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Relevant bibliographies by topics / Freud's uncanny

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Academic literature on the topic 'Freud's uncanny'

Author: Grafiati

Published: 11 December 2022

Last updated: 28 January 2023

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Journal articles on the topic "Freud's uncanny"

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Lydenberg, Robin. "Freud's Uncanny Narratives." PMLA/Publications of the Modern Language Association of America 112, no. 5 (October 1997): 1072–86. http://dx.doi.org/10.2307/463484.

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Critics who work at the intersection of psychoanalysis and narratology frequently examine Freud's “The Uncanny” (“Das Unheimliche”). A close reading of the anecdotes interpolated in Freud's essay suggests that while narrative is often motivated by an effort to contain charged material, something always escapes that control, threatening to proliferate without stopping. The dual containing and dispersing effect of narrative is reflected in Freud's doubling of himself as narrator and protagonist; in his ambivalence toward women, the maternal, and creativity; and in his attraction and resistance to literature. Although Freud often appears to reduce literature to an illustration of psychoanalytic laws, the subversive literariness of language and the instability of the subject emerge dramatically in the uncanniness of his own narratives.

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Mary Bergstein. "Freud's Uncanny Egypt: Prolegomena." American Imago 66, no. 2 (2009): 185–210. http://dx.doi.org/10.1353/aim.0.0046.

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Svenaeus, Fredrik. "Freud's philosophy of the uncanny." Scandinavian Psychoanalytic Review 22, no. 2 (January 1999): 239–54. http://dx.doi.org/10.1080/01062301.1999.10592708.

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Curtis, Abi. "Freud's Uncanny and Speculative Elegy." Oxford Literary Review 42, no. 2 (December 2020): 175–78. http://dx.doi.org/10.3366/olr.2020.0313.

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Cruz, Ailén. "Uncanny Magical Realism: Freud's Uncanny in Julio Cortázar's "Casa Tomada"." Romance Notes 61, no. 3 (2021): 517–27. http://dx.doi.org/10.1353/rmc.2021.0036.

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Jacob, Benjamin. "The "Uncanny Aura" ofVenus im Pelz: Masochism and Freud's Uncanny." Germanic Review: Literature, Culture, Theory 82, no. 3 (July 2007): 269–85. http://dx.doi.org/10.3200/gerr.82.3.269-285.

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Armando, Luigi Antonello. "Terrore, affascinazione, incertezza: una lettura del saggio di Freud Das Unheimliche." PSICOTERAPIA E SCIENZE UMANE, no. 2 (May 2009): 167–90. http://dx.doi.org/10.3280/pu2009-002002.

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- Freud begun writing Das Unheimliche (The Uncanny, 1919) while he was writing Totem and Taboo, and concluded it interrupting his writing of Jenzeit der Lustprinzip (Beyond the Pleasure Principle, 1920). Das Unheimliche is seen as a chapter of a larger work, whose other chapters are the two over mentioned works and those on Leonardo (1910) and on Michleangelo (1914). Das Unheimliche is considered the expression of Freud's attempt to overcome an obstacle which prevented him to formulate the law of repetition compulsion: the obstacle rising from his experience of the works of art of Italian Renaissance and of their opening the internal space of uncertainty. It is maintained that the contemporary significance of Freud's work lies in the result of that attempt.KEY WORDS: uncanny, terror, art, new, uncertainty

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Milesi, Laurent. "Freud's Uncanny in the Posthuman Valley." Oxford Literary Review 42, no. 2 (December 2020): 247–51. http://dx.doi.org/10.3366/olr.2020.0329.

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McCuskey, Brian. "Not at Home: Servants, Scholars, and the Uncanny." PMLA/Publications of the Modern Language Association of America 121, no. 2 (March 2006): 421–36. http://dx.doi.org/10.1632/003081206x129639.

