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Venditore: lasvegasormonaco ✉️ (3.637) 99.6%, Luogo in cui si trova l'oggetto: Manchester, Take a look at my other items, GB, Spedizione verso: WORLDWIDE, Numero oggetto: 266840051727 Jack the Ripper Badge Old Creepy Unknown In famous Killer Vintage Mystery Punk. Jack the Ripper "Ripper Strikes Again" Newspaper Badge This is a Metal Enamel Badge thats show a man in a black top hat. Jack himself? Reading a newspaper with the headline "Ripper Strikes Again" The back has 2 pins to hold it securely Dimensions - 32mm x 30mm In Excellent Condition A Must-Have Souvenir Like all my Auctions Bidding starts a a penny with no reserve... if your the only bidder you win it for 1p...Grab a Bargain! Click Here to Check out my Other Horror Items & Coins Bid with Confidence - Check My 100% Positive Feedback from over 2000 Satisfied Customers I have over 10 years of Ebay Selling Experience - So Why Not Treat Yourself? 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Is the identity of Jack the Ripper known? Who were Jack the Ripper’s victims? Where did Jack the Ripper commit the murders? What was unique about the murders committed by Jack the Ripper? newspaper coverage of a murder committed by Jack the Ripper newspaper coverage of a murder committed by Jack the Ripper Front page of a newspaper reporting on a murder committed by Jack the Ripper, September 1888. Jack the Ripper, pseudonymous murderer of at least five women in or near the Whitechapel district of London’s East End between August and November 1888. The case is one of the most famous unsolved mysteries of English crime. the discovery of one of Jack the Ripper's victims the discovery of one of Jack the Ripper's victims Police discovering one of Jack the Ripper's victims, probably Catherine Eddowes. letter allegedly written by Jack the Ripper letter allegedly written by Jack the Ripper The first page of a letter allegedly written by Jack the Ripper, September 25, 1888. letter allegedly written by Jack the Ripper letter allegedly written by Jack the Ripper The second page of a letter allegedly written by Jack the Ripper, September 25, 1888. coverage of Jack the Ripper in The Illustrated Police News coverage of Jack the Ripper in The Illustrated Police News The front page of The Illustrated Police News featuring sketches of two suspects (centre), October 20, 1888. Some dozen murders between 1888 and 1892 have been speculatively attributed to Jack the Ripper, but only five of those, all committed in 1888, were linked by police to a single murderer. The so-called “canonical five” victims were Mary Ann Nichols (whose body was found on August 31), Annie Chapman (found September 8), Elizabeth Stride (found September 30), Catherine (Kate) Eddowes (found September 30), and Mary Jane Kelly (found November 9). According to the common assumption of the time, all the victims were prostitutes and all but one of them, Kelly, was murdered while soliciting on the street. That belief was subsequently taken for granted in books about the crimes, which typically offered conjectures as to the true identity of Jack the Ripper and reported graphic details of the murders he committed (many of these books, however, were based on fraudulent claims and documents). In a radical departure from that genre, The Five: The Untold Lives of the Women Killed by Jack the Ripper (2019), the British social historian Hallie Rubenhold argued that Nichols, Chapman, and Eddowes were not prostitutes; that Stride had resorted to soliciting only occasionally, during periods of desperate poverty and emotional suffering (but there is no evidence to show that she had been soliciting when she was murdered); and that the only verifiable prostitute among the five was Kelly. In Rubenhold’s view, the notion that Jack the Ripper was a murderer of prostitutes was a consequence of the misogynistic and class-based prejudices characteristic of the Victorian era. graphic of a person standing holding a knife. murder, kill, serial killer, stab Britannica Quiz Famous Serial Killers In each instance, the victim’s throat was cut, and the body was usually mutilated in a manner indicating that the murderer had at least some knowledge of human anatomy. On one occasion, half of a human kidney, which may have been extracted from a murder victim, was mailed to the police. The authorities also received a series of taunting notes from a person calling himself Jack the Ripper and purporting to be the murderer. Strenuous and sometimes curious efforts were made to identify and trap the killer, all to no avail. A great public uproar over the failure to arrest the murderer was raised against the home secretary and the London police commissioner, who resigned soon