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Horror fiction

From Wikipedia, the free encyclopedia
This article is about the genre. For the film genre, seeHorror film.
"Horror story" redirects here. For other uses, seeHorror Story (disambiguation).
"Supernatural horror" redirects here. For the film genre, seeSupernatural horror film.

Count Dracula,avampirewho emigrates fromTransylvaniatoEnglandand preys upon the blood of living victims in the poster ofDracula(1931)
vampire, face of little green man, feather pen (quill) and fire-breathing dragon – to the right of that are scripted words "Speculative (over) Fiction"
Speculative fiction
Alternate history
Fantasy fiction
Science fiction
Horror fiction
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Horroris agenreofspeculative fictionthat is intended to disturb, frighten, or scare.[1]Horror is often divided into the sub-genres ofpsychological horrorand supernatural horror, which are in the realm of speculative fiction. Literary historianJ. A. Cuddon,in 1984, defined the horror story as "a piece of fiction in prose of variable length... which shocks, or even frightens the reader, or perhaps induces a feeling of repulsion or loathing ".[2]Horror intends to create an eerie and frightening atmosphere for the reader. Often the central menace of a work of horror fiction can be interpreted as ametaphorfor larger fears of a society.

History

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Before 1000

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Athenodorus and the ghost, by Henry Justice Ford, c. 1900
An illustration ofAndrew Lang's "Athenodorusconfronts the Spectre "

The horror genre has ancient origins, with roots in folklore and religious traditions focusing on death, the afterlife, evil, the demonic, and the principle of the thing embodied in the person.[3]These manifested in stories of beings such as demons, witches, vampires, werewolves, and ghosts. European horror-fiction became established through works of theAncient GreeksandAncient Romans.[4]Mary Shelley's well-known 1818 novel aboutFrankensteinwas greatly influenced by the story ofHippolytus,whomAsclepiusrevives from death.[5]Euripideswrote plays based on the story,Hippolytos KalyptomenosandHippolytus.[6]InPlutarch'sThe Lives of the Noble Grecians and Romansin the account ofCimon,the author describes the spirit of amurderer,Damon, who himself was murdered in abathhouseinChaeronea.[7]

Pliny the Younger(61 toc.113) tells the tale ofAthenodorus Cananites,who bought a haunted house inAthens.Athenodorus was cautious since the house seemed inexpensive. While writing a book on philosophy, he was visited by a ghostly figure bound in chains. The figure disappeared in the courtyard; the following day, the magistrates dug in the courtyard and found an unmarked grave.[8]

Elements of the horror genre also occur inBiblicaltexts, notably in theBook of Revelation.[9][10]

After 1000

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TheWitch of BerkeleybyWilliam of Malmesburyhas been viewed as an early horror story.[11]Werewolfstories were popular in medievalFrench literature.One ofMarie de France's twelvelaisis a werewolf story titled "Bisclavret".

A Print of Vlad III
Vlad the Impaler,the inspiration forCount Dracula.

The Countess Yolande commissioned a werewolf story titled "Guillaume de Palerme".Anonymous writers penned two werewolf stories," Biclarel "and"Melion".

Much horror fiction derives from the cruellest personages of the 15th century.Draculacan be traced to the Prince ofWallachiaVlad III,whose allegedwar crimeswere published inGermanpamphlets. A 1499 pamphlet was published by Markus Ayrer, which is most notable for itswoodcutimagery.[12]The alleged serial-killer sprees ofGilles de Raishave been seen as the inspiration for "Bluebeard".[13]The motif of the vampiress is most notably derived from the real-life noblewoman and murderer,Elizabeth Bathory,and helped usher in the emergence of horror fiction in the 18th century, such as through László Turóczi's 1729 bookTragica Historia.[14]

18th century

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Horace Walpolewrote the firstGothic novel,The Castle of Otranto(1764), initiating a new literary genre.[15]

