The Enduring Appeal of the Horror Genre

The Enduring Appeal of the Horror Genre What is your topic? Question? Sub-questions? (Not too many!) Hypothesis? What specific issues associated with your topic do you want to investigate (making sure they are capable of being investigated within the constraints of the MA calendar)? What sorts of data will you need to adequately address each of these issues? Why will this data help you in particular? From what sources (places, human subjects, texts, cultural phenomena?) will you obtain this data? How will you obtain the data? (Documentary search? Interviewing? Questionnaire? Observation? Media production? Reflection on practice?) How do you intend (in general terms) to record, manage and analyze this data? What analytical models and theories will you draw on? What will your timetable be month by month? Introduction: answers the ‘so what? question, convince reader you need to do this Literature Review: Contextualises your research. Answers the question:  Where do I fit? Research questions determined. Methodology: Determines the nature of your study design and the  methods you will use. Include how you approach the subject, methods, why, ethics, how you analysed data. Results, discussion, analysis: combined or separate, can be guided by questions Conclusion: Draws everything together and answers your research  questions. Discusses limitation and future work. HORRORS ENDLESS CYCLE: AN INVESTIGATION INTO THE ENDURING APPEAL OF THE HORROR GENRE IN THE NEW MILLENNIUM. INTRODUCTION: The horror genre has deep roots in the classical studio era. Yet in important ways it also looks ahead to the post-classical period, a period of reduced levels of film production and correspondingly weakened genre identities. As a fantasy genre, horror departs in significant ways from the prevailing canons of representation in the classical Hollywood style, whether one takes that mode to be a form of realism or of melodrama. Horror has an identity as an unrespectable genre for an undiscriminating juvenile audience (or an audience that has its mind on other things), with strong roots in exploitation cinema, that has only fairly recently emerged as an attractive genre for large scale production at major studios. Finally, it has attracted significant critical attention in recent years, and in each case theories of postmodernism and – which is not always the same thing – currents in postmodern theory have played an important part in reconceiving the genre for audiences and film-makers alike. This critical interest is, I argue, related to the relative weakness in both cases of traditional semantic/syntactic matrices of generic identity, leading to a protean aspect that is well suited to exploiting marketplace currents and trends. That horror takes its core generic material from the body, both engines of contemporary critical enquiry and popular cultural debate has confirmed its relevance. (Barry Langford, Film Genre: Hollywood and Beyond, 2005) Why choose to live in fear? Today we get up, go to work, come home, watch TV and go to sleep. To combat the monotony we chase the death rush by other means, as perilous as base or bungee jumping, or as sanitised as roller coasters and theme parks, while for most the simple thrills of the horror movie are more than enough to satisfy and provide a little taste of fear. Thats just one theory. Another is that we watch horror movies because they offer us a challenge – to look fear and death in the face and survive the ordeal. The ascendance and growing popularity of horror cinema since the new millennium is certainly a fascinating trend in contemporary society, and one which is long overdue an in-depth and objective analysis. Through researching the appeal of the horror genre I shall look into the social and political climate into which these movies fell over the last ten years, and discuss the merits of the movies themselves or, in some cases, lack of them. (Marshall in Carolyn, 2008). The horror film, throughout its shady, rebellious history has earned more money than respect. Though these days there are film festivals, websites, books, magazines, Masters theses, and even film distributors devoted entirely to the consumption of the dark side of entertainment, the mainstream media and self-appointed intelligentsia of pontificators cluck their tongues and blame the fall of society on these nasty little gutter-dwellers we call our own. In truth, the horror film may be the best mirror of the worlds zeitgeist we have, reflecting, rather than creating, the ills and crises of the planets collective