Relevant bibliographies by topics / Horror - Young Adult Fiction

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Academic literature on the topic 'Horror - Young Adult Fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Horror - Young Adult Fiction"

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

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Mind is influenced by socio-cultural religious belief systems, experiences and attributions in the development of psychophenomenology. Film viewing is a common entertainment among young adults.ObjectivesInfluence of repetitive watching of films of fiction and horror genres on onset phenomenology in young adults.MethodTwo case reports on onset of psychotic features and mixed anxiety depressive phenomenology were seen in two patients aged 16 and 20 years respectively and based on the fantastic imagination created by films. The 28-year-old female patient diagnosed with schizoaffective disorder had onset at 16 years of age and the course of phenomenology was influenced by the fiction movie ‘Jumanji’ with partial response to medications over 10 years. The depressive and anxiety symptoms of less than 6 months duration of a 20-year-old male patient was influenced by film ‘Hannibal’ and responded to antidepressant and cognitive behavior therapy.ConclusionsHorror and fiction films can influence the thinking patterns and attribution styles of a young adult by stimulating fantasy thinking which if unrestrained can lead to phenomenology. Viewing films compulsively, obsessive ruminations on horror and fictional themes can lead to onset of psychopathology of both psychosis and neurotic spectrum. Further research on neurobiological, psychological correlates is needed. Parental guidance and restricted viewing of horror genre films with avoidance of repeated stimulatory viewing of same genre movies in children, adolescents, young adults and vulnerable individuals is required.Disclosure of interestThe authors have not supplied their declaration of competing interest.
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Dahal, Arvind. "Morbidity in Young Adult Literature: A Case Study in the Outsiders." Interdisciplinary Journal of Management and Social Sciences 1, no. 1 (October 1, 2020): 1–5. http://dx.doi.org/10.3126/ijmss.v1i1.34501.

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The inevitable and universal nature of death has made it a popular topic in Young Adult literature. While death recurs in these stories however, death in young adult novels is much darker and more complex. In this light, this paper discusses why is the issue of death in Young Adult fiction is still a safe place to discuss from the novel “The Outsiders”. It argues that the young adults find themselves in a state of morbid fear and realize that what for them is the site of joy and peace is a place of horror to the adults.
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Austin, Sara. "Monstrous Bodies: Feminine Power in Young Adult Horror Fiction by June Pulliam." Children's Literature Association Quarterly 40, no. 1 (2015): 97–99. http://dx.doi.org/10.1353/chq.2015.0009.

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Marshall, Andrea. "Our stories, our selves: Star Wars fanfictions as feminist counterpublic discourses in digital imaginaria." Journal of Fandom Studies 8, no. 3 (September 1, 2020): 277–88. http://dx.doi.org/10.1386/jfs_00024_1.

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Fanfiction has a long and varied history in the Star Wars franchise since it began in 1977 with the debut of the first film, Star Wars Episode IV: A New Hope. The decade of the 1970s created new possibilities for science fiction multiverses and metanarratives; science fiction became an adaptive film genre that could be reimagined with seemingly infinite narrational results. The myriad of genre films that were released in the mid-to-late 1970s revealed dynamic syntheses with horror (e.g. Alien, Invasion of the Body Snatchers and Close Encounters of the Third Kind), franchises that previously had existed solely on television (Star Trek: The Motion Picture) and musical theatre (The Rocky Horror Picture Show). Cinematic audiences became increasingly accustomed to science fiction tropes and themes in film; audience participation in the theatre (e.g. The Rocky Horror Picture Show) expanded to print zines (often with fanfiction) for multiple franchises as well as fan conventions. Fanfiction’s beginnings as an analogue culture dramatically changed with the advent of the internet and the evolution of fandoms as digital cultures. Web-based platforms such as FanFiction.net and Archive of Our Own (AO3) host sundry fan communities’ creative outputs including podcasts, art and, most frequently, fanfiction stories. The release of Star Wars: The Force Awakens in 2015 immediately captured the fandom’s imagination; the animosity and tension between the new villain Kylo Ren (Ben Solo) and protagonist Rey of Jakku particularly fascinated the young adult fans who were lately converted to the Star Wars fandom due to this pairing (known as Reylo within the fandom and within cinematic circles). The newest generations of fans were acclimated to audience participation and paratextual interactions due to their positions as digital natives. The Reylo fan phenomenon particularly erupted into fanfictions as critical data artefacts, even predicting Reylo as a romantic pairing years before the second and third films in the franchise trilogy Star Wars: The Last Jedi and Star Wars: The Rise of Skywalker. The Reylo pairing is just one example of how online Star Wars fanfiction communities expand audience participation to autonomous collective identity formation. This article examines feminist fanfictions in the Star Wars fandom as gendered critical data artefacts, as collaborative communities of practice, and as counterpublic discourses that apply feminist critiques to conventional gender roles within the most recent film trilogy and the fandom itself.
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MacRae, Cathi Dunn. "Presenting Young Adult Fantasy Fiction." English Journal 88, no. 3 (January 1999): 115. http://dx.doi.org/10.2307/821601.

