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Dans ce texte, nous proposons de comprendre le terme �� horrible �� comme un mot obscur, excessif et myst��rieux qui qualifie, de mani��re superlative, ce qui, d��passant le choc de l���homme devant quelque chose d���effrayant, est consid��r�� comme l���expression maximale de ce qui rend fou : la mat��rialisation de ce qui est radicalement mauvais et, par cons��quent, du mal dans son ��tat le plus ��pouvantable et intense., In this text, we propose to understand the term ���horrible��� as an arcane, excessive and mysterious word that qualifies, in a superlative way, that which, surpassing the shock of man in the face of something frightening, is considered the maximum expression of what drives one mad: the materialization of what is radically evil and, consequently, the evil in its most horrifying and intense state.

La cat��gorie (esth��tique, po��tique et ��thique) de l���horrible s���appuie sur la monstruosit�� des hommes, des animaux et d���entit��s abstraites. Du sang qui coule au ph��nom��ne symbolique surnaturel de la m��tamorphose, en passant par l�����vocation all��gorique de certaines figures effrayantes, cette monstruosit�� est g��n��ratrice d���une observation po��tis��e de la nature et du psychisme humain, de la contemplation esth��tique de l���univers, de la m��ditation de l���histoire ainsi que d���une r��flexion morale., The category (aesthetic, poetic and ethical) of the horrible is based on the monstrosity of humans, animals and abstract entities. From the flowing blood to the supernatural symbolic phenomenon of metamorphosis, via the allegorical evocation of certain frightening figures, this monstrosity generates a poetic observation of nature and the human psyche, an aesthetic contemplation of the universe, a meditation on history as well as a moral reflection.

L���horrible est intrins��que �� l�����uvre de Cioran. Il en subit les m��tamorphoses. Dans les premiers ��crits en roumain, il ��pouse le lyrisme foudroyant du jeune ��crivain. Il en r��sulte une pens��e terroriste et apocalyptique. Dans Syllogismes de l���amertume, associ�� �� une recherche syst��matique du paradoxe, il devient une source de jouissance esth��tique. Chez le dernier Cioran, il traduit une qu��te mystique authentique., The horrible is intrinsic to Cioran���s works. In the first writings in Romanian, it espouses the overwhelming lyricism of the young writer. The result is terrorist and apocalyptic thinking. In Syllogisms of bitterness, associated with a systematic search for the paradox, it becomes a source of aesthetic enjoyment. In the latest works, it expresses an authentic mystical quest.

Motivacija za to magistrsko delo je bilo avtoričino iskanje podobe prav določene podobe, izgubljene v najglobljih predelih našega uma. Iskanje podobe, ki je nikoli nismo videli ali doživeli podobe, ki je še nihče nikoli ni videl, ter ob tem izzvati čutila in človeško naravo v danem trenutku. Namen dela je iskati odgovore in si zastaviti vprašanja o tem, kako zelo ljudje zaupajo svojim čutom, ter se spraševati o njihovi zmožnosti, da spremenijo svoje vedenje in svoje rutine. Opazovati, ali si za nekaj sekund drznejo ugasniti luč in s tem pridobijo sposobnost, da vidijo na drugačen način. Ne preseneča dejstvo, da se ljudje močno zanašajo na svoj vid, zaradi česar preostala čutila postanejo nekako manj pomembna in zanesljiva. To delo z naslovom "Temna podoba – podoba, ki smo jo izgubili v temi", raziskuje moč podobe pri manipulaciji množice in vlogo medijev pri nadzoru in pranju možganov pripadnikom nove generacije. V magistrskem delu avtorica najprej predstavi projekte "Kumra 1", "Kumra 2" in "Kaj vidiš v temi?" – poskuse, izvedene v prvem in drugem letu raziskovanja, skozi katere predstavi analizo in opazovanje svojih eksperimentov. Ti predstavljajo začetek raziskovanja čutil v popolni temi, ki je nato pripeljalo do "Sestavljanke", praktičnega dela te naloge, ki se sprašuje o medijski manipulaciji z uporabo podobe. The motivation for this thesis was the author’s search for an image, a particular image lost in the deepest parts of our mind, searching for an image that we never saw or experienced before, an image that no-one has ever seen, challenging the senses and the human nature at a time. The purpose of this thesis is to search for answers and to question how much people trust their senses and to question people’s ability to change their behavior and routines. To measure people’s courage to turn off the light for a few seconds and be able to see differently. It is no surprise that people depend remarkably on their visual sense, which somehow made the other senses less essential and less reliable. This thesis, “Dark Image - The image we lost in the dark,” researches the power of the image in manipulating masses and the role media plays to control and brainwash the new generation with the least effort spent. In this thesis, the author first presents projects “KUMRA 1”, “KUMRA 2” and “what does one see in the dark?” Experiments which were made during the first year and second year of research and through which the author presents her analysis and observation of her experiments. It was the beginning of a sensual journey exploring the senses in the deep dark. Which led to the master thesis (practical) project Puzzle that questions the manipulation of media using the image.

