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Journal articles on the topic 'Horror in literature'
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1
Kurbonova, Nilufar T. "THE CONCEPT OF HORROR IN ARTISTIC LITERATURE." Current Research Journal of Philological Sciences 5, no. 2 (2024): 33–41. http://dx.doi.org/10.37547/philological-crjps-05-02-07.
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The current article observes theoretical viewpoints of the concept of horror and devoted to the study of the concept and genre signs of horror in fiction. Throughover the work the notion of horror was investigated with the examples of wellknown writers, critics and scientists. It raises the question of the terminological status of the horror in modern literature, considers the points of view on the status of horror as a genre, and discusses the parameters that differentiate fantasy and horror. It is summarised that there are several subgenres and categories of the horror genre.
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Trofymenko, Anastasiya. "Immanent components of the horror genre in Ukrainian literature." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 15, no. 26-27 (2022): 187–93. http://dx.doi.org/10.34079/2226-3055-2022-15-26-27-187-193.
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The genesis and genre system of Ukrainian horror literature have been analyzed in the present article. Studying the origins of the horror genre in literature, one can find the combination of mysticism, a specific emotional tonality (mysteriousness, fear of the unknown) and mythological images, which acquire new features in the course of literary development. The dynamics of changes in the genre system of horror literature has been examined; the typological development of Ukrainian horror has been analyzed; the transformations of the established artistic matrix of horror literature and the mechanisms of preservation of genre memory have been traced. It has been proved that the presence of common genetic and typological genre features in different national literatures can be explained by the process of migration of plots, motifs and their variants. The genesis of the horror genre in the genre group of horror literature has been briefly presented; an attempt was made to systematize genre-forming elements. The peculiarity of horror as an artistic phenomenon that evolves from a stylistic technique to a genre has been demonstrated. The nature of the complex polysemantic construct of the horror genre has been revealed. The set of analyses such as descriptive, typological, hermeneutic, cultural-historical, mythopoetic, psychoanalytical, bibliographical, comparative, philological, structuralist, and intertextual has been used for the interpretation of the horror genre. The process of the creation of the latter is described as a gradual crystallisation of a relatively stable artistic structure, which evolves throughout the interplay of stable (a particular kind of chronotype, stable functions of characters) and dynamic elements.
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Trofymenko, Anastasiia. "GENRE FEATURES OF HORROR LITERATURE." LITERARY PROCESS: methodology, names, trends, no. 17 (2021): 72–80. http://dx.doi.org/10.28925/2412-2475.2021.17.9.
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The article is dedicated to the study of the genre features of horror literature, its plot matrices and principles of artistic modeling of pictures of the world. The article describes the genre-creating elements that have become basis for systematization of the genre composition of horror literature. Special attention is paid to the typology of characters, the specifics of the arranging artistic time and space, as well as the features of the emotional impact on the reader as one of leading principles of genre classification of this type of fiction. After all, much of the text of the works of representatives of horror literature is devoted to the construction of artistic space and time, in order to introduce the recipient into a certain range of components of the emotional state during reading, to achieve the goal of horror literature. Namely, to scare the reader. Considerable attention is paid by the authors of this type of literature to the modeling of characters as a genre component. The article describes a set of standardized elements and attributes describing the appearance and character of the characters, which creates a "horizon of expectations" for the reader's perception. It also acts as an element of genre differentiation within the cluster of horror literature. The definition of genre varieties of this type of fiction reveals a clear conditionality of the specifics of the reception, the orientation of the author's intentions to create a certain psychological effect. Established artistic constants, which show a fairly high level of variability, serve as a figurative and plot matrix for the authors, which provides a "recognizability" of the genre addressed to a certain readership.
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JINWAN, XUAN, and QI JING. "STRANGE STORIES FROM CHINESE STUDIOS AND GOTHIC LITERATURE." INTERNATIONAL JOURNAL OF RESEARCH IN EDUCATION HUMANITIES AND COMMERCE 04, no. 04 (2023): 10–16. http://dx.doi.org/10.37602/ijrehc.2023.4402.
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The ancient Chinese horror novel Strange Stories from Chinese Strange Studio vividly shows Chinese horror in front of the readers, which is a typical representative of Chinese horror literature. Gothic literature is a crucial literary genre of Western literature. Western research on Gothic literature is rich and detailed, and Gothic literature significantly impacts British and American literature. By studying their social and historical backgrounds, this paper will analyze their similarities and differences in scenes, characters, and writing characteristics and their development and influence on the Chinese and English academic circles.
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Kulikova, Daria L. "MYTHOPOETICS OF THE CEMETERY SPACE IN HORROR FICTION (Based on the Material of Modern Russian Literature)." Вестник Пермского университета. Российская и зарубежная филология 13, no. 3 (2021): 86–93. http://dx.doi.org/10.17072/2073-6681-2021-3-86-93.