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White, Donna R. "Young Adult Science Fiction (review)." Lion and the Unicorn 24, no. 3 (2000): 473–75. http://dx.doi.org/10.1353/uni.2000.0036.

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Belbin, David. "What is young adult fiction?" English in Education 45, no. 2 (June 2011): 132–45. http://dx.doi.org/10.1111/j.1754-8845.2011.01094.x.

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Harrison, Jennifer. "Why Young Adult Speculative Fiction Matters." Libri et Liberi 7, no. 1 (September 11, 2018): 172–73. http://dx.doi.org/10.21066/carcl.libri.2018-07(01).0009.

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Basu, Balaka. "Female Rebellion in Young Adult Dystopian Fiction." Contemporary Women's Writing 10, no. 1 (July 23, 2015): 147–49. http://dx.doi.org/10.1093/cww/vpv013.

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Rochelle, Warren. "Young Adult Science Fiction (review)." Children's Literature Association Quarterly 25, no. 4 (2000): 223–24. http://dx.doi.org/10.1353/chq.0.1323.

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Dissertations / Theses on the topic "Horror - Young Adult Fiction"

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Hodge, Diana Victoria, and dhodge@utas edu au. "Victorianisms in twentieth century young adult fiction." Deakin University. School of Communication and Creative Arts, 2006. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20060525.151043.

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Abstract: This thesis investigates the origins of contemporary fictional constructions of childhood by examining the extent to which current literary representations of children and childhood have departed from their Victorian origins. I set out to test my intuition that many contemporary young adult novels perpetuate Victorian ideals and values in their constructions of childhood, despite the overt circumstantial modernity of the childhoods they represent. The question this thesis hopes to answer therefore is, how Victorian is contemporary young adult fiction? To gauge the degree of change that has taken place since the Victorian period, differences and points of continuity between representations of nineteenth century childhood and twentieth century childhood will be sought and examined in texts from both eras. The five aspects of fictional representation that I focus on are: notions of innocence; sexuality; the child as saviour; the use of discipline and punishment to create the ideal child; and the depiction of childhood and adulthood as separate worlds. The primary theoretical framework used derives from Michel Foucault’s concepts of the construction of subjectivity through discourse, discipline and punishment, and his treatment of repression and power, drawn mainly from The History of Sexuality vol. 1 (1976) and Discipline and Punish; the Birth of the Prison (1977). I have chosen to use Foucault primarily because of the affinity between his work on the social construction of knowledge and the argument that childhood is a constructed rather than essential category; and because Foucault’s work on Victorian sexuality exposes links with current thinking rather than perpetuating assumptions about sexual repression in this period.
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Lou, Sabrina. "Paradise girls : contemporary realistic young adult fiction /." Access resource online, 2009. http://scholar.simmons.edu/handle/10090/12593.

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Escuadro, Nicole. "Desire and discourse in innovative young adult fiction." CONNECT TO ELECTRONIC THESIS, 2008. http://dspace.wrlc.org/handle/1961/5526.

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Jangula, Mootz Kaylee Blanche. "Resisting Rape Myths in Young Adult Fiction: An Analysis of Young Adult Novels Speak and Crank." Thesis, North Dakota State University, 2016. https://hdl.handle.net/10365/28035.

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Introducing young people to fiction that depicts rape is important in that reading this type of fiction can be a more effective strategy for reducing rape-myth acceptance in young people than lecture-based prevention programs. To be fully effective, literature used for lowering rapemyth acceptance must fully resist rape myths. This paper analyzes Speak by Laurie Halse Anderson and CRANK by Ellen Hopkins to find the ways in which each novel resists and conforms to rape myths, to determine whether these texts would be suitable for reducing rapemyth acceptance, and to identify ways in which future texts that aim to reduce rape-myth acceptance in young readers can be more effective. Neither Speak nor CRANK fully resists rape myths, which reinforces the validity of rape myths to young adult readers. Both novels resist rape myths that attempt to deny the reality of rape while conforming to rape myths that blame the victim.
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Martin, Patricia L. "Minority protagonists in the young adult historical fiction novel." [Denver, Colo.] : Regis University, 2007. http://165.236.235.140/lib/PMartin2007.pdf.

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Moore, John Noell. "Tracing the weave : reading and interpreting young adult fiction /." Diss., This resource online, 1995. http://scholar.lib.vt.edu/theses/available/etd-02022007-133645/.

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Komninou, Nikolitsa. "The awarded young adult novel in Greece (1985-2004)." University of Sydney, 2006. http://hdl.handle.net/2123/2764.

