Relevant bibliographies by topics / American Horror stories

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'American Horror stories'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "American Horror stories"

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Bruhm, Steven. "American horror stories." Horror Studies 6, no. 2 (October 1, 2015): 159–62. http://dx.doi.org/10.1386/host.6.2.159_2.

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Earle, Harriet, and Jessica Clark. "Telling national stories in American Horror Story." European Journal of American Culture 38, no. 1 (March 1, 2019): 5–13. http://dx.doi.org/10.1386/ejac.38.1.5_7.

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JINWAN, XUAN, and QI JING. "STRANGE STORIES FROM CHINESE STUDIOS AND GOTHIC LITERATURE." INTERNATIONAL JOURNAL OF RESEARCH IN EDUCATION HUMANITIES AND COMMERCE 04, no. 04 (2023): 10–16. http://dx.doi.org/10.37602/ijrehc.2023.4402.

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The ancient Chinese horror novel Strange Stories from Chinese Strange Studio vividly shows Chinese horror in front of the readers, which is a typical representative of Chinese horror literature. Gothic literature is a crucial literary genre of Western literature. Western research on Gothic literature is rich and detailed, and Gothic literature significantly impacts British and American literature. By studying their social and historical backgrounds, this paper will analyze their similarities and differences in scenes, characters, and writing characteristics and their development and influence on the Chinese and English academic circles.
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Frolova, Marina V. "Indonesian Horror Story by Intan Paramaditha." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 3 (2020): 368–79. http://dx.doi.org/10.21638/spbu13.2020.304.

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Analysis and interpretation of the short stories by Indonesian female writer Intan Paramaditha (Intan Paramaditha, born in 1979) make it possible to understand that her writing occupies a special niche in the modern Indonesian literary paradigm. Paramaditha’s feminist texts are disguised as horror stories with settings in contemporary Indonesia. The article examines five short stories (“Spinner of Darkness” (Pemintal Kegelapan), “Vampire” (Vampir), “Polaroid’s Mystery” (Misteri Polaroid), “The Blind Woman without a Toe” (Perempuan Buta tanpa Ibu Jari), and “The Obsessive Twist” (Goyang Penasaran)). Using the intertextual method, it was possible to prove the gothic poetics of these literary works. The short stories contain the mosaic of folklore-mythological motives from the Malay Archipelago, Biblical and Quranic narratives, as well as European fairy tales and allusions to American horror fiction and horror films. Her prose is built upon some borrowed European literary forms for expression of authentic Indonesian content. The social themes are intertwined with feminist criticism that is presented as a Kitsch of the Indonesian mass culture. In “The Obsessive Twist” the main conflict is focused on the heated debates on sexuality, politics, violence, and religion. The feminist agenda of her prose is contrasted with the turn of contemporary Indonesia towards a Muslim patriarchal society. Paramaditha’s works represent a unique product of West-East-synthesis aimed not only at the Indonesian, but also the global audience.
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Saavedra-Hernández, Debbie. "“A Dense and Maddening Dream”: Horror and Domesticity in the Stories of Amparo Davila." Open Journal for Studies in Linguistics 5, no. 1 (August 17, 2022): 23–32. http://dx.doi.org/10.32591/coas.ojsl.0501.03023s.

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Amparo Dávila is considered one of the most prolific Mexican horror writers of the 20th century. Her literary techniques have been compared to some of the most famous horror writers such as Edgar Allan Poe and Franz Kafka. However, her writing is indicative of further social orders present in Mexican culture and other spaces. In this study, Critical Discourse Analysis (CDA) is implemented as an approach to analyze how horror in two short stories is used to reflect Mexican and American social issues. The findings suggest that there is a critique on the social order in societies by transforming these encounters into horrifying experiences.
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Majidova, Ilaha Adil. "The conceptual interpretation of S. King`s literary heritage." SCIENTIFIC WORK 62, no. 01 (February 8, 2021): 159–61. http://dx.doi.org/10.36719/2663-4619/62/159-161.

