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Очень интересный сборник лекций, в котором описывается развитие такого жанра как ,,Ужасы с достаточно древних средневековых времён.

Не удивляйтесь, что фамилий авторов, описываемых в книге 3. В первой лекции будет описываться само понятие ужаса в культуре и литературе, а в последующих уже сами разборы книг авторов.

Книга очень сильно помогла в написании проекта, связанного с жанром ужаса в литературе. Благодарности автору за такую содержательную книгу.

","user_display_name":"Алексей Гошко","user_avatar_url":"/pub/avatar/100/00/05/82/29/37/16/582293716.jpg","user_is_verified":false,"user_role":null,"user_id":582293716,"is_comment_left_by_reviewed_person":null,"created_at":"2019-09-20T18:47:46","likes_rating":3,"likes_count":3,"dislikes_count":0,"is_liked_by_current_user":false,"is_disliked_by_current_user":false,"is_removed_by_moderator":false,"black_listed_by_user":false,"item_rating":5,"replies":[],"is_user_profile_clickable":true,"source":"litres","replies_count":0},{"id":19996104,"caption":null,"text":"

Несмотря на небольшой размер книги не ожидала, что прочитаю её за один вечер. Но тема страха в литературе оказалась интересной, доступное и внятное изложение дало возможность буквально заглотнуть сборник из четырех лекций. А так книга небольшого формата, всего из 220 страниц, еще и с удобным крупным шрифтом. Только примечания, часто довольно объемные напечатаны мелким шрифтом и это единственное моё замечание. \nКнига англоцентрична, авторы из других стран упоминаются мимолетно, первая лекция (занимающая половину книги) за исключением краткого вступления о совсем давних временах посвящена Англии и 18 веку, в котором происходит развитие готической литературы. Вторая половина книги посвящена конкретным авторам из Америки известным всем поклонникам литературы ужаса. \nЛитературные отсылки оказались мне большей частью знакомы, если и не читала первоисточники, то упоминание о них уже встречала. Интересно было читать о философских работах посвященных восприятию объектов культуры и о разборе происхождения и значения таких терминов как катарсис, саспенс, террор и хоррор.\nНебольшие лекции о конкретных авторах хорошо восприняла, наверно и потому, что знакома с их творчеством. Особенно это относится к творчеству Стивена Кинга, из которого прочитано процентов 60-70. Плюс прочитаны масса статей о его жизни, творчестве, экранизациях его книг. У Эдгара Аллана По прочитала только небольшой сборник рассказов и стихов. У Говарда Лавкрафта с одной стороны читала только \"Хребты безумия\", но еще и сборник из четырех его повестей в форме графического романа, а также великолепный комикс «Провиденс» , являющийся переосмыслением творчества автора, благодаря которому во многом познакомилась с авторской вселенной, а также с биографией Лавкрафта, также появляющегося на страницах комикса. Описывая биографии трех мастеров ужаса Оксана Разумовская периодически возвращается к теме схожести некоторых событий в их жизнях. \nЗабавным совпадением, хотя и довольно логичным, является упоминание в первой лекции творчества Гофмана и конкретно его рассказа \"Песочный человек\"; логичным является то, что рассказ, посвященный во многом страху и его влиянию на психику, упомянут в данной книге. Совпадением же стало то, что я прочитала его буквально пару дней назад, а кроме того встретила упоминание о нем в дочитанной на днях \"Долгой прогулке\" Кинга. Так что можно сказать, эти выходные у меня посвящены литературе страха - классике, современной и, в обобщение, научно-популярной работе по теме.

","user_display_name":"EvA13K","user_avatar_url":null,"user_is_verified":false,"user_role":null,"user_id":25550570,"is_comment_left_by_reviewed_person":null,"created_at":"2024-03-14T14:28:21","likes_rating":0,"likes_count":0,"dislikes_count":0,"is_liked_by_current_user":false,"is_disliked_by_current_user":false,"is_removed_by_moderator":false,"black_listed_by_user":false,"item_rating":4,"replies":[],"is_user_profile_clickable":false,"source":"livelib","replies_count":0},{"id":19996099,"caption":null,"text":"

Я большой поклонник ужасов, причём по довольно странной причине. Я считаю хороший хоррор/триллер высшей точкой авторского таланта; написать ужасы в разы сложнее, чем, например, романтику, слишком уж страх тонкая материя. С любовью можно пересластить и при этом не испохабить всё-таки окончательно историю. Но с ужасами это сделать даже слишком просто. Нашарить триггеры читателя и суметь на них сыграть - для этого нужен талант.