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This article deals with the locus of the cemetery in modern Russian horror. We examine approaches to the depiction of scary spaces in literature, describe the cemetery as a locus of horror, study the motives associated with the cemetery in horror, detect intermedial connections, provide interpretation of folklore and literary references. The cemetery is one of the key loci of folk culture, presented in folklore as a space of contact with the otherworldly (with the world of the dead), which explains the interest of horror authors in these ‘scary’ places. The modern literature of horror offers modifications of the image of the cemetery, their main characteristics, intertextual interaction with Russian and foreign traditions, which allow us to speak of this image as a unit of the genre canon of horror. The paper examines how exactly the image of the cemetery is presented by modern Russian authors: A. Ivanov, A. Ateev, M. Romanova, K. Alekseev, I. Lesev. We have established that various clichés of folklore and horror literature are used in connection with the locus of the cemetery. These include the motive of a ‘bad place’, the motive of reviving the dead, the motive of crossing the borders, violation of a ban/taboo. The cemetery can be viewed in a literary work as a source of supernatural horror (and even, as in Alekseev’s work, may turn into a thinking creature) or, as in Ivanov’s novels, represent a false source of danger. We conclude that the cemetery in horror becomes a place where not only worlds but also eras are connected, which reveals the important function of horror – the comprehension of the past of an individual and society. The portrayal of the cemetery in horror draws on a rich literary and folkloric tradition.
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Bhandari, Sabindra Raj. "Terror and Horror : Gothic Crosscurrents in Literature." Janapriya Journal of Interdisciplinary Studies 9, no. 1 (2020): 35–44. http://dx.doi.org/10.3126/jjis.v9i1.46531.
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The word “Gothic” was originally implied to anything that is wild, barbarous, destructive and outlandish. When applied to literature, the term, was used both with eulogistic and disparaging connotations and became the synonyms for the grotesque, ghastly and violently supernatural. The literature was based on gloom, fear, terror and horror. In its long run, the Gothic literature got its horizon expanded with the touch of novelty and multi dimensional perspectives. This study relates the affinity between the spirits of Gothic architecture and literature that came as a vogue in late eighteenth century England. The main argument of this study is to reveal how the spirits of horror and terror intersected in literature. Similarly, it is also interesting to see how the aspects of horror and terror have crosscurrents between themselves. The more the genre found its way, there remained crosscurrents between the Gothic literatures propagated in Germany, England and France. This study is qualitative and its nature, purpose and approaches are historical. As such, this study makes a systematic and objective evaluation of facts, themes and ideas related to the previous study to understand causes, development, and trends of Gothic. This analysis helps to explain the present relevance, and also anticipates future aspects of the Gothic literature, exploring how this literature got its efflorescence in our own day being modern Gothic, which incorporates many shades of interpretations.
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Trofymenko, Anastasija. "Geneza horroru jako gatunku." Tematy i Konteksty 12, no. 17 (2022): 228–39. http://dx.doi.org/10.15584/tik.2022.16.
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This article examines the origin of horror as a genre within the cluster of all horror literature genres. The structure of genological-typological evolution of these genres has been analysed. It has been proven that horror, due to its specificity, should be referred to this group of genres which are realized in literature on the basis of genre memory.
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Hurley, Kelly. "Trauma and Horror." English Language Notes 59, no. 2 (2021): 1–8. http://dx.doi.org/10.1215/00138282-9277216.
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McNaughton, James. "“Choose Your Horror”." Samuel Beckett Today / Aujourd’hui 31, no. 2 (2019): 183–99. http://dx.doi.org/10.1163/18757405-03102001.
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Simonetti, Marcelo. "Contar el horror." Anales de Literatura Chilena, no. 39 (June 14, 2023): 273–77. http://dx.doi.org/10.7764/analeslitchi.39.21.
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Ampuero, María Fernanda, and Daniel Simon. "Kitsch and Horror." World Literature Today 97, no. 3 (2023): 29. http://dx.doi.org/10.1353/wlt.2023.0114.
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Hill, Kristen Miller. "‘We lie best when we lie to ourselves’: Stephen King’s It and the horrors of nostalgia." Horror Studies 12, no. 2 (2021): 249–63. http://dx.doi.org/10.1386/host_00041_1.
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Stephen King’s 1986 novel It follows a traditional horror story arc of restoration of order through defeat of a monster, but the interlude sections of the novel complicate this narrative structure with an alternate story arc in which the people of Derry are also a source of horror within the novel, who enable the monster with their desire to sanitize the past of the town. This arc, in which the townspeople are perpetrators and enablers of horrors, reflects a cultural tendency towards nostalgic views of the past that would have been noticeable in political and cultural movements of the 1980s. As nostalgic currents have returned to prominence in political movements surrounding the election of Donald Trump and other populist movements, re-examining the interlude sections of It reveals commentary about the horrors of nostalgia that, like the cyclical reawakening of the novel’s monster, are relevant once again.
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Vasilev, M. F. "Representation of the world as other’s play in the cosmic horror literature." Philology and Culture, no. 1 (April 6, 2024): 72–80. http://dx.doi.org/10.26907/2782-4756-2024-75-1-72-80.
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Cosmic horror is a type of horror literature concerning itself with anthropocentrism rejection and depicting the universe as unknowable, indifferent and epistemologically anomalous. In the context of cosmic horror, man is often described as a plaything of unknown forces, which may seem a contradiction: the concept of play in itself is arguably all-to-human; moreover, a playful attitude is by no means indifferent and thus not exactly compatible with cosmic horror. Nevertheless, according to evolutionary biology, the evidence of play behaviour is not restricted to humans – accordingly, such behaviour is hypothetically an appropriate attribute of transcendent superhuman entities as well. One thus may logically conclude that a non-anthropocentric world still allows depiction in terms of play. Such a depiction is not necessarily equal with conspiratorial one – they differ in perceived motivation and, in some cases, in scope – yet the-world-as-the-other’s-play and conspiracy theories are closely related worldviews and, as such, can over-lap. Demonstrating the importance of the existential in question in the works by H.P. Lovecraft, the key author in the field, the study proceeds to examine the fiction by T. Ligotti, L. Barron, M. Podlewski, and D. Wong (J. Pargin), showing the variety of representations of the-world-as-the-other’s-play in the cosmic horror literature.