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S.King is a modern American writer of supernatural, horror fiction, science fiction and fantasy. His works are powerful because he integrates his life experiences and observations into idiosyncratic stories. He uses a free style of writing. Generally By the help of supernatural beings, vampire, demon, insubstantial events he mystifies and shocks readers, confuses their minds. The writer’s psycho-emotional situation, inner world rebound his works. This article is devoted to the conceptual interpretation of S.King’s creativity. In his works he tries to show the depth of his imagination. Key words: modern American literature, fantasy, horror fiction, psycho-emotional creativity, mystical elements
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Jasim Mohammed, Mohammed Nasif, and Waad Adil Lateef. "Horror and Fear in Ghost Stories: A Comparison between Henry James’s “The Turn of the Screw” and Edgar Allan Poe’s “The Fall of the House Usher”." JOURNAL OF LANGUAGE STUDIES 4, no. 4 (October 12, 2023): 656–66. http://dx.doi.org/10.25130/jls.4.4.32.

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The Present paper discusses Horror and fear in Henry James’ “The Turn of the Screw” and Poe’s “The fall of the House Usher”, which are ghost stories. It compares and contrasts the two stories in accordance with American school. The aim of the compararison is to find out the implications and the underlying identities of both similarities and differences so that even the differences can be given their proper place in a deeper and more comprehensive understanding of the artist. The study applies the theory of suspense to analyze the theme of the unknown in the two stories of mystery and suspense. The objective of the study is to find the similarities and differences in the universal theme. The similarities include the supernatural and horror, mystery, suspense and surprise. The differences are in the tragedy and pathetic and sexual relationship.
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Ciemniewski, Marcin. "Indian spooks: What Indian Comic Books Readers Are Afraid of." Politeja 16, no. 2(59) (December 31, 2019): 161–76. http://dx.doi.org/10.12797/politeja.16.2019.59.11.

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The comic book industry in India began in 1950. Back then leading American comic books like The Phantom, Flash Gordon and Rip Kirby started to be published in India and translated into local languages. Indian youngsters in no time became interested in the new medium, especially in superhero comics known from the American popular culture. The success of these translations encouraged local publishers and cartoonists to create Indian themed comic books, set in India with Indian heroes (and superheroes) − even though Indian comics were still strongly influenced by American ones, mainly in terms of esthetics. However, around 1950, American comics publishing companies also tried to attract adult readers by presenting more adult content in a form of horror and thriller stories. Publishers in India quickly adapted this trend launching a very popular comic book series in Hindi of thrill, horror and suspense. In this way horror – till then almost completely absent from Indian literature and popular culture – was introduced to the local audience. The question remains, how different are those local spooks from the American ones and finally: what are Indians afraid of?
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Naser-Hall, Emily. "Locked Doors and Fondled Doorknobs: Gothic Domesticity and Deviant Sexuality of 1950s America in Shirley Jackson’s The Haunting of Hill House." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 79, no. 3 (September 2023): 25–49. http://dx.doi.org/10.1353/arq.2023.a909146.

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Abstract: Shirley Jackson’s fame during her lifetime as a writer of both Gothic horror stories and domestic humor for mainstream women’s publications demonstrates her use of Gothic conventions to illuminate the quotidian horrors of women in the American midcentury. Her work uniquely foregrounds the nation’s preoccupation with normativity, deviance, and female sexuality in the 1950s. Jackson’s novel The Haunting of Hill House (1959) resists the binaries of normative/deviant or normal/monstrous by demonstrating how perversity lies not in the Gothic sensuality of Hill House bur rather within narratives of female sexual license in mainstream American society. The sexual pathologies and liberations of Eleanor Vance position the house itself as the agent of transgressive female sexuality, exploring the liminal normativity/deviance of the erotics of touch to rewrite master narratives about the coalescing intimacy and authority upon which the family home’s stability depends.
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Round, Julia. "‘little gothics’: Misty and the ‘Strange Stories’ of British Girls’ Comics." Gothic Studies 23, no. 2 (July 2021): 163–80. http://dx.doi.org/10.3366/gothic.2021.0092.