В общем, я фанат. А любой фанат рано или поздно начинает интересоваться изнанкой того, чем он фанатеет.

Самую большую часть книги занимает первая лекция, рассматривающая истоки литературы ужасов и её предшественников: страшные сказки, готический роман и т.д. Здесь безумно любопытен небольшой экскурс в историю Англии, поясняющий пристрастие англичан к готическим замкам, руинам и тайным комнатам. Первая лекция в принципе является самой интересной и разносторонней, освещающей и авторов-готицистов, и множество произведений, закладывающих фундамент будущего жанра.

Оставшиеся три лекции посвящены, соответственно, Эдгару Аллану По, Говарду Филлипсу Лавкрафту и Стивену Кингу. Эти главы представляют собой биографическую справку с анализом того, как жизнь и фобии каждого из них (клаустрофобия По, агорафобия Лавкрафта, зависимость Кинга от его авторского успеха) нашли своё отражение в их творчестве. Не менее занятно прослеживать, как эти авторы влияли друг на друга и в чём пересекаются их авторские пути.

Это отличное небольшое исследование с дивно интересной темой, которая хорошо раскрыта - хотя, конечно, заголовок получился слегка кликбейтный. Перечисленные авторы занимают тут далеко не главенствующее положение. Кроме того, книга написана просто и легко, она прекрасно читается. Для интересующихся темой - отличная вещь. Единственный недостаток - ну очень хотелось бы побольше.

Ps.\n

\"К концу XVIII столетия многие сочинители жаловались, что литературный рынок практически полностью был захвачен представительницами прекрасного пола, и любовно-сентиментальные романы с мистическим или псевдоисторическим антуражем появлялись в огромных количествах.\"

Над этим я посмеялся от души. История порой чертовски циклична.

","user_display_name":"3ato","user_avatar_url":null,"user_is_verified":false,"user_role":null,"user_id":25550570,"is_comment_left_by_reviewed_person":null,"created_at":"2024-03-14T14:28:21","likes_rating":0,"likes_count":0,"dislikes_count":0,"is_liked_by_current_user":false,"is_disliked_by_current_user":false,"is_removed_by_moderator":false,"black_listed_by_user":false,"item_rating":5,"replies":[],"is_user_profile_clickable":false,"source":"livelib","replies_count":0},{"id":19996094,"caption":null,"text":"

В кои-то веки мне повезло с нон-фикшн - попалась книжка, которая безумно понравилась и более того, добавила ее на перепрочтение. В литературоведение я совсем дуб дубом, и несмотря на то, что книжка разделена была на 4 главы, и особо много не объясняла новичкам, а так же текла как речка, мне это чтение показалось очень занимательным. К сожалению, вряд ли могу прям пересказать - для этого надо читать глубоко, но ожидания мои наконец-то оправдались и 3 часа были потрачены совсем не зря.

1. Как выбирала книгу? И зачем?\nЭта книга у меня давно в долгострое. Начинала ее серьезно читать в 2020, но после 10 страниц, несмотря на то, что они мне очень понравились, испугалась и убежала. Но пообещала себе, что когда-нибудь прочту ее полностью, а не таким ознакомительным наскоком. Когда она попалась мне в KillWish’e, у меня были двойственные чувства: с одной стороны, я была рада, что смогу закончить эти лекции и наконец-то узнать что-то новое про один из моих любимых жанров, с другой стороны я жутко боялась. Боялась того, что моих знаний будет недостаточно (так оно и сталось). Боялась, что будет много крутой информации, мой внутренний перфекционист проснется и захочет сделать больно уж детальные конспекты (и так оно сталось, к счастью, получилось обуздать перфекциониста). А самый видный страх на поверхности был, что меня жутко заспойлерят - и если Лавкрафта я особо не планирую читать, то спойлеры для Кинга и По будут ужасны и трагичны, потому что ну очень хочется самой пройтись по неизведанным дорожкам. Поэтому готовилась к диагональному чтению, но не понадобилось! (кроме 2-3 параграфов у Кинга)

