Lovecraft’s ‘The Shadow Out of Time’ and ‘The Dreams in the Witch House.’” Extrapolation, no. “Mind out of Time: Identity, Perception, and the Fourth Dimension in H. The Fantastic: A Structural Approach to a Literary Genre. The Sublime : From Antiquity to the Present. The Republic of Cthulhu: Lovecraft, the Weird Tale, and Conspiracy Theory. Lord of a Visible World: An Autobiography in Letters.
H.P.Lovecraft, Against the World, Against Life. Alexandria, VA: Atomic Overmind Press, August 2008. I Am Providence: The Life and Times of H.P. The Annotated Supernatural Horror in Literature. Lovecraft, H.P., and Klinger, Leslie S., ed. The Dreams in the Witch House, The Call of Cthulhu,Outsider, Nameless City, In the Mountains of Madness, The Meadow, Imprisoned with Pharaoh, The Silver Key, The Terrible Old Man, Within the Walls of Eryx, The Unnamable, Music of Erich Zann, Colour out of Space, Dagon, Out of the Aeons, The Shadow out of Time. The expressions such as eldritch, stygian or cyclopean only give hints of the new reality but its true nature still remains obscured even if described and the forbidden knowledge bound in grimoires such as Necronomicon and Pnakotic Manuscripts equally nourish the unknown by showing the extent of what is yet to be uncovered, if ever.
Lovecraft’s disturbing description of otherworldly scenery and alien creatures induce the notion of the strange that cannot be related to our own world. Lovecraft aptly employs new discoveries of the space or Antarctica and theories such as time travel, non-Euclidean geometry or fourth dimension. The use of physics seemingly brings the reader back to the familiar territory, but in fact, physics is a mere tool to tear down the blissful ignorance and to reveal that there is more to fear. The concept of the sublime is presented at its best one might ponder how vast must be a period of time across which an immortal creature forgets its own past and nature. The most powerful of these element are the uncanny ideas as they stimulate the imagination of the reader. This paper aims to demonstrate that Lovecraft creates the sensation of the unknown by using elements such as uncanny ideas, impossible physics, inconceivable images, unfamiliar expressions and forbidden knowledge, and to show how these contribute to the fear of the unknown. He also created new mythology to back up the credibility of his stories however, he served the readers only hints and pieces of information, which added basically nothing to the whole picture but increased the amount of the unknown since it requires not only concealment of facts but also a certain degree of readers’ imagination to promote the unknown over the known. But Lovecraft found his “new” in an entirely different area: he did not care for Satan or Death and rather turned to the cosmic depth and the gulf of time for his inspiration. He worked with the overwhelming emotion produced by the vast, infinite or obscure that evokes terror and the sublime. In Lovecraft’s works, the supernatural is connected with what was at his time new for the readers. “The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.” – H.P.Lovecraft Ústav anglofonních literatur a kultur (21-UALK) Lovecraft|The Unknown|Cosmicism|Lovecraftian Horror|Anti-anthropocentrism|Theory of Horror Lovecraft|Neznámo|Kosmicismus|Lovecraftovský horor|Anti-antropocentrismus|Teorie hororu Lovecraft’s Fear of the Unknown and Unimaginable Lovecraftovský strach z neznámého a z nepředstavitelného Lovecraft’s Fear of the Unknown and Unimaginable Název práce v češtině:
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