The 18th century saw the gradual development ofRomanticismand theGothic horrorgenre. It drew on the written and material heritage of the Late Middle Ages, finding its form withHorace Walpole's seminal and controversial 1764 novel,The Castle of Otranto.In fact, the first edition was published disguised as an actual medieval romance from Italy, discovered and republished by a fictitious translator.[15]Once revealed as modern, many found itanachronistic,reactionary,or simply in poor taste, but it proved immediately popular.[15]OtrantoinspiredVathek(1786) byWilliam Beckford,A Sicilian Romance(1790),The Mysteries of Udolpho(1794),The Italian(1796) byAnn Radcliffe,andThe Monk(1797) byMatthew Lewis.[15]A significant amount of horror fiction of this era was written by women and marketed towards a female audience, a typical scenario of the novels being a resourceful female menaced in a gloomy castle.[16]

19th century

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Mary ShelleybyRichard Rothwell(1840–41)

TheGothic traditionblossomed into the genre that modern readers today call horror literature in the 19th century. Influential works and characters that continue resonating in fiction and film today saw their genesis in theBrothers Grimm's "Hänsel und Gretel"(1812),Mary Shelley'sFrankenstein; or, The Modern Prometheus(1818),John Polidori's "The Vampyre"(1819),Charles Maturin'sMelmoth the Wanderer(1820),Washington Irving's "The Legend of Sleepy Hollow"(1820),Jane C. Loudon'sThe Mummy!: Or a Tale of the Twenty-Second Century(1827),Victor Hugo'sThe Hunchback of Notre-Dame(1831),Thomas Peckett Prest'sVarney the Vampire(1847), the works ofEdgar Allan Poe,the works ofSheridan Le Fanu,Robert Louis Stevenson'sStrange Case of Dr Jekyll and Mr Hyde(1886),Oscar Wilde'sThe Picture of Dorian Gray(1890),Sir Arthur Conan Doyle's "Lot No. 249"(1892),H. G. Wells'The Invisible Man(1897), andBram Stoker'sDracula(1897). Each of these works created an enduring icon of horror seen in later re-imaginings on the page, stage, and screen.[17]

20th century

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A proliferation of cheap periodicals around the turn of the century led to a boom in horror writing. For example,Gaston Lerouxserialized hisLe Fantôme de l'Opérabefore it became a novel in 1910. One writer who specialized in horror fiction for mainstream pulps, such asAll-Story Magazine,wasTod Robbins,whose fiction deals with themes of madness and cruelty.[18][19]In Russia, the writerAlexander Belyaevpopularized these themes in his storyProfessor Dowell's Head(1925), in which a mad doctor performs experimental head transplants and reanimations on bodies stolen from the morgue and which was first published as a magazine serial before being turned into a novel. Later, specialist publications emerged to give horror writers an outlet, prominent among them wasWeird Tales[20]andUnknown Worlds.[21]

H. P. Lovecraftin 1915

Influential horror writers of the early 20th century made inroads in these mediums. Particularly, the venerated horror authorH. P. Lovecraft,and his enduringCthulhu Mythostransformed and popularized the genre ofcosmic horror,andM. R. Jamesis credited with redefining theghost storyin that era.[22]

Theserial murdererbecame a recurring theme.Yellow journalismandsensationalismof various murderers, such asJack the Ripper,and lesser so,Carl Panzram,Fritz Haarman,andAlbert Fish,all perpetuated this phenomenon. The trend continued in the postwar era, partly renewed after the murders committed byEd Gein.In 1959,Robert Bloch,inspired by the murders, wrotePsycho.The crimes committed in 1969 by theManson Familyinfluenced the slasher theme in horror fiction of the 1970s. In 1981,Thomas HarriswroteRed Dragon,introducingDr. Hannibal Lecter.In 1988, the sequel to that novel,The Silence of the Lambs,was published.

Early cinema was inspired by many aspects of horror literature, and started a strong tradition ofhorror filmsand subgenres that continues to this day. Up until the graphic depictions of violence and gore on the screen commonly associated with 1960s and 1970sslasher filmsandsplatter films,comic bookssuch as those published byEC Comics(most notablyTales From The Crypt) in the 1950s satisfied readers' quests for horror imagery that thesilver screencould not provide.[23]This imagery made these comics controversial, and as a consequence, they were frequently censored.[24][25]

The modernzombietale dealing with the motif of the living dead harks back to works including H. P. Lovecraft's stories "Cool Air"(1925)," In The Vault "(1926), and"The Outsider"(1926), andDennis Wheatley's "Strange Conflict" (1941).Richard Matheson's novelI Am Legend(1954) influenced an entire genre of apocalyptic zombie fiction emblematized by the films ofGeorge A. Romero.