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In “The Jolly Corner” (1908), Henry James locates the uncanny in the servants' quarters at the top of the house, where the genteel protagonist finally corners his ghostly double. James thus prompts us to reread Freud's “The Uncanny” (1919) with a pair of questions in mind. First, how does class identity bear on the uncanny; and, second, how in turn does the uncanny bear on class identity? Steering well clear of servants in his discussion, Freud apparently dodges the issue altogether; a closer look, however, reveals that he cannily represses the social value of the uncanny so as to hold it in reserve. James, on the other hand, documents how and why psychoanalysis converts bourgeois anxiety about servants into “the uncanny,” an abstraction that floats freely across the twentieth century from séance to academic circles, where it continues to function as a ghostlier demarcation of class. (BMcC)

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Bartnæs, Morten. "Freud's ‘The “Uncanny”’ and Deconstructive Criticism: Intellectual Uncertainty and Delicacy of Perception." Psychoanalysis and History 12, no. 1 (January 2010): 29–54. http://dx.doi.org/10.3366/e1460823509000531.

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Freud's ‘The “Uncanny”’ (1919) has been the object of a singular growth of interest, though mainly outside the realm of psychoanalysis. The article owes its present prominence in the humanities to its reception and appropriation by readers associated with deconstruction, starting with Jacques Derrida, and continuing with the influential interpretations of Hélène Cixous (1972), Samuel Weber (1973) and Neil Hertz (1985). The present article discusses some characteristics of the deconstructive reception of ‘The “Uncanny”’, and points out the limitations it puts on the understanding of Freud's text.

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Dissertations / Theses on the topic "Freud's uncanny"

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Grizzle, Eric Tait John. "Exploring fear and Freud's The uncanny." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3666.

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Grizzle, Eric. "Exploring Fear and Freud's The Uncanny." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3666/.

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Fear is one of the oldest and most basic of human emotions. In this thesis, I will explore the topic of fear in relation to literature, both a staple of the horror genre as well as a device in literary works, as well as in my own writings. In addition, I will use Sigmund Freud's theory of the “uncanny” as a possible device to examine the complexities of fear and its effects both on the mind and body through the medium of literature, and, more specifically, where and how these notions are used within my own short stories. By exploring how and why certain fears are generated, we may be able to better examine our own reactions in this regard.

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Fenichel, Teresa. "Uncanny Belonging: Schelling, Freud and the Vertigo of Freedom." Thesis, Boston College, 2016. http://hdl.handle.net/2345/bc-ir:104819.

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Thesis advisor: Vanessa Rumble
The aims of my dissertation are 1) to explicate what I take to be the philosophical foundations of Freudian psychoanalysis with the aid of Schelling’s contributions to the development of the unconscious and the nature of human freedom and 2) to make use of certain fundamental discoveries of psychoanalysis in order to reinterpret Schelling’s dynamic and developmental vision of reality. My claim is that Schelling’s philosophy not only offers an important historical moment in the development of the psychoanalytic account of the unconscious, but also gives us a vision of human development—and indeed the development of Being as such—that is grounded in the unconscious and the activity of the drives. Where Freud is often viewed as a determinist, through a closer examination of the connections Schelling makes between the unconscious ground of existence and human freedom we can begin to open up the space for a more complex Freudian subjectivity. Furthermore, the advances Freud makes in terms of the structure of the unconscious, his work on the altered temporality (most notably Nachträglichkeit, or “afterwards-ness”) of trauma and repression, also serve to bring some of Schelling’s most abstract and speculative work to both a more practical and philosophically relevant level. In the work of both Schelling and Freud, the relationship between the human subject and the reality such a subject “confronts” is radically transformed. In Schelling, we find that the developmental phases of Being, of the Absolute and of Nature are also manifested in the structure of human becoming; that is, the catastrophic divide between subjective experience and objective reality is bridged by reinterpreting both as dynamic processes. Although Freud himself often has recourse to a more static view of “objective” reality, his work also speaks to a deep and disturbing revision of such a view. Indeed, Freud’s continued questioning of the boundaries between fantasy and reality, between the internal and the external, suggest that the irreducible otherness of the unconscious extends beyond the individual
Thesis (PhD) — Boston College, 2016
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Philosophy

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Tayler, Denise May. "The haunting of consciousness, Freud, Lockean identity, and the uncanny self." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22880.pdf.

