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Noel Carroll Source: the Journal of Aesthetics and Art Criticism, Vol The Nature of Horror Author(s): Noel Carroll Source: The Journal of Aesthetics and Art Criticism, Vol. 46, No. 1 (Autumn, 1987), pp. 51-59 Published by: Blackwell Publishing on behalf of The American Society for Aesthetics Stable URL: http://www.jstor.org/stable/431308 Accessed: 12/05/2010 10:32 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may 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 at http://www.jstor.org/action/showPublisher?publisherCode=black. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. 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 CARROLL The Nature of Horror FOR NEARLY A DECADE and a half, perhaps espe- Romero's Night of the Living Dead or Scott's cially in America, horror has flourished as a Alien. We shall call this art-horror.It is differ- major source of mass aesthetic stimulation. ent from the sort of horror one expresses in Horrornovels seem available in virtuallyevery saying "I am horrified by the prospect of supermarketand pharmacy, and new titles ap- ecological disaster" or "Terrorist acts are pear with unnervingrapidity. One authorin this horrifying." Call the latter usage of "horror" genre, Stephen King, has become a household natural horror. It is not the purpose of this name, while others, like Peter Straub, though essay to analyze natural horror, but only art- less well known, command large followings. horror- "horror," that is, as it serves to name Popular movies, as well, have remained so a cross-art genre whose existence is already obsessed with horror since the success of The recognized in ordinary language. Indeed, one Exorcist that it is difficult to visit your local might regard the first part of this article as an multiplex theater without meeting at least one attempt to rationally reconstructthe latent cri- monster. Horror and music explicitly join teria for identifying art-horrorthat are operative forces in many rock videos, notably Thriller, in ordinarylanguage. though one must remember that the iconogra- In order to avoid misunderstanding, it is phy of horrorsupplies a pervasive colorationof necessary to emphasize that by "art-horror"we much MTV. Of course, nonmusic TV itself are referringnarrowly to the effects of a specific offers several horror programs, such as Tales genre. Of course, one might be horrifiedby the from the Dark Side, while Broadway was re- events in a nonhorrornovel, for example, one cently terrorizedby Gorey's version of Dracula. might be horrified by the murder in The Horrorfigures even in fine art, not only directly Stranger. Nevertheless, though such horror is in works by Francis Bacon, H. R. Giger, and generatedby art, it is not part of the phenome- Sibylle Ruppert,but also allusionisticallyin the non we are calling "art-horror.""Art-horror," pastisches of many postmodernartists. In short, by stipulation, is supposed to refer to the horrorhas become a staple across contemporary product of a genre that crystallized roughly artforms, popular and otherwise, spawning around the time of the publication of Mary vampires, trolls, gremlins, zombies, were- Shelley's Frankensteinand that has continued, wolves, demonically possessed children, space often cyclically, to persist through the novels monstersof all sizes, ghosts, and other unname- and plays of the nineteenth century and the able concoctions at a pace that has made the last literatureand films of the twentieth.2Moreover, decade or so seem like one long Halloween it must be noted that though our emphasis is on night. Thus, the time is ripe to initiate an genre, we shall not respect the notion that aesthetic inquiry into the natureof horror.' horror and science fiction are discrete genres. The type of horror to be explored in this Much science fiction of the bug-eyed monster paper is that associated with reading something school, for instance, is really a species of like Stoker's Dracula or Blackwood's "An- horror, substituting supernatural forces with cient Sorceries" or with seeing something like futuristictechnologies. This is not to say that all science fiction is a subcategory of horror, but NOELCARROLL is professor of philosophyat Wesleyan only that much is. Thus, in our examples, we University. will move freely between what is called horror ? 