The Nature Of Horror - Unige.it
The Nature of HorrorAuthor(s): Noel CarrollSource: The Journal of Aesthetics and Art Criticism, Vol. 46, No. 1 (Autumn, 1987), pp. 51-59Published by: Blackwell Publishing on behalf of The American Society for AestheticsStable URL: http://www.jstor.org/stable/431308Accessed: 12/05/2010 10:32Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available rms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unlessyou have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and youmay use content in the JSTOR archive only for your personal, non-commercial use.Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained herCode black.Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printedpage of such transmission.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.Blackwell Publishing and The American Society for Aesthetics are collaborating with JSTOR to digitize,preserve and extend access to The Journal of Aesthetics and Art Criticism.http://www.jstor.org
NOEL CARROLLTheNatureofHorrorRomero's Night of the Living Dead or Scott'sAlien. We shall call this art-horror.It is different from the sort of horror one expresses insaying "I am horrified by the prospect ofecological disaster" or "Terrorist acts arehorrifying." Call the latter usage of "horror"natural horror. It is not the purpose of thisessay to analyze naturalhorror, but only arthorror- "horror," that is, as it serves to namea cross-art genre whose existence is alreadyrecognized in ordinary language. Indeed, onemight regard the first part of this article as anattempt to rationally reconstructthe latent criteriafor identifyingart-horrorthat are operativein ordinarylanguage.In order to avoid misunderstanding, it isnecessaryto emphasize thatby "art-horror"weare referringnarrowlyto the effects of a specificgenre. Of course, one might be horrifiedby theevents in a nonhorrornovel, for example, onemight be horrified by the murder in TheStranger. Nevertheless, though such horror isgeneratedby art, it is not part of the phenomenon we are calling "art-horror.""Art-horror,"by stipulation, is supposed to refer to theproduct of a genre that crystallized roughlyaround the time of the publication of MaryShelley's Frankensteinand that has continued,often cyclically, to persist through the novelsand plays of the nineteenth century and theliteratureand films of the twentieth.2Moreover,it must be noted that though our emphasis is ongenre, we shall not respect the notion thathorrorand science fiction are discrete genres.Much science fiction of the bug-eyed monsterschool, for instance, is really a species ofhorror, substituting supernatural forces withfuturistictechnologies. This is not to say that allscience fiction is a subcategory of horror, butat Wesleyan only that much is. Thus, in our examples, weCARROLLis professorof philosophyNOELwill move freely between what is called horrorUniversity.half, perhapsespecially in America, horror has flourished as amajor source of mass aesthetic stimulation.Horrornovels seem available in virtuallyeverysupermarketand pharmacy, and new titles appearwith unnervingrapidity.One authorin thisgenre, Stephen King, has become a householdname, while others, like Peter Straub, thoughless well known, command large followings.Popular movies, as well, have remained soobsessed with horrorsince the success of TheExorcist that it is difficult to visit your localmultiplex theat
essay to analyze natural horror, but only art- horror- "horror," that is, as it serves to name a cross-art genre whose existence is already recognized in ordinary language. Indeed, one might regard the first part of this article as an attempt to rationally reconstruct the latent cri- teria for i
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Silat is a combative art of self-defense and survival rooted from Matay archipelago. It was traced at thé early of Langkasuka Kingdom (2nd century CE) till thé reign of Melaka (Malaysia) Sultanate era (13th century). Silat has now evolved to become part of social culture and tradition with thé appearance of a fine physical and spiritual .
horror film are uniquely suited to bring into visibility everyday, endemic horror – a horror that many in US society refuse to see. I call this use of horror, ‘horror vérité’ or truthful horror. As a form of politically inflected horror, it has potential to perform the kind of materialist history that Walter Benjamin theorizes, in .
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Horror, Personality, and Threat Simulation: A Survey of the Psychology of Scary Media Horror entertainment is a thriving and paradoxical industry. People flock to horror films, buy horror novels, immerse themselves in horror video games, and visit haunted attractions to be scared witless (Clasen, 2017; Follows, 2017; Gunter, 2018).
Black holes exert a strong pull on both the scientific and the popular imaginations. They often prove beyond the limits of our abilities to comprehend. Indeed, they sound like a lot of nonsense from a bad movie. Nevertheless, black holes have gone from being a “purely theoretical fancy” to being the objects of cutting-edge scientific study. We have strong evidence that black holes not only .