In the late 1960s and early 1970s, the enormous commercial success of three books -Rosemary's Baby(1967) byIra Levin,The ExorcistbyWilliam Peter Blatty,andThe OtherbyThomas Tryon- encouraged publishers to begin releasing numerous other horror novels, thus creating a "horror boom".[26][27]

Stephen King
Stephen King

One of the best-known late-20th century horror writers isStephen King,known forCarrie,The Shining,It,Misery,and several dozen other novels and about200 short stories.[28][29][30]Beginning in the 1970s, King's stories have attracted a large audience, for which he was awarded by the U.S. National Book Foundation in 2003.[31]Other popular horror authors of the period includedAnne Rice,Shaun Hutson,Brian Lumley,Graham Masterton,James Herbert,Dean Koontz,Richard Laymon,Clive Barker,[32]Ramsey Campbell,[33]andPeter Straub.

21st century

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Best-selling book series of contemporary times exist in genres related to horror fiction, such as thewerewolf fictionurban fantasyKitty Norvillebooks byCarrie Vaughn(2005 onward). Horror elements continue to expand outside the genre. Thealternate historyof more traditional historical horror inDan Simmons's 2007 novelThe Terrorsits on bookstore shelves next to genremash upssuch asPride and Prejudice and Zombies(2009), andhistorical fantasyandhorror comicssuch asHellblazer(1993 onward) andMike Mignola'sHellboy(1993 onward). Horror also serves as one of the central genres in more complex modern works such asMark Z. Danielewski'sHouse of Leaves(2000), a finalist for theNational Book Award.There are many horror novels for children and teens, such asR. L. Stine'sGoosebumpsseries orThe MonstrumologistbyRick Yancey.Additionally, many movies for young audiences, particularly animated ones, use horror aesthetics and conventions (for example,ParaNorman). These are what can be collectively referred to as "children's horror".[34]Although it is unknown for sure why children enjoy these movies (as it seems counter-intuitive), it is theorized that it is, in part, grotesque monsters that fascinate kids.[34]Tangential to this, the internalized impact of horror television programs and films on children is rather under-researched, especially when compared to the research done on the similar subject of violence in TV and film's impact on the young mind. What little research there is tends to be inconclusive on the impact that viewing such media has.[35]

Characteristics

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Samaelsits enrobed withscythein hand on top of the world, an illustration ofPoe's"The Raven"byGustave Doré(1884)

One defining trait of the horror genre is that it provokes an emotional,psychological,or physical response within readers that causes them to react with fear. One of H. P. Lovecraft's most famous quotes about the genre is that: "The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown."[36]the first sentence from his seminal essay, "Supernatural Horror in Literature".Science fiction historianDarrell Schweitzerhas stated, "In the simplest sense, a horror story is one that scares us" and "the true horror story requires a sense of evil, not in necessarily in a theological sense; but the menaces must be truly menacing, life-destroying, and antithetical to happiness."[37]

In her essay "Elements of Aversion", Elizabeth Barrette articulates the need by some for horror tales in a modern world:

The old "fight or flight" reaction of our evolutionary heritage once played a major role in the life of every human. Our ancestors lived and died by it. Then someone invented the fascinating game of civilization, and things began to calm down. Development pushed wilderness back from settled lands. War, crime, and other forms of social violence came with civilization and humans started preying on each other, but by and large daily life calmed down. We began to feel restless, to feel something missing: the excitement of living on the edge, the tension between hunter and hunted. So we told each other stories through the long, dark nights. when the fires burned low, we did our best to scare the daylights out of each other. The rush of adrenaline feels good. Our hearts pound, our breath quickens, and we can imagine ourselves on the edge. Yet we also appreciate the insightful aspects of horror. Sometimes a story intends to shock and disgust, but the best horror intends to rattle our cages and shake us out of our complacency. It makes us think, forces us to confront ideas we might rather ignore, and challenges preconceptions of all kinds. Horror reminds us that the world is not always as safe as it seems, which exercises our mental muscles and reminds us to keep a little healthy caution close at hand.[38]