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This article uses a critical framework that draws on the Gothic carnival, children’s Gothic, and Female Gothic to analyse the understudied spooky stories of British comics. It begins by surveying the emergence of short-form horror in American and British comics from the 1950s onwards, which evolved into a particular type of girls’ weekly tale: the ‘Strange Story.’ It then examines the way that the British mystery title Misty (IPC, 1978–80) developed this template in its single stories. This focuses on four key attributes: the directive role of a host character, an oral tone, content that includes two-dimensional characters and an ironic or unexpected plot reversal, and a narrative structure that drives exclusively towards this final point. The article argues that the repetition of this formula and the tales’ short format draw attention to their combination of subversion/conservatism and horror/humour: foregrounding a central paradox of Gothic.
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Dissertations / Theses on the topic "American Horror stories"

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Wiley, Antoinette Marchelle. "The Familiar Stranged." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1513009183178476.

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Books on the topic "American Horror stories"

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D, McSherry Frank, Greenberg Martin Harry, and Waugh Charles, eds. Treasury of American horror stories. New York: Bonanza Books, 1985.

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Allan, Poe Edgar. Great horror stories. Mineola, N.Y: Dover Publications, 2001.

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Ingram, Scott. Beast: Hair-raising horror stories. Los Angeles: Lowell House Juvenile, 1996.

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1946-, Young Richard, and Young Judy Dockrey 1949-, eds. Favorite scary stories of American children. Little Rock: August House Publishers, 1990.

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McGraw-Hill. Classic Horror Stories. Lincolnwood, Illinois: National Textbook Company, 2001.

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Madison, Bob. American horror writers. Berkeley Heights, NJ: Enslow Publishers, 2001.

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Matheson, Richard. Nightmare at 20,000 feet: Horror stories. New York: Tor, 2002.

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1960-, Coulombe Charles A., ed. Classic horror stories: Sixteen legendary stories of the supernatural. Guilford, Conn: Lyons Press, 2003.

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townshend, dale. Chilling Horror Short Stories. London: Flame Tree Publishing, 2016.

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1946-, Young Richard, and Young Judy Dockrey 1949-, eds. Favorite scary stories of American children. Little Rock, AR: August House Publishers, 1999.

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Book chapters on the topic "American Horror stories"

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Hand, Richard J. "Disruptive Corpses." In Vampires and Zombies. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496804747.003.0011.

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Before the establishment of the Code of the Comics Magazine Association of America (1954), American horror comics were violent and explicit. In the vast body of pre-Code horror comics, the living dead are used in various ways. Some stories are authentic to the Haitian origins of zombie folklore, some use distinctly historical or gothic settings for tales of the living dead, while the zombies in other stories crawl from the grave into a contemporary USA to exact their revenge or retribution. This chapter analyses the presentation of the living dead in 1950s horror comics before exploring subsequent and more recent comic achievements in underground, countercultural and mainstream contexts in an attempt to establish and evaluate the mythology, meaning and resonance of this most disruptive construct of post-war and contemporary popular horror.
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Hakola, Outi. "Nordic Vampires: Stories of Social Exclusion in Nordic Welfare States." In Nordic Genre Film, 203–14. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693184.003.0015.

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Nordic vampire films, comprising films produced in Denmark, Sweden and Finland, are not a coherent or regular phenomenon. Although they are familiar with and even borrow the conventions of Anglo-American vampire lore, their features often differ from the international horror mainstream in specifically Nordic ways. Rochelle Wright (2010: 56, 67) describes Nordic cases as being characterised by a fusion or hybridity of genres, including both the Anglo-American horror genre and Nordic socio-psychological drama, and argues that as a consequence, in Nordic vampire films the supernatural merges with realism. Internationally most vampires are social outcasts whose blood-desire and unnatural relationship with death mark them as evil, yet the Nordic vampires are not necessarily evil, but sympathetic characters whose social exclusion is often unrelated and prior to their vampirism (Wright 2010: 59).
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Díaz, Liliana Chávez. "Telling Death Stories in Mexican New Media." In Latin American Culture and the Limits of the Human, 56–79. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401490.003.0003.