psychology. Its been said before and it bears repeating that horror is to cinema what rock and roll is to music: rude, abrasive, pushy and anti-establishment. No wonder, then, that it is so embraced by the young. What better way to break away from parental chains than to blast distorted guitars on the stereo, and revel in disemboweled damsels in distress on the widescreen plasma? The young are immortal, right? And who can blame them for gathering tribally in front of the Cineplex screens to cheer on the latest adventures of the newest teen-gutting horror franchise star? They know its not real, that they are thumbing their noses at mortality. Yes, deep-seated fears are faced on the screen, from a safe distance, allowing the audience to safely play tag with what scares them. A good horror movie has all the elements of a good drama: creative storytelling: compelling characters placed in relatable plots, an artists point of view. But a really good horror movie, the best horror movie, can take you far beyond: it can take you to a place youve never been, a shadowy chamber of the mind outside of your worldly experience, with story twists and turns that will make you squirm until the lights come on and you emerge victoriously from your two hours in the dark. A great horror movie can be a revelatory experience. A great way to take societys pulse is through the arts and entertainment of the time. And the horror film makes a great thermometer. As I intend to examine in this study, a national or global health is particularly well represented by its fright films. At times of political upheaval, war, depression and recession, the horror cycle runs to a particular high. Adam Simons remarkable documentary, The American Nightmare, about the horror boom of the 1970s arising out of the international upheaval that surrounded the war in Vietnam. Is a terrific examination of how one relates to the other. But as we close in on the end of the new millenniums first decade, we find ourselves in another long-lasting terror boom in a post 9/11 world. Obviously, most of these films are not artistic reflections of social strife, or the primal screams of the mad artist who paints in blood. As they have, with everything else that makes money, the corporate kings have co-opted the popular cycle on their own terms. Where brilliant artists contribute excellent and exciting new ventures, the screens are also littered with the latest iterations of franchises nobody asks for, but are easy to market. In recent years, its been far easier for an industry that isnt interested in or has any understanding of the horror genre to take familiar titles, and remake and sequelise them until the law of diminishing returns proves itself, and they move on to the next title. There are great horror films being made today amidst the dross. But its not quality thats being discussed here, though it obviously plays a part. Its that there is a new and ravening audience for the spilling of blood. Again, theres nothing new about this: filmgoers filled the cinemas during the Depression to see the Frankenstein monster toss an innocent little girl into the pond, to see Count Dracula sup on the blood of lovely blondes; during World War II, Frankensteins monster met everyone from the Wolf Man to Abbott and Costello, and Universal cranked out one monster fest after another, while a quiet, well-real producer named Val Lewton churned out intelligent, atmospheric shockers for RKO; in the 1950s, when the Cold War and Air Raid duck-and-cover drills were the order of the day, nuclear tests gave birth to the giant ants of Them, the humungous grasshoppers of The Beginning of the End, and the radioactivity-breathing Japanese dragon beast of Godzilla; the early sixties turned i nternal, with human monsters like Norman Bates infesting our souls and killing on behalf of the sexual battle within the newly blossoming psychological terror train; the Vietnamese apocalypses were brutal, fed as they were by nightly news imagery of burning bodies and human torture, in a toe-in-the-water test of loosening censorship that led to a free-for-all; the eighties were all about cheap: no stars, gore effects and creative kills being the entire raison dà ªtre for a horror films existence; the complacent, Wall Street frivolous 1990s were mostly in a horror lull, but ended with a bang of excellence with films like Stir of Echoes, The Sixth Sense and The Blair Witch Project. In the new millennium, a new generation of filmmakers is finding its voice, raised on ubiquitous film courses in high school and beyond, computers that provide in-home