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Matek, Ljubica. "Teaching Horror Literature in a Multicultural Classroom." ELOPE: English Language Overseas Perspectives and Enquiries 12, no. 1 (2015): 61–73. http://dx.doi.org/10.4312/elope.12.1.61-73.
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As a genre, horror tends to be marginalized in literature classes because it is often mistakenly perceived to be inappropriate for the classroom environment due to the intensive emotional effects that the genre’s typical macabre motifs and topics may produce in the reader. However, this paper argues that, for two reasons, horror texts represent a valid and important addition to a literary syllabus. First, they typically have a positive impact on the students’ increased interest in reading, which is, in the pedagogical and scholarly sense, a desirable activity. Second, they tend to contribute significantly to the development of empathy with and tolerance for others, which is an especially valuable learning outcome in a multicultural classroom characterized by implied intercultural communication.
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Khvostov, A. A. "The Origins Horror Genre in Children’s Literature." Izvestia of Saratov University. New Series. Series: Sociology. Politology 11, no. 3 (2011): 40–45. http://dx.doi.org/10.18500/1818-9601-2011-11-3-40-45.
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Sergienko (Antipova), Inna. "“Horror” Genres in Modern Russian Children's Literature." Russian Studies in Literature 52, no. 2 (2016): 171–89. http://dx.doi.org/10.1080/10611975.2016.1243381.
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Ivanova, Andriana, and Yuliia Hliudzyk. "EMOTIONAL COLOURING OF HORROR LITERATURE: TRANSLATIONAL ASPECT." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 15(83) (2022): 79–83. http://dx.doi.org/10.25264/2519-2558-2022-15(83)-79-83.
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The article elucidates the emotivity of horror literature in the light of translation studies. Based upon the classical material of the research the specificity of emotions’ verbalization has been discussed. The dominant negative emotions such as agony, fierce, anger, hatred are depicted jointly and tightly. A prominent emotive feature of the horror genre is emotions’ depiction on physiological processes. It allows describing hero’s emotional worries through the prism of inner changes in his/her state of health and body in general. The article touches upon the most vivid descriptions of physiological changes depicting emotions and emotive sketches with somatisms blood and heart. Horror genre texts are full of emotive paragraphs and reveal the inner world oh heroes’ emotions. Emotions in horror literature are depicted by means of nomination and contextual description with the help of lexical and linguostylistic means. Preserving the emotive component in the target text is a complex and crucial task for a translator. Rendering emotivity without overinterpretation of the source text and without imposing one’s personal emotional world requires a high level of professionalism. Translators rendering the negative palette of emotions face stylistic omissions and neutralizations that results in the low level of emotivity in the target text. Alongside, stylistic equivalents are also present the target texts that proves the translators’ willingness and desire to be close to the author of the original. Emotional tension and suspense that are also considered necessary to be saved in the target text are preserved by the translators using stylistic intensification and equivalents.
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Jones, Karis, Alex Corbitt, and Scott Storm. "Humanizing Horror: Rereading Monstrosity in Popular Literature." English Journal 112, no. 2 (2022): 85–92. http://dx.doi.org/10.58680/ej202232173.
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González Grueso, Fernando Darío. "El horror en la literatura." ACTIO NOVA: Revista de Teoría de la Literatura y Literatura Comparada, no. 1 (November 30, 2017): 27–50. http://dx.doi.org/10.15366/actionova2017.1.002.
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A partir del ensayo “Supernatural Horror in Literature”, de H. P. Lovecraft, hemos construido un modelo descriptivo coherente del género literario del horror con sus relaciones internas y externas, y que bien podría servir de punto de partida para posibles ampliaciones. Para ello, hemos cotejado, revisado y desarrollado determinados conceptos de los estudios clave sobre el miedo, desde Aristóteles hasta los más recientes acercamientos, pasando por Radcliffe, Freud, Delumeau, Kristeva, Carroll, y Jackson, entre otros, y hemos determinado las diferencias entre dos géneros tan cercanos como el terror y el horror. El presente artículo analizará diversos acercamientos teóricos al respecto, que van desde la historia de la literatura, al psicoanálisis, la psicología y la teoría literaria, buscará puntos en común y desarrollará conceptos teóricos clave para la demarcación del genero del horror, y que es, desde hace tiempo, un género perfectamente delimitado.
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Renner, Karen J. "Global TV Horror." Comparative Literature Studies 60, no. 1 (2023): 184–87. http://dx.doi.org/10.5325/complitstudies.60.1.0184.
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Malykh, Vyacheslav Sergeevich. "RUSSIAN AND AMERICAN HORROR FICTION AS A GENRE, CREATIVE WRITING AND EDUCATIONAL PHENOMENON: A PROBLEM STATEMENT." Russian Journal of Multilingualism and Education 11, no. 1 (2019): 63–69. http://dx.doi.org/10.35634/2500-0748-2019-11-63-69.