In a sense similar to the reason a person seeks out the controlled thrill of aroller coaster,readers in the modern era seek out feelings of horror and terror to feel a sense of excitement. However, Barrette adds that horror fiction is one of the few mediums where readers seek out a form of art that forces themselves to confront ideas and images they "might rather ignore to challenge preconceptions of all kinds."

One can see the confrontation of ideas that readers and characters would "rather ignore" throughout literature in famous moments such asHamlet's musings about the skull ofYorick,its implications of the mortality of humanity, and the gruesome end that bodies inevitably come to. In horror fiction, the confrontation with the gruesome is often ametaphorfor the problems facing the current generation of the author.

There are many theories as to why people enjoy being scared. For example, "people who like horror films are more likely to score highly for openness to experience, a personality trait linked to intellect and imagination."[39]

It is a now commonly accepted view that the horror elements ofDracula's portrayal ofvampirismaremetaphorsfor sexuality in a repressedVictorian era.[40]But this is merely one of many interpretations of the metaphor of Dracula.Jack Halberstampostulates many of these in his essayTechnologies of Monstrosity: Bram Stoker's Dracula.He writes:

[The] image of dusty and unused gold, coins from many nations and old unworn jewels, immediately connects Dracula to the old money of a corrupt class, to a kind of piracy of nations and to the worst excesses of the aristocracy.[41]

Illustration from an 1882 issue ofPunch:An English editorial cartoonist conceives the IrishFenian movementas akin to Frankenstein's monster, in the wake of thePhoenix Park killings.
Menacing villains and monsters in horror literature can often be seen as metaphors for the fearsincarnateof a society.

Halberstram articulates a view of Dracula as manifesting the growing perception of thearistocracyas an evil and outdated notion to be defeated. The depiction of a multinational band ofprotagonistsusing the latesttechnologies(such as atelegraph) to quickly share, collate, and act upon new information is what leads to the destruction of the vampire. This is one of many interpretations of the metaphor of only one central figure of the canon of horror fiction, as over a dozen possible metaphors are referenced in the analysis, from the religious to theantisemitic.[42]

Noël Carroll'sPhilosophy of Horrorpostulates that a modern piece of horror fiction's "monster",villain,or a more inclusive menace must exhibit the following two traits:

  • A menace that is threatening — either physically, psychologically, socially, morally, spiritually, or some combination of the aforementioned.
  • A menace that is impure — that violates the generally accepted schemes of cultural categorization. "We consider impure that which is categorically contradictory".[43]

Scholarship and criticism

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In addition to those essays and articles shown above, scholarship on horror fiction is almost as old as horror fiction itself. In 1826, the gothic novelist Ann Radcliffe published an essay distinguishing two elements of horror fiction, "terror" and "horror." Whereas terror is a feeling of dread that takes place before an event happens, horror is a feeling of revulsion or disgust after an event has happened.[44]Radcliffe describes terror as that which "expands the soul and awakens the faculties to a high degree of life," whereas horror is described as that which "freezes and nearly annihilates them."

Modern scholarship on horror fiction draws upon a range of sources. In their historical studies of the gothic novel, bothDevendra Varma[45]and S. L. Varnado[46]make reference to the theologianRudolf Otto,whose concept of the "numinous"was originally used to describe religious experience.