editing and sound mixing, mobile, high definition cameras that lead everyone to believe they can be the next John Carpenter. But it is ingenuity that best raises the profile among hordes of wannabes, as well as a point of view. The world, under the shroud of George W Bush, Tony Blair and their brethren, is dangerous, complicated and nervous. And the boom of horrific storytelling, even when controlled by the mass-media collective out to squeeze every last buck out of it, will reflect a world on edge in its unforgiving mirror†¦ at least until the next cycle. (Garris in Carolyn, 2008) In the first section, Configuring the Monster, I will explore the key themes of the genre; the main issues and the debates raised, and engage with approaches and theories that have been applied to horror texts. This theoretical background will be presented via the modernist context within which early horror texts evolved. This brief description of the generic development of the horror film will thus provide a review of its fundamental preoccupations, especially through a discussion of a variety of psychoanalytic and gendered readings. This first part also includes a case study that reviews indicative patterns of readings of horror texts across different age groups that are interesting in terms of the progression of spectator involvement with horror film. In the second section, Consensus and Constraint 1919-1960, and the final section, Chaos and Collapse 1960-2000, I will further address the chronological evolution of the horror film, looking upon particular historical periods. This analysis will consider the role of both traditional myth and gothic literature in early cinematic representations of horror. Post-war developments are then viewed in terms of the revisiting of these generic formulae. The more contemporary transgression of boundaries of permissible gore and pathological states are then considered through a discussion of the work of postmodern auteurs reworking the genres field of operation and its consistent cycling. Inevitably in a work of this length, many complex arguments will be rendered briefly and simplistically, and many important observations reduced to description and generalistion. This is not a disclaimer; rather it is an encouragement for other researchers to pursue further lines of enquiry and to address the genre anew from a personal, informed perspective. (Wells, 2000)

Philippine Literature Essay

1. AWIT is a form of Filipino poetry. Its literal translation into English is â€Å"song,† although in the context of poetry, it is closer to the narrative. Ang awit ay isang uri ng tulang pasalaysay na binubuo ng tig-aapat na taludtod ang bawat saknong, na ang bawat taludtod ay may lalabindalawahing pantig, at ang tradisyonal na dulong tugma ay isahan (aaaa, bbbb, cccc, at iba pa). Karaniwang paksa ng awit ang pakikipagsapalaran ng bayani, ngunit ang iba’y tumatalakay din sa mga alamat at relihiyosong tula. Sa pag-aaral ng batikang mananaliksik Damiana L. Eugenio, ang â€Å"awit† ay walang ikinaiba sa â€Å"korido†, maliban lamang sa bilang ng pantig sa bawat taludtod. Ang awit, gaya ng korido, ay nagtataglay ng tatlong elemento. Una, ang pag-iibigan. Ikalawa, ang relihiyoso at pangangaral. At ikatlo, ang kahima-himala at kagila-gilalas 2. PROPAGANDA is a form of communication aimed towards influencing the attitude of a population toward some cause or position. Propaganda is information that is not impartial and used primarily to influence an audience and further an agenda, often by presenting facts selectively (thus possibly lying by omission) to encourage a particular synthesis, or using loaded messages to produce an emotional rather than rational response to the information presented. Propaganda can be used as a form of ideological or commercial warfare. 3. KKK – Katipunan Samahà ¡ng Kataà ¡staasan, Kagalanggalang Katipunan ngÃŒÆ' mgÃŒÆ'à ¡ Anak ngÃŒÆ' Bayan Formation July 7, 1892 Extinction May 10, 1897 President Deodato Arellano (1892-1893) Roman Basa (1893-1895) Andrà ©s Bonifacio (1895-1897) Headquarters Tondo, Manila; Kawit, Cavite Newspaper Kalayaan *The Katipunan (abbreviated to KKK) was a Philippine revolutionary society founded by anti-Spanish Filipinos in Manila in 1892, whose primary aim was to gain independence from Spain through revolution. The society was initiated by Filipino patriots Andrà ©s Bonifacio, Teodoro Plata, Ladislao Diwa, and others on the night of July 7, when Filipino writer Josà © Rizal was to be banished to Dapitan. Initially, the Katipunan was a secret organization until its discovery in 1896 that led to the outbreak of the Philippine Revolution. The Tagalog word â€Å"katipunan,† literally means ‘association,’ comes from the root word â€Å"tipon,† a Tagalog word meaning â€Å"gather together† or â€Å"society.