afterward. The case has retained its hold on the popular imagination, in part because known instances of serial murder were much rarer at the time than they are today. Jack the Ripper has provided themes for numerous literary and dramatic works. Perhaps the most notable was the horror novel The Lodger (1913) by Marie Adelaide Lowndes, which inspired numerous films, including Alfred Hitchco*ck’s The Lodger: A Story of the London Fog (1927). The most commonly cited suspects are Montague Druitt, a barrister and teacher with an interest in surgery who was said to be insane and who disappeared after the final murders and was later found dead; Michael Ostrog, a Russian criminal and physician who had been placed in an asylum because of his homicidal tendencies; and Aaron Kosminski, a Polish Jew and a resident of Whitechapel who was known to have a great animus toward women (particularly prostitutes) and who was hospitalized in an asylum several months after the last murder. Several notable Londoners of the era, such as the painter Walter Sickert and the physician Sir William Gull, also have been subjects of such speculation. The murder sites have become the locus of a macabre tourist industry in London. John Philip Jenkins The Editors of Encyclopaedia Britannica murder Table of Contents Introduction References & Edit History Related Topics Videos Hear Professor Robert Hanlon discuss a brutal homicide case described in his book Survived by One: The Life and Mind of a Family Mass Murderer mass shooting Quizzes graphic of a person standing holding a knife. murder, kill, serial killer, stab Famous Serial Killers Read Next Los Angeles Police Department wanted flyer on Elizabeth Short, aka the "Black Dahlia," who was brutally murdered in January 1947. The FBI supported the Los Angeles Police Department in the case, including by identifying Short through her fingerprints that America’s 5 Most Notorious Cold Cases (Including One You May Have Thought Was Already Solved) Law legal system crime concept with gavel and scales of justice with books in the background. (mallet, judicial system). What Are the Differences Between First-, Second-, and Third-Degree Murder? Shadow of a man holding large knife in his hand inside of some dark, spooky buiding 7 of History's Most Notorious Serial Killers The assassination of President Abraham Lincoln at Ford's Theatre, Washington, D.C., April 14th, 1865; from a lithograph by Currier and Ives. 9 Infamous Assassins and the World Leaders They Dispatched Queen Elizabeth II on her Coronation Day (June 2, 1953) holding the Sovereign's Sceptre with Cross in her right hand the Orb in her left, in an embroidered and beaded dress by Norman Hartnell, a crimson velvet mantle edged with ermine fur, with the Coronation ring, the Coronation necklace, and the Imperial State Crown. The backdrop depicts the interior of Westminster Abbey; photograph by Cecil Beaton. (British royals) 5 Fascinating British Coronation Objects Discover Marriage. A couple getting married during a church wedding ceremony. (religion, ceremony, bride, groom) The Seven Sacraments of the Roman Catholic church Person paying with a credit card using a credit card terminal. Cashless payment, credit card reader What Is a Cashless Society and How Does It Work? Monitor. Varanus salvadorii is a monitor lizard found in New Guinea can grows to 2.7 metres (9 ft.) aka Tree crocodile, Crocodile monitor, Salvadori's monitor, artellia, reptile 7 of the World’s Most Dangerous Lizards and Turtles Statue of Liberty in front of the skyline of Manhattan, New York City, New York. Who Was the Woman Behind the Statue of Liberty? Cheetah (Acinonyx jubatus) standing on rock, side view, Masai Mara National Reserve, Kenya The Fastest Animals on Earth American bison (Bison bison) also known as buffalo or plains buffalo on the prairie, western U.S. What’s the Difference Between Bison and Buffalo? The Gateway Arch viewed from the surrounding park area in Gateway Arch National Park (formerly Jefferson National Expansion Memorial) in St. Louis, Missouri. Why Is Missouri Called the Show Me State? Home Politics, Law & Government Law, Crime & Punishment History & Society murder crime Written by Fact-checked by Last Updated: Mar 7, 2024 • Article History Category: History & Society Key People: Richard III Steven Avery Carlos the Jackal Leo Frank Gary Gilmore Related Topics: genocide serial murder honor killing lynching malice aforethought Recent News Mar. 22, 2024, 8:19 PM ET (AP) Trial starts for Arizona border rancher charged with killing migrant on his property Murder, in criminal law, the killing of one person by another that is not legally justified or excusable, usually distinguished from the crime of manslaughter by the element of malice aforethought. The