Academic literature on the topic 'Psychological Horror fiction'
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Journal articles on the topic "Psychological Horror fiction"
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Antonyan, Zaruhi. "LINGUO-STYLISTICS OF HORROR IN E. A. POE’S SHORT STORIES." Armenian Folia Anglistika 20, no. 1 (29) (May 15, 2024): 80–92. http://dx.doi.org/10.46991/afa/2024.20.1.80.
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Horror is a genre of science fiction which is intended to, or has the capacity to frighten, scare or disgust the readers by inducing feelings of horror and terror. This piece of fiction in prose of variable length also shocks and startles the readers inducing feelings of repulsion or loathing through creating a frightening atmosphere. Horror is frequently supernatural, though it can be non-supernatural. Often the central menace of a work of horror fiction can be interpreted as a metaphor for the larger fears of a society. The present investigation of horror in E. A. Poe’s short stories through the linguo-stylistic and case study methods of analyses aims to disclose the very distinct role of horror fiction in the perspective of human emotions – a kind of “mediator” between the world and its reflection in the language. The results show that emotions as a psychological, physiological and philosophical phenomenon verbally reproduce the emotional attitude of the person towards the world, that emotions are contained, fixed, expressed and indicated in utterances in the form of ideas – and as such – emotions are a perfect object of linguo-stylistic study.
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Mckee, Gabriel. "“Reality – Is it a Horror?”." Journal of Gods and Monsters 1, no. 1 (July 18, 2020): 1–17. http://dx.doi.org/10.58997/jgm.v1i1.1.
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This paper discusses the works of author Richard S. Shaver, who rose to prominence in the science fiction world in the 1940s with stories describing a vast underworld of caverns under the surface of the earth. These caverns were inhabited by evil beings called “dero” that used high-tech devices to torment the inhabitants of the surface world. Shaver, who had spent several years in mental institutions prior to his writing career, claimed his stories were true, and Amazing’s editor, Raymond A. Palmer, aggressively promted the “Shaver Mystery.” This prompted a backlash from science fiction fandom against both Shaver and Palmer. This paper gives an overview of Shaver’s career and explores his world-system as a form of theodicy, drawing in particular on his novel Mandark, a retelling of portions of the Bible narrative. Shaver’s monsters and their devices are examples of an “influencing machine,” a commonly-occurring delusional phenomenon first described by psychologist Victor Tausk in 1919, an externalized force that a patient believes is the source of thoughts and sensations. This paper argues that, for Shaver, the dero provided a psychological framework for processing tragic and traumatic events, externalizing tormenting forces into monsters. His fiction then became a force for combatting those torments within a narrative context. Like other conspiracy theories, the Shaver Mystery seeks to impose order on a chaotic world.
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McAndrew, Francis T. "The Psychology, Geography, and Architecture of Horror: How Places Creep Us Out." Evolutionary Studies in Imaginative Culture 4, no. 2 (October 1, 2020): 47–62. http://dx.doi.org/10.26613/esic.4.2.189.
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Abstract Why do some types of settings and some combinations of sensory information induce a sense of dread in humans? This article brings empirical evidence from psychological research to bear on the experience of horror, and explains why the tried-and-true horror devices intuitively employed by writers and filmmakers work so well. Natural selection has favored individuals who gravitated toward environments containing the “right” physical and psychological features and avoided those which posed a threat. Places that contain a bad mix of these features induce unpleasant feelings of dread and fear, and therefore have become important ingredients of the settings for horror fiction and films. This article applies McAndrew and Koehnke's (2016) theory of creepiness to the study of classic horror settings and explores the role played by architecture, isolation, association with death, and other environmental qualities in the experience of creepiness and dread.
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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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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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Patra, Indrajit. "Exploring the intersection of Lovecraftian monstrosity and techno-body horror in selected works of Neal Asher: an examination of (post-)humanity." Multidisciplinary Reviews 6, no. 1 (July 2, 2023): 2023009. http://dx.doi.org/10.31893/multirev.2023009.
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This scholarly investigation aims to meticulously examine the various mechanisms employed by British science fiction writer Neal Asher in his works, including the Transformation trilogy (2015–17), Lockdown Tales (2020), and Lockdown Tales 2 (2023), to convey the erosion of humanity following profound physiological and cognitive changes. This research highlights how Asher skillfully combines elements of Lovecraftian grotesqueness with intricate portrayals of physical horror, thereby challenging conventional categorizations. These narratives feature a diverse ensemble of human and non-human protagonists, each subjected to transformative biotechnological, computational, and psychological enhancements. These processes raise questions about the feasibility of preserving even a semblance of humanity in an overwhelmingly advanced, distinctly post-human cosmological environment. While both biotechnological and Lovecraftian modes of horror explore humanity’s insignificance within a vast, indifferent, and often malevolent universe, Asher’s body of work consistently delves into the theme of how humans can retain their inherent humanity in the face of monstrous metamorphosis. Additionally, this investigation elucidates how such transformations give rise to the emergence of the “other” within oneself and the monstrous “Other” that takes center stage in the narrative. By exploring these themes, this study contributes to the scholarly discourse on the intersection of horror, transformation, and the preservation of humanity in science fiction literature.
