled A Fabulist’s Alternity. It is set in an unspecified time in the future, in Perth, Western Australia, and against the background of the social and natural consequences of climate change. Spread over four days, the story centres on two characters, Sin, a young woman without a future; and Ned, a convict who wanders through time bound to a man known simply as The Painter, searching for a lost book and a cloak. Parts of the city are set apart and run separately, known as co-ops. These co-ops are further alienated by the inclusion of alien entities and artefacts which have allowed the Painter and others to exploit a path between worlds and universes. Time and space are collapsed in a confrontation between the characters.
Critical Essay:
The critical essay explores an area of aesthetics through three novellas by the American writer, H. P. Lovecraft (1890 – 1937), analysing Lovecraft’s use of the sublime and the grotesque. This analysis employs the sublime as explained by Edmund Burke (1729 – 1797) in A Philosophical Enquiry into the Origin of our Ideas of The Sublime and the Beautiful (1757) and the technological sublime; and the grotesque as presented by Wolfgang Kayser (1906 – 1960) in The Grotesque in Art and Literature (1957) and Geoffrey Galt Harpham’s The Grotesque: Strategies of Contradiction in Art and Literature (2006). Through this analysis, I establish the grotesque sublime. The concept is then applied to my creative work, A Fabulist’s Alternity with a section on the discussion of artwork inspired by Lovecraft’s writing.
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Mattsson, Filip. "“We Did Not Trust Ourselves” : A study of the unreliable narration in Jeff VanderMeer’s Annihilation." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-82905.
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Annihilation is the first novel in the trilogy named “The Southern Reach,” a ScienceFiction/Horror series of books written by Jeff VanderMeer. Annihilation focuses on a team of scientists on an expedition into an area where the very nature has been altered in mysterious ways. The scientists’ goal is to study this area to come to an understanding of what is happening, but like the eleven previous expeditions, they fail. With the aid of narratology, I will argue that Jeff VanderMeer’s Annihilation is an unreliable narrative. To prove that, I will analyse and discuss specific passage’s unreliable narration used in the novel, as well as incorporating themes from the novel that directly correlate with the unreliability of the novel’s narrative. Annihilation is filled with ambiguous language and events that are on almost every level unexplainable using scientific methods. The way that the novel is written makes the narrator, the biologist, unreliable in her narration of the events that take place around her. She is tormented by both her past and by the beings that inhabit Area X, such as the Crawler. The results of this study exemplify the ambiguity of VanderMeer’s writing and how he uses this ambiguous language to further thrust the narrative into a void of chaotic unreliability. There is nothing in the novel that can be trusted as fact in the context of the world in which the characters inhabit, down to the characters own thoughts and memories. The presented themes of Annihilation are in direct correlation with the unreliability of the narrative and show how deep VanderMeer went into constructing the most unreliable narrative possible.
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Söderström, Jonatan. "The Uncanny Thing : Paranoia and Claustrophobia in The Thing and “Who Goes There?”." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-41926.
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This essay examines the themes of paranoia and claustrophobia as elements of horror in John Campbell’s novella “Who Goes There?” (1938) and John Carpenter’s film-adaptation of said novella, called The Thing (1982). The novella and the film utilize the lack of trust and reliability in between the characters as elements of fear as well as supernatural elements in the form of a monster. This essay focuses on the different parts of the story running through both versions, mainly the setting, the characters and the monster, to show how the themes of paranoia and claustrophobia are used throughout these as elements of fear and horror. With the help of Sigmund Freud’s concept of the uncanny, as well as other sources, this essay argues that while the monster plays an important role throughout the story, the threats created by the paranoia and claustrophobia are equal to the monster itself.
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Bomhoff, Gary. "Toward the Red Shore." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5914.
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A fictional novel utilizing third person limited narration from the perspective of the primary character, Ilya Kollide, who narrates the story as though it were happening in his head as it occurred, with frequent embellishments. He has come to live near an old mansion on the Trans-Siberian Railroad, named Neimasaurus, to find an antiquated, dusty world of faded aristocracy. Temporarily orphaned at the age sixteen by the recent death of his parents, he has traveled four thousand miles to live with his last living relative, an uncle named Demetri, whom he has never met. The year is 1990, only this is not a world where the rule of the Tsar was supplanted by the Soviet Union. Instead, it is a logical exploration of what Russia might resemble, had communism never taken root. While the fantastical may or may not occur, depending upon how the reader chooses to interpret the point of view of the narrator, the setting in and of itself is not meant to be fantastical. Ilya discovers that all the servants who work there are deaf, as is his uncle and his own now deceased parents, whom he carries around in an urn after mixing their ashes together.
While working at the great estate of the Neimasaurus family, Ilya discovers a surprising numbers of stories and people who both parallel his own experiences and serve as allegorical warnings toward his future mistakes in life. He becomes obsessed with the idea that he is to blame for his parents' death and sets out on a quest to bring redemption to the wounded inhabitants of the estate, only to discover that not everyone wants to be helped. In fact, they want him dead. They see him as an allegory, just as he sees them. To the young man Shoji Yamano, Ilya represents everything he was, and can no longer be. As such a reflection, he resolves to shatter Ilya like a mirror. The novel charts Ilya's personal growth from a neurotic wreck, incapable of normal interaction with people, to a young man capable of not just self-sacrifice, but an understanding of what it actually means to literally sacrifice himself for the well-being of someone he barely knows. He learns to value time spent with others rather than dwelling within a narcissistic and lonely fantasy world.?M.F.A.
