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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 RumbleThe 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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Syme, Neil. "Uncanny modalities in post-1970s Scottish fiction : realism, disruption, tradition." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21768.
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This thesis addresses critical conceptions of Scottish literary development in the twentieth-century which inscribe realism as both the authenticating tradition and necessary telos of modern Scottish writing. To this end I identify and explore a Scottish ‘counter-tradition’ of modern uncanny fiction. Drawing critical attention to techniques of modal disruption in the works of a number of post-1970s Scottish writers gives cause to reconsider that realist teleology while positing a range of other continuities and tensions across modern Scottish literary history. The thesis initially defines the critical context for the project, considering how realism has come to be regarded as a medium of national literary representation. I go on to explore techniques of modal disruption and uncanny in texts by five Scottish writers, contesting ways in which habitual recourse to the realist tradition has obscured important aspects of their work. Chapter One investigates Ali Smith’s reimagining of ‘the uncanny guest’. While this trope has been employed by earlier Scottish writers, Smith redesigns it as part of a wider interrogation of the hyperreal twenty-first-century. Chapter Two considers two texts by James Robertson, each of which, I argue, invokes uncanny techniques familiar to readers of James Hogg and Robert Louis Stevenson in a way intended specifically to suggest concepts of national continuity and literary inheritance. Chapter Three argues that James Kelman’s political stance necessitates modal disruption as a means of relating intimate individual experience. Re-envisaging Kelman as a writer of the uncanny makes his central assimilation into the teleology of Scottish realism untenable, complicating the way his work has been positioned in the Scottish canon. Chapter Four analyses A.L. Kennedy’s So I Am Glad, delineating a similarity in the processes of repetition which result in both uncanny effects and the phenomenon of tradition, leading to Kennedy’s identification of an uncanny dimension in the concept of national tradition itself. Chapter Five considers the work of Alan Warner, in which the uncanny appears as an unsettling sense of significance embedded within the banal everyday, reflecting an existentialism which reaches beyond the national. In this way, I argue that habitual recourse to an inscribed realist tradition tends to obscure the range, complexity and instability of the realist techniques employed by the writers at issue, demonstrating how national continuities can be productively accommodated within wider, pluralistic analytical approaches.
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Lutzel, Justine Ann. "Madness as a Way of Life: Space, Politics, and the Uncanny in Fiction and Social Movements." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1384337221.
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Harper, Eric. "Homelessness and Violence: Freud, Fanon and Foucault and the shadow of the Afrikan sex worker." Thesis, University of the Western Cape, 2012. http://hdl.handle.net/11394/4034.
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Philosophiae Doctor - PhDIn this thesis, I will argue that one of the ways to think about the concept of homelessness and its relationship to violence is to trace the concept as it emerges in key theoretical texts of critical intellectuals who find themselves both in and outside the Western homeland. In attempting to do so, I limit this thesis to three key theoretical articulations from which the concept of homelessness can be extracted: the works of Sigmund Freud, Franz Fanon and Michael Foucault. In bringing to bear the life and work of these individuals, the hope is to conceive of the relationship between violence and homelessness in new and unforeseen ways. I propose to bring an informed interdisciplinary and gender perspective to bear on the concept of homelessness. Accepting the supposition that the body can be seen as a site of homecoming,I explore the question of who owns the body. This exploration is undertaken through an examination of the advocacy slogan, ‘my body, my business’, and the placement of the Afrikan sex worker alongside Freud, Fanon and Foucault. The Afrikan sex worker in this work is a new feminist potentiality in much the same way that homelessness offers new postcolonial possibilities. While much of postcolonial criticism has centred on the problem of the colonized subject’s relation to the home, there has not yet been a sustained undertaking of the history and meaning of the concept of homelessness and, more importantly, its relationship to the experience of violence in the contemporary world. The history of homeless people tends to be recorded through surveillance and documentation by those institutions responsible for providing discipline, punishment, shelter and cure so as to ‘save’ and ‘rescue’ them. These responses, particularly when done systematically, can become frameworks that hold the homeless person ransom to a particular language game of ‘truth’, thereby restricting the homeless person’s movement and possibility of finding a voice. Deriving a concept of homelessness from the life and work of Freud, Fanon and Foucault allows for new insights. These thinkers offer a view of homelessness that is productive for thinking against the grain of dominant orthodoxies. This contrasts with the implication of pathologization of homelessness which arises in the frameworks of dominant political,therapeutic and social work approaches.The creation of homelessness also recalls the attendant violence of its experience. I argue that the space of homelessness needs to be contextualized. When homelessness is imposed, as with torture or a tsunami, there is a closing down of space; but when chosen, as with the transgendered sex worker who leaves her home and community due to threats, impositions and judgements, homelessness may paradoxically open up space. Drawing on the insights from these theorists, I also suggest that the concept of homelessness may at a symbolic level serve rather as a powerful space of resistance to hegemonic practices of belonging, offering a way of destabilising dominant patriarchal, heteronormative and Western constructions of home.The thesis concludes that homelessness cannot be kept outside the boundaries of the home; and neither can the homeless be fully assimilated into the homeland, as something within the home is irreducible to any ordering of things. The border, boundary and intersections of home and homelessness are blurred, forever incomplete, as the home finds itself ceaselessly stained and crossed with the uncanny, that is, the ‘unhomely’. Home, as noted by Delia Vekony (2010), is a site of hospitality. It is a space to think, play, and dream, eat, make love and raise children. But it is also a stage upon which the state apparatus, global economy, monotheistic religions and patriarchal order assert control over the body. Homelessness has been constructed as a material experience for many: a site of terror, abandonment and lack of direction. It is often experience it as free falling or as the mental foreclosure of space. Yet I underline another dimension of homelessness: as an experience of liberation. This ‘camping on the borders’ allows for a disruption of identification, a state of refuge from the demands of others and a form of nomadic thinking. Within any home setting lurks the uncanny, what cannot be housed, likewise within any homeless setting a becoming-at-home is possible. Both home and homelessness hold the possibility of terror as well as a comforting, exciting retreat and escape.
