Analysis Of Oogie Bogeyman

Stephen King’s short story “The Boogeyman” is a thrilling adventure that incorporates an urban legend that has many names throughout the world, and therefore makes any reader able to identify with this story. It pulls you in, making you question whether the stories your parents, cousins, or siblings you had finally deemed as unrealistic and fake were fictional at all. Why is King’s story so eerie? Is it the realism in the story, or the fact that the creature being described may have always been a small weakness for you? The scientific article “The Bogeyman” in which we are explained the origin and purpose for the monster may have the answers to these questions. After all, how probable is it that an unidentified creature will happen to appear in sight tonight?

Now here it was, after all, preserved by some considerate hand with varnish and wax. Preserved along with it, like stale air in an unopened room, was the well-known fear which surrounded and filled those days, so much of it that I hadn’t even known it was there. Because, unfamiliar with the absence of fear and what that was like, I had not been able to identify its presence (10).

"We've got to talk about this fear and decide there's nothing in it.  I'm frightened myself, sometimes; only that's nonsense!  Like bogies.  Then, when we've decided, we can start again and be careful about things like the fire" (82).

Coming into the 21st century, we have come up with a new way to shed light upon one of our scariest nightmares. The new “boogeyman” that has swept across the nation and the world is called, Slenderman. He is an unusually tall and slender man dressed in a nice suit. He doesn’t seem scary at first until you see his, well, lack of a face. Even then, he doesn’t seem that scary until you hear the stories. Slenderman stalks and psychologically torments his victims (who are usually children) for long periods of time until he takes his victim in his long tentacles, which grow from his shoulder blades, and he drags them to another dimension where he consumes them (“Slender Man” The Wiki). These tales are just scary stories to strike a new fear into

These altered states of consciousness enabled our ancestors to “unlock the doors” to the unconscious and to access its “unlimited reservoir of fantasia, hypnagogic imagery, day-dreaming, and creative ideation” (par. 14). Trout explains that having dreams about monsters were not stored as factual memories of the monsters but they turned out to be distorted. This helps illustrate on how our ancestors shaped and viewed monsters. Trout points out that maybe monsters have always been in

Singer and Benassi (1981) described a positive correlation between environmental uncertainty in western countries and occult beliefs. Although it could be argued that they may be overreaching with this generalization which is not supported with data, there is truth to this correlation. Humans try to be rational, and logical, and think critically, but in uncertain situations, we look to our environment, the physical and social environment, to provide us with information. Therefore, superstitions and supernatural phenomenon seem possible if no logical explanation can be given, and if the feedback from the environment reinforces what could be occult beliefs. French, Haque, Bunton-Stasyshyn, & Davis (2009) conducted an experiment attempting to investigate whether they could try to create a “haunted” room, and if participants would experience more abnormal sensations. Participants were informed they may feel some abnormal sensations prior to entering the room. Majority of participants reported having three or more abnormal sensations in the 50-minute period they were in the room. These sensations can be a result of susceptibility, but the uncertainty of that environment, and the lack of information may create these sensations and can validate occult

One way authors plant fear in your brain is by transforming something we already know and love into something frightening. One example of this is in the short story “Windigo” by Louise Erdrich. Over the course of the story, the windigo takes an innocent little kid and turns them into a monster. The author introduces an inculpable child, even calling them “little one”. She then takes the kid and transforms them into a monster, a windigo. Following that, she even goes so far as to bring the child home. Home. As a monster. To haunt her own village. It says, “...I carried you home,” and that is when the fear she planted at the beginning really starts to take root. This transformation is a great illustration of an author transforming something you know and love, in

The two poems ‘Clancy of the Overflow’ written by Banjo Patterson in 1889 and ‘The Migrant woman on the Melbourne tram’ written by Jennifer Strauss in 1975 both conveys the distinctive visuals and experiences. ‘Clancy of the overflow’ portrays a man named Clancy he longs for the country during his time in the city. Clancy enjoys the atmosphere of the country such as the landscape, animals and people while the city stresses him and bores him. ’Migrant woman on the Melbourne tram’ takes place in Melbourne, about a migrant woman experience feeling alienated and lost settling in Melbourne due to the different behaviours between her and the community of Australia , she tries to adapt to the society but struggles to cope. ‘Clancy of the overflow tells his experience using visual images and negative emotive towards the city and words positive emotive words to the country words to emphasise his beliefs towards the audience, while on the other hand ‘Migrant woman on the Melbourne tram’ tells the experience of difficulty in adapting to the Australian culture using visual images and uses descriptive words to emphasise the obstacles encountered.

“Perhaps everything that frightens us is, in its deepest essence, something helpless that needs our love.”

It was the summer of 1983; I was reading my first Horror novel by Jay Anson “The Amityville Horror”, it was the scariest thing I had ever picked up. Despite the late hours I continued to read into the early morning hours until my eyes burned for relief. Whenever I got up to use the rest room I would stand on the end of my bed lean over and open the door and jump so not to be grabbed by monsters that might be laying in wait under my bed. This started a long love affair for horror stories.

A ghoul is a foul undead creature that originates from Arabian folklore. Described as a type of demon and even jinn, these monsters are said to dwell in graveyards and other uninhabited areas. According to folklore, they are crafty shapeshifters and take on the forms of animals in order to lure unwary people into their territory so that they may devour them.

Frankenstein, suffered a similar, uncaring fate. When The Creature first rises from dormancy, he is promptly turned away by a fearful Frankenstein who locks himself in his room. (pg. 35-36)

With funding support by Ohio Humanities, Madeline Muntersbjorn, PhD, will lead the discussion, Why Monsters Matter, 7 p.m. Wed. Oct. 26, at the Way Public Library, 101 E. Indiana Ave., Perrysburg. Muntersbjorn is an associate professor of philosophy with the University of Toledo. The discussion will examine how and why humans create monsters; and, if over time, are there common themes and purposes other than to scare. The 30-45 minute discussion is free as is parking.

“Thou wouldst be great, art not without ambition, but without the illness should attend it.” (Shakespeare 23) In their adaptations of William Shakespeare’s play Macbeth, directors Michael Bogdanov and Rupert Goold depict the possible detrimental effects of ambition and the subsequent guilt that follows once the task is carried out.

Central themes of the movie associate clearly with the corruption of any idea or object considered comfortable and safe. Amelia and Samuel represent the corruption of safety and innocence respectively. Namely, Samuel is a young boy who is troubled and becomes even more so as the story progresses, whereas Amelia symbolizes a loss of motherhood and compassion. Moreover, the loss of both is slow and the movie takes its time with the corruption. Especially considering the audience must watch the devolution of both characters, whilst simultaneously experiencing it with Amelia. Additionally, the stress that Samuel causes is palpable, and one can’t help but wonder if Samuel is making it up, or even haunted him. Not until the finale, when everything seemingly goes back to normal that is it understood the Babadook was Amelia all along, and her “evil” side. Also, she keeps it hidden away and locked in a basement. Horror really becomes terrifying when the environment, the haven around the character, becomes the monster itself. Loss of safety and the sudden assault of vulnerability is visceral, and numerous scenes play into this notion: the father’s clothes being laid