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Although the genre of horror has gained an extraordinary popularity in contemporary literature, it still raises controversy among specialists. The situation in Russia is especially complicated. Until the beginning of the 20th century, Russian horror fiction used to develop concurrently with the evolution of horror genre in the U.S., but after the revolution of 1917 and until the late 1980s this tradition was interrupted in Russia. Therefore, nowadays the question “What is horror fiction?” is unclear for Russian philologists, the question “How to write horror fiction?” is unclear for Russian 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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Kimberly Hall. "The Pleasures of Horror." Science Fiction Studies 38, no. 3 (2011): 532. http://dx.doi.org/10.5621/sciefictstud.38.3.0532.
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Perry, Leslie Anne, and Rebecca P. Butler. "Are Goosebumps Books Real Literature?" Language Arts 74, no. 6 (1997): 454–56. http://dx.doi.org/10.58680/la19973245.
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Argues that, regardless of whether they have literary merit, the "Goosebumps" books (a series of mildly scary horror books for preteens) are getting children hooked on reading, some of whom do not otherwise read. Discusses students’ attitudes toward the series.
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Balthaser, Benjamin. "Horror Cities." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 1 (2020): 139–59. http://dx.doi.org/10.1215/02705346-8085147.
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In both art and politics, the deindustrialized city would seem to have taken on the qualities of the “unrepresentable,” a traumatic experience that can only be recorded by its attendant silence, or of depoliticized representation in genres such as “ruin porn.” Despite or perhaps because of this, the postindustrial city is ubiquitous within the genres of scifi/speculative, fantasy, and horror cinema, appearing consistently as backdrop, symbol, animus, and even in some cases, character. Given the wide literature on horror film, haunting, and traumatic memory, this article suggests we read the emergence of the “horror city” as a representation of the political unconscious of this historical conjuncture. Many films refer back to older mythologies of imperial and racial conquest, but also by doing so represent the symbol of modernity—the city—as travel back to a traumatic past. Yet within this return to history, there is a contest over allegory. Contrasting neoconservative narratives of films like The Road (dir. John Hillcoat, US, 2009) and the slasher film Hostel (dir. Eli Roth, US/Germany/Czech Republic/Slovakia/Iceland, 2005) suggests that the future has not vanished but rather has been spatially dislocated to the peripheries, as the modern site of production returns to inflict pain only on those unaware of its existence. And perhaps more radical still, two independent films, Vampz (dir. Steve Lustgarten, US, 2004) and Hood of the Living Dead (dir. Eduardo and Jose Quiroz, US, 2005), suggest that the abandoned city is still a site for the basic labor of human reproduction even as the infrastructure of full employment has vanished. As a counternarrative to both “ruin porn” and the “horror city,” these low-budget films offer the deindustrialized city as a site of mutuality and political contestation rather than a mystified object of horror and abjection.
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Hantke, Steffen, and Jack Morgan. "The Biology of Horror: Gothic Literature and Film." Rocky Mountain Review of Language and Literature 57, no. 1 (2003): 95. http://dx.doi.org/10.2307/1348041.
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Richter, David, and Manuel Aguirre. "The Closed Space: Horror Literature and Western Symbolism." Modern Language Review 87, no. 3 (1992): 710. http://dx.doi.org/10.2307/3732964.
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Helmer, Dona J. "Book Review: Ghosts in Popular Culture and Legend." Reference & User Services Quarterly 56, no. 4 (2017): 303. http://dx.doi.org/10.5860/rusq.56.4.303b.
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The co-editors are June Pulliam, who teaches classes in horror literature, YA fiction, and film, and Anthony Fonesca, who has written about horror and also has a background in information literacy. They previously co-authored Hooked on Horror: A Guide to Reading Interests in the Genre, and have now applied their talents and expertise to create a work that contains accessible information about a popular topic.
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Peh, Li Qi. "Stedman's Horror, Blake's Indifference." ELH 90, no. 2 (2023): 367–91. http://dx.doi.org/10.1353/elh.2023.a900599.
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Jennifer Lipka. ""The horror! The horror!": Joseph Conrad's Heart of Darkness as a Gothic Novel." Conradiana 40, no. 1 (2007): 25–37. http://dx.doi.org/10.1353/cnd.0.0006.
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Falvey, Eddie. "‘Art-horror’ and ‘hardcore art-horror’ at the margins: Experimentation and extremity in contemporary independent horror." Horror Studies 12, no. 1 (2021): 63–81. http://dx.doi.org/10.1386/host_00029_1.
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The changing forms of contemporary horror have been the subject of much discussion, both in popular journalism and scholarship. Amid an on-going discussion on the arrival and characteristics of what has been contentiously termed ‘post-horror’, this article seeks to situate recent independent American horror within the context of the recent art film, in keeping with the work of Geoff King, as well as the traditions of ‘art-horror’ as it has been referred to by Joan Hawkins. Using a series of examples taken from recent independent horror – including A Ghost Story (David Lowery 2017) and The Lighthouse (Robert Eggers 2019), as well as the micro-budget independent films of Phil Stevens – Falvey makes use of King’s work to explore the textual characteristics of recent ‘art-horror’. Falvey argues that films iterative of this mode employ experimentation and extremity (in various forms) to discursively position the films away from more generically recognizable studio horror films in a bid for critical distinction.
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Álvarez Trigo, Laura, and Xavier Aldana Reyes. "Digital Gothic: An Interview with Xavier Aldana Reyes." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (2022): 16–30. http://dx.doi.org/10.37536/reden.2022.3.1812.