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Master of Philosophy
The purpose of this study was to examine the adolescent novels that were awarded in Greece from 1985 till 2005 by four major organizations. The primary focus was to outline the main characteristics of the awarded adolescent novel that developed during the last 20 years in Greece and secondly, to examine the main characteristics of those awarded novels so as to understand the importance of this newly formed genre and the important role it can play in the development of the adolescent. In the first part of the study we outlined the development and the main characteristics of the adolescent novel while we focused on the different criteria that are used by the four major organizations that award and promote this literary genre in Greece. The second part of the study analyzes the various stages of the buildingsroman as it’s seen through the themes of the novels, while a major component of it deals with the way the Greek identity is portrayed and promoted as well as the model of the adolescent hero. The study suggested that adolescence is the period between childhood and adulthood, during which the adolescent changes both biologically and psychologically and those changes are directly related to his/her future personality. The study also indicates that the adolescent novel describes that period that coincides with the final stages of the maturation of the teenager. Therefore, the adolescent readers identify themselves with the heroes, their emotions, and the various problems with references to the surrounding environment and the every day life. It was also suggested that the adolescent reader can discover a role model in the novel’s heroes and heroines which could lead to a self evaluation and an evaluation of the others around him, while at the same time he/she can enjoy the entertainment and aesthetic values of the novel.
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Maggiulli, Katrina. "Going Feral: The Utopian Horror of Human-Animal Hybrids." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20463.

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According to the material feminist corpus, namely Stacy Alaimo’s concept of trans-corporeality, material flows and interconnectivity between humans and their environment insists that the human body has never been atomistic, but rather a porous figure that continually interacts/intra-acts with its environment. The recent biotechnological boom allowing for the production of human-animal hybrids (chimeras) provides the kind of visualization of these interconnectivities that can help instigate a reconception of the human—as not human at all, but rather posthuman. This study looks at the presence of these human-animal hybrids in popular art media, specifically: the horror film, Splice (Dir. Natali 2009); the YA novel, Inhuman (Falls 2013); and the comic, Sweet Tooth (Lemire 2009-2013). This thesis argues that the human-animal hybrid figure exhibits utopian horror, or the use of horror to produce new, better, ways of conceptualizing human-animal relationships, ones that acknowledge our already posthuman plurality of self.
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Al, Jomaa Mervat. "Re-mapping adolescence : psychoanalysis and narrative in young adult fiction." Thesis, University of Sheffield, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.715720.

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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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Books on the topic "Horror - Young Adult Fiction"

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

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Stine, R. L. The Second Horror: 99 Fear Street: The House of Evil #2. New York: Pocket Books, 1994.

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Demitri, Nezis, ed. Kiss of death. Edinburgh: Barrington Stoke, 2007.

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Shan, Darren. Koyasan. London: HarperCollins Children's, 2006.

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Vampire's kiss. New York, NY: HarperPaperbacks, 1994.

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Stine, R. L. The Third Horror: 99 Fear Street: The House of Evil #3. New York: Pocket Books, 1994.

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Hwdi. Talybont: Y Lolfa, 2013.

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Smith, L. J. Moonsong. New York: HarperTeen, 2012.

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Cast, P. C. Marked. London: Atom, 2009.

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Monster mirror. [USA]: Isabella Macotte, 2013.

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Book chapters on the topic "Horror - Young Adult Fiction"

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Ramdarshan Bold, Melanie. "A [Brief] History of Young Adult Fiction (YA)." In Inclusive Young Adult Fiction, 21–44. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-10522-8_2.

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Ramdarshan Bold, Melanie. "Introduction: ‘In an Era of Fear and Division, Fiction Plays a Vital Role in Dramatising Difference and Encouraging Empathy’." In Inclusive Young Adult Fiction, 1–20. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-10522-8_1.

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Ramdarshan Bold, Melanie. "The ‘Diversity’ Status Quo in the UK Publishing Industry." In Inclusive Young Adult Fiction, 45–91. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-10522-8_3.

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Ramdarshan Bold, Melanie. "The Construction of (Racialised) Author and Reader." In Inclusive Young Adult Fiction, 93–144. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-10522-8_4.

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Ramdarshan Bold, Melanie. "Conclusion: ‘Until There Are Enough People Like Us in Books, Writing Books, in the Industry, It’s Not Going to Change’." In Inclusive Young Adult Fiction, 145–50. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-10522-8_5.

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Waller, Alison. "Amnesia in Young Adult Fiction." In Memory in the Twenty-First Century, 286–91. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137520586_35.

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Flanagan, Victoria. "Posthumanism in Young Adult Fiction." In Technology and Identity in Young Adult Fiction, 11–38. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137362063_2.

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Gruner, Elisabeth Rose. "Introduction: Young Adults, Reading, and Young Adult Reading." In Constructing the Adolescent Reader in Contemporary Young Adult Fiction, 1–24. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-53924-3_1.

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Spring, Erin. "Place and Identity in Young Adult Fiction." In Identities and Subjectivities, 429–50. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-287-023-0_25.

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Smith, Michelle J., and Kristine Moruzi. "Gender and Sexuality in Young Adult Fiction." In The Palgrave Handbook of Contemporary Gothic, 609–22. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33136-8_36.

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