Почему сама книга так заинтересовала? Мне очень интересно читать про литературоведение, как таковое. А ужасы, полулюбимый жанр (то ест люблю, но не всегда смотрю/читаю). При этом сама психология ужаса - самая вкусняшка для меня, потому что помогает понять самое такое сокровенное и универсальное в опыте человека. И как ни странно, в отличие от других эмоций и чувств, литература и кино, а так же анализ их довольно-таки хорошее подспорье для понимания страха / ужаса.

\n\n***

2. Кратко о книге. \nЧетыре лекции, одна - вводная, вторая - по каждому писателю по отдельности. Сначала очень испугалась размерам, потому что в электронной читалки показывала 220 страниц (~400 стр), но это такая редактура - очень много сносок, и их решили печатать одна сноска - одна страница. На самом деле лекции очень маленькие и вся книга прочиталась буквально за 3 часа.\nСпойлеров боятся, литературоведение не читать. Но здесь все было не так страшно. Во-первых, метод анализа творчества / ужаса был сконцентрирован не на определенных произведениях, а больше на паттернах в творчестве писателя или же эпохе. То есть шло не от частного (произведение) к общему (тезис/паттерн), а наоборот. Поэтому можно было легко просто пропускать названия рассказов/произведений, но при этом не терять главной мысли аргумента. Во-вторых, спойлеров как таковых, вот прямых в лоб, было очень-очень мало. По большей части у Кинга, но я только один раз за всю книгу “обожглась” на них. А это четыре лекции и 200 страниц!

А теперь по структуре книге. Первая часть - вводная. Рассказывает о самом возникновение жанра ужасов, начиная от преромантиков и готического романа, заканчивая “грошевыми ужасами” в журналах. Большая часть анализа будет отведена английской/британской литературе, лишь изредка будут вплетаться другие европейские каноны. Вне-европейского нет вообще. В конце плавно перетекает в американскую литературу, которая по мнению автора, по-крайней мере в начале, была очень сильно подвержена влиянию английской литературе, но были и свои собственные особенности. Зачем нам американская? Потому что три писателя, о которых пойдет речь дальше - все они американцы и занимают почетное место на пьедестале аристократии ужасов в наше время.

Следующие три главы исследуют творчество По, Лавкрафта и Кинга. Одна глава - одна лекция - один писатель. Автор рассказывает не только о контексте произведений и о произведениях, но и о том, как жизнь и личность автора переплетается именно с этой подачой и этими темами. Заметила, что в большей степени представлена (как иллюстрации) короткая форма. При этом она иногда вплетает и показывает, как творчества всех их трех отличается/похоже друг на друга, и как кто на кого смотрел. Получается этакий микс между биографией, психологическим анализом, немножко приправленные эпохой, в которой писали, и разумеется не сходя с главной темы - литература ужасов и что в ней такого.\nОчень много сносок. Примерно две трети из них - комментарии. Поэтому иногда читать сложновато, приходится держать слишком много в голове.

По наполнению - мне, как полному новичку в этой сфере, было очень интересно читать. Хотелось даже больше, особенно по истории жанра. Самой слабой главой показалась глава про Кинга. Лавкрафт, кстати, очень заинтересовал тоже, хотя не уверена, что хочу его читать.

3. Конспект. \nМинусов почти не нашла, кроме разве того, что если захочется делать конспект / заметки, будет сложновато, потому что как я уже сказала, лекции текут как речка, плавный рассказ, что книги не умаляет, но становится сложнее анализировать. Плюс, опять же, наверняка из-за того, что я такой нуб, мне все показалось новым, крутым и важным. Поэтому остается только перечитывать, и не в ознакомительном порядке, а более глубоко, если захочется сделать хороший конспект.