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 Xavier Aldana Reyes is Reader/Associate Professor in English Literature and Film at Manchester Metropolitan University and a founder member of the Manchester Centre for Gothic Studies. He is author of Gothic Cinema (2020), Spanish Gothic (2017), Horror Film and Affect (2016) and Body Gothic (2014), and editor of Twenty-First-Century Gothic: An Edinburgh Companion (with Maisha Wester, 2019), Horror: A Literary History (2016) and Digital Horror (with Linnie Blake, 2015). Xavier is chief editor of the Horror Studies book series at the University of Wales Press, and has edited anthologies of Gothic and horror fiction for the British Library. One of Xavier's research interests is the optical dynamics of found footage horror films. On this topic, he has published an article on narrative framing for Gothic Studies, and chapters on affective immersion in the film [REC] (2007) and viewer involvement and guilt in The Last Horror Movie (2003). More recently, he wrote a chapter on 'Online Gothic' that considers social media found footage horror for the collection The Edinburgh Companion to Globalgothic (2022).
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Sakina, Cintya Dara, and Esther Risma Purba. "Mitos dan paradoks diskursus perempuan dalam film horor Kuime (Over Your Dead Body)." Satwika : Kajian Ilmu Budaya dan Perubahan Sosial 6, no. 2 (2022): 366–83. http://dx.doi.org/10.22219/satwika.v6i2.22952.
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Genre horor seringkali menghadirkan perempuan sebagai sosok mengerikan dan menakutkan. Penggambaran tersebut berangkat dari mitos tentang perempuan yang sengaja direpresentasikan sebagai sosok yang mengancam laki-laki. Sebagai akibatnya, sosok menakutkan dan mengerikan diidentikkan dengan perempuan. Terkait dengan mayoritas karya bergenre horor yang menampilkan perempuan sebagai sosok yang menakutkan dan mengerikan dengan teror dan penampilannya, horor di Jepang yang biasa disebut dengan kaidan (怪談) juga masih mempertahankan praktik tersebut. Bahkan dalam kaidan, perempuan dinarasikan dan divisualisasikan secara lebih spesifik, yaitu ditampilkan dalam wujud hantu balas dendam. Terdapat paradoks hantu balas dendam sebagai tokoh jahat dalam cerita yang di sisi lain dimaklumi karena semasa hidupnya ia mengalami ketidakadilan dan penindasan oleh laki-laki. Penelitian ini dilakukan untuk menganalisis film Kuime yang menampilkan bahwa narasi dan visualisasi hantu perempuan Jepang merupakan sebuah diskursus dari pemahaman masyarakat Jepang mengenai perempuan. Metode yang digunakan dalam penelitian ini adalah studi pustaka dengan pendekatan kualitatif menggunakan teori analisis wacana kritis oleh Norman Fairclough. Teori tersebut mencakup analisis deskripsi linguistik dari teks, interpretasi hubungan antara proses diskursif dengan teks, serta hubungan antara proses diskursif dengan proses sosial. Hasil dari penelitian ini adalah terdapat diskursus posisi dan peran perempuan dalam masyarakat Jepang yang memengaruhi pembentukan mitos hantu perempuan pada karya bergenre horor di Jepang. Dengan adanya diskursus tandingan dalam paradoks hantu dan pembunuh perempuan pada film Kuime, dapat disimpulkan bahwa terdapat perubahan pada pemaknaan perempuan dalam film horor Jepang yang pada awalnya dimaknai sebagai bentuk manifestasi ketakutan laki-laki terhadap perempuan menjadi pemaknaan yang berpusat pada keberdayaan perempuan. The horror genre often portrays women as terrible Gambars. Women are deliberately represented as a menace to men. As a result, a frightening and terrible Gambar is identified as a woman. Related to the most of horror genre that represents women as terrifying Gambars with terror and grim appearance, Japanese horror, known as kaidan (怪談) also still maintains this practice. In kaidan, women are narrated and visualized more specifically in revenge ghost Gambars. There is a paradox in the vengeful female ghost who is seen as an evil character in the story, but her revenge is understandable because she was wronged and oppressed by men. This research was conducted to analyze Kuime, a Japanese horror film which shows that the narration and visualization of Japanese female ghosts is a discourse on the stereotypes about women in Japanese culture. The method used in this research is a literature study with a qualitative approach using the theory of critical discourse analysis by Norman Fairclough. The theory includes the analysis of the linguistic description of the text, the interpretation of the relationship between the discursive process and the text, and the relationship between the discursive process and the social process. The result of this research shows that discourse about the position and role of Japanese women builds the myth of female ghosts in Japanese horror. By the counter-discourse in the paradox of ghosts and female killers in Kuime, it can be concluded that there is a change in the meaning of women in Japanese horror films, which was interpreted as a manifestation of men's fear of women becoming centered to women's empowerment.
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Kulikova, Daria Leonidovna. "The vampires of A. V. Ivanov in light of the gothic tradition of Russian Literature." Litera, no. 6 (June 2021): 98–107. http://dx.doi.org/10.25136/2409-8698.2021.6.35873.