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Stewart, Karyn Leona. "Fragment of an analysis of the mother in Freud." Thesis, University of Canterbury. Sociology and Gender Studies, 2013. http://hdl.handle.net/10092/10030.

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It was for the longest time that the mother in Freud troubled me. Unlike some feminist psychoanalysts such as Julia Kristeva who argue that the mother/maternity in Freud is finally to be thought of as a ‘massive nothing’ (Kristeva, 1987: 255), I knew that the mother was there/da, but it was how she was there that concerned me and forms the basis of this thesis. Freud shows us the mother in his work when he argues that the child’s first love object in its truest sense is the mother, ‘and all of his sexual instincts with their demand for satisfaction have been united upon this object’ (SE 18: 111). I highlight the ‘his’ because Freud’s focus on this first love object is primarily male. And although Freud does not differentiate between the little girl and little boy at this early stage, thereafter the girls relationship to the mother, argues Freud, ends in ‘hate’. She cannot be forgiven for not giving the little girl a penis. But the mother as a primordial ‘object’ not only becomes lost (and thereafter we are all involved in a search to ‘refind ‘it’/‘her’) but she seems also to be, uniformly Mater/matter to be overlooked. To use a rather explosive analogy, it is as if the mother and Freud are together yet separated in a double-barreled shotgun, with the misfiring of one barrel obscuring (obliterating) the other. Freud in fact used a similar analogy in an explanation for anxiety. Here the rifle is pointed at the ‘wild beast’ a description that Freud uses to describe the unruly forces of the libido in the unconscious. A fitting parallel then because the mother has a relation to anxiety and the unconscious that might best be described as central. Thus Freud writes and the mother is ‘shaded’. Again an apt analogy one that Freud himself uses to describe the Odyssean like shades that invade the unconscious as ghosts and taste blood. If the mother is indeed the dark-continent, a simile for the unconscious, or at least her sexuality, which after all is what is important in Freud’s Oedipal theory, then the question might be asked, ‘is the mother a ghost that haunts our living lives’? Of course a living mother is not a ghost, but then a literal explanation neglects the repression that accompanies the developing ego, an ego no less that is subject to childhood amnesia during the middle years of childhood. The Prologue introduces us to Freud the man. It seemed to me at the onset of this thesis that the mother is both universalised but also personalised. If Freud did not mourn his mother, why might this be so? And how is Freud himself mourned, remembered, outside his work? Chapter One is an introduction to Freud’s work, asking where the mother might be, and even why she may or may not be recognised in areas that seem peculiar to a space that mothers might occupy. Chapter Two looks at feminist psychoanalysts and asks how they engage with both Freud the man, and Freudian psychoanalysis and thereafter the later schools of psychoanalysis. Chapter Three engages with Freud and Freudian theory, offering an in-depth engagement with particular psychoanalytic concepts and places where the mother might be, or should be, but for some reason is not. Chapter Four explores the concept of anxiety, itself singled out as somehow having an integral relationship to the mother but again, Freud by a less than careful sleight of hand writes the mother out. And yet this is not a direct writing out, because Freud circulates around the point, the navel as it were, offering a kind of adverse reckoning, the mother is there but also, she is not. Chapter Five concludes this thesis by looking at several different theories, including Christopher Bollas’s ‘clowning mother’, and asks how might they offer alternative ways of understanding the mother, both within Freud and as an extension of Freud.

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Langham, Rebecca Leigh. "Uncanny Bodies in Sacred Settings: Creating the Divine in Rodney Smith's Photography." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/8801.

