The aim of this work is to explore the nature of elements of horror in literature for children and what their effect on young readers can be. In addition, it will distinguish why elements of horror should be part of literature for child readers.
The first part will have a look at different aspects of children’s literature as such, starting with the history of its development and an attempt to define it as a genre, taking into consideration the relationship between child readers and adult writers. This part will supply a general overview of problems the genre’s definition causes, as well as the discrepancies between the child reader’s needs and what adults want children to require from literature.
The second part then focuses on horror literature, including Gothic Horror and fairy tales, before looking at horror literature for children. In this part, a determination of what constitutes horror in literature is made before the terminology of children’s literature is broadened to the field of horror.
The third part of this work takes a closer look at aspects of horror in literature for children, analysing different elements like child fears, danger and monsters in selected books. It deconstructs what can be perceived as scary in books for young readers, how frightening elements are incorporated into literature for children, using well- known books from authors like Lewis Carroll, J. M. Barrie or Roald Dahl as representatives, while in the end looking at positive effects horror in literature for young readers has on a child.
Table of Contents
1. Introduction
2. Children’s Literature
2.1 History of Children’s Literature
2.2 Defining Children’s Literature in Literary Studies
2.3 Child Readers and Adult Writers
3. Horror Literature
3.1 The Gothic
3.2 Children and Horror Literature
3.3 Fairy Tales and Censorship
4. Aspects of Horror in Children’s Literature
4.1 The Uncanny and the Unconscious
4.2 Normality and Otherness
4.3 Other Worlds and Parallel Universes
4.4 Mothers and Other Wicked Women
4.5 Animals
4.6 Lurking Danger and Death
4.7 Being Trapped, Being Lost and Being Small
4.8 Being Devoured and Vanishing
4.9 Being Left and Being Alone
4.10 Monsters
4.11 Illustrations
5. Why should Children read Horrific Literature?
5.1 Pleasure
5.2 Humour
5.3 Overcoming Fear
6. Conclusion
7. Sources
Research Objectives & Topics
The work explores the nature and function of horror elements in children's literature, investigating how these frightening aspects affect young readers and why they constitute a valuable component of the genre.
- The historical development and definition of children’s literature.
- The role of the Gothic and fairy tales in shaping horror narratives for children.
- Psychological aspects of fear, the uncanny, and the use of monsters to address child anxieties.
- The function of visual illustrations in mediating scary content for young readers.
- The therapeutic value of horrific literature in helping children master real-life fears.
Excerpt from the Book
4.1. The Uncanny and the Unconscious
The Uncanny is a term initially developed by Sigmund Freud for an aesthetic concept belonging “to the realm of the frightening, of what evokes fear and dread” (Freud 2003: 123). It describes an experience that is familiar and unfamiliar at the same time, thereby evoking a feeling of discomfort. Freud derives his meaning of uncanny from the German word unheimlich, which is illustrated as something “that was meant to remain secret and hidden and has come into the open” (Freud 2003: 132, quoting Schelling).
Nowadays, Freud’s concept has been used as a basis for different approaches to the uncanny, for example by Andrew Bennett and Nicholas Royle, who argue that the uncanny is what makes a situation uncertain: “It has to do with the sense that things are not as they have come to appear through habit and familiarity, that they may challenge all rationality and logic” (Byron/ Parker 283, quoting Bennett/Royle). As Tudor points out, the uncanny is a “class of frightening things which occasions anxiety because they relate to repressed affect: something which is secretly familiar, which has undergone repression and then returned from it” (Tudor 1997: 447).
In literature, the uncanny is the result of a subjective evaluation. Whether or not something is perceived as being uncanny depends on the person reading it. Tzvetan Todorov describes this process: “If [the reader] decides that the laws of reality remain intact and permit an explanation of the phenomena described, we say that the work belongs to another genre: the uncanny” (1970: 41). The uncanny can then be seen as a form of explained supernatural, as the reader realises his fear derives from the alteration of something familiar rather than a monstrous occurrence.
Summary of Chapters
1. Introduction: Presents the central hypothesis that scary elements are inherent to children's literature, serving as important tools for young readers to explore their own emotions.
2. Children’s Literature: Discusses the difficulty of defining the genre and the complex relationship between adult writers and child readers.
3. Horror Literature: Provides an overview of horror as a modern genre, including the Gothic tradition and how these conventions are adapted for children.
4. Aspects of Horror in Children’s Literature: Analyzes recurring motifs such as the uncanny, the role of monsters, the theme of 'being trapped,' and the impact of illustrations.
5. Why should Children read Horrific Literature?: Examines the psychological benefits of reading scary stories, including pleasure, humor, and the mastering of fears.
6. Conclusion: Summarizes that horror in children's literature is a necessary mirror for reality that helps children grow by providing safe spaces to confront distress.
Keywords
Children's literature, Horror, Fear, Gothic, The Uncanny, Monsters, Fairy Tales, Censorship, Illustration, Psychoanalysis, Child psychology, Neil Gaiman, Roald Dahl, Narrative, Childhood.
Frequently Asked Questions
What is the primary focus of this research?
The work examines the role, nature, and effect of horror elements within children's literature, analyzing how frightening content helps children navigate their emotions and reality.
What are the central themes discussed in the book?
Central themes include the intersection of the uncanny and the unconscious, the construction of "normalcy" versus "otherness," the fear of abandonment, and the function of monsters.
What is the main research question or objective?
The main objective is to explore why horror elements exist in literature intended for children and how these elements, despite adult attempts to shield children, contribute to their development and understanding of the world.
Which methodology is applied to this research?
The work utilizes a literary analysis approach, drawing upon psychological theories (Freud, Bettelheim) and literary criticism to deconstruct how horror is incorporated into books for young readers.
What topics are covered in the main body?
The main body investigates specific motifs such as "being trapped," the "wicked mother" figure, the role of animals, the influence of danger and death, and the use of illustrations to visualize horror.
Which keywords best describe this work?
Key terms include children’s literature, horror, fear, the uncanny, monsters, and psychoanalysis in the context of reading.
How does the author define the relationship between the child reader and horror?
The author argues that horror is not merely a tool for terror, but a safe framework that allows children to experience distress from a distance, thereby building resilience and courage.
What role do illustrations play in these stories?
Illustrations act as a bridge for the reader, helping to concretize abstract fears or emphasize plot changes, although the author notes that a child's own imagination is often more powerful than any picture.
Why does the author discuss Neil Gaiman and Roald Dahl specifically?
These authors are used as primary case studies because they frequently incorporate "dark" or horrific elements into their children's books, providing clear examples of how these themes are managed in modern literature.
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- Mirja Quix (Autor), 2016, Monsters, Darkness, Imagination. On Horror in Children's Literature, Múnich, GRIN Verlag, https://www.grin.com/document/428701