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The object of this research is the novel “Food Block” by A. V. Ivanov and the realization of aesthetics of the horror genre therein. The goal is to establish correlation between the gothic tradition of Russian literature and modern horror literature based on the works of the indicated authors. The article examines the influence of the gothic romantic tradition upon composition and imaginary system of A. K. Tolstoy’s novella. The material of A. V. Ivanov’s novel indicates resorting to the literary tradition on the level of composition and individual images; while overall, the historical experience accumulated by the genre over the decades and significant impact of cinematography manifested on the level of cinematographic techniques. The conclusion is made that in the novel by A. V. Ivanov, the mystical attributes of vampirism, which coincide with the pioneer symbolism, have political implications, which contradicts the horror traditions in gothics. Novellas “The Vampire” and" The Family of the Vourdalak” are the result of accumulation of gothic motifs, such as family curse, mystical house, dream, and portrait that came alive. Comparison of the techniques of creating horror literature allows tracing the paths of literary evolution, and formulating conclusions on modernization of the genre at the present stage. The novelty of this research is define by insufficient research of the topic of typological and genetic links between gothic and modern horror, namely in the works of A. V. Ivanov.
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Tolbert, Jeffrey A., and Dawn Keetley. "Folk horror: An introduction." Horror Studies 14, no. 2 (2023): 159–72. http://dx.doi.org/10.1386/host_00067_2.
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Our introduction to this Special Issue is premised on the fact that the rich critical work on folk horror has far from exhausted what can be (and needs to be) said about folk horror. There is a particular need for scholarship that extends its reach beyond Britain and for that which self-consciously interrogates, expands and complicates initial theoretical formulations of folk horror. There is a need, in short, for a ‘second wave’ of folk horror criticism that develops the first – that attends more specifically, for instance, to modes within folk horror (and folk horror as a mode), to the ways in which folk horror productions are rooted in particular places and regional lore, and to the ways in which those productions deploy literary, narrative, aesthetic, visual and acoustic strategies. There is also a need to identify and interrogate (in specific contexts) the key (defining) concepts of folk horror, especially the ‘folk’, folklore and horror – all three of which this introduction explores before it introduces the six essays in this Special Issue.
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Torres-Scott, Andrés. "Borges a la sombra de Lovecraft: There are More Things." Latinoamérica. Revista de Estudios Latinoamericanos, no. 71 (September 3, 2020): 37. http://dx.doi.org/10.22201/cialc.24486914e.2020.71.57187.
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Resumen:Este ensayo estudia el cuento “There are More Things” (TMT) como un pastiche en homenaje a Lovecraft. El análisis identifica cómo Borges construyó TMT al incluir una por una todas las características de la weird tale que explica Lovecraft en Introduction to Supernatural Horror in Literature, así como otros elementos de los cuentos de Lovecraft que probablemente leyó Borges. Como resultado, el cuento TMT de Borges no solo emula el estilo del horror cósmico de Lovecraft, sino que también incluye los ocho elementos que Lovecraft consideró indispensables en este género. This paper studies Borges’ short story “There are More Things” (TMT) as a pastiche in homage to Lovecraft. The analysis identifies how Borges built TMT by including one by one all the characteristics of the weird tale as explained by Lovecraft in his Introduction to Supernatural Horror in Literature as well as other elements from his tales that Borges probably read. As a result, Borges’ TMT is a tale that does not only emulates Lovecraft’s cosmic horror style, but also includes all the elements Lovecraft deemed indispensable in this genre. Palabras clave:Keywords: Borges, Lovecraft, weird tale, supernatural, cosmic horror, atmosphere.
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Yeung, Lorraine. "The Nature of Horror Reconsidered." International Philosophical Quarterly 58, no. 2 (2018): 125–38. http://dx.doi.org/10.5840/ipq2018326104.
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There is a growing interest in the role of non-cognitive affective responses in the philosophical literature on fiction and emotion. This flurry of scholarly interest is partly a reaction to cognitivist accounts of fiction and emotion that have been found to be inadequate. The inadequacy is particularly salient when this approach is employed to account for narrative horror. Cognitivist conceptions of the emotion engendered by narrative horror prove to be too restrictive. Cognitivist accounts also fail to give the formal devices and stylistic elements deployed in narrative horror a proper place within the spectator’s emotional engagement with it. In this paper I propose an alternative conception of the emotion “horror” that incorporates non-cognitive affective responses. I argue that this conception of “horror” is more fine-grained than the one characterized as a cognitivist approach. It captures more literary examples of the horror experience and it accommodates better the fear of the unknown. It also makes possible an aesthetics of horror in which formal devices and stylistic elements are given their proper place.
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Cuthbeth Tagwirei. "The “Horror” of African Spirituality." Research in African Literatures 48, no. 2 (2017): 22. http://dx.doi.org/10.2979/reseafrilite.48.2.03.
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Conti, Christopher. "Metaphysical Horror in Samuel Beckett." Twentieth Century Literature 69, no. 3 (2023): 329–62. http://dx.doi.org/10.1215/0041462x-10814839.
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Efforts to unravel the strands of philosophy and literature in Samuel Beckett’s work have marked each phase of its critical reception. While the archival turn in scholarship has shed valuable light on Beckett’s debts to philosophy, it has also exposed the rift between the epistemological assumptions of scholars and Beckett’s philosophy of ignorance. I argue that Beckett’s tragic view of philosophy took literary shape as a species of metaphysical horror, Leszek Kolakowski’s term for the failed quest for the absolute in Western thought. Beckett’s legacy is then viewed in a postsecular context as negative theodicy, the struggle to come to grips with the ethical and anthropological consequences of metaphysical horror.