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The chapter focuses on collective digital projects representing real stories in Mexico, particularly on 72 migrantes (2010) and Testigos presenciales (2014). It aims to demonstrate that new media narratives are alternative ways for truth-telling while dealing with a failed state and a censored press. Since 2006, when public policies against drug trafficking provoked the rise of violence in the country, there has been a boom of what Cristina Rivera Garza has called “necrowriting.” Moving beyond conventional testimonial accounts, these works use new communication technologies in response to experiences of horrorism. The chapter reflects on how the Mexican artistic community responds to this horror by telling what they call “death stories.” Following Rosi Braidotti’s theory of the posthuman, this chapter proposes that new media narratives expose an updated version of Walter Benjamin’s storyteller. Contemporary storytellers, it is argued, excavate life from the dead in their aim of rescuing lost identities. This process, however, cannot leave the storyteller intact. In the era of the eyewitness and the new forensic sensibility, testimonial narratives are no longer attached to a particular person or locality but rather can be found at the intersections of self, community, and geopolitical borders.
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Lavery, Grace E. "The Sword and the Chrysanthemum." In Quaint, Exquisite, 138–74. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691183626.003.0006.

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This chapter argues that representations of the Japanese sword exhibit that distinctively feminized type of exquisite aesthetics. Feminized, because although Victorians were already interested in swords by the publication in France of Pierre Loti's story Madame Chrysanthème, it was through Anglophone revisions of that story that the play of the sword, as an instrument of internal and external violence, has become most deeply entrenched. This chapter follows the Chrysanthème story's mutation into the Americanized story of Madame Butterfly, the Anglo-Chinese-Canadian auto-Orientalizing revision of the Butterfly stories in the work of Onoto Watanna/Winnifred Eaton, and then to cinema: a Japanese body-horror movie named Audition (1999) and a couple of American blockbusters made by Quentin Tarantino. The particular form of body horror that psychoanalysis refers to as “castration anxiety” inevitably permeates Western concern with the samurai sword. But the chapter shows how such an object as a sword is here understood as both feminine, and feminizing, rather than as a kind of phallic auxiliary.
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Gordon-Reed, Annette. "Celia’s Case(1857)." In Race On Trial, 48–60. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195122794.003.0004.

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Abstract If one were to start, there would be no end to the horror stories that could be told about the nightmare of American slavery. Although the institution was a marked catastrophe for a people, the fundamentally tragic nature of slavery unfolded, in historian Walter Johnson’s apt phrase, “soul by soul.” Each enslaved man, woman, and child could tell his or her own unique tale of suffering during a time when law, culture, economics, and religion-the pillars that sustain a society-worked in concert against the humanity of black people. For the most part, the stories of individuals who lived in bondage are lost from the historical record. That is why each story that has survived must be treated as the rare, and thus valuable, artifact that it is.
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Hart, Adam Charles. "That Something Extra, an Added Dimension." In Raising the Dead, 71–87. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197686478.003.0004.

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Abstract This chapter develops George A. Romero’s own “theory” of genre both through his (informal) writings on horror and in his feature films, focusing on the development of Dawn of the Dead (1978) throughout the 1970s. Horror was Romero’s primary path to funding his feature films, but his approach to genre was idiosyncratic and unique and suited his interests; genre was, simply, a short list of attributes required to satisfy fan expectations, with style, narrative, tone, and everything else being flexible and open to whatever the artist wants to do with the film. Further, Romero argues, it is important for filmmakers to go beyond the stereotypical limits of a genre; adding “something extra” attracts other audiences that might not normally watch a horror film, but it also gives all audiences a richer, more substantial appreciation of a film. After Night of the Living Dead (1968), Romero reshaped horror into a vehicle for the stories and themes that most interested him, fulfilling expectations of monsters and gory effects but embedding them in films that more closely resemble satires, action films, westerns, or talky dramas. The chapter chronicles the development of Dawn from a potential partnership with the low-budget studio American International Pictures, which expressed interest in producing Dawn if it featured an all-Black cast and a prominent athlete in the lead role. The chapter follows the project’s development from a gory action movie to a pointed satire on consumer culture, with Romero finally finding “that something extra” after several years of work on the project.
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Corthron, Kia. "My Mother and Mitch." In The Essential Clarence Major, 115–23. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469656007.003.0007.

