What exactly are the ‘weird’ and the ‘eerie’? In this new essay, Mark Fisher argues that some of the most haunting and anomalous fiction of the 20th century belongs to these two modes. The ‘weird’ and the ‘eerie’ are closely related but distinct modes, each possessing its own distinct properties. Both have often been associated with Horror, yet this emphasis overlooks the achi...
What exactly are the ‘weird’ and the ‘eerie’? In this new essay, Mark Fisher argues that some of the most haunting and anomalous fiction of the 20th century belongs to these two modes. The ‘weird’ and the ‘eerie’ are closely related but distinct modes, each possessing its own distinct properties. Both have often been associated with Horror, yet this emphasis overlooks the aching fascination that such texts can exercise. The ‘weird’ and the ‘eerie’ both fundamentally concern the outside and the unknown, which are not intrinsically horrifying, even if they are always unsettling.
Perhaps a proper understanding of the human condition requires examination of liminal concepts such as the weird and the eerie.
These two modes will be analysed with reference to the work of authors such as H. P. Lovecraft, H. G. Wells, M.R. James, Christopher Priest, Joan Lindsay, Daphne du Maurier, Alan Garner and Margaret Atwood, and films by Stanley Kubrick, Jonathan Glazer and Christopher Nolan.
Mark Fisher was the author of Capitalist Realism and Ghosts of My Life. He lectured at Goldsmiths, blogged at k-punk.abstractdynamics.org and wrote regularly for other publications including The Guardian. Tragically, he died in early 2017, just prior to the publication of The Weird and the Eerie.
3.5,将弗洛伊德的unheimlich拆分为两个截然相反的范式,也即Weird And Eerie书名的由来,它暗示了对于精神分析阉割恐惧与俄狄浦斯起源论的不满,试图通过德里达或詹明信的方式构造从精神分析到兰德的同路。根据Fisher,Weird的代表性著作是克苏鲁神话,其恐怖感在于事物总是存在性地被置于错误的位置,并混杂了恐惧和迷恋。而Eerie更为接近unheimlich,以及怪核之中的“w...3.5,将弗洛伊德的unheimlich拆分为两个截然相反的范式,也即Weird And Eerie书名的由来,它暗示了对于精神分析阉割恐惧与俄狄浦斯起源论的不满,试图通过德里达或詹明信的方式构造从精神分析到兰德的同路。根据Fisher,Weird的代表性著作是克苏鲁神话,其恐怖感在于事物总是存在性地被置于错误的位置,并混杂了恐惧和迷恋。而Eerie更为接近unheimlich,以及怪核之中的“weird”,通过处理存在和非存在和缺席的不充分提出关于消失与残存之物问题,但不提供任何解释,它引向了兰德的思想外部,通过超信影响现实。很明显Fisher对于eerie的兴趣远大于weird,几乎作为“幽灵本体论”的替代名词,但根据媒介,eerie用于广义的文学(文本)批评,而幽灵本体则适用于音乐。(展开)
关于作者:Eugene Thacker是一位美国哲学家、诗人和作家。他是纽约市新学院(The New School)的媒体研究教授。他的写作经常与虚无主义和悲观主义哲学相联系。Thacker的书包括 (Horror of Philosophy 系列以及In finite Resignation: On Pessimism(译 自Goodreads的介绍) 原...
(展开)
1 有用 R 2024-02-25 17:25:34 美国
怪异与阴森作为费雪的资本主义现实主义两极,除了标题都很无趣...
0 有用 谵妄修女 2021-12-25 15:06:36
。。。。media studies样文选
0 有用 马 2025-09-16 11:15:08 美国
还可以,ghost是心理分析跨界ooo的绝配site
0 有用 宿敌如飞龙在天 2023-02-24 19:54:43 日本
复健中
0 有用 千砂🇮🇱 2023-12-18 10:57:05 英国
3.5,将弗洛伊德的unheimlich拆分为两个截然相反的范式,也即Weird And Eerie书名的由来,它暗示了对于精神分析阉割恐惧与俄狄浦斯起源论的不满,试图通过德里达或詹明信的方式构造从精神分析到兰德的同路。根据Fisher,Weird的代表性著作是克苏鲁神话,其恐怖感在于事物总是存在性地被置于错误的位置,并混杂了恐惧和迷恋。而Eerie更为接近unheimlich,以及怪核之中的“w... 3.5,将弗洛伊德的unheimlich拆分为两个截然相反的范式,也即Weird And Eerie书名的由来,它暗示了对于精神分析阉割恐惧与俄狄浦斯起源论的不满,试图通过德里达或詹明信的方式构造从精神分析到兰德的同路。根据Fisher,Weird的代表性著作是克苏鲁神话,其恐怖感在于事物总是存在性地被置于错误的位置,并混杂了恐惧和迷恋。而Eerie更为接近unheimlich,以及怪核之中的“weird”,通过处理存在和非存在和缺席的不充分提出关于消失与残存之物问题,但不提供任何解释,它引向了兰德的思想外部,通过超信影响现实。很明显Fisher对于eerie的兴趣远大于weird,几乎作为“幽灵本体论”的替代名词,但根据媒介,eerie用于广义的文学(文本)批评,而幽灵本体则适用于音乐。 (展开)