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Horror fiction

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Horror fiction also Horror fantasy is a genre of literature, which is intended to, or has the capacity to frighten its readers, scare or startle viewers/readers by inducing feelings of horror and terror. It creates an eerie and frightening atmosphere. Horror can be either supernatural or non-supernatural. The genre has ancient origins which were reformulated in the eighteenth century as Gothic horror, with publication of the Castle of Otranto (1764) by Horace Walpole.

History

Supernatural horror has its roots in folklore and religious traditions, focusing on death, the afterlife, evil, the demonic and the principle of evil embodied in the Devil.[1] These were manifested in stories of witches, vampires, werewolves, ghosts, and demonic pacts such as that of Faust.

Eighteenth century Gothic horror drew on these sources with the seminal and controversial "The Castle of Otranto" (1764) by Horace Walpole. This marked the first time a modern novel incorporated elements of the supernatural instead of pure realism. In fact, the first edition was published disguised as an actual medieval romance from Italy discovered and republished by a fictitious translator. Once revealed as contemporary, many found it anachronistic, regressive, or simply in poor taste - but it proved to be immediately popular. That first novel of Gothic Horror inpspired such works as Vathek (1786) by William Beckford, The Mysteries of Udolpho (1794) and The Italian (1796) by Ann Radcliffe and The Monk (1797) by Matthew Lewis. A lot of horror fiction of this era was written by women and marketed at a female audience, a typical scenario being a resourceful female protagonist menaced in a gloomy castle.[2]

The Gothic tradition continued in the 19th century, in such works as Mary Shelley's Frankenstein (1818), Edgar Allan Poe's short stories, the works of Sheridan Le Fanu, Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde (1886), Oscar Wilde's The Picture of Dorian Gray (1890), and Bram Stoker's Dracula (1897). Enduring icons of horror derived from these stories include Victor Frankenstein and Frankenstein's Monster, Count Dracula, and Dr Jekyll/Mr Hyde.[3]

Influential horror writers of the early twentieth century include H. P. Lovecraft, and his enduring Cthulhu Mythos and pioneering of the genre of cosmic horror, as well as M. R. James, who is credited with redefining the ghost story.

One of the best-known contemporary horror writers is Stephen King, known for writing Carrie, The Shining, It, Misery and many more. Beginning in the 1970s, King's stories have managed to attract a large audience, for which he was prized by the U.S. National Book Foundation in 2003.[4]

Characteristics

The trait of the genre of horror is that it provokes a response, emotional, psychological or physical within each individual that causes someone to react with fear.

In Elizabeth Barrette's essay 'Elements of Aversion,' she 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.[5]

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

One can see the confrontation of ideas readers and characters would "rather ignore" throughout literature, in famous moments such as Hamlet's musings about the skull of Yorick and 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 a metaphor for the problems facing the current generation of the author.

Stephanie Demetrakopoulos illustrates a common interpretation of one of the benchmarks of the cannon of horror literature in her article, "Feminism, Sex Role Exchanges, and Other Subliminal Fantasies in Bram Stoker's Dracula" for the magazine 'Frontiers: A Journal of Women.' Tina Broussard in an annotated bibliography of Dracula surmises Demetrakopoulos' thesis:

This scholarly journal article explores sexuality in Dracula, including overtones of sexuality in the typical aggressive male and female sexuality which is either reflective of the chaste woman or the sexually aggressive female vampire. Demetrakopoulos suggests Dracula was an outlet for Victorian society, breaking through sexual norms with symbolic group orgies, male desire for sexually aggressive women, denial of motherhood, etc. She highlights ways in which the females defy gender boundaries by embodying masculine traits such as intelligence[6].

This is a now commonly accepted viewpoint that the horror elements of Dracula's portrayal of vampirism are metaphors for sexuality in a repressed Victorian era. But this is merely one of many interpretations of the metaphor of Dracula. Judith Halberstam postulates many of these in her essay Technologies of Monstrosity: Bram Stoker's Dracula. She 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[7].

Halberstram articulates a view of Dracula as manifesting the growing perception of the Aristocracy as an evil and outdated notion to be defeated. The depiction of a multi-national band of protagonists using the latest technologies (such as a telegraph) 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 cannon of horror fiction, as over a dozen possible metaphors are referenced in analysis, from the religious to the anti-semitic[8].

In Noël Carroll's 'Philosophy of Horror,' he postulates that a modern piece of horror fiction's "monster," villain, or a more inclusive menace must exhibit the following two triats:

  • 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[9]"

Scholarship and criticism

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.[10] 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, both Devandra Varma[11] and S.L. Varnado[12] make reference to the theologian Rudolf Otto, whose concept of the "numinous" was originally used to describe religious experience.

Awards and associations

Achievements in horror fiction are recognized by numerous awards. The Horror Writer's Association presents the Bram Stoker Awards for Superior Achievement, named in honor of Bram Stoker, author of the seminal horror novel Dracula.[13] The International Horror Guild presents its own annual awards, as do organisations such as the Australian Horror Writers Association with its annual Australian Shadows Award. Other important awards for horror literature are as subcategories included within general awards for fantasy and science fiction in such awards as the Aurealis Award.

See also

References

  1. ^ Rosemary Jackson (1981). Fantasy: The Literature of Subversion. London: Methuen. pp. 53–5, 68–9.
  2. ^ Richard Davenport-Hines (1998). Gothic: 1500 Years of Excess, Horror, Evil and Ruin. London: Fourth Estate.
  3. ^ Christopher Frayling (1996). Nightmare: The Birth of Horror. London: BBC Books.
  4. ^ Hillel Italie (September 18, 2003). "Stephen King receives honorary National Book Award". Ellensburg Daily Record. Retrieved 2010-09-12. 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.
  5. ^ "Elements of Aversion". Retrieved 2012-11-2. {{cite web}}: Check date values in: |accessdate= (help)
  6. ^ "Annotated Bibliography, Dracula" (PDF). Retrieved 2012-11-2. {{cite web}}: Check date values in: |accessdate= (help)
  7. ^ "Technologies of Monstrosity" (PDF). Retrieved 2012-11-2. {{cite web}}: Check date values in: |accessdate= (help)
  8. ^ "Lecture Notes for Dracula". Retrieved 2012-11-2. {{cite web}}: Check date values in: |accessdate= (help)
  9. ^ "Elements of Horror" (PDF). Redlodge. Retrieved 2012-11-2. {{cite web}}: Check date values in: |accessdate= (help)
  10. ^ Anne Radcliffe, "On the Supernatural in Poetry", The New Monthly Magazine 7 (1826): 145–52.
  11. ^ Devandra Varma, The Gothic Flame (New York: Russell & Russell, 1966.
  12. ^ S.L. Varnado, "The Idea of the Numinous in Gothic Literature," in The Gothic Imagination, ed. G.R. Thompson (Pullman: Washington State University Press, 1974).
  13. ^ Horror Writer's Association. "The Bram Stoker Awards". Retrieved 13 April 2010.

Further reading

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