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Part Two includes the short stories “My Mother and Mitch,” “Chicago Heat,” “Bourbon for Breakfast,” “Victoria,” “Sketch,” “Innocence,” and “Five Years Ago.” The story “Innocence” (2000) combines terse declarative Hemingwayesque rhythm with a magical realism where dreams and reality merge (similarly to Reflex and Bone Structure as well as many of the poems included in the volume). “Chicago Heat,” wherein the concurrent horror and humor of African American experience rings painfully true—so many complications that death is not necessarily a prioritized development but rather just one more aggravation thrown on the daily mountain of life’s obstacles—unfoldes as a one-sided phone call. “My Mother and Mitch” centers of 15-year-old Tommy who lived in a Chicago apartment with his divorced mother, Jayne.
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Leeder, Murray. "The Birth of an Evil Thought: The Gothic in Silent-Era Cinema." In Twentieth-Century Gothic, 83–98. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474490122.003.0006.

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This chapter discusses the presence of the Gothic in the first decade of cinema, up until the conversion to sound in the late 1920s. It glosses the presence of Gothic themes in early cinema, absorbed from other media like literature and the stage, and, whilst acknowledging the importance of German Expressionism, largely focussing on the American film industry. It then discusses the first adaptation of Frankenstein (1910) and how the film’s marketing tempered the horrific elements of the plotline. Next, the chapter considers D. W. Griffith’s The Avenging Conscience (1914), a baroque reworking of various Poe stories and poems, leading to an examination of the cycle of ‘old, dark house’ films of the 1920s which, the author argues, constitute the cycle of production of silent horror to which the Gothic label best applies. Largely stage-derived, these include Griffith’s One Exciting Night (1922), The Ghost Breaker (1922), The Bat (1926), Midnight Faces (1926) and, perhaps most famously, The Cat and the Canary (1927). Set in Gothic mansions and often involving family dramas of inheritance, greed and deception, these films walk a delicate line between chills and laughter. Leeder also draws upon Horner and Zlosnik’s construction of the ‘comic Gothic’ to position this under-studied cycle.
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Rogers, Susan Fox. "No Other Everglades." In Learning the Birds, 131–42. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501762246.003.0010.

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This chapter details the author's birding trip to the Everglades National Park in Florida, where she saw Brown-headed Cowbirds and flamingos. The author walked the Snake Bight Trail, which was “named after Guy Bradley, the Audubon warden who was murdered by the plume hunter Walter Smith in 1905.” Plume hunters only have one goal: to gather the plumes that adorned women's hats. Stories of the bird carnage traveled north, to women like Florence Merriam Bailey who worked to spread word of the horror of the bird slaughter to women who wore hats with plumes. William Dutcher, chair of the American Ornithological Union's newly formed bird protection committee, believed that the problem lay with the milliners. Dutcher then worked with Florida representatives to pass “An Act for the Protection of Birds and Their Nests and Eggs, and Prescribing a Penalty for any Violation Thereof” in May of 1901.
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Hoffman, A. Robin. "“A Wonderful Horrid Thing”." In Reading in the Dark. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806444.003.0003.

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A. Robin Hoffman considers the sinister books designed by Edward Gorey (many of which she claims were intended for a young audience) in relation to influences such as Hoffman’s Struwwelpeter and Dickens’s The Old Curiosity Shop andBleak House. Hoffman argues that Gorey, by appropriating and reconceptualizing these texts’ modes of representation, manages to provide an “anaesthetizing historical distance” between his modern readers and the representations of childhood death popular among Victorian audiences. Through a careful examination of his books’ production methods, concentrating on their calculated appeal toward younger audiences, as well as his insistence on presenting childhood death as a subject of dark comedy, Hoffman asserts that what Gorey produces is at once an homage to Dickens’s work and a perversion of Dickens’s sentimentalized stories, mainly because of Gorey’s more unequivocal representations of violence and his eradication of Christian symbolism that offered the promise of moral redemption in favor of a critique of mid-twentieth-century American representations of childhood. In the end, Hoffman recognizes Gorey’s disruptive potential as he offers up, for both child and adult readers, a novel representation of childhood death, one that disempowers the mythologizing of textual children’s demises as a means of conveying a particular social, philosophical, or political agenda. She also suggests that Gorey’s portrayals of childhood death in his books serve as both a precursor to and an influence on the modern turn toward the comic gothic in many children’s and young adult horror texts. In doing so, she provides us with a useful model for thinking about the methods of portraying and thinking about death and violence against children within the space of horror novels, films, or television shows targeted toward young audiences.
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