Corstorphine / Kremmel The Palgrave Handbook to Horror Literature

1. Auflage 2018
ISBN: 978-3-319-97406-4
Verlag: Springer Nature Switzerland
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 529 Seiten

Reihe: Progress in Mathematics

This handbook examines the use of horror in storytelling, from oral traditions through folklore and fairy tales to contemporary horror fiction. Divided into sections that explore the origins and evolution of horror fiction, the recurrent themes that can be seen in horror, and ways of understanding horror through literary and cultural theory, the text analyses why horror is so compelling, and how we should interpret its presence in literature. Chapters explore historical horror aspects including ancient mythology, medieval writing, drama, chapbooks, the Gothic novel, and literary Modernism and trace themes such as vampires, children and animals in horror, deep dark forests, labyrinths, disability, and imperialism. Considering horror via postmodern theory, evolutionary psychology, postcolonial theory, and New Materialism, this handbook investigates issues of gender and sexuality, race, censorship and morality, environmental studies, and literary versus popular fiction.


Kevin Corstorphine is Lecturer in American Studies at the University of Hull, UK. His work focuses on Gothic Studies, haunted space and place, the Ecogothic, and the study of popular fiction. Laura R. Kremmel is Assistant Professor of English at the South Dakota School of Mines & Technology, USA. Her work focuses on Gothic Studies, British Romanticism, Medical Humanities/History, Disability Studies, and Horror Film.

Autoren/Hrsg.

Corstorphine, Kevin

Kremmel, Laura R.

