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Relevant bibliographies by topics / Subject-the-recipient of horror

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Academic literature on the topic 'Subject-the-recipient of horror'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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Journal articles on the topic "Subject-the-recipient of horror"

1

Сазонова, Ярослава Юріївна. "ТЕКСТОТВІРНИЙ МЕХАНІЗМ ВИРАЖЕННЯ ТЕНСИВНОСТІ ЕМОЦІЙ (НА МАТЕРІАЛІ ОПОВІДАНЬ ЖАХІВ)". Збірник наукових праць ХНПУ імені Г.С. Сковороди "Лінгвістичні дослідження", № 40 (28 жовтня 2015): 97–103. https://doi.org/10.5281/zenodo.32831.

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<em>In view of the topicality of the studying of the horrible in a range of humanitarian studies the article contains an attempt of elaborating the mechanism of creating emotional tension on the textual level in horror discourse, which allows proving the independence of the emotional dimension from the plot line. The elaborated mechanism bases on the achievements of an interdisciplinary level; in particular it involves semiologists’ experience, which helps analyze the emotional dimension of a text and its linguistic realization. As a result, having used the text of Joseph Sheridan Le Fan

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2

Сазонова, Ярослава Юріївна. "ТИПИ РЕФЕРЕНЦІЇ В ТЕКСТАХ ДИСКУРСУ ЖАХІВ". Збірник наукових праць ХНПУ імені Г.С. Сковороди "Лінгвістичні дослідження", № 43 (6 квітня 2016): 208–16. https://doi.org/10.5281/zenodo.49231.

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The article contains a brief review of the topical problems of a modern linguistic trend – the analysis of reference in artistic discourse. The aim of the article is to define and prove the existence of the referential types in the texts of horror discourse, taking as the example texts written in Ukrainian and English. The analysis is made accounting for the influence of the theory of possible worlds on the pragmatic approach to the text studies; also the results of psychological studies are used during the analysis of the phenomenon of reference. Six types of reference, singled out in t

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3

Kozin, A. A. "Why didn’t the Ballad Become a Horror?" Russian Studies in Philology, no. 2 (May 3, 2025): 97–104. https://doi.org/10.18384/2949-5008-2025-2-97-104.

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Aim. Horror as an aesthetic phenomenon has maintained a high popularity rating for over a century. Viewers, readers, and listeners of different age groups prefer works with horror elements; there appear communities and other kinds of fan groups for whom the feeling of fear is the basis of intrigue (Horrorscope, Club of Horror Lovers, Association of Horror Authors, etc.). Horror has long been the subject of conferences and discussions, which indicates its relevance in scientific sphere. As a syncretic phenomenon, this modern aesthetic phenomenon has its own history, dating back to ancient liter

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4

Sazonova, Yaroslava. "PRAGMATIC POTENTIAL OF THE NOMINATION OF THE SUBJECT-SOURCE OF FEAR (A MONSTROSITY) IN TEXTS OF HORROR DISCOURSE." Verbum 8, no. 8 (2018): 20. http://dx.doi.org/10.15388/verb.2017.8.11323.

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The research is aimed at studying the pragmatic potential of nominations of the subject-source of fear (a monstrosity, in particular) in texts of horror discourse in English and Ukrainian. The idea is that the expression of the communicative sense “fear” in a subjectively created world according to an author’s intention is explicated in the nomination of the subject-source of fear (SSF). Generally, any SSF is a monster as far as its attributes and actions are harmful for the recipient of fear (SRF), its essence contradicts the SRF’s world creating norms. Psychologically, a SSF-monstrosity is a

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5

Sazonova, Yaroslava. "The Stage of Narrating the Subject-Recipient of Fear’s Usual World in Macro-Modelling Horror Texts in English and Ukrainian." Studia Neofilologiczne. Rozprawy Językoznawcze 19 (2023): 111–28. http://dx.doi.org/10.16926/sn.2023.19.07.

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6

McDonald, Donna, and Liz Ferrier. "A Deaf Knowingness." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.272.

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Introduction: How Do We Learn What We Know? “Deaf.” How do we learn what we know about being deaf and about deafness? What’s the difference between “being deaf” and “deafness” as a particular kind of (non) hearing? Which would you rather be, deaf or blind: children commonly ask this question as they make their early forays into imagining the lives of people different from them. Hearing people cannot know what it is like to be deaf, just as deaf people cannot know what it is like to hear ... or can they? Finally, how can we tell fresh and authentic stories of “being deaf” and the state of “deaf

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