It is asserted that the works by Oles Ulianenko, the only laureate of the Small Shevchenko Award in Ukrainian literature history, are still on the periphery of literary research; the reasons of such indifference to the writer’s heritage are explained and an alternative corporal-mimetic variant for textual analysis of the novel “Woman of His Dreams” given as an example in comparison to existing research methods is suggested. It is proved that accumulation of horrors relating to numerous cruel deaths of marginal characters dialectically transform the obviously marginal character of these horrors into discourse formation seeking to fill existential emptiness. The correlate of emptiness is considered through the eastern approach, in particular the Buddhist one, so as the western philosophy, in the first place in M. Heidegger’s and H. Miller’s interpretations, so the conclusion is made according to which the primary author’s intention of O. Ulianenko despite the fact that he indeed, as he said in his interviews many times, wanted “…to frighten so that the man could understand how horrible it was if it happened”, and despite the fact that in fiction practice it was realized with a horror correlate – this intention has received a deeper artistic-aesthetic meaning through actualization of interrelated with it correlates of emptiness and monstrosity represented with the language considered by the Ukrainian writer as the only substance, which has acquired corporal features, belonging to absolute freedom; and in conclusion it is noted that on this side of “Woman of His Dreams” horrors rampage conditioned by marginal locus existence of the big city; but “on that side…” of “Woman of His Dreams” these horrors are ritualized by pseudo mystical images and due to the language, hence the monstrosity correlate as well, they fill emptiness with freedom formation and representation at the same time, first of all freedom as it is but also freedom from social, national, religious, sexual and other prejudices., Утверждается, что творчество единственного в истории украинской литературы лауреата Малой Шевченковской премии Олеся Ульяненко до сих пор остаётся на периферии литературоведческих исследований, объясняются причины подобного отношения к наследию писателя и предлагается альтернативный по отношению к наличным исследованиям, телесно-миметический вариант анализа его текстов на примере романа „Женщина его мечты”. Доказывается, что нагромождение в произведении ужасов, касающихся многочисленных и жестоких смертей персонажей-маргиналов, диалектически трансформирует очевидно маргинальный характер этих ужасов в становленние дискурса, стремящегося заполнить экзистенциальную пустоту., Стверджується, що творчість єдиного в історії української літератури лауреата Малої Шевченківської премії Олеся Ульяненка і досі залишається на маргінесах літературознавчих досліджень. Пояснюються причини такого ставлення до спадщини письменника і пропонується альтернативний стосовно наявних розвідок, тілесно-міметичний варіант аналізу його текстів на прикладі роману „Жінка його мрії”. Доводиться, що нагромадження у творі жахіть, пов’язаних з численними та жорстокими смертями персонажів-маргіналів, у діалектичний спосіб обертається з виразно маргінального штибу на поставання дискурсу, який наснажується намаганнями заповнити екзистенціальну порожнечу.

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No presente ensaio, pretende-se analisar em que medida o texto de Cesariny “a edgar allan poe,” incluído em Pena Capital, se apresenta como uma paródia de vários contos do autor de “The Assignation”. Oscilando entre a atracção pelo imaginário de Poe, repleto de pequenos detalhes que agradam aos surrealistas, e a repulsa por um universo que aposta na dedução e na história logicamente construída, mesmo se essa construção obedece frequentemente a um cânone que se afasta do realista, Cesariny escreve um poema que retoma frases, personagens, situações, de contos do escritor americano, numa espécie de homenagem subversiva ou de paródia irónica. The objective of this essay is to discuss to what extent Cesariny’s text “a edgar allan poe,” from his work Pena Capital, can be regarded as a parody of various short stories by the author of The Assignation. Showing both his fascination for Poe’s imaginary world, full of surrealist details, and his repulsion towards a universe based on strict deduction and on a logically constructed story (even when this logical construction does not follow the canon of realism), Cesariny writes a poem where sentences, characters, and situations drawn from the American author’s short stories give rise to a sort of subversive homage or ironic parody.

Partiendo del comentario del film Henry. Retrato de un asesino (J. McNaughton, 1986), el artículo da a pensar la posibilidad de reivindicar, en el horizonte de un arte de lo horrible, la experiencia de sentido de lo horrible evitando supeditar dicha experiencia al horror como efecto psíquico. En la medida en que ello sea posible, la expresión artística de lo horrible quedará no sólo justificada (de cara al consumo más o menos fácil y masivo), sino revalorada/revalorizada, pues aun sin la descarga psíquica, el arte brinda la posibilidad de un acceso meditativo a lo horrible, sin que confundamos psicologistamente el motivo (lo horrible) con el efecto (el horror) ni caigamos en una mera estetización de lo horrible (que no lo tomaría suficientemente en serio). Taking a review of the film Henry: Portrait of a Serial Killer (J. McNaughton, 1986) as starting point, this paper aims to think about the possibility of claiming the experience of meaning of horrible on the horizon of an art of the horrible, avoiding to subordinate such experience to horror as a psychic effect. insofar as it is possible, the artistic expression of the horrible will stay not only justified (with a view to a more or less easy and massive consumption), but also revalued, since the art offers the possibility of a meditative access to horrible, even without the psychic shock, and without the confusion (i.e., without the psychologization) of the horrible as cause with the horror as effect, neither falling in a mere aestheticization of the horrible (that would not take it seriously enough).