Masters
English
Arts and Humanities
Creative Writing
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Khalidi, Anbara Mariam. ""It was the worst of times; it was the worst of times" : popular prophecy, Rapture fiction, and the imminent apocalypse in contemporary American Evangelism." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:e2e7da46-9462-448c-88ae-8a98a9482b8d.
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This thesis explores how the Rapture fiction and popular prophecy of modern American premillennial dispensationalism shapes the eschatological beliefs of its readership. This will be accomplished through a text-based critical analysis of the anxiety narratives of the Bible study and exegetical guides of the Tim LaHaye Prophecy Library, and its counterpart, the Left Behind fiction series. This thesis represents the first scholarly analysis of the Tim LaHaye Prophecy Library, and the first situation of Left Behind fiction within its theological context. It will be proposed that these two sets of texts shape the eschatological beliefs of their readers through a discursive ‘streamlining’ that is performed in several ways. Firstly, the historical development of the movement will be examined, exploring the evolution of a specific premillennial dispensationalist hermeneutic and its ‘channelling’ through particular cultural institutions. Secondly, an analysis of the Tim LaHaye Prophecy Library and Left Behind fiction will demonstrate that this premillennial dispensationalist hermeneutic is almost exclusively communicated through anxiety narratives which focus on expressions of horror, isolation, powerlessness and paranoia. It will be argued that these narratives serve to explore ‘abjective’ elements of premillennial dispensationalist belief, re-integrating them into the fabric of the faith. Particular attention will be paid to these abjective elements, which include the role of the eschatological body, the nature of individual salvation, and the perpetual deferment of the Rapture. As such, the popular media of premillennial dispensationalism serves as a further channel for the discursive streamlining of the movement’s prophetic scheme. Finally, this thesis proposes that the ‘deprivation’ theory of millennial appeal does not adequately explain the appeal and success of premillennial dispensationalism. As such, the following analysis will suggest that an alternate critical analysis of the movement, concentrating on its tropes of anxiety, serves to better explain the continued appeal of this ideology.
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Attåsen, Micaela. "Sommarborna : En konstprosaisk översättning med kommentar av en skräcknovell av Shirley Jackson." Thesis, Stockholms universitet, Tolk- och översättarinstitutet, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-193660.
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Detta arbete utgörs av en skönlitterär översättning från engelska till svenska med tillhörande kommentar. Texten som har översatts är skräcknovellen The Summer People av den amerikanska författaren Shirley Jackson (1916–1965). En källtextnära översättningsprincip upprättades för översättningsarbetet baserat på teorier om skopos, polysystemteori samt domesticering/exotisering. Översättningskommentaren innehåller en redogörelse för de översättningsstrategier som tillämpats vad gäller överföring av källtextens kultur- och tidsspecifika referenser, talspråksmarkörer och stilistiska drag. Det utfördes även en mindre specialundersökning bestående av en kvalitativ jämförelse mellan svenska översättningar av Shirley Jacksons romaner utförda av Inger Edelfeldt och Torkel Franzén. Specialundersökningen visade att Edelfeldt tog sig något större friheter med texten, och framför allt Franzéns översättning hade stora likheter med den aktuella översättningen av The Summer People.This paper consists of a commented translation of literary fiction from English to Swedish. The translated text is a short story of the horror genre called The Summer People by the American author Shirley Jackson (1916–1965). A source text-oriented translation principle was established for the translation task based on theories such as skopos, polysystem theory and domestication/foreignization. The commentary contains an account for the translational strategies that were applied regarding transfer of culture- and period-specific references, indications of spoken language, and literary style in the source text. An additional minor study was also carried out, consisting of a qualitative comparison between translations of Shirley Jackson’s novels executed by Inger Edelfeldt and Torkel Franzén. The additional study showed that Edelfeldt made slightly more alterations of the text, and Franzén’s translation in particular showed striking similarities to the current translation of The Summer People.
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Wiley, Antoinette Marchelle. "The Familiar Stranged." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1513009183178476.
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Nahrung, Jason. "Vampires in the sunburnt country : adapting vampire Gothic to the Australian landscape." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16668/1/Jason_Nahrung_-_Exegesis.pdf.
Full textAbstract:
I first became enamoured with vampire Gothic after reading Bram Stoker's Dracula in high school, but gradually became dissatisfied with the Australian adaptations of the sub-genre. In looking for examples of Australian vampire Gothic, a survey of more than 50 short stories, 23 novels and five movies made by Australians reveals fewer than half were set in an identifiably Australian setting. Even fewer make use of three key, landscape-related tropes of vampire Gothic - darkness, earth and ruins. Why are so few Australian vampire stories set in Australia? In what ways can the metaphorical elements of vampire Gothic be applied to the Sunburnt Country?
This paper seeks to answer these questions by examining examples of Australian vampire narratives, including film. Particular attention is given to Mudrooroo's Master of the Ghost Dreaming series which, more than any other Australian novel, succeeds in manipulating and subverting the tropes of vampire Gothic. The process of adaptation of vampire Gothic to the Australian environment, both natural and man-made, is also a core concern of my own novel, Vampires' Bane, which uses earth, darkness and a modern permutation of ruins to explore its metaphorical intentions.
Through examining previous works and through my own creative process, Vampires' Bane, I argue that Australia's growing urbanisation can be juxtaposed against the vampire-hostile natural environment to enhance the tropes of vampire Gothic, and make Australia a suitable home for narratives that explore the ongoing evolution of Count Dracula and his many-faceted descendants.