†[4] Its official revolutionary name was Samahang Kataastaasan, Kagalanggalang Katipunan ngÃŒÆ' mgÃŒÆ'a Anak ngÃŒÆ' Bayan[1][5] (English: Supreme and Most Honorable Society of the Children of the Nation, Spanish: Suprema y Venerable Asociacià ³n de los Hijos del Pueblo). The Katipunan is also known by its acronym, KKK. The organization has no affiliation with the racist group known as the Ku Klux Klan who are also associated with the acronym â€Å"KKK†. Being a secret organization, its members were subjected to the utmost secrecy and were expected to abide with the rules established by the society.[4] Aspirant applicants were given standard initiation rites to become members of the society. At first, membership in the Katipunan was only open to male Filipinos; later, women were accepted in the society. The Katipunan had its own publication, Kalayaan (Liberty) that had its first and last print on March 1896. Revolutionary ideals and works flourished within the society, and Philippine literature were expanded by some of its prominent members. In planning the revolution, Bonifacio contacted Rizal for his full-fledged support for the Katipunan in exchange for a promise of rescuing Rizal from his detainment. On May 1896, a delegation was sent to the Emperor of Japan to solicit funds and military arms. The Katipunan’s existence was revealed to the Spanish authorities after a member named Teodoro Patià ±o confessed the Katipunan’s illegal activities to his sister, and finally to the mother portress of Mandaluyong Orphanage. Seven days after the Spanish authorities learned of the existence of the secret society, on August 26, 1896, Bonifacio and his men tore their cà ©dulas during the infamous Cry of Pugadlawin that started the Philippine Revolution 4. KORIDO isang uri ng panitikang pilipino, isang uri ng tulang nakuha natin sa impluwensiya ng mga Espanyol. Ito ay may sukat na walong pantig bawat linya at may apat na linya sa isang saknong. Ang korido ay binibigkas sa pamamagitan ng pakantang pagpapahayag ng mga tula. 5. PLAY is a form of literature written by a playwright, usually consisting of scripted dialogue between characters, intended for theatrical performance rather than just reading. Plays are performed at a variety of levels, from Broadway, Off-Broadway, regional theater, to Community theatre, as well a University or school productions. There are rare dramatists, notably George Bernard Shaw, who have had little preference whether their plays were performed or read. The term â€Å"play† can refer to both the written works of playwrights and to their complete theatrical performance. 6. SHORT STORY is a brief work of literature, usually written in narrative prose.[1] Emerging from earlier oral storytelling traditions in the 17th century, the short story has grown to encompass a body of work so diverse as to defy easy characterization. At its most prototypical the short story features a small cast of named characters, and focuses on a self-contained incident with the intent of evoking a â€Å"single effect† or mood.[2] In doing so, short stories make use of plot, resonance, and other dynamic components to a far greater degree than is typical of an anecdote, yet to a far lesser degree than a novel. While the short story is largely distinct from the novel, authors of both generally draw from a common pool of literary techniques. 7. ESSAY is generally scholarly pieces of writing giving the author’s own argument, but the definition is vague, overlapping with those of an article, a pamphlet and a short story. Essays can consist of a number of elements, including: literary criticism, political manifestos, learned arguments, observations of daily life, recollections, and reflections of the author. 8. DECALOGUE ( EMILIO JACINTO ) Bonifacio realized that in order to strengthen the katipunan, the  members had to be disciplined and indoctrinated with the ideals of the revolutionary society. In his â€Å"Katungkulang Gagawin ng mga Z. Ll. B.