Однако, выписать пару интересных мыслей мне удалось. Точнее вспомнить после прочтения. Насколько они актуальны/действительны - узнаю только тогда, когда может быть удастся погрузиться в тему (история литературы / что-нибудь академическое по ужастикам)

5 интересных мыслей

1. Различие между horror, terror и suspense. (определения - цитаты из книги)\nhorror - страх, смешанный с отвращением от непосредственного созерцания чего-то отталкивающего и угрожающего жизни\nterror - ледянящий душу ужас, источник которого являются возвышенные эффекты в беркианском духе: темнота, неизвесность, ощущение опасности, природа.\nsuspense - особое психологическое состояние, связанное с неотвратимой, но при этом неопределенной угрозой, мучительной неизвестностью относительно сущности, размера и формы нависшей над человеком опасности\n2. Пре-романтики начались как оппозиция философии возрождения, классическому канону / просвящению, где в литературе важны были стандарты и некая мораль, и в то же время присутствовал элитизм, где средневековье и народ/фольклор был уделом “варваров”, а значит не таким интересным. Так же разум был важнее чувств, а всякая мистика и меланхолия - удел совершенно другого поля. (После пре-романтиков был, как я поняла, готический роман и сами романтики).\n3. Я удивилась огромному количеству литературы и имен, которые были, начиная с 18 века. И при этом очень много женщин. До нас доходят совсем малюсенькие крохи.\n4. Различие писателей: Э. По - тема смерти и замкнутые пространства, иногда безумие, идеализация женщин, Лавкрафт - космический хоррор и бесконечно открытые пространства, полное пренебрежение человеком (человек как марионетка) и огромного размера монстры, минимум женщин, Кинг - кошмар в повседневном и обычном, погружение во внутрь, но при этом опасность так же может скрываться в окружающем, темы безумия есть, женщины, более того новые герои - дети и подростки тоже присутствуют в творчестве.\n5. Несмотря на то, что жанр ужасов был всегда бульварным, белетристикой, чисто для удовольствия, иногда он выполнял важную функцию (это мое наблюдение).\n- социальная критика и в некоей степени гуманизм\nпо сути, первыми вели то, что институты могут влиять на человека и превращат его в монстра, а не то, что человек рождается абсолютным злом.\n- рефлексия на себя, общество используя отреченные инструменты / несерьезность\nочень многие писатели прорабатывали свои травмы через литературу и ужасы помогают изобрести хорошую метафору для травмы. Плюс когда наблюдаешь за самым сердцем зла, начинаешь задаваться вопросом - а откуда оно берется?\n- эскпизм и терапевтический эффект

свернуть

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Вердикт: Я очень рада, что познакомилась с этой книгой. Во-первых, был некий релакс из-за подачи материала. Во-вторых, узнала много всяких разных интересностей. В-третьих, мне показалось, что эта книга меня чуток обогатила как человека. Жаль, что у автора только одна книга, но с удовольствием ее перечитаю как-нибудь. Ожидания оправдались, а страхи оказались не такими монстрами, как их себе представляла.

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Лекции Разумовской могу смело рекомендовать и тем, кого тошнит от ежегодного повального увлечения хоррорами под Хэллоуин, а Кинга они открывают только по большим читательским праздникам, бормоча под нос \"Нет бы большую литературу почитать\".

Все потому, что Разумовская под прицел берет не топосы хоррора или фантастики, как это сделал бы иной филолог, а тот самый хитрый скрытый механизм, благодаря которому цепь логических связей тянется к литературе ужасного от культурноы и биографии авторов, которые были увлечены мотивом страха, возвышенного или низменного (terror vs horror).

В результате перед читателем расстилается литературный маршрут от теоретиков вроде Аристотеля и Берка через стремительные социально-экономические пертурбации XVIII века к буму готической литературы и своеобразному образу писателя-предромантика, который не просто желает воплощать фантазии на бумаге, но и жить в авантюрной фантазии. Так и протягивается мостик от монструозных архитектурных проектов Бекфорда и Уолпола к их безумно популярным романам к писателям-романтикам, сюжеты которых блекли по сравнению с опиумными вечеринками, крезовским богатством и авантюрной беготней по всему миру, которая чаще всего заканчивалась преждевременной смертью (Грегори Льюис погиб в кораблекрушении по пути с собственной плантации на Ямайке, а Байрон умер от лихорадки в экспедиции) либо суицидом. Готическая легенда оказалась так сильна, что образ тихони Анны Радклиф, в личной жизни которой не происходило ничего экстравагантного, оброс легендами.