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The photographer Rodney Smith shows us images of real things and people, but real things and people that aren’t positioned in real ways and places people would actually be. Instead, he uses something very familiar to each of us–the human body–and consistently puts it in very unfamiliar situations. By using something so intimately familiar to each of us as the body in weird ways, he automatically jars our own experienced sensations. And this jarring of familiar sensations, this defamiliarization of something so familiar to us, is what typically results in what literary critics term the feeling of the uncanny. What the uncanny does, in its defamiliarizing of the familiar, is to jar viewers from their sense of the familiar. It displaces them from where they normally are. In Rodney Smith’s photographs, our bodies, unfamiliar with the bodily experiences of his subjects, are dislodged from where they are. Yet the feeling produced by Smith’s photography is not uncanny; rather, it has a sort of reverent, almost sacred, effect. His background as a graduate of the Yale School of Divinity makes him deeply interested in truth beneath the surface, and so he uses photography to get at that sort of truth through his use of the body in ways that would typically produce an uncanny effect, yet don’t. The settings in which he places bodies, as well as the way he uses the bodies themselves, help to shift the feeling of the uncanny into the feeling of the divine or sacred. His ability to do so is highly contingent upon his use of bodies: because we, the viewers, all have bodies, our bodies resonate with those we see in his photography. We are connected to the subjects of his works in a fundamental and profound way because of our embodiedness. And using this connection, Rodney Smith takes our now displaced bodies and transports them with his bodies to somewhere beyond the surface, somewhere sacred. Through his use of techniques typical of the uncanny, he shifts the effects of the uncanny from simple displacement of the self to meaningful replacement of the self within the greater context of our unique and, in his eyes, beautiful world we live in.

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Johansson, Moberg John Leo. "“Now is the winter of our discontent” : The Uncanny History of Richard III." Thesis, Stockholms universitet, Engelska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-146873.

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This paper will use Sigmund Freud’s essay “The Uncanny” to analyse William Shakespeare’s play Richard III. It will be argued that, although the play predates the ideas of Freud, it makes use of several elements of the uncanny to set the scene or to enhance imagery. With the goal to reveal such aspects of the play, a number of specific topics and ideas will be discussed and examined. The dreams of the play will be interpreted; Richard III is noteworthy for its reliance on dreams to replace the supernatural elements often used by Shakespeare, but the very nature of the dreams calls that into question—as they seem prophetic. The roles of women, and Richard’s own “femininity”, will be examined. While the men dream, women speak curses that, eventually, appear to come true. The doubling of characters, historical events and devices like dreams and curses will also be looked into—all to find the uncanny core of the play’s narrative. A large part of that narrative involves political manoeuvring, and the psychology of Richard as he goes about achieving his goals before conscience causes his downfall. Both will be analysed with the help of close readings, psychological research and comparisons to Niccolò Machiavelli’s ideas. In the end, the full extent of the uncanny impact on the play should be revealed with an explanation of how the individual aspects of the play come together, and how the reversals of Richard makes him seem uncanny both to fellow characters and audiences. Keywords: Richard III; William Shakespeare; history; the uncanny; Sigmund Freud.

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Jespersdotter, Högman Julia. "Repeating Despite Repulsion: The Freudian Uncanny in Psychological Horror Games." Thesis, Malmö universitet, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-42829.

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This thesis explores the diverse and intricate ways the psychological horror game genre can characterise a narrative by blurring the boundaries of reality and imagination in favour of storytelling. By utilising the Freudian uncanny, four video game fictions are dissected and analysed to perceive whether horror needs a narrative to be engaging and pleasurable. A discussion will also be made if video game fictions should be considered in the literary field or its own, and how it compares to written fiction in terms of interactivity, engagement, and immersion.

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Stenskär, Eva. "Ich weiss nicht was soll es bedeuten : Uncanny Space in the Poetry of Sylvia Plath." Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-49856.

