Although there are many discrepancies in definitions of contemporary legends as a folklore genre, one characteristic seems beyond dispute: the goal of the plot is to excite the interest of the audience through an uncommon (unbelievable) story which is told as if it were true. The expected impacts of such stories are feelings of shock, amusement or fear. It is interesting that in the same genre two such different emotional impacts are dominant, and furthermore they are very often present as parts of the same narrative situation or even in the same story. The aim of this paper is to describe two theories which attempt to explain the common principles of the poetics of horror and humour. They were developed by authors exploring the field of the philosophy or theory of art, but in the view of this author they could be inspiring and useful also in folklore studies.
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