In this thesis, I examine the gothic and metafictional genre elements of Mark Z. Danielewski's novel 'House of Leaves.' Chapter 1 is split into two sections: section 1.1 contains an analysis of the...Show moreIn this thesis, I examine the gothic and metafictional genre elements of Mark Z. Danielewski's novel 'House of Leaves.' Chapter 1 is split into two sections: section 1.1 contains an analysis of the gothic elements present in 'The Navidson Record' central to the novel and, in section 1.2, I proceed to examine the novel's metafictional characteristics and how metafiction and Gothicism are intertwined in the text. In both preceding sections, the reader's knowledge gap—referred to in my thesis as the epistemological gap—is prevalent in my reading of the novel. Consequently, in Chapter 2 I explore this knowledge gap further, relating it to the gothic and metafictional elements analyzed in the preceding chapter. Lastly, I argue that the audience might fill the epistemological gap by projecting their own personal interpretations of the text onto it. One of the main characters inside the narrative, Johnny Truant, projects his childhood trauma onto the text and processes it in his annotations to 'The Navidson Record.'Show less
This thesis examines the potency of film dialogue as an articulator of fear in Robert Eggers’ The Witch (2015) and The Lighthouse (2019). Using extant studies on film dialogue as its groundwork,...Show moreThis thesis examines the potency of film dialogue as an articulator of fear in Robert Eggers’ The Witch (2015) and The Lighthouse (2019). Using extant studies on film dialogue as its groundwork, this thesis employs a close reading of the dialogue in Robert Eggers’ films. Ultimately, it argues that Eggers’ films utilise dialogue in order to articulate their contextual fears, rather than the visual language that predominates the horror genre.Show less
Master thesis | Classics and Ancient Civilizations (MA)
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Seneca's tragedies contain quite a few horrifying scenes. Seeing such a spectacle, for instance a bloody ritual or a man chasing his offspring with an axe, would cause the spectator to experience...Show moreSeneca's tragedies contain quite a few horrifying scenes. Seeing such a spectacle, for instance a bloody ritual or a man chasing his offspring with an axe, would cause the spectator to experience horror and dread, logically speaking. However, the on-stage recipients of the horror have quite varying reactions to the scenes. This thesis aims to examine these scenes and the reactions to said scenes within a theoretical framework of 'delightful horror', which explains how horror can and should be enjoyed.Show less
Different countries have their own traditions when it comes to the horror genre and within these traditions there is again a variety of subgenres. According to the distribution company Tartan Films...Show moreDifferent countries have their own traditions when it comes to the horror genre and within these traditions there is again a variety of subgenres. According to the distribution company Tartan Films Asia does this by embracing the ‘extreme’ which is celebrated by the selection of films belonging to the Tartans Films brand ‘Asia extreme’. Being critized for using the discourse of Orientalism in the promotion of the films, this thesis will look how the Chinese horror movie Jiàn Guĭ and The Eye are related cinematically with this discourse.Show less
This thesis analyses the function and meaning of the depiction of landscapes in Ann Radcliffe’s The Mysteries of Udolpho in relation to contemporary paintings, the emergence of the Gothic as a...Show moreThis thesis analyses the function and meaning of the depiction of landscapes in Ann Radcliffe’s The Mysteries of Udolpho in relation to contemporary paintings, the emergence of the Gothic as a genre, and the notions of the picturesque, the beautiful and the sublime.Show less