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Benedetti, Fabrizio. "Placebos and Movies: What Do They Have in Common?" Current Directions in Psychological Science 30, no. 3 (June 2021): 274–79. http://dx.doi.org/10.1177/09637214211003892.
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Placebos are fake therapies that can induce real therapeutic effects, called placebo effects. It goes without saying that what matters for inducing a placebo effect is not so much the fake treatment itself, but rather the therapeutic ritual that is carried out, which is capable of triggering psychobiological mechanisms in the patient’s brain. Both laypersons and scientists often accept the phenomenon of the placebo effect with reluctance, as fiction-induced clinical improvements are at odds with common sense. However, it should be emphasized that placebo effects are not surprising after all if one considers that fiction-induced physiological effects occur in everyday life. Movies provide one of the best examples of how fictitious reality can induce psychological and physiological responses, such as fear, love, and tears. In the same way that a horror movie induces fear-related physiological responses, even though the viewer knows everything is fake, so the sight of a syringe may trigger the release of pain-relieving chemicals in the patient’s brain, even if the patient knows there is a fake painkiller inside. From this perspective, placebos can be better conceptualized as rituals, actions, and fictions within a more general framework that emphasizes the power of psychological factors in everyday life, including the healing context.
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Edwards, Makayla. "Taking the "Psycho" out of "Psycho-Killer"." Digital Literature Review 10, no. 1 (April 18, 2023): 37–49. http://dx.doi.org/10.33043/dlr.10.1.37-49.
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“Psycho”, “maniac”, and “madman” are all words that are found to be synonymous with serial killers and criminal activity. For decades, the media has perpetuated an extremely harmful image that those suffering from mental illness are violent and dangerous. These portrayals can be found across mediums from fictional books and movies to docuseries and podcasts. In the realm of fiction, specifically, some of the most harmful depictions can be found in horror films. These films tend to paint their villains to be caricatures of various psychiatric disorders including schizophrenia, bipolar disorder, dissociative identity disorder (formerly known as multiple personality disorder), and narcissistic personality disorder. These misrepresentations are not only grossly exaggerated but also highly inaccurate. In this piece, I will explore and expose the negative distortions of mental illness in various horror films. The scope will focus on two of the most influential psychological thrillers in the industry: Psycho and The Shining. These films each depict an antagonist who displays exaggerated traits indicative of mental illness. By deconstructing and comparing these traits with modern research on the mental illnesses they are meant to represent, I will expose the inaccuracies of these portrayals. Furthermore, I will outline the lasting impacts of these inaccuracies on both the public perceptions of mental illness, as well as help-seeking among individuals suffering from psychological disorders. Even if the characters in these popular films are fictional, the stigma they direct toward mental illness is very real and must be addressed.
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Flint, Azelina. "A Marble Woman: Is the omen good or ill? Louisa May Alcott’s exposé of Nathaniel Hawthorne’s repressed individualism in her domestic horror fiction." Horror Studies 14, no. 1 (April 1, 2023): 9–27. http://dx.doi.org/10.1386/host_00059_1.
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This article reassesses the place of Louisa May Alcott’s pseudonymous domestic horror fiction in the wider canon of her work. Traditionally, Alcott’s domestic horror writing has been viewed as an expression of her repressed authorial individualism and desire for incorporation into a male literary tradition. Through examining Alcott’s allusions to Nathaniel Hawthorne, I argue that her domestic horror writing exposes the traumatic repercussions of male individualism for women in the work of her contemporaries. Her pseudonymous horror novella, A Marble Woman (1865), appropriates Hawthorne’s allusions to the Pygmalion myth in his earlier novel, The Marble Faun (1860), to demonstrate that the male artist’s preoccupation with a lifeless muse is contingent upon acts of psychological abuse. Alcott interrogates Hawthorne’s elevation of the female copyist to demonstrate that Hawthorne only endorses women’s art when it supports male traditions of creativity, thereby placing women in a subordinate role that stunts their creative power. In place of copyism, Alcott promotes an equal relationship between male and female artists that enables women to critique the work of men. Her domestic horror writing should therefore be read as satirical commentary on the elevation of male artists in the work of her contemporaries in the Concord circle.