Inhaltsverzeichnis

1;Foreword;5
2;Acknowledgments;7
3;Contents;8
4;Notes on Contributors;12
5;Chapter 1: Introduction;20
5.1;The Origins and Evolution of Literary Horror;27
5.2;Themes of Literary Horror;30
5.3;Approaches to Literary Horror;33
5.4;Bibliography;36
6;Part I: The Origins and Evolution of Literary Horror;37
6.1;Chapter 2: Bhaya?naka (Horror and the Horrific) in Indian Aesthetics;38
6.1.1;Bibliography;48
6.2;Chapter 3: Horror in the Medieval North: The Troll;49
6.2.1;The Author Plays the “Nobody Knows” Card;50
6.2.2;Fifty Shades of Troll;50
6.2.3;Being Trollish;52
6.2.4;The Zombie and the Witch;54
6.2.5;The Eye of the Ghoul;55
6.2.6;Bibliography;57
6.3;Chapter 4: The Horror Genre and Aspects of Native American Indian Literature;60
6.3.1;Horrible, Fantastic Indians;62
6.3.2;Indian Horror;69
6.3.3;Bibliography;74
6.4;Chapter 5: Vampires, Shape-Shifters, and Sinister Light: Mistranslating Australian Aboriginal Horror in Theory and Literary Practice;76
6.4.1;Introduction;76
6.4.2;Three Strains: Toward a Modern Genre;77
6.4.3;Tracing an Aboriginal Horror Tradition;79
6.4.4;From Clarke’s “Weird Melancholy” to Aboriginal Horror Monsters;81
6.4.5;Horror as Aboriginal Myth: Selected Texts;83
6.4.6;Modern Horror Genre Fiction;87
6.4.7;Australian Aboriginality and Global Horror: A Conclusion;88
6.4.8;Bibliography;89
6.5;Chapter 6: Men, Women, and Landscape in American Horror Fiction;91
6.5.1;The Gendered American Landscape;93
6.5.2;Stephen King and the Goddess;95
6.5.3;A Group of Men Walk Through Snow to Discuss a Ghost;98
6.5.4;Conclusion;101
6.5.5;Bibliography;102
6.6;Chapter 7: Blood Flows Freely: The Horror of Classic Fairy Tales;104
6.6.1;Lesson in Violence;108
6.6.2;The Threat of Cannibalism;110
6.6.3;Horror Fairy Tales: A Postscript;112
6.6.4;Bibliography;112
6.7;Chapter 8: Turning Dark Pages and Transacting with the Inner Self: Adolescents’ Perspectives of Reading Horror Texts;114
6.7.1;The Ethnographic Eye: An Introduction to the Sites and Sights;114
6.7.2;Framing the Ethnographic Eyesight: The “Goodness of Fit” with Horror and Related Research;115
6.7.3;Inside the Ethnographic I: Themes of Engagement with Horror;117
6.7.3.1;Engagement with Horror as Reflexive Transaction;118
6.7.3.2;Engagement with Horror as Reflexive Transgression;120
6.7.3.3;Engagement with Horror as Reflective Transformation;121
6.7.3.4;Engagement with Horror as Reflexive Transtextuality;121
6.7.4;Conclusion: The Not So Insidious Is of Horror;123
6.7.5;Bibliography;124
6.8;Chapter 9: Horror and Damnation in Medieval Literature;126
6.8.1;Crucifixion;127
6.8.2;Saints’ Lives;127
6.8.3;Herod and Kindermord;129
6.8.4;Devils and Damnation;130
6.8.5;Confessional Literature;131
6.8.6;Horrifying Examples;132
6.8.7;Damnation Is the Greatest Fear;133
6.8.8;Romance and the Underworld;134
6.8.9;Travel Literature and the Horror of Other Religions;136
6.8.10;Bibliography;138
6.9;Chapter 10: The Jacobean Theater of Horror;140
6.9.1;Bibliography;150
6.10;Chapter 11: “A Mass of Unnatural and Repulsive Horrors”: Staging Horror in Nineteenth-Century English Theater;152
6.10.1;Bibliography;165
6.11;Chapter 12: Horror in Gothic Chapbooks;168
6.11.1;Rise of the Gothic Chapbook;169
6.11.2;Horror: The Order of the Day;171
6.11.3;Adding Horror upon Horror;174
6.11.4;Bibliography;176
6.12;Chapter 13: “We Stare and Tremble”: Eighteenth- and Nineteenth-Century Horror Novels;177
6.12.1;Bibliography;189
6.13;Chapter 14: “The Horror! The Horror!”: Tracing Horror in Modernism from Conrad to Eliot;192
6.13.1;Bibliography;200
6.14;Chapter 15: Global Horror: Pale Horse, Pale Rider;202
6.14.1;Bibliography;211
7;Part II: Themes of Literary Horror;213
7.1;Chapter 16: Vampires: Reflections in a Dark Mirror;214
7.1.1;Obscured Origins and Shifting Characteristics;214
7.1.2;Formative Vampires in Nineteenth-Century Fiction;217
7.1.3;The Vampire’s Struggles Against Their Nineteenth-Century Mythos;221
7.1.4;Dark Reflections Are Both Constant and Changing;224