term homicide is a general term used to describe the killing of one human being by another. A murder is considered a homicide, but homicide can also refer to a killing deemed justifiable or excusable. All legal systems make important distinctions between types of homicide, and punishments vary substantially according to the killer’s intent, the circ*mstances of the homicide, and other factors. graphic of a person standing holding a knife. murder, kill, serial killer, stab Britannica Quiz Famous Serial Killers Common-law codes define murder as a homicide committed intentionally or as a result of the commission of another serious offense. By contrast, the crime of manslaughter includes killings that are the result of recklessness or violent emotional outbursts. Penalties for murder are substantially more severe than those for manslaughter and may include capital punishment or life imprisonment. Common-law systems require an element of intent (malice aforethought, or mens rea) in order to classify a killing as a murder. This includes “transferred intent”—as when one who intends to kill another kills a third person by mistake—and intent that may be inferred from the extreme recklessness or dangerousness of the act. Many U.S. states distinguish between murder of the first, second, and third degree, with capital punishment limited to crimes of clear intent. Civil-law codes group all unjustified killings under the single crime of homicide. Penalties are determined based on the circ*mstances of the act, and they vary across countries. Civil law of the European tradition, like common law of the Anglo-American tradition, distinguish between intentional and other felony murders on the one hand and reckless, negligent, and provoked murders on the other. In all systems, the most important distinction relevant to sentencing is that between conduct that is socially dangerous—that demonstrates intent to kill, in other words—and conduct that is merely reckless. Hear Professor Robert Hanlon discuss a brutal homicide case described in his book Survived by One: The Life and Mind of a Family Mass Murderer Hear Professor Robert Hanlon discuss a brutal homicide case described in his book Survived by One: The Life and Mind of a Family Mass Murderer Robert Hanlon, a neuropsychology professor at Northwestern University, discussing the case of a man who was convicted of murdering his parents and three siblings in 1985. Hanlon was inspired to write Survived by One: The Life and Mind of a Family Mass Murderer (2013), about the contributing causes to the brutal crime, after the killer reached out to Hanlon in 2003. See all videos for this article Civil-law codes also place a greater emphasis on the dangerousness of the killer’s conduct and the circ*mstances surrounding the act. Bodily injury that results in death as well as a death that is the result of negligence rather than recklessness are two examples of homicides that are more heavily penalized in civil-law systems than in common-law ones. Civil-law codes often punish any killer as a murderer if the culprit has employed a deadly weapon, but in England, for example, death resulting from a felony is defined as murder only in the case of certain serious crimes, such as robbery or rape. Special offer for students! Check out our special academic rate and excel this spring semester! The terms serial murder and mass murder refer to the unlawful homicide of multiple people by the same person. Definitions of these terms are debated, and neither are formally recognized in legal codes. These murders, and the people who commit them, generate tremendous amounts of public attention. Mass shootings, when fatalities occur, are a form of mass murder. Assassinations are a particularly high-profile type of murder. Horror fiction Article Talk Read Edit View history Tools From Wikipedia, the free encyclopedia This article is about the genre. For the film genre, see Horror film. "Horror story" redirects here. For other uses, see Horror Story (disambiguation). "Supernatural horror" redirects here. For the film genre, see Supernatural horror film. An Illustration of Poe's "The Raven" by Gustav Dore An Illustration of Poe's "The Raven" by Gustave Doré vampire, face of little green man, feather pen (quill) and fire-breathing dragon – to the right of that are scripted words "Speculative (over) Fiction" Speculative fiction Alternate history Fantasy fiction Science fiction Horror fiction Anime Awards Conventions Fiction magazines Films History Genres Podcasts Television Writers Miscellaneous icon Portal vte Horror is a genre of fiction that is intended to disturb, frighten or scare.