A recent survey reports how often horror media is consumed:

To assess frequency of horror consumption, we asked respondents the following question: "In the past year, about how often have you used horror media (for example, horror literature, film, and video games) for entertainment?" 11.3% said "Never," 7.5% "Once," 28.9% "Several times," 14.1% "Once a month," 20.8% "Several times a month," 7.3% "Once a week," and 10.2% "Several times a week." Evidently, then, most respondents (81.3%) claimed to use horror media several times a year or more often. Unsurprisingly, there is a strong correlation between liking and frequency of use (r=.79, p<.0001).[47]

Awards and associations

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Achievements in horror fiction are recognized by numerous awards. TheHorror Writers Associationpresents theBram Stoker Awardsfor Superior Achievement, named in honor ofBram Stoker,author of the seminal horror novelDracula.[48]TheAustralian Horror Writers Associationpresents annualAustralian Shadows Awards.TheInternational Horror Guild Awardwas presented annually to works of horror and dark fantasy from 1995 to 2008.[49][50]TheShirley Jackson Awardsare literary awards for outstanding achievement in the literature of psychological suspense, horror, and the dark fantastic works. Other important awards for horror literature are included as subcategories within general awards for fantasy and science fiction in such awards as theAurealis Award.

Alternative terms

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Some writers of fiction normally classified as "horror" tend to dislike the term, considering it too lurid. They instead use the termsdark fantasyorGothic fantasyfor supernatural horror,[51]or "psychological thriller"for non-supernatural horror.[52]