Такой упор на события из писательской жизни позволяет развенчать некоторые устоявшиеся мифы об авторах и их творениях. И особенно примечателен тут Эдагр По: со слов Разумовской он предстает человеком, которому, живи он в 2к19, явно бы не помешал психотерапевт. Мать-актриса рано умерла от туберкулеза, спившийся больной отец ушел из семьи незадолго до ее гибели, в 15 По пережил внезапную смерть первой любви – в результате получаем молодого человека, который страдает от бессонницы, припадков дереализации и галлюцинаций.

\nЕго преследуют повторяющиеся кошмары: во сне к лицу прикасается ледяная рука, из темноты на него смотрит искаженное злобой, чудовищное лицо...

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Страх смерти, клаустрофобия, саморазрушение – топливо для творчества. По прибегает к письму как к терапии, и в результате болезненно живыми выглядят переживания его героев. И именно психологическое правдоподобие делает творчество По таким популярным. А его \"Философия творчества\" оказывается лишь попыткой рационализировать страхи, которые оказались на бумаге, но холодная рассудочность По не к лицу – актер из него, как и из его отца, никудышный.

Зато начитанный английской литературой По продолжает именно европейскую романтическую традицию на американской почве – и находит своего читателя, потому что истории про духов, замки и кладбища помогают американцам отвлечься от реальных ужасов вроде индейских набегов.

Внезапно в лекциях разрушается и параллель между По и Лавкрафтом: тягу По к изматывающей перемене мест и его клаустрофобию Разумовская противопоставляет агорафобию Лавкрафта и его болезненную тягу к дому, к капсуле фантазий, из которой во внешний мир можно не выбираться. Ужасы Лавкрафта по природе своей физиологичны (это не terror, страх потустороннего, а именно horror, то есть страх физиологический, равный отвращению), но при этом принципиально непознаваемы средним человеком, которого высшие силы за излишнее любопытство карают. Психологически проза Лавкрафта пуста, зато насыщенна фантастическими образами, которые По и не снились: циклопические города, уходящие за горизонт, и поражающие воображение монстры.

Тут Разумовская замечает, что в мире, в котором прогремели Фолкнер, Хемингуэй, Фицджеральд и Вульф, фантазии о древних культах и монстрах обречены были остаться в \"палпе\", только проблема ведь в том, что \"космический ужас\" Лавкрафта воплощает все те взаимосвязи мира, которые человек до конца осознать не может, и неслучайно наверно Лавкрафт становится сегодня все более популярным. Нельзя найти более красноречивый литературный комментарий к глобальному потеплению, чем выползающие из-под подтаявших антарктических льдов инопланетные твари (чуть осовремененный вариант \"Хребтов безумия\").

И венчает курс лекций небольшая заметка о Кинге, в которой тезис в общем-то один: выросший в условиях бедности Кинг, выучившись на филолога, наследовал литературной традиции предшественников, подсадив ужас на почву реальности и показав, что ужас – он всегда натуралистичен и прячется в самых простых вещах. За то Короля и любим.

Минусов у сборника два.

Первый: книжка маленькая, и я понимаю, что на полный охват темы ужаса в литературе у автора ушло бы слишком много времени (да и не понятно, нужно ли это), но когда две трети книги занимает всего одна лекция из четырех, невольно призадумаешься.

И вытекающий из этого второй: из-за небольшого формата прицел Разумовской – на англоязычной литературе ужаса и ее основных сюжетах, а хоррор в других странах затрагивается по касательной. Упущены и сюжеты, которые для хоррора представляются довольно важными: философия Уильяма Джеймса и принцип \"двойной мотивировки\", который использовал его более известный брат Генри, и эксперименты Борхеса и маг. реалистов с хоррором, и ужасы в ранних рассказах Брэдбери и их влияние на Кинга.

Остается ждать продолжения.

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