[1] Horror is often divided into the sub-genres of psychological horror and supernatural horror, which are in the realm of speculative fiction. Literary historian J. A. Cuddon, in 1984, defined the horror story as "a piece of fiction in prose of variable length... which shocks, or even frightens the reader, or perhaps induces a feeling of repulsion or loathing".[2] Horror intends to create an eerie and frightening atmosphere for the reader. Often the central menace of a work of horror fiction can be interpreted as a metaphor for larger fears of a society. Prevalent elements include ghosts, demons, vampires, monsters, zombies, werewolves, the Devil, serial killers, extraterrestrial life, killer toys, psychopaths, sexual deviancy, rape, gore, torture, evil clowns, cults, cannibalism, vicious animals, the apocalypse, evil witches, dystopia, and human-made or natural disasters. History Before 1000 Athenodorus and the ghost, by Henry Justice Ford, c. 1900 Athenodorus The horror genre has ancient origins, with roots in folklore and religious traditions focusing on death, the afterlife, evil, the demonic and the principle of the thing embodied in the person.[3] These manifested in stories of beings such as demons, witches, vampires, werewolves and ghosts. European horror-fiction became established through works of the Ancient Greeks and Ancient Romans.[4] Mary Shelley's well-known 1818 novel about Frankenstein was greatly influenced by the story of Hippolytus, whom Asclepius revives from death.[5] Euripides wrote plays based on the story, Hippolytos Kalyptomenos and Hippolytus.[6] In Plutarch's The Lives of the Noble Grecians and Romans in the account of Cimon, the author describes the spirit of a murderer, Damon, who himself was murdered in a bathhouse in Chaeronea.[7] Pliny the Younger (61 to c. 113) tells the tale of Athenodorus Cananites, who bought a haunted house in Athens. Athenodorus was cautious since the house seemed inexpensive. While writing a book on philosophy, he was visited by a ghostly figure bound in chains. The figure disappeared in the courtyard; the following day, the magistrates dug in the courtyard and found an unmarked grave.[8] Elements of the horror genre also occur in Biblical texts, notably in the Book of Revelation.[9][10] After 1000 The Witch of Berkeley by William of Malmesbury has been viewed as an early horror story.[11] Werewolf stories were popular in medieval French literature. One of Marie de France's twelve lais is a werewolf story titled "Bisclavret". A Print of Vlad III Vlad III "The Impaler", the inspiration for Count Dracula. The Countess Yolande commissioned a werewolf story titled "Guillaume de Palerme". Anonymous writers penned two werewolf stories, "Biclarel" and "Melion". Much horror fiction derives from the cruellest personages of the 15th century. Dracula can be traced to the Prince of Wallachia Vlad III, whose alleged war crimes were published in German pamphlets. A 1499 pamphlet was published by Markus Ayrer, which is most notable for its woodcut imagery.[12] The alleged serial-killer sprees of Gilles de Rais have been seen as the inspiration for "Bluebeard".[13] The motif of the vampiress is most notably derived from the real-life noblewoman and murderer, Elizabeth Bathory, and helped usher in the emergence of horror fiction in the 18th century, such as through László Turóczi's 1729 book Tragica Historia.[14] 18th century Horace Walpole wrote the first Gothic novel, The Castle of Otranto (1764), initiating a new literary genre.[15] The 18th century saw the gradual development of Romanticism and the Gothic horror genre. It drew on the written and material heritage of the Late Middle Ages, finding its form with Horace Walpole's seminal and controversial 1764 novel, The Castle of Otranto. In fact, the first edition was published disguised as an actual medieval romance from Italy, discovered and republished by a fictitious translator.[15] Once revealed as modern, many found it anachronistic, reactionary, or simply in poor taste but it proved immediately popular.[15] Otranto inspired Vathek (1786) by William Beckford, A Sicilian Romance (1790), The Mysteries of Udolpho (1794), The Italian (1796) by Ann Radcliffe, and The Monk (1797) by Matthew Lewis.[15] A significant amount of horror fiction of this era was written by women and marketed towards a female audience, a typical scenario of the novels being a resourceful female menaced in a gloomy castle.