Demonization or demonisation is the reinterpretation of polytheistic deities as evil, lying demons by other religions, generally by the monotheistic and henotheistic ones. The term has since been expanded to refer to any characterization of individuals, groups, or political bodies as evil.
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👉 Demonization in the context of Tatarophobia
Tatarophobia (Russian: Татарофобия, romanized: Tatarofobiya) refers to the fear of, the hatred towards, the demonization of, or the prejudice against people who are generally referred to as Tatars, including but not limited to Volga, Siberian, and Crimean Tatars, although negative attitudes against the latter are by far the most severe, largely as a result of the Soviet media's long-standing practice of only depicting them in a negative way along with its practice of promoting negative stereotypes of them in order to provide a political justification for the deportation and marginalization of them.
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Demonization in the context of The Anxiety of Influence
The Anxiety of Influence: A Theory of Poetry is a 1973 book by Harold Bloom on the anxiety of influence in writing poetry. It was the first in a series of books that advanced a new "revisionary" or antithetical approach to literary criticism. Bloom's central thesis is that poets are hindered in their creative process by the ambiguous relationship they necessarily maintain with precursor poets. While admitting the influence of extraliterary experience on every poet, he argues that "the poet in a poet" is inspired to write by reading another poet's poetry and will tend to produce work that is in danger of being derivative of existing poetry, and, therefore, weak. Because poets historically emphasize an original poetic vision in order to guarantee their survival into posterity, the influence of precursor poets inspires a sense of anxiety in living poets. Thus Bloom attempts to work out the process by which the small minority of 'strong' poets manage to create original work in spite of the pressure of influence. Such an agon (a vain attempt by a writer to resolve the conflict between his ideas and those of a much more influential predecessor), Bloom argues, depends on six revisionary ratios, which reflect Freudian and quasi-Freudian defense mechanisms, as well as the tropes of classical rhetoric.
Before writing this book, Bloom spent a decade studying the Romantic poets of the early nineteenth century. This is reflected in the emphasis given to those poets and their struggle with the influence of John Milton, Robert Burns, and Edmund Spenser. Other poets analyzed range from Lucretius and Dante to Walt Whitman, Wallace Stevens, and John Ashbery. In The Anxiety of Influence and other early books, Bloom claimed that influence was particularly important for post-enlightenment poets. Conversely, he suggested that influence might have been less of a problem for such poets as Shakespeare and Ben Jonson. Bloom later changed his mind, and the most recent editions of The Anxiety of Influence include a preface claiming that Shakespeare was troubled early in his career by the influence of Christopher Marlowe. The book itself is divided into six major categories, called "six revisionary ratios" by Bloom. They are clinamen, tessera, kenosis, daemonization, askesis, and apophrades.