Why (why) we are afraid of something about which we know does not exist or how I see Frankenstein .......... I think many of you will agree that art-horror focuses on a monster that existence in the light of the current state of knowledge is impossible. even if dangerous creatures in films and novels belonging to the genre of horror seem to be real beings, an analysis of their presentation reveals their supernatural character. How non-existent monsters affect what there? Whats more, the recipient horror accept willingly the non-existence of monsters. In terms of art-horror is the idea of ??a monster, not a conviction of its existence. It should at this point to recall the emotions synchronized characters and audience horror. In this sense, art-horror would be a real emotion. You can, after all really afraid of when he thinks of Frankensteins monster. At the same time do not have to recognize that it exists really. It is possible Thus, the separation of thinking from beliefs. So, if you thought might frighten, or you can conclude that readers and viewers Frankenstein does not believe in the existence of the monster. And the fear remains the authentic, because the recipient moves thought a monster. Repeatedly emphasized that the feelings of fear and loathing in horror closely related with the figure of the monster. The recipient is not afraid of the whole world represented, but terrible form described or depicted in the song. They often wear some names, for example. Dracula. The horror of these names do not refer to entities actually existing, the recipient does not consider these characters as existing actually. Gottlob Frege in his treatise The Meaning and nominee has already recognized that when we perceive work of art, do not ask about whether the name Odysseus refers to the reality. for Frege it was clear that each character has a reference subject - nominee, denotation and meaning. In the case of artistic works recipient is interested only in the sense, nominee is irrelevant. In the works of the genre of horror reader he only draws attention to the meaning of sentences in relation to the emotions that it arouses in the text. names not have in this context, ordinary reference - the epic interest of the recipient moves with reference to the meaning of the words. The Dracula refers to in the context of the song to its meaning. The name Dracula refers to the meaning, that is, a set of characteristics associated with a vampire in the song. The recipient is considering properties monster in relation to the novel, recognizes his monstrous features: - Impurity, horror - and thus the feeling of art-horror. It scares However, content of thought, watching the movie does not feel threatened by a monster, do not take defensive action, not afraid that it will be his next victim. In the case of Frankensteins monster to make sense, or monstrous features, refer to the determination, used by the Victor. The monster because there is no assigned name; determined as a ghost, demon, devil. Reactions evoked by the recipient, but they are analogous to those that cause Dracula. Although not call this kind of attitude to the world presented and the monster, the point is not to look for a reference for this monster Frankenstein in reality. It exists because in the world as possible, which does not is substantive. It is a cultural world that is decorated. Can be described in terms of individuals and property, but does not attribute to him the same substantiality. The feature of the monster is a contradiction between the existence and the current state of knowledge. The recipient meets the figure of the monster by category imagination. it in the imagination of the impressions are created possible worlds. Impressions are the subject of experience, we have no influence. Imagination transposes and changes its ideas; experience the various elements of the world and combine them freely. during the reading or watching horror recipient can speak a terrifying situation to the imagination, although there is no real threat. Hereby there is continuity between sensation and convicting. Impressions may in fact be the basis of judgment. In imagination we experience monstrous creature features. Monster is a dangerous, dangerous in the sense of psychological, moral, and social. Frankensteins monster has killed a child and a woman - is physically dangerous. Monsters of the works of horror are also unclean. As previously mentioned, due to the impurity monster categorical contradiction. monster not entitled to the existence of complete; conflict occurs in the various categories cultural. One of the techniques of designing the monster in the song of the horror genre is anastomosis. It involves the crossing of fixed categories: body - the machine, insect - like a man. using the anastomosis technique was designed monster Frankenstein - Victor made ??it from the remains of the different bodies. This issue is particularly clearly shown in a series of films was Frankenstein Universal Pictures. Movie monster equipped in electrical equipment. He was placed in different brains, while still portrayed him as innocent - as if his disposition does not depend on held brain. Anastomosis is thus a separate condensing, and as categorically opposing elements in the form of a solid spatio monster. Anastomosis as a symbolic structure allows you to connect As already mentioned, Frankensteins monster is not bad from the start its existence. He becomes angry because Frankenstein rejects him - reacts to it feelings of fear and disgust. The monster was designed by M. Shelleys structure using destroyer. It consists in the fact that the monster is created inside the world presented. His emergence of this kind of monster storm existing order, and the man - the hero of a positive track - loses control the monster; this and still appears as a creature of evil. In this type of composition followed by confrontation of good and evil: monster and a good guy. In the case of Frankenstein also occurs by repeated meetings Victor and the monster. The final, however, to take out the monster as evil occurs when bad kills beloved Frankenstein: It showed on her neck murderous mark, trace the devils grip, and by its mouth does not pass no longer breath. Still leaning over her in agony despair, somehow unconsciously looked up. Room window were previously darkened and almost panic gripped me as I watched, as a pale yellow moonlight lit up the interior, since the shutters were opened. suddenly with a feeling of terror, which can not be described, I saw at the open window That most loathsome, most awful character. The face of the monster was grimace; in a gesture of derision showed his diablim finger corpse of my wife. I rushed to the window and Pulling from his bosom gun, I shot - but overturned in front of me, jumped down, rushed quickly like lightning to the lake and dived into the water. Is this evil monster existential or metaphysical? It would seem that in the case of horror can talk about the transformation of evil the existential metaphysical evil. Experience, we can actually just evil existential. Evil reveals his true because if hits the other. Similarly, in the case of Frankenstein. initially in relation to the monster more accompanied by a feeling of disgust and closer unspecified anxiety. Authentic elaborated fear began to accompany Victor, the monster has committed heinous acts. In my opinion, the horror more plagued heroes and evil existential When customers experiencing social evils, moral - when we do something wrong - then fear no more power. Evil in the metaphysical dimension rather inclined to reflect and to avoid situations that could lead to concretisation and bring evil to justice existential. Similarly, in the case of Frankenstein. Before the monster murdered people close to him, he was not afraid of him in a literal way. He was terrified at the prospect of breaking governance ontological and moral world, crossing borders - creating a monster whose existence is incompatible with the metaphysical. Frankenstein began to perceive monster as evil in the existential sense only when the guilty are murder. Actually, the evils ultimately not much you can say. Categorizing this type is not quite sensible in relation to the concept of evil. One must agree with Barbara By application: So what is evil? This question can not give us answers or descriptions of, or language, or art, or demonology theories. Philosophical attempts to capture the lead astray or appear to be incomplete, only capturing the what it can not be. Question of evil is not only intellectual, philosophical nature, it itself is primarily moral dimension, as it is an expression of opposition to evil and desires victorious struggle against him. Asked why for centuries, and I think that should be asked, despite the lack of satisfactory answers. Based on the above analysis, I give the definition of a monster: a monster a hallmark of the song from the horror genre; is a central category of works this kind; indirectly connected with feelings of anxiety and fear; characterized by it based on the emotions that it arouses positive hero and the recipient; is the essence of incomplete, inseparable, not entitled to the inherent existence - therefore raises disgust; It is also disgusting in terms of externality; is the essence of evil in the sense of existential and metaphysical. Many questions about the issue of monsters, will long remain a mystery ... so what do we do to get closer to the meaning of the monster in the film ... watch the movies more often you and I wish you all ... Henryk :) ...
Posted on: Sun, 28 Sep 2014 16:35:40 +0000
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