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Nilsson, Andreas. ""Allt levande hörer samman" : Det kusliga som förenande kraft i Maria Gripes Tordyveln flyger i skymningen och Agnes Cecilia - en sällsam historia." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-55137.
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Syftet med denna uppsats är att undersöka hur det kusliga kan skapas och användas i litteraturen. De litterära verk som analyseras är Maria Gripes Tordyveln flyger i skymningen och Agnes Cecilia – en sällsam historia. Analysen utgår från tankar om det kusliga som huvudsakligen återfinns i Sigmund Freuds essä ”Das Unheimliche” (”Det kusliga”) från 1919. Även Viktor Sklovskijs främmandegöringsbegrepp används för att analysera Gripes texter. Studien visar att romanerna främmandegör bland annat naturen och tiden för läsaren, medan det kusliga i dem – som inledningsvis kan uppfattas som hotfullt och farligt – visar sig peka i positiv riktning, mot förening och försoning. Slutsatsen är att det kusliga i Tordyveln och Agnes Cecilia används på okonventionella sätt, vilket leder till en främmandegöring av det kusliga i sig självt.The purpose of this essay is to examine how the uncanny can be created and used in literature. This is done by analyzing Maria Gripe’s novels Tordyveln flyger i skymningen and Agnes Cecilia – en sällsam historia. The analysis is based on thoughts pertaining to the uncanny that mainly can be found in Sigmund Freud’s essay “Das Unheimliche” (“The Uncanny”) from 1919. Viktor Sklovskij’s theory on defamiliarization is also used to analyze Gripe’s texts. Among other things the study shows that the novels defamiliarize nature and time for the reader. At the same time the uncanny – which initially can be perceived as threatening or dangerous – turns out to be pointing in a positive direction, toward unification and reconciliation. The conclusion is that the uncanny in Tordyveln and Agnes Cecilia is used in unconventional ways, which leads to a defamiliarization of the uncanny in itself.
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Roj, Wesley D. "Ten Impossible Things Before Daylight: Collected Essays." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1470999119.
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Cassel, Alexandra. "Circulating Emotions in James Baldwin’s Going to Meet the Man and in American Society." Thesis, Södertörns högskola, Engelska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32420.
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This essay explores how James Baldwin’s short story Going to Meet the Man depicts racist attitudes toward African-Americans in American society. Further, this essay also shows how racism is linked to a circulation of emotions that unconsciously generates a xenophobic nation affecting even those who implicitly are regarded as genuine citizens of that community. By using two theoretical perspectives, Sara Ahmed’s theory of affective economies and some of Freud’s concepts from psychoanalysis, this essay analyzes Baldwin’s text and discovers how the American nation needs to accept and recognize its racist history, just as a child needs to acknowledge his or her fear when experiencing traumatic events. Baldwin’s narrative reinforces racist stereotypes while at the same time using the text to write back to a society that at the time of writing had not expected, but indeed needed, an African-American man to publish a book from a white man’s perspective.
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Briggs, Jane Elizabeth. "Unravel and picking at scabs : the underside of grief (a novella and exegesis)." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/49494/1/Jane_Briggs_Thesis.pdf.
