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Chargement... The Philosophy of Horror (original 1990; édition 1990)par Noël Carroll (Auteur)
Information sur l'oeuvreThe Philosophy of Horror: Or, Paradoxes of the Heart par Noel Carroll (1990)
Academic Books (6) Chargement...
Inscrivez-vous à LibraryThing pour découvrir si vous aimerez ce livre Actuellement, il n'y a pas de discussions au sujet de ce livre. The subject of the book is interesting to me, however, the author's style is difficult to read. It does feel like a scientific monograph that does not have any reader in mind sometimes. Also, the author is keen to push his own understanding of what counts as "horror", to define it as something that a) features monsters b) those monsters are repulsive, which leaves quite a lot of fiction typically understood as "horror" unaccounted for. He does notice that, and delegates such fiction to "thriller" or "doom" category, but I still think that it should have been seen as an integral part of horror, as it elicits pretty much the same reaction in people, usually placed on the same place in stores, and people seek it out for the same reasons. Yet the whole thesis of the author hinges on defining horror as featuring "repulsive monsters", which allows him to use Purity and Danger-inspired framework for analysis. I finished this just prove to myself I could still force myself through a poorly written book that I didn’t like. The early chapters feel particularly bloated, obviously stretching an article to book length. This being said, Carroll makes good arguments as to why he, an analytic philosopher, finds horror so appealing. His analysis of plot structure is common enough and can be found in a lot other books dealing with genre narrative. His explanation of why horror is appealing is a psychoanalytic explanation though he rejects some specific psychoanalytic interpretations before giving his more general one. A horror text that doesn’t address gender is incomplete, but I’m sure would he say this lacuna a strength. The best thing he does is weave representative sample of horror classics regardless of format throughout his text so by default you get a primer on genre. aucune critique | ajouter une critique
Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? Aucune description trouvée dans une bibliothèque |
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Google Books — Chargement... GenresClassification décimale de Melvil (CDD)809.916Literature modified standard subdivisions History, description and criticism of more than two literatures By topic Horror And TragedyClassification de la Bibliothèque du CongrèsÉvaluationMoyenne:
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Carroll também caracteriza muito convincentemente os tipos de narrativa de horror em um principal, "o enredo complexo de descoberta", formado pelos momentos início, descoberta, confirmação e confrontação, em relação ao monstro, e com 14 combinações possíveis a partir desse quadro geral; adiciona também a ideia do enredo de extrapolador, em que um limite é ultrapassado, provocando o cenário de horror. Em ambas há um drama racional, de suspense sobre o encontro com o desconhecido, o que não se encaixa em nossas categorias existênciais cognitivas existentes. Essas narrativas são ditas eroteticas, porque articulam e costuram perguntas e respostas, e envolvem situações em que duas soluções possíveis, uma moralmente desejável e improvável, e outra malévola e provável, se confrontam, e a indecisão entre ambras deve contribuir ao nosso interesse. De modo que apesar do caráter negativo da emoção de arte-horror (que pelo seu lado de náusea, não poderia ser aproximado do sublime kantiano e muito provavelmente tampouco do burkeano), teríamos interesse nessa fascinação pelo desconhecido e desdobramento de enredos. E mesmo quando não há enredos: há toda uma esfera de elocubração onde co-existem arte-horror e fascinação, e a imaginação compensa a eventual repulsa que sentimos. ( )