See also

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References

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  1. ^Carroll, Noël (1990).The Philosophy of HorrororParadoxes of the Heart.New York, NY: Routledge. pp. 28, 36, 53.ISBN0-415-90145-6.Art-horror requires evaluation both in terms of threat and disgust.... some emotional states are the cognitive-evaluative sort. And, of course, I would hold that art-horror is one of these.... The audience's psychological state, therefore, diverges from the psychological state of characters in respect of belief, but converges on that of characters with respect to the way in which the properties of said monsters are emotively assessed.
  2. ^Cuddon, J.A. (1984)."Introduction".The Penguin Book of Horror Stories.Harmondsworth: Penguin. p.11.ISBN0-14-006799-X.
  3. ^Jackson, Rosemary (1981).Fantasy: The Literature of Subversion.London:Methuen.pp. 53–5, 68–9.
  4. ^"Even Ancient Greeks and Romans Enjoyed Good Scary Stories, Professor Says".phys.org.Archivedfrom the original on 13 October 2020.Retrieved2 September2020.
  5. ^Though the sub-title ofFrankensteinreferences thetitanPrometheus, none of the ancient myths about Prometheus is itself a horror tale.
  6. ^* Edward P. Coleridge, 1891, prose:full textArchived12 April 2006 at theWayback Machine
  7. ^* John Dryden, 1683:full textArchived12 June 2018 at theWayback Machine
  8. ^ Pliny the Younger (1909–14). "LXXXIII. To Sura". In Charles W. Eliot. Letters, by Pliny the Younger; translated byWilliam Melmoth;revised by F. C. T. Bosanquet. The Harvard Classics. 9. New York: P.F. Collier & Son.
  9. ^ Beal, Timothy(23 October 2018). "Left Behind Again: The Rise and Fall of Evangelical Rapture Horror Culture".The Book of Revelation: A Biography.Lives of Great Religious Books. Princeton: Princeton University Press (published 2018). p. 197.ISBN9780691145839.Retrieved9 April2021.Taken together with the rapture and tribulation themes in evangelical apocalyptic horror movies, this zombie connection testifies to the variety of ways that Revelation feeds into deep, largely repressed correspondences between religion and horror in contemporary culture.
  10. ^ Pippin, Tina (1992).Death and Desire: The Rhetoric of Gender in the Apocalypse of John.Wipf and Stock Publishers (published 2021). p. 105.ISBN9781725294189.Retrieved9 April2021.If these books were arranged in a bookstore, one would find all the women writers under 'science fiction.' The Apocalyse, on the other hand, would be found under 'horror literature.'
  11. ^Livermore, C. (2021).When the Dead Rise: Narratives of the Revenant, from the Middle Ages to the Present Day.D.S. Brewer. p. 43.ISBN978-1-84384-576-8.Archivedfrom the original on 1 June 2023.Retrieved1 June2023.
  12. ^Raymond T. McNally and Radu R. Florescu (1972). "In Search of Dracula." Houghton Milton. Pages 8–9.
  13. ^Kiernan, Dr. Jas. G. "Sexual Perversion, and the Whitechapel Murders." The Medical Standard: IV.5. G. P. Engelhard and Company: Chicago.
  14. ^in Ungaria suis cum regibus compendia data, Typis Academicis Soc. Jesu per Fridericum Gall. Anno MCCCXXIX. Mense Sepembri Die 8. p 188-193, quoted by Farin
  15. ^abcd"The Castle of Otranto: The creepy tale that launched gothic fiction"Archived3 July 2019 at theWayback Machine.BBC. Retrieved 15 July 2017
  16. ^Richard Davenport-Hines (1998).Gothic: 1500 Years of Excess, Horror, Evil and Ruin.London: Fourth Estate.
  17. ^Christopher Frayling (1996).Nightmare: The Birth of Horror.London: BBC Books.
  18. ^Brian Stableford,"Robbins, Tod", inDavid Pringle,ed.,St. James Guide to Horror, Ghost & Gothic Writers(London: St. James Press, 1998)ISBN1558622063(pp. 480–1).
  19. ^Lee Server.Encyclopedia of Pulp Fiction Writers.New York: Facts On File, 2002.ISBN978-0-8160-4578-5(pp. 223–224).
  20. ^Robert Weinberg,"Weird Tales" in M.B Tymn and Mike Ashley,Science Fiction, Fantasy, and Weird Fiction Magazines.Westport, CT: Greenwood, 1985.ISBN0-313-21221-X(pp. 727–736).
  21. ^"Unknown". in: M.B. Tymn and Mike Ashley, Science Fiction, Fantasy, and Weird Fiction Magazines. Westport: Greenwood, 1985. pp.694-698.ISBN0-313-21221-X
  22. ^"Medieval Studies and the Ghost Stories of M. R. James By Patrick J. Murphy".www.psupress.org.Archivedfrom the original on 17 March 2020.Retrieved17 March2020.
  23. ^Hutchings, Peter (2008).The A to Z of Horror Cinema.The A to Z Guide Series. Vol. 100. Lanham, MD: The Scarecrow Press, Inc. p. 72.ISBN978-0-8108-6887-8.Retrieved29 October2015.
  24. ^Collins, Max Allan(28 February 2013)."11 Most Controversial Comic Books"Archived18 December 2018 at theWayback Machine.HuffPost.Retrieved 5 February 2019.
  25. ^Hansen, Kelli (1 October 2012)."Banned Books Week: Comics and Controversy"Archived7 February 2019 at theWayback Machine.University of Missouri.Retrieved 5 February 2019.