† (â€Å"The Duties of the Sons of the People†), Bonifacio listed down the rules of the Katipunan which constitute a decalogue: I. Love God with all your heart. II. Bear always in mind that the love of God is also the love of country, and thiis, too, is love of one’s fellow-men. III. Engrave in your heart that the true measure of honor and happiness is to die for the freedom of your country. IV. All your good wishes will be crowned with success if you have serenity, constancy, reason, and faith in your acts and endeavor. V. Guard the mandates and aims of the K.K.K. as you guard your honor. VI. It is the duty of all to deliver, at the risk of their own lives and wealth, anyone who runs great risks in the performance of his duty. VII. Our responsibility to ourselves and the performance of our duties will be the example set for our fellow-men to follow. VIII. Insofar as it is within your power, share your means with the poor and the unfortunate. IX. Diligence in the work that gives sustenance to you is the true basis of love — love for your own self, for your wife and children, and for your brothers and countrymen. X. Punish any s coundrel and traitor and praise all good work. Believe, likewise, that the aims of the K.K.K. are God-given for the will of the people is also the will of God. 9. SEMI AUTOBIOGRAPHICAL NOVEL An autobiographical novel is a form of novel using autofiction techniques, or the merging of autobiographical and fictive elements. The literary technique is distinguished from an autobiography or memoir by the stipulation of being fiction. Because an autobiographical novel is partially fiction, the author does not ask the reader to expect the text to fulfill the â€Å"autobiographical pact†.[1] Names and locations are often changed and events are recreated to make them more dramatic but the story still bears a close resemblance to that of the author’s life. While the events of the author’s life are recounted, there is no pretense of exact truth. Events may be exaggerated or altered for artistic or thematic purposes. Novels that portray settings and/or situations with which the author is familiar are not  necessarily autobiographical. Neither are novels that include aspects drawn from the author’s life as minor plot details. To be considered an autobiographical novel by most standards, there must be a protagonist modeled after the author and a central plotline that mirrors events in his or her life. Novels that do not fully meet these requirements or are further distanced from true events are sometimes called semi-autobiographical novels. Many novels about intense, private experiences such as war, family conflict or sex, are written as autobiographical novels 10. DIMASALANG Jose Rizal used the penname Laong Laan in the 1890s when he wrote poems and articles for La Solidaridad, then the Propaganda Movement’s strongest voice. Literally translated it means â€Å"reserved for a long time† and figuratively it means â€Å"laging handa† or â€Å"ever ready.† Dimasalang was the pseudonym of Jose Rizal that he adopted when he entered Freemasonry in 1883. He widely used this pseudonym in his articles in 1990’s. Literally [ hin] di masalang means â€Å"untouchable† in Taal Tagalog.

Television Is a Great Invention

Some people say television is the worst inventions of modern times. They make this assertion for some reasons. The following points are some of them. First, they think that televisions make people more passive than before. Second, they think televisions contribute to the fact that people are more distant to each other. To begin with, I must admit that the first point is reasonable. With a television all you need to do—and all you can do is to sit on a comfortable sofa and look at the screen. People are becoming more passive simply because there is no interaction and no efforts on them. Everything contains good side and bad side and television has no exception. Yeah, of course, it makes people lazier and passive. They just watch things on TV instead of doing by themselves. But apart from that, television is by all means a great invention. There is only a minority of people who can watch some events on the scene, like some live matches and competitions . So how can the rest of people participate in the events far from the place the events happen? Of course through television which all people are legal and free to enjoy can we do so. In addition, to people who want to travel but with no money, television is undoubtedly a great thing through which people can see the world only by sitting ideally at home. To the second point, I want to say that it is true. Televisions do make people less close to each other. Family get-togethers and conversations are disturbed by TV—when one member is watching TV, he would like others to keep quiet. But everyone have time when he or she is alone. Television alienates people not so much as it provides all kinds of relaxation and entertainment for people when they are alone. Although television addict some adolescents to situation