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Davis, Adam C. "Horror Manga: An Evolutionary Literary Perspective." Evolutionary Studies in Imaginative Culture 6, no. 2 (2022): 1–20. http://dx.doi.org/10.26613/esic.6.2.296.
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Abstract This article provides support for the argument that horror media “works” by activating evolved cognitive and affective systems that are flexibly tailored to local socio-ecological contexts. Guided by previous work using evolutionary theory to study horror literature (e.g., Clasen 2012, 2018, 2019), I investigate horror manga’s popularity and international market, which indicate a cross-cultural preoccupation with horror transmedia that is explicable in terms of the form’s ability to target evolved psychological systems. Specifically, these multimodal texts elicit the evolved emotions of anxiety, fear, and disgust in response to culturally specific and evolutionarily relevant narratives, characters, antagonists, and environments. Thus, horror manga reflects the myths, folklore, and religious traditions of Japanese society in addition to salient ubiquitous evolutionary threats such as predators, antisocial conspecifics, and infectious diseases.
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Putri, Andini, and Katiah Katiah. "KREASI BENTUK BUSANA MONSTER THE NIGHTBOOKS UNTUK KESEMPATAN KARNAVAL." Style : Journal of Fashion Design 2, no. 2 (2023): 24. http://dx.doi.org/10.26887/style.v2i2.3721.
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The Nightbooks is a film that carries the fantasy horror genre made by Netflix. Directed by David Yarovesky, this kid-friendly horror film was released on September 2021, to welcome the arrival of Halloween celebrations in the United States. The Nightbooks revolves around Alex, a boy who is obsessed with horror stories and is framed by an eccentric-looking evil witch named Natacha. This study aims to produce fashion creations by representing Alex's horror book. The research was conducted through a qualitative descriptive method that describes ideas in the form of exploration, inspiration, and literature studies related to Alex's horror book and fashion design creations that are studied in more depth in terms of decorative design and fashion design elements. The result of research related to inspiration is a fashion design in the form of a wrinkled tube top, paired with a mini tutu skirt, equipped with a back decoration that adapts the monster contained on the cover of Alex's horror book.
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Castillo Aira, Itxaso del. "Found Footage Horror." Signa: Revista de la Asociación Española de Semiótica 26 (January 1, 2017): 815. http://dx.doi.org/10.5944/signa.vol26.2017.19918.
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Spears, Monroe K. "A Horror Story." Hudson Review 38, no. 3 (1985): 417. http://dx.doi.org/10.2307/3851369.
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Peirse, Alison. "Towards a feminist historiography of horror cinema." Horror Studies 13, no. 2 (2022): 231–49. http://dx.doi.org/10.1386/host_00056_1.
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Jackie Kong released four feature films between 1981 and 1987, including the horror films The Being (1981) and Blood Diner (1987). She directed all four films, while also working variously as screenwriter, producer and editor on individual productions. In this essay, I use Kong’s experiences of making horror films in the 1980s as a way of critically revisiting our histories of 1980s horror film culture. I offer a feminist model of doing horror film history: not only uncovering and illuminating the unknown or little-known work of women in horror film, but also critically thinking about the way we write our histories, and what this might say about our representation of personal, cultural and national identities. Ultimately, this essay is guided by the following question: what might a feminist historiography of horror cinema look like?
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Creel, James. "Gender, Horror, and War: Reading Saving Private Ryan as Horror Film." Journal of Popular Culture 53, no. 1 (2020): 215–34. http://dx.doi.org/10.1111/jpcu.12884.
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Araújo, Alexandre Xavier Gomes de, Mariana Pires Luz, William Berger, Luiz Felipe Pagotto, Ivan Figueira, and Mauro V. Mendlowicz. "Can horror movies induce PTSD-like syndrome?" Revista Latinoamericana de Psicopatologia Fundamental 22, no. 2 (2019): 360–75. http://dx.doi.org/10.1590/1415-4714.2019v22n2p360.11.
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We reported a case of a 10-year-old girl who developed a PTSD-like syndrome after watching a horror movie. After 6 years, the now 16-year-old patient still fulfilled the DSM-IV criteria for PTSD, except for the trauma itself. We reviewed the scientific literature for case reports of PTSD-like syndrome induced by horror movies and found 13 cases. In only two was the presence of the DSM criteria confirmed. Watching horror movies may thus trigger PTSD-like syndromes in vulnerable viewers
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Yang, Jessica S. "Dermatologic conditions as vehicles of horror in Gothic literature." Clinics in Dermatology 38, no. 5 (2020): 569–73. http://dx.doi.org/10.1016/j.clindermatol.2020.04.008.
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Сулемина, О. В., and Ю. С. Попова. "VARIATIVITY OF THE «HORROR OF DEATH» IN RUSSIAN LITERATURE." Актуальные вопросы современной филологии и журналистики, no. 3(50) (February 9, 2024): 66–70. http://dx.doi.org/10.36622/aqmpj.2023.37.28.011.