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Sylvia Plath’s poetry continues to receive considerable attention from a variety of groups and has been the target for such diverse critical approaches as Feminism, Ecocriticism, and Marxism, to name but a few. My paper focuses on a less investigated area of her poems: Space, and more specifically uncanny space in her later poetry. Here, I take a closer look at seven of her poems using as my preferred methods deconstruction and psychoanalytical theory.

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Goldfinch, Jessica. "Matter of Life and Death." ScholarWorks@UNO, 2003. http://scholarworks.uno.edu/td/14.

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This thesis is a critical analysis of the processes, concepts and imagery of my artwork. In my art, I intended to explore death anxieties, individuality and the uncanny. I am interested in what we leave behind after we are gone as proof of existing post mortem. My themes include procreation, forensic science, and religion among others. My imagery includes fragmented bodies, reliquaries, and forensic evidence. I use traditional and non-traditional sculpture materials and processes that are intended to conceptually inform the viewer further.

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Books on the topic "Freud's uncanny"

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History films, women, and Freud's uncanny. Austin: University of Texas Press, 2004.

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On Freud's the Uncanny. Taylor & Francis Group, 2019.

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Seulin, Christian, and Catalina Bronstein. On Freud's the Uncanny. Taylor & Francis Group, 2019.

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Seulin, Christian, and Catalina Bronstein. On Freud's the Uncanny. Taylor & Francis Group, 2019.

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Seulin, Christian, and Catalina Bronstein. On Freud's the Uncanny. Taylor & Francis Group, 2019.

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Seulin, Christian, and Catalina Bronstein. On Freud's the Uncanny. Taylor & Francis Group, 2019.

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On Freud's the Uncanny. Taylor & Francis Group, 2019.

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Hiltebeitel, Alf. Freud's Mahābhārata. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190878337.001.0001.

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This book has a three-part structure, with the first and last chapters being the first and third parts, respectively. Chapter 1 examines Freud’s essay “The ‘Uncanny,’ ” and works back from it to the Mahābhārata as we see what Freud had in mind as “uncanny.” The chapter thus offers a pointillistic introduction to a promissory Freud’s Mahābhārata, one in which many points get fuller treatment in later chapters. Chapters 2 through 5 are a medley of post-Freudian readings of Mahābhārata scenes, themes, and episodes. These are viewed through the lenses of authors who are sympathetic with Freud, the author included; in chapters 2 and 3, including Andre Green with his “dead mother complex”; and, in chapter 5, including Stanley Kurtz’s notion that “all the mothers are one” and Freud’s Indian correspondent, Girindrasekhar Bose’s concept of the “Oedius mother”. Chapter 6 is about Freud’s Moses and Monotheism, and shows that, for the Mahābhārata, religious traditions must be studied not only through conscious representations of their history but also regarding unconscious trauma, loss of memory, and a return of the repressed. The book posits a new theory of the Mahābhārata with its central myth of the Unburdening of the goddess Earth, as reflecting Brahmanical trauma from India’s second urbanization, ca. seventh to third centuries BCE.

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Jonte-Pace, Diane. Speaking the Unspeakable: Religion, Misogyny, and the Uncanny Mother in Freud's Cultural Texts. University of California Press, 2001.

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Jonte-Pace, Diane. Speaking the Unspeakable: Religion, Misogyny, and the Uncanny Mother in Freud's Cultural Texts. University of California Press, 2001.

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Book chapters on the topic "Freud's uncanny"

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Smith, Andrew. "Freud’s Uncanny Sublime." In Gothic Radicalism, 148–73. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230598706_8.

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Gammelgaard, Judy. "The uncanny." In Psychoanalysis after Freud, 115–24. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003194880-10-11.

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Giblett, Rod. "The uncanniness of Freud’s uncanny." In Environmental Humanities and the Uncanny, 1–14. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge explorations in environmental studies: Routledge, 2019. http://dx.doi.org/10.4324/9780429059759-1.

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Collins, Jo. "‘Neurotic Men’ and a Spectral Woman: Freud, Jung and Sabina Spielrein." In Uncanny Modernity, 146–67. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230582828_8.

