Ludic space in horror fiction

2021 ◽  
pp. 135-148
Author(s):  
Onni Mustonen
Keyword(s):  
2019 ◽  
Vol 7 (5) ◽  
pp. 23
Author(s):  
Dr. Sudhir V. Nikam ◽  
Mr. Rajkiran J. Biraje

This present research undertakes the extensive study of horror fiction genre with reference to the select novels of one of the finest and celebrated horror fiction writers of all time, Stephen King. This paper is a substantial assessment of the select horror fiction of King. The research problem revolves extensively around the word fear. Stephen King has conjured up the images of most horrific creatures, monsters, places, and stories, and some of the most enduring villains in fiction. These unimaginable evil beings test the limits of the protagonist. Some of these villains have gone to the extent of becoming as famous (or infamous) as the writer himself. Many of Stephen King villains are monsters of the human variety such as serial killers, power hungry despots, nihilists, etc. His most memorable and monumental characters are the supernatural ones who use their dark powers to twist the orderly world around them into a special place of chaos and pain. It has been assumed that the horror elements in the fiction of Stephen King are the result of his strategic use of supernaturalist and non-supernaturalist elements. The techniques that he uses to evoke horror in reader have been treated as a site for research attention by the researcher.


Author(s):  
Mathias Clasen

The most effective monsters of horror fiction mirror ancestral dangers to exploit evolved fears. For most of human evolutionary history, we have faced threats in the domains of predation, conspecific violence, contagion, status loss, and dangerous nonliving environmental features. We thus very easily acquire fears directed toward threats from these domains. This chapter argues that the nonrandom distribution of human fears is reflected in horror, which features stimuli that mirror evolved fears, often in incarnations that are exaggerated and/or counterintuitive for increased salience, including giant spiders, supernormal monsters such as evil clowns, and physics-violating ghosts. Many monsters are also equipped with contagion cues, thus exploiting an evolved disgust mechanism. Some monsters evoke moral disgust through their violation of norms. To strengthen audiences’ emotional responses to such monsters, horror artists often provide descriptions of characters’ reactions which are mirrored by the audience through an adaptive mechanism enabling emotional contagion.


Author(s):  
Edgar Allan Poe

Since their first publication in the 1830s and 1840s, Edgar Allan Poe's extraordinary Gothic tales have established themselves as classics of horror fiction and have also created many of the conventions which still dominate the genre of detective fiction. Yet, as well as being highly enjoyable, Poe's tales are works of very real intellectual exploration. Abandoning the criteria of characterization and plotting in favour of blurred boundaries between self and other, will and morality, identity and memory, Poe uses the Gothic to question the integrity of human existence. Indeed, Poe is less interested in solving puzzles or in moral retribution than in exposing the misconceptions that make things seem ‘mysterious’ in the first place. Attentive to the historical and political dimensions of these very American tales, this new critical edition selects twenty-four tales and places the most popular - ‘The Fall of the House of Usher’, ‘The Masque of the Red Death’, The Murders in the Rue Morgue; and ‘The Purloined Letter’ - alongside less well-known travel narratives, metaphysical essays and political satires.


2012 ◽  
Author(s):  
Ritwick Bhattacharjee ◽  
Saikat Ghosh
Keyword(s):  

Author(s):  
Michael Blyth

This chapter evaluates how the figure of Sutter Cane, the protagonist in John Carpenter's In the Mouth of Madness (1995), and his elevated celebrity persona, are very much a knowing homage to that other giant of horror fiction, Stephen King. To best understand how Sutter Cane is as much a product of King as he is of H.P. Lovecraft, it is worth noting that King himself is a graduate from the school of Lovecraft. Similar to the ways in which it makes reference to Lovecraft both on a surface and on a deeper textual level, In the Mouth of Madness also positions King as far more than a nominal surrogate for Cane. In addition to allusions to King's celebrity and popularity, perhaps more significantly it incorporates many themes central to King's fiction into its own narrative. Placing an author as a central character is one of King's signature tropes, and like many of King's writer-protagonists, Cane acts as a conduit for the ensuing horror.


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