Kierkegaard in his book The Concept of Fear shows that fear creates an existentialist situation. The height of a sense of touch of fear during one is no daunting. For in this vacuum and nothing, there are possibilities whose touch is the touch of human freedom. In his view, the truth of human nature is revealed in these frightening moments. We are not afraid; we are fears and it is through this fear that we reach the paradox of faith and the necessity of faith. The Roman poet Typhus Lecretius said, “It was fear that first created the gods.”
Emotional fear is eternal. From the dumb and massive fear that Freud attributes to the birth and separation of the mother’s womb to the varied fears that continue to grow from the hidden and complex Oedipus complex, reproduce And transforms from one form to another. In contrast, our existential ‘I’, if he or she wishes for an erotic or violent yearning, is punished by the external or internal ethics (of an external origin) or condemned to lose the love and respect of those around him or the inner images of the Father. And his mother. Thus, the “I” suppresses these feelings by creating a sense of fear and anxiety, though the ultimate repression is impossible. Although in the subconscious mind system, sometimes fears of animals or some insects are rooted in deeper and surviving childhood fears, apart from instinctual fears for survival, the complexity of the concept of fear is such that even fears can be He cites the genetic origins of each of us, from the fear of encountering animals in eternal ancestry to the fear of drought, violence, and lies.
From Freudian psychoanalysis in phobia, a kind of fascinating / frightening relationship to an external subject is created, such as the fear of an animal (mostly a snake as a paternal symbol) that both captures and captures the fear. And it creates anxiety. On the other hand, the subject of Lacanian psychoanalysis is the transformation of the scary subject (his own scary snake) into a new identity (his snake and clever snake) and the ability to accommodate his erotic and romantic desires in an open environment and to create dialogue (the manifestation of these transformations). It has been well represented in David Lynch’s cinema, and especially in the film The Lost Highway and the Maholland Road)
From a phenomenological point of view (Lyotard), when we are confronted with our own fears, we formulate and interpret our fears, as Merleoponti says, because knowledge of fear is indirect as if fear is an intermediary. We create fear, and in each of our fears we have some kind of scenario. From Lacan’s point of view, we cannot give our fears any meaningful interpretation and meaning, but this interpretation and meaning is shaped by the hidden desire within our fears. So fear is always fascinating, captivating and encompassing, and it carries with it the desire and desire of the individual. Maybe we can say we’re scared then …