Search

In the context of popular culture, the work of Lovecraft deserves a prominent role, not only for its influence on many later authors, but for its profound impact on 20th century popular culture, from music and video games to films, comics, and merchandising. This paper analyzes the way in which Lovecraft developed his Cthulhu Mythos, creating a dense network of relationships between his different tales. After analyzing a corpus of 102 works by this author, which covers almost all of his literary production, several conclusions are drawn about the way Lovecraft was able to create this icon of popular culture. [ABSTRACT FROM AUTHOR]

According to various literature reviews, American fiction has represented sociologists through negative stereotypes: use of pseudoscientific jargon, extreme competitiveness in social relationships, a tendency to aggressive and unconventional behavior. The article examines how sociology is represented in a horror novel first published in 1943, Conjure Wife by Fritz Leiber. Hitherto neglected by the reviews that have examined the representation of sociology in American fiction, this novel deserves attention because it detaches itself from the aforementioned negative stereotypes. Indeed, there is a substantial harmony between the point of view of the narrator and the point of view of the protagonist, professor of sociology in a small college. In the sensationalist ways of a horror novel, Conjure Wife evokes crucial questions of sociology, such as the possibility of identifying universal laws of human behavior and the possibility of mathematizing the sociological explanation. [ABSTRACT FROM AUTHOR]

The research deals with the issue of genre hybridization in the novel "Silence - Chronicle of a Killer" written by a contemporary Austrian writer Thomas Raab. An examination of the novel's composition and structure, as a text in motion, has been accomplished in the article. The novel "Silence" is an excellent illustration of how the genre of adventure has been adapted to include elements of science fiction. This novel is a love tale, a rural life saga, a formation narrative, and a psychological thriller all in one. As a fictionalized account of the life of a serial murderer with hypersensitive hearing who became a legend for his mental torment and suffering, it serves both as a biography and a thriller. Novelist Raab uses elements from classic horror novels like Frankenstein, German romantics, in particular, G. Kleist, the tale of Casper Hauser, and detective novels like Friedrich Durrenmatt's "Promise" to tell the story of Casper Hauser's disappearance in his book. A new aesthetic experience may be formed at various degrees of identification ranging from naive perception to higher levels of literary reception. Concentration is required for poetic and philosophical substance. Michel Focalut's nomadism, marginality, and authoritarian power rhetoric have been discussed in this article. The novel's ultimate content has been disclosed as the aphesis torment, emotional sublimation, as the birth of an artwork and, at the same time, death of the author, who exposes discourses, accountable for creating texts that are allocated to him. [ABSTRACT FROM AUTHOR]

This interview with Black and Ohkay Owingeh Pueblo author Rebecca Roanhorse explores the innovations she has brought to horror and science-fiction genres by speaking from the colonial difference and centring Indigenous histories, cosmologies, and spirituality in her works. The influence of Grace Dillon's concept of Indigenous Futurisms on Roanhorse's oeuvre is explored, as is the importance of Indigenous representation in white-dominated literary fields and how such representation can resist colonial repression while empowering Indigenous people in real life. Finally, Roanhorse speaks to the ways in which corporations such as Lucasfilm and Marvel are increasingly acknowledging a historic lack of diversity – or a historic offensive stereotyping of marginalised groups – and actively working to undo this harm by producing series entirely created by Indigenous writers that expand opportunities and give them the license to create stories from their unique cultural perspective. [ABSTRACT FROM AUTHOR]

In chapter 4, Alder introduces the figure of the "weirdfinder", a term that refers to fictional investigators such as Hodgson's Carnacki, Kate and Hesketh Prichard's Flaxman Low, and Blackwood's John Silence. Alder concludes with a chapter on how fin-de-siècle conceptions of energy emerge in Hodgson's I The Night Land i (1912) and I The House on the Borderland i (1908) as well as Blackwood's "The Willows" (1907). In her examination of the genre, Alder illustrates the ways in which fin-de-siècle weird fiction is distinct from the Gothic, a mode which has, for better or worse, dominated scholarly discourse on horror fiction. [Extracted from the article]

This article seeks to examine the emotional impact of disaster in the novel I Am Legend (1954) by Richard Matheson, one of the most celebrated writers of science fiction and horror genre in the 20th century. A global pandemic appears to have transformed all people into vampires, except for Robert Neville, the hero, who is immune to the virus. The only human survivor now, he is nightly faced with the massive threat of these infected living and undead vampires, whom the hero kills without mercy day by day, drastically reducing their numbers. While striving to survive at all costs, he tries hard to find a cure for the disease but is finally caught by the living vampires and condemned to death due to his unrestrained violence against them. As the last representative of the 'old society', he must relinquish the Earth to the 'new society', which is now able to keep the disease in check with a pill. Based on a qualitative research, the analysis begins with an introduction into the concepts of disaster and emotion. It subsequently elaborates on a range of emotions and feelings resulting from the catastrophe in the novel: fear and anxiety; sadness and grief; interest and anticipation, with a view to analyzing the hero's capability of managing and regulating his emotions and the others' emotions under psychologically and emotionally distressing circumstances. It is concluded that Neville is not particularly able to effectively manage his emotions, which translates into excessive violence against others. Becoming aware of the consequences of his destructive acts, he accepts his tragic end with courage. [ABSTRACT FROM AUTHOR]