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Следуя работам А.А. Фаустова, С.В. Савинкова и А.А. Кретова, мы основываемся на понимании универсальности отдельных культурных, философских и литературных категорий для русской и мировой культуры и литературы. Мы также придерживаемся деления русской литературы на культурно-временные «срезы» и выделяем универсалии, характерные для каждого среза. В данной работе мы говорим об универсалии «ужас/ ужасное» и такой ее реализации, как «ужас смерти». Дается определение «ужасного», анализируется его репрезентация в творчестве русских писателей XVIII-XIX веков. Приводятся иллюстрации из зарубежных работ по философии и культурологи, которые подтверждают универсальность данной категории. При этом стоит отметить, что категория «ужасного» не является наиболее частотной, однако мы относим ее к значимым в связи с другими категориями и ее смысловой нагруженностью. Действительно, многие ученые сходятся во мнении, что человек проживает свою жизнь под действием осознаваемого или бессознательного страха/ ужаса смерти, который обусловливает его поступки и оказывает значительное влияние на формирование личности. В литературных произведениях смерть и отношение к ней героев также играют значительную роль. Мы в своей работе контурно обозначаем типичное для различных «срезов» русской литературы понимание «ужаса смерти» и попытки его преодоления. Особенное внимание уделяется «артистическому» преодолению «ужаса смерти» в творчестве А.С. Пушкина. Показано, как творчество позволяет лирическому субъекту создать собственный художественный мир, в котором он является демиургом и сам влияет на такие категории, как «жизнь» и «смерть». Это позволяет трансформировать ужас смерти в творческую деятельность и таким образом преодолеть его. Можно сделать выводы о том, что «ужас смерти» воспринимается по-разному в разные эпохи, но во всех случаях является одной из основополагающих категорий в литературе и культуре. Многие авторы в своих произведениях показывают его преодоление с помощью веры, разума, смирения, творчества.
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Kvistad, Erika. "In the Dark: The Afterlife of a Horror Hoax." Gothic Studies 25, no. 1 (2023): 42–60. http://dx.doi.org/10.3366/gothic.2023.0152.
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In the Dark, a 2007 webseries directed by Andrew Cull that purports to be the YouTube channel of a young woman documenting a haunting in her apartment, is arguably the first horror hoax webseries on YouTube. Two decades after the popular rise of two horror media traditions that make use of the storytelling power of hoaxes, the found footage horror film and creepypasta, this article returns to In the Dark as an early work that draws on both these modes and asks: what happens when a hoax gets old? If the credibility of a hoax is inherently time-limited, how might a work of hoax horror whose time has passed speak to us now? To explore the afterlife of In the Dark, I discuss this foundational but little-studied work in the context of earlier scholarship on genres and modes that make use of illusions of authenticity, like creepypasta, found footage film, and alternate reality games (ARGs). I discuss how In the Dark functioned as a hoax when it was originally published in 2007, examining its amateur aesthetics, its interactions with viewers, and its inclusion of apparently meaningless material to create a sense of authenticity and implicate the reader in the storytelling process. Reflecting on how the last fifteen years have changed the way this hoax appears to and works on viewers, I suggest that as the immediate credibility of a horror hoax diminishes, a different kind of horror effect takes over, allowing the hoax to function in new, unintended ways.
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Jets, Kairi. "How is Fear Constructed? A Narrative Approach to Social Dread in Literature." Interlitteraria 23, no. 2 (2019): 427–41. http://dx.doi.org/10.12697/il.2018.23.2.16.
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Fear-inducing narratives can be divided into two subtypes of horror and dread. While horror stories concentrate on a concrete visible object such as a monster, in dread narratives the object of fear is abstract or absent altogether. Pure forms of either are rare and most narratives mix both types, usually with dominant in one or the other. An interesting subtype of dread narratives is the narrative of social dread, where the fear is social in nature.
 One of the few narratologists to study construction of fear in arts, Yvonne Leffler suggests a variety of narrative techniques often used in horror fiction. Adjusting Leffler’s list of techniques for tales of dread instead of horror helps analysing the nature and amount of dread present in a range of different narratives from light reading and literary fiction to non-fiction. A narrative approach helps to reveal how non-fiction texts use similar techniques, and sometimes more extensively than fictional texts. Lionel Shriver’s We Need to Talk About Kevin (2003) is an excellent example of social dread in fiction, where societal failures are a big part of the fears induced, and the questions raised in the narrative are denied definite answers. Kanae Minato’s Confessions (2008) is closer to a thriller, because despite raising issues of societal failure, the work gives conclusive answers to all of the questions raised during the narrative. Although Haruki Murakami’s Underground (1997–98) is a nonfiction compiled from interviews of terror attack survivors, it nevertheless has the hallmarks of a social dread narrative, such as question-answer structure and abstractness of the source of fear. More importantly, Murakami’s work alternates between identifying and anticipatory readings, gives no definitive answers to the questions it poses, and the fear it conveys is social in nature.
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Mendagalieva, A. G. "REPRESENTATION OF EMOTIONAL CONCEPTS IN A. VARGO’S PROJECT." Culture and Text, no. 53 (2023): 168–76. http://dx.doi.org/10.37386/2305-4077-2023-2-168-176.
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The article reveals emotional concepts in A. Vargo’s prose, which is an example of the horror genre in modern Russian popular literature. It is emphasized that negatively colored emotional concepts are most frequently used, among which the concept of “fear”, which belongs to the genre-forming features of horror, occupies a special place. The means of textual representation of the concepts “fear”, “anxiety”, “panic”, “horror”, “disgust”, “anger”, “rage” are revealed. The main attention in the article is paid to the conceptualization of emotional states through body language, i.e. verbalization of physiological manifestations.