Emotions of Mystery in Gothic Novels and Thrillers
DOI:
https://doi.org/10.24234/wisdom.v17i1.430Keywords:
concept, frame structure, mystery, the Gothic novel, the thrillerAbstract
The article is dedicated to the study of the emotions of mystery in Gothic novels and thrillers. For many years, beginning with ancient times and up to modernity, mysteries and secrets were under thorough investigation by scientists. Mysteries, secrets and silence are associated with horror and happiness. That’s why they became the object of the proposed article. According to the linguacultural approach, the concepts were studied as complex phenomena, with composite meaning peculiar to the concepts under analysis. The concepts MYSTERY, SILENCE and SECRET, were considered as the typical situations, the structure of which consists of such spheres: actants, predicates, attributes, quantifiers, space and time. Each of these spheres represents part of the characteristics and makes it possible to create a general understanding of the concepts under analysis as of complex phenomena, which are most vividly revealed in Gothic novels and thrillers. These novels disclose the emotions of mystery as unknown, horrific and tense situations are the main feature of these genres. Mystery has the key role here and is the inseparable part of their understanding. It was demonstrated that the concepts under analysis represent positive and negative features which denote their ambiguous and binary character at the same time.
Downloads
References
Abbott, M. (2010). The Poetic Experience of the World. International Journal of Philosophical Studies, 18(4), 493-516.
Alefirenko, N. F. (1999). Spornye problemy semantiki (Disputable Questions of Semantics, in Russian). Volgograd: Peremena.
Berestnev, G. I. (2000). Samosoznanie lichnosti v zerkale jazyka (The Self-Consciousness of a Person in the Mirror of Language, in Russian). (Doctoral Dissertation, Moscow State University). Retrieved from https://www.dissercat.com/content/samosoznanie-lichnosti-v-zerkale-yazyka.
Birkhead, E. (1963). The Tale of Terror. A Study of the Gothic Romance. New York: Russell & Russell Inc.
Bozhko, O. S. (2017). Lingval’na reprezentacija atmosfery SASPENS v anglomovnyh hudozhnih tvorah zhanru horror: semantyko-kognityvnyj aspekt (Lingual Representation of the Suspense Atmosphere in English Horror Fiction: Semantic-Cognitive Aspect, in Ukrainian). (PhD dissertation, Kherson State University). Retrieved from http://www.kspu.edu/FileDownload.ashx/%D0%91%D0%BE%D0%B6%D0%BA%D0%BE%20%D0%9E.%D0%A1._%D0%90%D0%B2%D1%82%D0%BE%D1%80%D0%B5%D1%84%D0%B5%D1%80%D0%B0%D1%82_%20%D1%81%D0%B0%D0%B9%D1%82.pdf?id=a4eb2cc3-9f9b-404c-a5ce-873709c14114.
D’jakova, T. V. (2013). Harakteristika zhanra «triler» i ego podzhanry (The Characteristics of the Genre “Thriller” and Its Sub-Genres, in Ukrainian). Lingua Mobilis. The Language of the Literary Works, 5(44), 32-36.
Galych, O. B. (2011). Movni zasoby vidtvorennja mistychnogo v anglijs'komu gotychnomu romani XVIII st. (Language Means of Representation of Mystical in English Gothic Novel of XVIII Cent, in Ukrainian). (PhD dissertation, Kyiv National Linguistic University).
Harris, Th. (2000). Red Dragon. Canada: Dutton.
Harris, Th. (2002). The Silence of the Lambs. New York: Arrow Books.
Hoffmann, G. (1982). The Fantastic in Fiction: Its “Reality” Status, Its Historical Development and Its Transforation in Postmodern Narration. Yearbook of Research in English and American Literature, 1, 273-275.
Karasik, V. I. (2012). Semioticheskie tipy konceptov (Semiotic Types of Concepts, in Russian). Question of Cognitive Linguistics, 4, 5-11.
King, S. (2011). Salem’s Lot. New York: Anchor.
Kozlova, T. O. (2015). Ikonichnist u leksytsi indoievropeiskoi pramovy (Iconicity in the Lexicon of Indo-European Pra-Language, in Ukraininan). Zaporizhzhia: Kruhozir.
Kubrjakova, E. S. (1994). Nachal’nye etapy stanovlennya kognitivizma: lingvistika, psihologiya, kognitivnaya nauka (Initial Stages of Formation of Cognitivizm: Linguistics, Psychology, Cognitive Science, in Russian). Questions of Linguistics, 4, 34-38.
Lovecraft, H. P. (2000). The Annotated Supernatural Horror in Literature. New York: Hippocamus Press.
Lukin, O. O. (1992). U mahichnomu labirynti svidomosti. Literaturnyi mif XX st. (In the Magical Labyrinth of Consciousness. Literary Myth of XX Cent, in Ukrainian). Foreign Literature, 3, 234-249.
Macmillan Dictionaries online. Retrieved from http://www.macmillandictionary.com.
Merriam-Webster Dictionaries online. Retrieved from https://www.merriam-webster.com.
Patterson, J. (2006). Thriller. Ontario, Canada: MIRA Books.
Popova, Z. D., & Sternin, I. A. (2002). Ocherki po kognitivnoi lingvistike (Outlines about Cognitive Linguistics, in Russian). Voronezh: Istoki.
Prykhodchenko, O. O. (2017). Kontseptualna opozytsiia ZhYTTIa – SMERT v hotychnii kartyni svitu (na materiali anhliiskomovnykh romaniv pro vampiriv) (The Conceptualization of the Opposition LIFE – DEATH in the Gothic Worldview (Based on the English Novels about Vampires, in Ukrainian). (PhD dissertation, Zaporizhzhia National University). Retrieved from http://phd.znu.edu.ua/page//aref/02_2017/Prykhodchenko_aref.pdf.
Schinkel, A. (2019). Woder, Mystery, and Meaning. Philosophical Papers, 48(2), 293-319.
Selivanova, E. A. (2000). Kognitivnaya onomasiologiya (Cognitive Onomasiology, in Russian). Kyiv: Fitosotsiotsentr.
Stoker, B. (1994). Dracula. England: Penguin books.
The Etymological Dictionary of the English Language. Retrieved from https://www.etymonline.com.
The Free Dictionary. Retrieved from http://www.thefreedictionary.com.
Yefymenko, T. M. (2015). Zasoby vyrazhennia linhvistychnykh katehorii fantastychnoho, mistychnoho, taiemnychoho v anhliiskykh hotychnykh romanakh XVIIIst (The Means of Representation of Linguistic Category of Mystical in English Gothic Novels of XVIII Cent., in Ukrainian). Odessa Linguistic Journal, 5(2), 43-47.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2021 Author and scientific journal WISDOM
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Creative Commons Attribution-Non-Commercial (CC BY-NC). CC BY-NC allows users to copy and distribute the article, provided this is not done for commercial purposes. The users may adapt – remix, transform, and build upon the material giving appropriate credit, and providing a link to the license. The full details of the license are available at https://creativecommons.org/licenses/by-nc/4.0/.