comedies; although televisions put glasses on millions of students' noses; although television reduce communications between families and friends, the advantages of television are far more than the harm it does to us. To us individuals, when we finish a whole day's work and feel exhausted both physically and mentally, we may turn on televisions and have a good relaxation; when we want to get information on sports?entertainment or large events in the world, we turn on televisions and get it from all kinds of TV programs; even when we want to learn English?etiquette or custom of foreign countries, we can turn on the television and get what we need from them, always. In a word, I think television is a great invention which is of great significance to the evolution of human society. References: http://www.oppapers.com/essays/Television-Great-Invention/100718 http://www.media-awareness.ca/english/parents/television/good_things_tv.cfm http://articles.famouswhy.com/the_benefits_and_dangers_of_television/ http://wenda.tianya.cn/wenda/thread?tid=24535823bd68dd80 http://wenwen.soso.com/z/q138729005.htm

Analysis Of Shirley Jacksons The Lottery - 841 Words

â€Å"Every group feels strong, once it has found a scapegoat† (Mignon McLaughlin, 1913). A scapegoat is someone who is blamed for all the faults and corruptions that others have committed. In history, there are lots of scapegoat examples, the most popular being; Jesus Christ and the Jews in the Second World War. In the short story â€Å"The Lottery†, Shirley Jackson used persecution and tradition to demonstrate how scapegoating justified unfair killing. Both of these aspects relate to the World War that preceded only a couple years before the story was written. The persecution was blind and done once a year as a tradition that everyone expected to happen. Therefore, the story’s main idea was to let the reader imagine what the real meaning of the†¦show more content†¦Ã¢â‚¬Å"Chips of wood, Mr. Summers had argued, had been all very well when the village was tiny, but now that the population was more than three hundred and likely to keep growing† (Jac kson, 2). The town never had an overpopulation issue, there was never a good enough reason to continue the lottery and even less start it for that matter. The social hierarchy of the town did not allow the people to have a voice and that made them feel intimidated. The people were almost programed and expected to accept and carry this unfair tradition; not because of the meaning of it but because they were scared to ask to let it go in results of things getting worse. Furthermore, the people in this story were attached to the tradition for the wrong reasons, aside from the fact that they did not know the reason it was put in place decades before, they were scared to change the norm of their town because they did not know anything different. No one in the town dared to question the tradition, except for the younger generation. â€Å"They do say,† Mr. Adams said to Old Man Warner, who stood next to him, â€Å"that over in the north village they’re talking of giving up t he lottery† (Jackson, 4). The social hierarchy that Jackson implicitly represented was also relatable to the one in the war. Mr. Summers was represented as the conductor of evil, the one who continued and forced the tradition on others because it did not affect himShow MoreRelatedAnalysis of Shirley Jacksons The Lottery490 Words   |  2 Pages In Shirley Jackson’s â€Å"The Lottery,† the theme of the story is dramatically illustrated by Jackson’s unique tone. Once a year the villagers gather together in the central square for the lottery. The villagers await the arrival of Mr. Summers and the black box. Within the black box are folded slips of paper, one piece having a black dot on it. All the villagers then draw a piece of paper out of the box. Whoever gets the paper with the black dot wins. Tessie Hutchinson wins the lottery! Everyone thenRead MoreAnalysis Of Shirley Jacksons The Lottery1303 Words   |  6 Pagespowerful force (qtd. in AZQuotes). In S hirley Jacksons chilling story The Lottery, a town celebrates a special custom of stoning people to death every year. Jackson perfectly depicts a possible event that may occur from blindly following tradition without evaluating the purpose or usefulness of it in the first place. Jackson’s use of plot, theme, and symbolism reveal the evil reality of blind faith, tradition, and their consequences. Initially, Jackson’s twisted plot reveals the infinite, viciousRead MoreAnalysis Of Shirley Jacksons The Lottery954 Words   |  4 Pagesthe authors message. Shirley Jackson’s