Countess Erzsébet Báthory continues to draw the interest of historians, critics, artists and in the process, one could argue, the victimising of her victims.
As in the case of the supernatural, this negotiation manifests itself in Ann Radcliffe’s subtle blend of evocation and denial, just like corporeal ghosts.
As the central motif, the intrusion of an inanimate object as the agent of death helps to shape a type of grotesque fiction which borders on the fantastic.
In an uncertain and chaotic world, what does it mean to face, and sometimes even embrace, this grotesque darkness?
The broad definition “occult,” embraces the whole range of psychological, physiological, cosmical, physical, and spiritual phenomena.
Comic books brought problematic cultural worth, and it was never more apparent than in the 1970s comic book industry in the United Kingdom.