[16] 19th century Mary Shelley by Richard Rothwell (1840–41) The Gothic tradition blossomed into the genre that modern readers today call horror literature in the 19th century. Influential works and characters that continue resonating in fiction and film today saw their genesis in the Brothers Grimm's "Hänsel und Gretel" (1812), Mary Shelley's Frankenstein (1818), John Polidori's "The Vampyre" (1819), Charles Maturin's Melmoth the Wanderer (1820), Washington Irving's "The Legend of Sleepy Hollow" (1820), Jane C. Loudon's The Mummy!: Or a Tale of the Twenty-Second Century (1827), Victor Hugo's The Hunchback of Notre Dame (1831), Thomas Peckett Prest's Varney the Vampire (1847), the works of Edgar Allan Poe, 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), Sir Arthur Conan Doyle's "Lot No. 249" (1892), H. G. Wells' The Invisible Man (1897), and Bram Stoker's Dracula (1897). Each of these works created an enduring icon of horror seen in later re-imaginings on the page, stage, and screen.[17] 20th century A proliferation of cheap periodicals around the turn of the century led to a boom in horror writing. For example, Gaston Leroux serialized his Le Fantôme de l'Opéra before it became a novel in 1910. One writer who specialized in horror fiction for mainstream pulps, such as All-Story Magazine, was Tod Robbins, whose fiction deals with themes of madness and cruelty.[18][19] In Russia, the writer Alexander Belyaev popularized these themes in his story Professor Dowell's Head (1925), in which a mad doctor performs experimental head transplants and reanimations on bodies stolen from the morgue, and which was first published as a magazine serial before being turned into a novel. Later, specialist publications emerged to give horror writers an outlet, prominent among them was Weird Tales[20] and Unknown Worlds.[21] Influential horror writers of the early 20th century made inroads in these mediums. Particularly, the venerated horror author H. P. Lovecraft, and his enduring Cthulhu Mythos transformed and popularized the genre of cosmic horror, and M. R. James is credited with redefining the ghost story in that era.[22] The serial murderer became a recurring theme. Yellow journalism and sensationalism of various murderers, such as Jack the Ripper, and lesser so, Carl Panzram, Fritz Haarman, and Albert Fish, all perpetuated this phenomenon. The trend continued in the postwar era, partly renewed after the murders committed by Ed Gein. In 1959, Robert Bloch, inspired by the murders, wrote Psycho. The crimes committed in 1969 by the Manson Family influenced the slasher theme in horror fiction of the 1970s. In 1981, Thomas Harris wrote Red Dragon, introducing Dr. Hannibal Lecter. In 1988, the sequel to that novel, The Silence of the Lambs, was published. Early cinema was inspired by many aspects of horror literature, and started a strong tradition of horror films and subgenres that continues to this day. Up until the graphic depictions of violence and gore on the screen commonly associated with 1960s and 1970s slasher films and splatter films, comic books such as those published by EC Comics (most notably Tales From The Crypt) in the 1950s satisfied readers' quests for horror imagery that the silver screen could not provide.[23] This imagery made these comics controversial, and as a consequence, they were frequently censored.[24][25] The modern zombie tale dealing with the motif of the living dead harks back to works including H. P. Lovecraft's stories "Cool Air" (1925), "In The Vault" (1926), and "The Outsider" (1926), and Dennis Wheatley's "Strange Conflict" (1941). Richard Matheson's novel I Am Legend (1954) influenced an entire genre of apocalyptic zombie fiction emblematized by the films of George A. Romero. In the late 1960s and early 1970s, the enormous commercial success of three books - Rosemary's Baby (1967) by Ira Levin, The Exorcist by William Peter Blatty, and The Other by Thomas Tryon - encouraged publishers to begin releasing numerous other horror novels, thus creating a "horror boom".[26][27] Stephen King Stephen King One of the best-known late-20th century horror writers is Stephen King, known for Carrie, The Shining, It, Misery, and several dozen other novels and about 200 short stories.[28][29][30] Beginning in the 1970s, King's stories have attracted a large audience, for which he was awarded by the U.S. National Book Foundation in 2003.[31] Other popular horror authors of the period included Anne Rice, Brian Lumley, Graham Masterton, James Herbert, Dean Koontz, Richard Laymon, Clive Barker,[32] Ramsey Campbell,[33] and Peter Straub. 21st century Best-selling book series of contemporary times exist in genres related to horror fiction, such as the werewolf fiction urban fantasy Kitty Norville books by Carrie Vaughn (2005 onward). Horror elements continue to expand outside the genre. The alternate history of more traditional historical horror in Dan Simmons's 2007 novel The Terror sits on bookstore shelves next to genre mash ups such as Pride and Prejudice and Zombies (2009), and historical fantasy and horror comics such as Hellblazer (1993 onward) and Mike Mignola's Hellboy (1993 onward). Horror also serves as one of the central genres in more complex modern works such as Mark Z. Danielewski's House of Leaves (2000), a finalist for the National Book Award. There are many horror novels for children and teens, such as R. L. Stine's Goosebumps series or The Monstrumologist by Rick Yancey. Additionally, many movies for young audiences, particularly animated ones, use horror aesthetics and conventions (for example, ParaNorman). These are what can be collectively referred to as "children's horror".