1987 The Journalof Aesthetics and Art Criticism 52 CARROLL and science fiction. would not be a sufficient condition. For mon- It should not be assumed that all genres can sters inhabit all sorts of stories, such as fairy be analyzed in the same way. Westerns, for tales, myths, and odysseys,3 that we are not example, are identified primarily in virtue of wont to identify as horror. their setting. Novels, films, plays, paintings, What appearsto distinguish the horrorstory and so on that are grouped under the label of from mere stories with monsters, such as fairy "horror" are identified accordingto a different tales, is the attitudeof charactersin the story to sort of criterion. Like suspense novels or mys- the monsters they chance upon. In works of tery novels, novels are denominatedhorrific in horror, the humans regard the monsters that respect of their intended capacity to provoke a they encounteras abnormal,as disturbancesof certainaffective response. Indeed, the genres of the natural order. In fairy tales, on the other suspense, mystery, and horrorderive their very hand, monsters are part of the everyday furni- names from the affects they are intended to ture of the universe. In "The Three Princesses promote-a sense of suspense, a sense of mys- of Whiteland," for example, the lad is beset by tery, and a sense of horror. Again, not all a three-headedtroll; however, the writing does genres are identified this way-a musical is not not signal that he finds this creatureto be any tied to any specific affect. But the genres that more unusual than the lions he had previously are named by the very affect they are designed walked past. A creaturelike Chewbacca in the to provoke suggest a very tantalizing strategy space opera Star Wars is just one of the guys, throughwhich to pursue their analysis. though a creature made up in the same wolf Like suspense, works of horrorare designed outfit, in a film like The Howling, would be to elicit a certain kind of affect. We shall regardedwith utter revulsion by the humans in presume that this is an emotional state whose that film. In examples of horror, it would emotion we call art-horror. Thus, one can appear that the monster is an extraordinary expect to locate the genre of horror,in part, by character in our ordinary world, whereas in a specification of art-horror,the emotion that fairy tales and the like the monster is an works of this type are designed to engender. ordinarycharacter in an extraordinaryworld. Such an analysis, of course, is not a priori;it is One indicator, then, of that which differenti- an attempt, in the traditionof The Poetics, to ates works of horrorproper from monster sto- provide clarificatory generalizations about a ries in general is the affective responses of the body of work that we antecedently accept as characters in the stories to the monsters they constitutinga family. meet. Though so far we have only spoken about Initially, it is tempting to differentiate the the emotions of charactersin horrorstories, the horrorgenre from others by saying that horror preceding hypothesis is nevertheless useful for novels, stories, films, plays, and so on are getting at the emotional responses that works of markedby the presence of monsters of either a horror are designed to elicit from audiences. supernaturalor sci-fi origin. This distinguishes For horrorappears to be one of those genres in horrorfrom what are sometimes called tales of which, ideally, the emotive responses of the terror, such as Poe's "The Pit and the Pendu- audience run parallel to the emotions of char- lum" and "The TelltaleHeart," or Hitchcock's acters. Indeed, in works of horrorthe responses Psycho, which, though eerie and scary, achieve of charactersoften seem to cue the emotional their hairraising effects by exploring extreme responses of the audience. psychological phenomena that are all too hu- In "JonathanHarker's Journal" in Dracula, man. Similarly, by using monsters or other we read supernaturalentities as a criterion, one could separate horror stories from Gothic exercises As the Count leaned over me and his handstouched me, such as Radcliff's Mysteries of Udolpho, where I could not repressa shudder.It may have been that his suspicions of otherworldly beings are intro- breathwas rank, but a horriblefeeling of nausea came duced only to be explained away naturalisti- over me, which do what I would, I could not conceal. cally. However, even if a case could be made that a monster or a monstrous entity is a This shudder,this recoil at the vampire'stouch, necessary condition for horror, such a criterion this feeling of nausea structuresour emotional The Nature of Horror 53 reception of the ensuing descriptions of mind to sleep." Shortly after this, the monster, Dracula;for example, when his protrudingteeth with an outstretchedhand, wakens Victor, who are mentioned we regard them as shudder- flees from its touch.
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