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Luckhurst, Roger. "The Uncanny After Freud: The Contemporary Trauma Subject and the Fiction of Stephen King." In Uncanny Modernity, 128–45. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230582828_7.

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Dolar, Mladen. "The Uncanny and the Comic: Freud avec Lubitsch." In The Object of Comedy, 15–34. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27742-0_2.

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Cixous, Hélène. "Fiction and its Phantoms: A Reading of Freud’s “Das Unheimliche” (The “uncanny”)." In Literature in Psychoanalysis, 84–96. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-21354-8_6.

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McDonald, Michael Bruce. "‘Circe’ and the Uncanny, or Joyce from Freud to Marx." In Ulysses, 164–85. London: Macmillan Education UK, 2004. http://dx.doi.org/10.1007/978-0-230-21248-0_10.

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Rudd, David. "Home Sweet Home and the Uncanny: Freud, Alice and the Curious Child." In Reading the Child in Children’s Literature, 107–30. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-32236-4_6.

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Burt, Richard. "Epilegomenon: Anec-Post-It-Note to Self: Freud, Greenblatt, and the New Historicist Uncanny." In Medieval and Early Modern Film and Media, 169–85. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1007/978-0-230-61456-7_6.

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Conference papers on the topic "Freud's uncanny"

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Aglieri Rinella, Tiziano. "Le Corbusier’s uncanny interiors." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.708.

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Abstract: The reception of Le Corbusier’s early buildings in Paris provoked an astonishing sensation of shock and estrangement in the public of the time. This troubling sensation of wonder is still alive today, after almost a century from their construction, and it is particularly vivid in some of the interiors, as we can notice from the photographic documentation of the time. Sigmund Freud, in his book “The interpretation of dreams”, underlined the direct relation existing between the interior of the human psyche and the interior of the house a subject lives in. He defined the interior of each man’s home as a sort of “diagnostic box” of the human mind, able to disclose the psyche of the individual, expressing his dreams, desires and obsessions. In his purist houses, Le Corbusier seems to have imposed his overwhelming personality on the clients, somehow expressing his own idealistic dream of the city of the future and foreseeing the visionary scenarios of a modernist utopia. This paper’s goal is to present a psychoanalytic reading of Le Corbusier’s buildings of the time, analyzing a number of significant examples in order to identify their uncanny effects, disclosing the hidden relations between cause and effect, and decoding the related composing technics used in the interior design. Resumen: La recepción de los primeros edificios de Le Corbusier en París provocó una sensación asombrosa de shock y extrañamiento en el público de la época. Esta sensación inquietante de asombro sigue vivo hasta hoy, después de casi un siglo de su construcción, y es particularmente viva en algunos interiores, como podemos observar en la documentación fotográfica de la época. Sigmund Freud, en su libro "La interpretación de los sueños", subrayó la relación directa existente entre el interior de la psique humana y el interior de la casa donde un sujeto vive. Él definió el interior de la casa de cada hombre como una especie de "caja diagnóstica"de la mente humana, capaz de revelar la psique del individuo, expresando sus sueños, deseos y obsesiones. En sus casas puristas, Le Corbusier parece haber impuesto su personalidad arrolladora en los clientes, expresando de alguna manera su propio sueño idealista de la ciudad del futuro y previendo los escenarios visionarios de una utopía modernista. El objetivo de este trabajo es de presentar una lectura psicoanalítica de los edificios de Le Corbusier de la época, analizando una serie de ejemplos significativos con el fin de identificar sus efectos extraños, revelar las relaciones ocultas entre causa y efecto, y decodificando las relativas técnicas compositivas utilizadas en el diseño de los interiores. Keywords: Le Corbusier; Interiors; Architecture; Uncanny; Freud; Surrealism. Palabras clave: Le Corbusier; Interiores; Arquitectura; Perturbador; Freud; Surrealismo DOI: http://dx.doi.org/10.4995/LC2015.2015.708

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