[34] Although it is unknown for sure why children enjoy these movies (as it seems counter-intuitive), it is theorized that it is, in part, grotesque monsters that fascinate kids.[34] Tangential to this, the internalized impact of horror television programs and films on children is rather under-researched, especially when compared to the research done on the similar subject of violence in TV and film's impact on the young mind. What little research there is tends to be inconclusive on the impact that viewing such media has.[35] Characteristics One defining trait of the horror genre is that it provokes an emotional, psychological, or physical response within readers that causes them to react with fear. One of H. P. Lovecraft's most famous quotes about the genre is that: "The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown."[36] the first sentence from his seminal essay, "Supernatural Horror in Literature". Science fiction historian Darrell Schweitzer has stated, "In the simplest sense, a horror story is one that scares us" and "the true horror story requires a sense of evil, not in necessarily in a theological sense; but the menaces must be truly menacing, life-destroying, and antithetical to happiness."[37] In her essay "Elements of Aversion", Elizabeth Barrette 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.[38] 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, Barrette adds that horror fiction is one of the few mediums where readers seek out a form of art that forces themselves to confront ideas and images they "might rather ignore to challenge preconceptions of all kinds." One can see the confrontation of ideas that readers and characters would "rather ignore" throughout literature in famous moments such as Hamlet's musings about the skull of Yorick, 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. There are many theories as to why people enjoy being scared. For example, "people who like horror films are more likely to score highly for openness to experience, a personality trait linked to intellect and imagination."[39] It is a now commonly accepted view that the horror elements of Dracula's portrayal of vampirism are metaphors for sexuality in a repressed Victorian era.[40] But this is merely one of many interpretations of the metaphor of Dracula. Jack Halberstam postulates many of these in his essay Technologies of Monstrosity: Bram Stoker's Dracula. He 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.[41] Illustration from an 1882 issue of Punch: An English editorial cartoonist conceives the Irish Fenian movement as akin to Frankenstein's monster, in the wake of the Phoenix Park killings. Menacing villains and monsters in horror literature can often be seen as metaphors for the fears incarnate of a society. 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 multinational 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 canon of horror fiction, as over a dozen possible metaphors are referenced in the analysis, from the religious to the antisemitic.[42] Noël Carroll's Philosophy of Horror postulates that a modern piece of horror fiction's "monster", villain, or a more inclusive menace must exhibit the following two traits: 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".[43] 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.[44] 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 Devendra Varma[45] and S. L. Varnado[46] make reference to the theologian Rudolf Otto, whose concept of the "numinous" was originally used to describe religious experience. A recent survey reports how often horror media is consumed: To assess frequency of horror consumption, we asked respondents the following question: "In the past year, about how often have you used horror media (for example, horror literature, film, and video games) for entertainment?" 11.3% said "Never," 7.5% "Once," 28.9% "Several times," 14.1% "Once a month," 20.8% "Several times a month," 7.3% "Once a week," and 10.2% "Several times a week." Evidently, then, most respondents (81.3%) claimed to use horror media several times a year or more often. Unsurprisingly, there is a strong correlation between liking and frequency of use (r=.79, p
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