7.1.5;Bibliography;225
7.2;Chapter 17: Zombie Fictions;227
7.2.1;Conclusion;237
7.2.2;Bibliography;238
7.3;Chapter 18: “You Don’t Think I’m Like Any Other Boy. That’s Why You’re Afraid”: Haunted/Haunting Children from The Turn of the Screw to Tales of Terror;240
7.3.1;The Child in Horror: A History of Otherness;240
7.3.2;The Problems of Perspective: Florence and Giles and Tales of Terror;245
7.3.3;Bibliography;253
7.4;Chapter 19: Discussing Dolls: Horror and  the Human Double;255
7.4.1;Bibliography;261
7.5;Chapter 20: “They Have Risen Once: They May Rise Again”: Animals in Horror Literature;262
7.5.1;Bibliography;277
7.6;Chapter 21: Who’s Afraid of the Big Bad Woods?: Deep Dark Forests and Literary Horror;279
7.6.1;Introduction;279
7.6.2;Why We Fear the Forest: The Seven Theses;281
7.6.3;Conclusion;291
7.6.4;Bibliography;292
7.7;Chapter 22: Disability and Horror;295
7.7.1;Bibliography;302
7.8;Chapter 23: Monstrous Machines and Devilish Devices;304
7.8.1;The Spark;305
7.8.2;The Turn;307
7.8.3;The Click;309
7.8.4;The Zap;312
7.8.5;Bibliography;314
7.9;Chapter 24: “And Send Her Well-Dos’d to the Grave”: Literary Medical Horror;316
7.9.1;A Survey of Medical Horror;318
7.9.2;Treatment Entrapment: Medical Space and Imprisonment;321
7.9.3;Doctors Who Kill: Medical Murder;324
7.9.4;Conclusion: This Could Happen to You;326
7.9.5;Bibliography;328
7.10;Chapter 25: Imperial Horror and Terrorism;330
7.10.1;A Short History of Horror, Gothic, and Imperialism;331
7.10.2;Imperial Horror and the Rise of US Empire;335
7.10.3;Imperial Horror in the Twenty-First Century;339
7.10.4;Bibliography;340
7.11;Chapter 26: Postmodern Literary Labyrinths: Spaces of Horror Reimagined;341
7.11.1;The Passion of New Eve;343
7.11.2;House of Leaves;347
7.11.3;Conclusion;350
7.11.4;Bibliography;353
8;Part III: Approaches to Literary Horror;355
8.1;Chapter 27: Evolutionary Study of Horror Literature;356
8.1.1;Evolutionary Horror Study: A Brief Historical Overview;357
8.1.2;Horror and Negative Emotion;357
8.1.3;Horror and Monsters;359
8.1.4;The Pleasures and Functions of Horror;360
8.1.5;Conclusion;362
8.1.6;Bibliography;363
8.2;Chapter 28: Transgressive Horror and Politics: The Splatterpunks and Extreme Horror;365
8.2.1;Bibliography;375
8.3;Chapter 29: Boundary Crossing and Cultural Creation: Transgressive Horror and Politics of the 1990s;377
8.3.1;Mind and Matter: The Serial Killer as a Transgressive Metaphor;379
8.3.2;Making Gender Meaningful: Transgression as Construction;382
8.3.3;High or Low? Reinventing the Haunted House;384
8.3.4;Conclusion: Reveal, Recreate, Re-imagine;387
8.3.5;Bibliography;388
8.4;Chapter 30: “Maggot Maladies”: Origins of Horror as a Culturally Proscribed Entertainment;390
8.4.1;Introduction;390
8.4.2;Gothic Origins;392
8.4.3;The Castle of Otranto;394
8.4.4;The Monk;396
8.4.5;Zofloya, or The Moor;401
8.4.6;Conclusion;403
8.4.7;Bibliography;404
8.5;Chapter 31: The Mother of All Horrors: Medea’s Infanticide in African American Literature;406
8.5.1;Bibliography;418
8.6;Chapter 32: Horror, Race, and Reality;421
8.6.1;Bibliography;429
8.7;Chapter 33: Postcolonial Horror;431
8.7.1;Bibliography;436
8.8;Chapter 34: Conceptualizing Varieties of Space in Horror Fiction;438
8.8.1;The House as Placeless Place;440
8.8.2;The Space Folding Creates;443
8.8.3;The Melancholy of Monuments;447
8.8.4;Conclusion;450
8.8.5;Bibliography;451
8.9;Chapter 35: Toward an Acoustics of Literary Horror;454
8.9.1;Listening for Literary Horror: House of Leaves as Case Study;455
8.9.2;The Monstrous Voice;457
8.9.3;The Voice in the Gothic Romance;459
8.9.4;Literary Horror: Influence and New Directions;461
8.9.5;Bibliography;465
8.10;Chapter 36: Hesitation Marks: The Fantastic and the Satirical in Postmodern Horror;466
8.10.1;Bibliography;478
8.11;Chapter 37: “It’s Alive!” New Materialism and Literary Horror;480
8.11.1;Bibliography;492
8.12;Chapter 38: Horror “After Theory”;495
8.12.1;Bibliography;504
9;Index;506