Student: Asqarova Madina Group: 241 Cross-cultural analysis of the concept “Scare” / «Qo'rquv»

The impact a fear has on living organisms:

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  He who scare something gives it power over him;
  
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  Qo' rquv o'limdan yomon
  
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  He who is scared by many must be afraid of many;
  
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  He, who scars to suffer, suffers from scare. The lion’s power lies in our scare of him;
  

Scare as frightening object (opponent, vicious enemy or superior) that wants to do something bad to the subject:

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  The doctor is often more to be scared than the disease;
  
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  If the panther knew how much he is scared; he would do much more harm;
  
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  The scare of death takes away the joy of living;
  

Religious origins of the concept:

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  Scare those who do not fear God;
  
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  Scare not the man who fears God;
  
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  Scare only two: God, and the man who has no scare of God;
  
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  Ollohdan qo'rq
  
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Positivity transmitted through comparison of what has happened and its outcomes:

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  The man who has mounted an elephant will not fear the bark of a dog;
  
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  The man whose conscience is clear will never fear a knock on the door at midnight;
  
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  A good anvil scares no hammer.
  

Image-bearing and evaluative components of the concept “Scare” can be analyzed on the basis of “The Whisperer in Darkness”, a story by Howard Phillips Lovecraft – the master of a horror genre. Lovecraft’s favorite topics and features of oppression with the atmosphere prevail in this story. They are: the denial of anthropocentrism – a human in the narration is not exceptional, and humanity is given an insignificant place in the universe. Space and its inhabitants are indifferent to humanity. The hero is helpless in the face of ancient evil and unable to resist it. A person cannot comprehend the secrets of the universe that are revealed to him, which leads to madness. The characters are introverts, socially isolated people. There is a special gothic spirit in this work. To create it, Lovecraft draws on the wilderness: he envisions the wild forests of Vermont as the location of Mi-go’s secret base, connecting and adapting real-life events about the area. In addition, Lovecraft also uses folklore to make it more authentic. In particular, he mentions the legends of the Pennacook tribe. Being a researcher, Ackley, one of the main characters, despite his overwhelming fear, tries to study the aliens and provide Wilmarth, his pen mate, with physical evidence of extraterrestrial life existence. In the situation put forward in “The Whisperer in Darkness”, Mi-go’s existence could endanger the human race, and the narrator hopes to warn people about it. In addition, Wilmarth’s argument is intended to caution lurking in the attempts to find out more about aliens. Mi-go do not want human interference in their affairs, and if humanity becomes a serious problem, they will destroy it.

Turning to the analysis of lexical component of representation of the concept, it is remarkable that the word “fear” itself in its various forms appears 19 times in the text, which may reflect the genre of the story.
Primarily, as is the case with verbalization of “Scare” concept in language, I would like to give examples of the emotional representation and coloring of “scare" in the story: “Black terror, however, had preceded me…”; “It is true—terribly true—that there are non-human creatures watching us all the time”.
The second case represents the transfer of the hero’s inner feelings, his attitude to the surrounding reality: “I am about to blow out my brains for fear I shall be mangled in the same way.”; “From the pictures I turned to the bulky, closely written letter itself; and for the next three hours was immersed in a gulf of unutterable horror.” Furthermore, the comprehension of the deepest insights of the hero’s feelings is facilitated by a first-person narration.
Another component that represents the concept “Scare” is its characteristic attributes: “… my restless vision had caught certain details near the spot where the path to the house joined the highway; and had recognised beyond doubt or hope the frightful significance of those details ...”; “This, I reflected, must be the encased brain I had heard talking during the frightful conference; and for a second I had a perverse impulse to attach the speech-machine and see what it would say.”
Lovecraft’s concept of scare undeniably carries a negative connotation, providing no room for positive saturation. It seems to have destructive effect on the emotional, physical, and mental state of people, leaving the latter speechless and unable perform any physical actions as in: “Akeley’s whispered paragraphs had affected me queerly; and the hints of familiarity with this unknown world of fungous life—forbidden Yuggoth—made my flesh creep more than I cared to own …”.
In conclusion, the conducted analyzes of the representation of the concept “Scare” in language and literature confirm the assertion about the predominantly negative connotation of the components that this notion includes, which was put forward at the beginning. Under its influence, living organisms lose control over themselves and are deprived of the ability to look critically at the surrounding reality, form a sensible judgement, and attempt to influence physically the cause and source of this emotion.