â€Å"The Lottery† displays a masterful usage of literary elements to better convey Jackson’s general purpose, such as through the deep symbolism and underlying theme; however, Jackson’s true provocation of emotion is accomplished through her quintessential use of point of view. The objective point of view is indispensable within â€Å"The Lottery† because of the creation of suspense, drama, and irony. To begin with, the first reason why Jackson’s objective point of viewRead MoreAnalysis of Shirley Jacksons The Lottery Essay776 Words   |  4 Pagesâ€Å"The Lottery† is a short story by Shirley Jackson, first published on June 26, 1948. The story was initially met with negative critical reception due to its violent nature and portrayal of the potentially dangerous nature of human society. It was even banned in some countries. However, â€Å"The Lottery† is now widely accepted as a classic American short story and is used in classrooms throughout the country. Jackson’s story takes a critical look at what can result when the customs and laws that governRead MoreAnalysis of Shirley Jacksons The Lottery Essays4601 Words   |  19 Pages Shirley Jackson’s famous short story, â€Å"The Lottery,† was published in 1948 and remains to this day one of the most enduring and affecting American works in the literary canon. â€Å"The Lottery† tells the story of a farming community that holds a ritualistic lottery among its citizens each year. Although the text initially presents audiences with a close-knit community participating in a social event together on a special day, the shocking twist at the work’s end—with the death of the lottery’s â€Å"winner†Read MoreAnalysis of John Steinbecks Chrysanthemums and Shirley Jacksons The Lottery1500 Words   |  6 PagesExamining The ChrysanthemumS The Lottery Examining The Chrysanthemums The Lottery In the WWII period, women entered the workforce is massive numbers a statistical anomaly that had never existed in American society or hardly any other modern society, ever. They became empowered and more women realized a wider range of their capabilities. A few decades after WWII, the feminist movement would rise to change the course of womens history again. The success and fervor of the feminist movementRead MoreAn Analysis of Shirley Jacksons The Lottery and Flannery OConnors A Good Man Is Hard to Find1360 Words   |  5 PagesShirley Jackson The Lottery Shirley Jacksons short story The Lottery depicts life in a provincial American town with rigid social norms. Mr. Summers symbolizes everything that is wrong with the town; he represents blind adherence to ritual, social rigidity, and resistance to change. His name corresponds with the seasonal setting of The Lottery, too, drawing attention to the importance of his character in shaping the theme of the story. Summers is in charge of the central motif of the storyRead More Shirley Jacksons The Lottery 946 Words   |  4 PagesShirley Jackson is said to be one of the most â€Å"brilliant and influential authors of the twentieth century.† â€Å"Her fiction writing is some of the most important to come out of the American literary canon.† (http://shirleyjackson.org/Reviews.html) Jackson wrote many short stories and even some books. They are more on the dark, witchlike side, however. Kelleher explains that Jackson stated in some interviews that she practiced magic. No one re ally knows if she was serious while practicing witchcraftRead MoreUse of Symbolism in The Lottery by Shirley Jackson1146 Words   |  5 Pagesbulb represents ideas that just sparked into a character’s head. In the short story, â€Å"The Lottery† by Shirley Jackson, a village has just entered the month of June, meaning that the lottery is to begin. When everyone was present, the heads of the households’ names were called one by one to pick up a slip of paper. It was then discovered that the Hutchinson family was the chosen family to participate in the lottery again. When Mr. Hutchinson, Mrs. Hutchinson, Bill Jr., Nancy, and Little Dave each gotRead MoreSymbolism in The Lottery, by Shirley Jackson Essay example1173 Words   |  5 PagesWhen most people play the lottery today, they think about having wealth. Generally, people who win are happy about it whether they win one dollar or a million. The lottery in our society has grown to support education and it is often worth several million dollars. Usually, the winner of the lottery gains a lot of recognition for the money they win. But what would happen if there was a small town where people held a yearly lottery in which the â€Å"winner† was the member of the town who was not sacrificed