  26. ^"Ira Levin'sRosemary's Baby(1967), Thomas Tyron'sThe Other(1971), and William Peter Blatty'sThe Exorcist(1971) were all released within a few years of one another...and their immense combined sales indicted to many publishers that horror was now a profitable marketing niche. "Simmons, David,American Horror Fiction and Class: From Poe to Twilight.London: Palgrave Macmillan 2017ISBN9781137532800(p.119)
  27. ^Pringle,David,"Rosemary's Baby", in Pringle (ed.)Modern Fantasy: The 100 Best Novels.London, Grafton, 1988.ISBN0246132140(p.103-5)
  28. ^Barone, Matt (8 November 2011)."The 25 Best Stephen King Stories"Archived7 February 2019 at theWayback Machine.Complex.Retrieved 5 February 2019.
  29. ^Jackson, Dan (18 February 2016)."A Beginner's Guide to Stephen King Books"Archived7 February 2019 at theWayback Machine.Thrillist.Retrieved 5 February 2019.
  30. ^Richard Bleiler,"Stephen King" in: Bleiler, Ed.Supernatural Fiction Writers: Contemporary Fantasy and Horror.New York: Thomson/Gale, 2003,ISBN9780684312507.(pp. 525-540).
  31. ^Hillel Italie (18 September 2003)."Stephen King receives honorary National Book Award".Ellensburg Daily Record.Archivedfrom the original on 16 April 2021.Retrieved12 September2010.Stephen King, brand-name writer, master of the horror story and e-book pioneer, has received an unexpected literary honor: a National Book Award for lifetime achievement.
  32. ^K.A. Laity "Clive Barker" in Richard Bleiler, ed.Supernatural Fiction Writers: Contemporary Fantasy and Horror.New York: Thomson/Gale, 2003. ISBN9780684312507(pp. 61–70).
  33. ^K.A. Laity, "Ramsey Campbell", in Richard Bleiler, ed.Supernatural Fiction Writers: Contemporary Fantasy and Horror.New York: Thomson/Gale, 2003.ISBN9780684312507(pp. 177–188.)
  34. ^abLester, Catherine (Fall 2016)."The Children's Horror Film".The Velvet Light Trap.78(78): 22–37.doi:10.7560/VLT7803.S2CID194468640.Archivedfrom the original on 1 May 2019.Retrieved1 May2019.
  35. ^Pearce, Laura J.; Field, Andy P. (2016). "The Impact of" Scary "TV and Film on Children's Internalizing Emotions: A Meta-Analysis".Human Communication Research.42(1): 98–121.doi:10.1111/hcre.12069.ISSN1468-2958.
  36. ^"Golden Proverbs".Archivedfrom the original on 16 May 2013.Retrieved15 December2012.
  37. ^Schweitzer, Darrell, "Why Horror Fiction?" inWindows of the Imagination.Berkeley Heights, NJ: Wildside Press, 1999.ISBN9781880448601(p. 64, 67).
  38. ^"Elements of Aversion".Archived fromthe originalon 28 February 2013.Retrieved2 November2012.
  39. ^Whyte, Chelsea (9 February 2019). "The benefits of being scared".New Scientist.241(3216): 8.doi:10.1016/S0262-4079(19)30224-6.S2CID126647318.
  40. ^Stephanie Demetrakopoulos (Autumn 1977). "Feminism, Sex Role Exchanges, and Other Subliminal Fantasies in Bram Stoker's" Dracula "".Frontiers: A Journal of Women Studies.2(3). University of Nebraska Press: 104–113.doi:10.2307/3346355.JSTOR3346355.
  41. ^"Technologies of Monstrosity"(PDF).Archived fromthe original(PDF)on 12 May 2013.Retrieved2 November2012.
  42. ^"Lecture Notes for Dracula".Archived fromthe originalon 25 October 2012.Retrieved2 November2012.
  43. ^"Horror Stories".Dating Ghosts.Archivedfrom the original on 6 January 2019.Retrieved6 January2019.
  44. ^Mrs Radcliffe,"On the Supernatural in PoetryArchived8 January 2023 at theWayback Machine",The New Monthly Magazine7 (1826): 145–52.
  45. ^Devendra Varma,The Gothic Flame(New York: Russell & Russell, 1966.
  46. ^S. L. Varnado, "The Idea of the Numinous in Gothic Literature," inThe Gothic Imagination,ed. G.R. Thompson (Pullman: Washington State University Press, 1974).
  47. ^Clasen, Mathias; Kjeldgaard-Christiansen, Jens; Johnson, John A. (July 2020)."Horror, personality, and threat simulation: A survey on the psychology of scary media".Evolutionary Behavioral Sciences.14(3): 213–230.doi:10.1037/ebs0000152.S2CID149872472.
  48. ^"The Bram Stoker Awards".Horror Writers Association. Archived fromthe originalon 10 March 2007.Retrieved13 April2010.
  49. ^"IHG Award Recipients 1994–2006".HorrorAward.org.Archived fromthe originalon 22 April 2009.Retrieved30 October2014.
  50. ^"IHG Award Recipients 2007".HorrorAward.org.Archivedfrom the original on 2 May 2015.Retrieved30 October2014.
  51. ^Brian Stableford,"Horror", inThe A to Z of Fantasy Literature(p. 204), Scarecrow Press, Plymouth. 2005.ISBN0-8108-6829-6.
  52. ^Brian Stableford, "Non-supernatural horror stories tend to be psychological thrillers, often involving criminals of an unusually lurid stripe." "The Discovery of Secondary Worlds:Some Notes on the Aesthetics and Methodology of Heterocosmic Creativity", inHeterocosms.Wildside Press LLC, 2007ISBN0809519070(p. 200).

Further reading

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[edit]
Library resourcesabout
Horror fiction
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