The Intermedial Experience of Horror

Toikkanen, Jarkko

doi:10.1057/9781137299093

Cited by 7 publications

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“…"), whereas hypotyposis merely enforces the image ("how does it appear?"). (Toikkanen 2013; It is a key distinction, the usefulness of which will become apparent in the analysis.…”

Section: Feeling the Unseen: Imagined Touch Perceptions In Paranormal Reality Televisionmentioning

confidence: 99%

“…Gregg and Seigworth 2010;Wetherell 2012;Knudsen and Stage 2015). One has to be careful in reinventing idealist fundaments, but new knowledge may come out of it -particularly in the light of Kant's own preoccupation with hypotyposis as the linchpin between the literal and figurative presentation of sensory data (Toikkanen 2013;. 12 To reiterate, the key point about Kant's aesthetics is that the sense of touch could not produce knowledge of objects that were not there.…”

Section: Feeling the Unseen: Imagined Touch Perceptions In Paranormal Reality Televisionmentioning

confidence: 99%

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Feeling the unseen: imagined touch perceptions in paranormal reality television

Toikkanen

2020

The Senses and Society

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In paranormal reality television, the medial evidence of senses adding to the visual and auditory may produce the most compelling intermedial experience. When little can be seen or heard, the lasting impact of a ghost hunting show may rely on what it makes the audience feel through the sense of touch. Even if the touch perceptions were imaginedor precisely because they were imaginedthe experience can be all the more powerful. Intermediality research supplies the rhetorical devices of ekphrasis and hypotyposis as tools for a study of the television show Ghost Adventures. A definition of senses as media is advanced in conjunction with a three-tier model of mediality to lay open the intermedial experience involved in imagined touch perceptions as medium-specific instances of rhetorical figuration.

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“…"), whereas hypotyposis merely enforces the image ("how does it appear?"). (Toikkanen 2013; It is a key distinction, the usefulness of which will become apparent in the analysis.…”

Section: Feeling the Unseen: Imagined Touch Perceptions In Paranormal Reality Televisionmentioning

confidence: 99%

Section: Feeling the Unseen: Imagined Touch Perceptions In Paranormal Reality Televisionmentioning

confidence: 99%

Feeling the unseen: imagined touch perceptions in paranormal reality television

Toikkanen

2020

The Senses and Society

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“…However, as the use of ekphrasis began to develop in the interpretive direction in the early modern period, hypotyposis did not follow suit. Instead, as argued by Toikkanen (2013), it maintained its function as vested in the impact of the vivid "representation of facts" rather than what those facts might have been. In other words, whereas ekphrasis can today be defined as geared towards the meaning of the image produced, hypotyposis stresses the image as suchits task is one "of presenting in words a visual sensation that is not yet meaningful but evokes the prospect" (2013: 41).…”

Section: Ekphrasis and Hypotyposis: Ancient Rhetorical Devices In Emb...mentioning

confidence: 99%

Embodied ekphrasis of experience: Bodily rhetoric in mediating affect in interaction

2020

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The article investigates the rhetorical means of mediating affective experience in occasioned storytelling.The completion of this article has been supported by The Emil Aaltonen Foundation and The Academy of Finland project (285144) The Literary in Life and The Academy of Finland project (326645) European Solidarities in Turmoil. We are interested in the forms and aspects of bodily action in signifying and communicating a “para-factual experience” that was triggered by a real-life incident, but in fact only took place in a person’s imagination. We explore the case of a TV interview in which an American living in Finland narrates a personal, disturbing experience related to the news about 9/11. The story presents a visual scenario of the teller’s affective reaction towards two Muslim women in a grocery store. What is interesting in the story are its involuntary dimensions: the scenario portrays a picture of the teller that he finds unrecognizable and detached from his sense of self as a person. Even if the act was never actually realized, to the teller it felt real and compelling, as is manifest in the way he translates the scenario into a bodily performance. The teller not only uses his body to tell the story but momentarily turns the surrounding setting into a scene in the storyworld in which he plays the unidentified me. We call this physical performance of the imagined scene the embodied ekphrasis of experience.In Semiotica, the rhetorical device of ekphrasis has appeared before (see Frosh 2003; Hopkins 2015; Nesselroth 2016; Sarapik 2009) from such literary and linguistic perspectives, as well as through the lens of media research and cultural studies, to which our application will add from the viewpoint of ethnomethodology and the social sciences. Deploying research on multimodal interaction and intermediality, our empirical analysis explicates how the teller’s body, and not just words, build action, convey affective meaning, and resemiotize and mobilize a physical enactment of the past hypothetical scene.

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“…Tämä lähestymistapa erottaa menetelmäni muun muassa Noël Carrollin (1990) yleisökeskeisestä "taidekauhun" (art-horror) lajiteoriasta. Esitän suoraan koetun kauhun olevan taiteellisten esitysten lailla intermediaalista perustuessaan aistien välittämiin havaintoihin (Toikkanen 2013). Pyrin tunnistamaan väitteen herättämät kysymykset todellisuudesta ja kuvatuista todellisuuksista määräisinä mediaalisina ympäristöinään ja analysoin niitä Leväluhdan eri toimijoiden kokemusmaailmojen affektiivisina samankaltaisuuksina.…”

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Sanallisen kauhun intermediaalinen kokemus. Marko Hautalan Leväluhta

Toikkanen

2022

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Marko Hautalan Leväluhta (2018) kertoo Vallin perheen useissa aikatasoissa liikkuvan synkän pohjalaisen kronikan. Äärimmäinen black metal -alakulttuuri nousee tarinan keskeiseksi ilmiöksi tapahtumien kerratessa ja heijastaessa vanhoja pelkoja, joista sikiää nykyhetkessä uusia. Tutkin intermediaalisen kokemuksen käsitteen avulla, mitä sanoilla esittäminen pakottaa lukijan kuvittelemaan ja miltä Leväluhdan kaltaisen teoksen kuvitelmat tuntuvat. Menetelmäni nojaa Lisa Blackmanin fenomenologisiin näkemyksiin psykologisesta affektiivisuudesta. Kirjailija Hautala on osallistunut tutkimuksen toteuttamiseen. Tarkastelen, miten kirjallisen tekstin mediaalisen ympäristön affektiivisten piirteiden analysointi Blackmanin välittyneen havainnoimisen käsitteen keinoin tekee eroa Brian Massumin uusmaterialistiseen näkemykseen affektista raakana selkärangasta kumpuavana ilmiönä. Väitteeni mukaan lukiessa olennaista ei ole, miten keho reagoi ulkopuolisiin biologisiin tai mytologisiin vaikuttimiin, vaan miten sanallisen kauhun intermediaalinen kokemus tuottaa Leväluhdan eri toimijoiden tapoja nähdä, kuulla ja tuntea todellisuuksia.

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The Intermedial Experience of Horror

Cited by 7 publications

References 0 publications

Feeling the unseen: imagined touch perceptions in paranormal reality television

Feeling the unseen: imagined touch perceptions in paranormal reality television

Embodied ekphrasis of experience: Bodily rhetoric in mediating affect in interaction

Sanallisen kauhun intermediaalinen kokemus. Marko Hautalan Leväluhta

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