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Kalytiak, V. V. "GENRES' ECLECTICISM IN THE NOVEL BY VIKTORIA HRANETSKA "THE BODY©"." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 453–63. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-453-463.
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The article is dedicated to the analysis of the genres' eclecticism in the novel by Viktoria Hranetska "The body©". The purpose of an article is to find out the specifics of the genre on the base of the novel, the studying of the plot and compositional elements according to the postmodern discourse, the finding out the correlation between the different directions of the fantastic genre in the structure of the novel.
Research methods In the context of studying the literary work, we used the basic principles of mythological, comparative-historical, psychological and typological methods.
Results. The article deals with the genre and plot-compositional features of the novel "The body©", found out its leading motives, ways of representing them in the text and also postmodern features. We were able to identify the genres in which the text was created, and how they manifest themselves on the plot-compositional level.
Scientific novelty. The author explores the genesis of science fiction and its kinds on the material of the novel and also gives the characterization of the genres of science fiction, fantasy and horror. The author studies deeply the leading motifs of the horror literature – the motives the mettempsychosis with all its modifications on the example of the works of fiction of Ukrainian and world literatures for the first time. The article thoroughly analyzes the novel "The body©" as a postmodernist work of fiction wich have all features of postmodernism, in particular eclectic genres.
Practical significance. The main principles of research can be used for a deeper understanding of the characteristic features of the fantastic sub-genres, the ability to distinguish them from the general canvas of science fiction.
Dissertations / Theses on the topic "Psychological Horror fiction"
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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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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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Wiley, Antoinette Marchelle. "The Familiar Stranged." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1513009183178476.
Full textBooks on the topic "Psychological Horror fiction"
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Jones, E. Michael. Monsters from the Id: The rise of horror in fiction and film. Dallas, Tex: Spence Pub. Co., 2000.
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Psychological Horror Stories: A Collection of Psychological Horror Fiction for Adults. Independently Published, 2021.
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Pierce, Faith. Face You Wear: A Psychological Horror Novel. Crystal Lake Publishing, 2022.
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Grasso, Michael. Dark Age Resurgent: A Grim Science-Fantasy, Psychological-Horror, Existential Dread & Cosmic Horror Epic. Michael J Grasso, 2022.
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Grasso, Michael. Resonance of Decline: A Grim Science-Fantasy, Psychological-Horror, Existential Dread & Cosmic Horror Epic. Michael J Grasso, 2024.
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Myres, Connie. Rancor: A Paranormal Psychological Thriller. Feather and Fermion Publishing, 2015.
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Grasso, Michael. A Dark Age Resurgent: A Grim Science-Fantasy, Psychological-Horror, Existential Dread & Cosmic Horror Epic. Michael J Grasso, 2022.
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Lewis, Dawn, and Elle Klass. Chelsea: A Haunting and Chilling Horror. Books by Elle, Inc., 2021.
Find full textBook chapters on the topic "Psychological Horror fiction"
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Gordić Petković, Vladislava. "MOĆ PAMĆENJA I ZABORAVA KAO NARATIVNI I KULTUROLOŠKI IMPERATIV SAVREMENE PROZE." In JEZIK, KNJIŽEVNOST, MOĆ/LANGUAGE, LITERATURE, POWER, 423–35. Filozofski fakultet u Nišu, 2023. http://dx.doi.org/10.46630/jkm.2023.27.
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Emotions and their powers have for a long time been an object of study, but the course of the research has been determined by the radical decision to either locate emotion in discourse or to overemphasize their psychological concern. According to Renate Lachmann, the mnemonic capacities of literature include the representation and transmission of knowledge. The traumas of love and war are best situated in language and perhaps best expressed in words: despite its numerous deficiencies, the language is the only medium capable of collecting valuable meanings and the ultimate essence which incorporates pain and unhappiness, physical and emotional devastation, the brutal effects of violence on survivors, or the rise of brutality and confrontation with the imminent trauma as a lasting consequence which affects the individual characters. The novels by Amber Tamblyn, Toni Morrison, Ottessa Moshfegh, Tanja Stupar Trifunović and Ana Vučković, deal with a broad scope of strategies of coping with memory, violence, oblivion and trauma amid social forces that are impossible to suppress or to control. The fiction by these women authors offers a glimpse into the contemporary world, focusing mostly on the survivors who reexperience the retroactive horror and struggle to come to terms with the society’s collective memory and their own respective powers of survival. The narratives demonstrate that the distinction between the world of memory and the real world narrows, as the literary transformation of experience has to cope with antagonistic and ambivalent attitudes towards the tradition and the cultural practices of reality.