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This thesis consists of a 46,000 word polyphonic novella, Unravel, and an exegesis, Picking at Scabs: the Underside of Grief. The works are companion pieces, sitting side-by-side, and together they plumb the complex depths of loss and its resultant disorder, painful longing, and sorrow. The novella, representing 75% of the work and creative practice, is a multilayered work, which scrapes at the potent unspeakability of the presence of absence in the lives of its chief protagonists, Hana and Guy. As the novella progresses, loss is unraveled to reveal the interplay of remembering and forgetting, past and present and the ways in which these knotty fibres are connected with the strands of memory, trauma, silence, and the uncanny. Each of these threads is woven into the novella and as they plait together, loosen and fray, they expose the mystery, lies and secrets at the core of the novella. The exegesis, which comprises 25% of the thesis, picks at loss to uncover and loosen a complex and worn tangle of knots and loops. In this way, the exegesis and creative work are constantly in dialogue and while neither provides all the answers, both stretch the yarn to reveal an enthusiasm of practice.
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Haden, Heather Jean. "The Aesthetics of Unease: Telepresence Art and Hyper-Subjectivity." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429862881.
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Esquivel, Talita Gabriela Robles [UNESP]. "Texturas do estranho: o estranho na pintura a partir do processo criativo." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151193.
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A presente pesquisa de doutorado propõe uma investigação plástica em pintura circundada pelo conceito de unheimlich (estranho) de Sigmund Freud. É realizada em duas partes, produção escrita e plástica, que sofrem influência uma da outra durante os seus processos. O conceito da psicanálise parte aqui das artes plásticas. A intenção foi de vivenciar e conviver com o estranho durante o processo criativo e, dessa forma, compreendê-lo a partir do ponto de vista do processo artístico. Isso não significa necessariamente que será identificado no trabalho final, em sua impressão, pois primeiramente o estranho não está na imagem, mas no próprio indivíduo, é o que causa estranheza particularmente em cada um. Assim, procurei identificar o que seria estranho para mim, uma busca quase impossível, na maioria das vezes, já que o estranho possui um elemento familiar que não pode ser identificado, o que o confunde muitas vezes com o puramente assustador. O conceito e fenômeno do estranho, em diversos momentos, também se confundiram durante o processo de pesquisa, por ter sido possível percebê-lo sem senti-lo. Buscaram-se analogias e outras formas de se distinguir o estranho do assustador, em outros caráteres e impressões que se aproximem do estranho, mas o que parece ser seu principal caráter é justamente a impossibilidade de descrição, de reconhecimento e de entendimento. São utilizados textos de Freud e de outros autores relacionados ao estranho e às artes, buscando construir ferramentas de apoio para refletir sobre o meu próprio processo artístico.
My PhD research proposes an artistic investigation in painting surrounded by Sigmund Freud's concept of unheimlich (uncanny). It is conducted in two parts, the writing and the art production, which are influencing each other during their processes. The psychoanalytic concept starts here from the visual art. The intention was to experience and live together with the uncanny throughout the creative process and, this way, understand it from the point of view of the artistic process. That not necessarily means it can be identified in the final work, in its impression, also because, at first, the uncanny is not in the image, but inside the viewer, it is what causes the uncanniness, or strangeness, particularly in each one. Thus, I tried to identify what would be uncanny to me, a search, which is almost impossible most of the time, as the uncanny has the familiar element that is not recognizable, which often confuses it with what is purely terrifying. The uncanny concept and phenomenon also got confused during the research process, as it was possible to perceive it without feeling it. It was sought analogies and other forms of distinguishing the uncanny and the terrifying, in other characters and impressions which get close to the uncanny, however, what seems to be its main character is exactly the impossibility of description, recognition, understanding. It is used texts written by Freud and other authors related to the uncanny and to the art, seeking to build tools to make a reflection about my own artistic process.
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Jakobsson, Kim, and Daniel Sandberg. "Drömmen i dåliga bilder -En studie om estetiken i Beyond the Black Rainbow och Inland Empire." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-72137.
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This thesis examines visionary directors David Lynch and Panos Cosmatos aesthetics in the films Inland Empire and Beyond the Black Rainbow. Two films with surrealistic aspects that are using a form of degraded aesthetics to achieve a certain kind of cinematography that is rarely seen in the industry. We examine what tools are being used to achieve the effect with theories concerning defamiliarization, the uncanny and uncanny valley. Aspects of cinematography in these films are working together to create effects that are both defamiliarized and uncanny.
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Pullen, Jennifer E. L. ""Coral Covered Her Bones" A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1489677089653081.
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Tokashiki, Adriana do Couto. "Inexplicável, inquietante, inconsciente : a subjetividade no romance Esaú e Jacó, de Machado de Assis." Universidade Federal de Mato Grosso, 2014. http://ri.ufmt.br/handle/1/322.
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Publicado em 1904, Esaú e Jacó, de Machado de Assis, é um romance que focaliza os costumes da sociedade burguesa na cidade do Rio de Janeiro no final do século XIX, tendo como cenário o contexto político de transição da monarquia para a república, onde se desenrolam cenas da vida carioca, da vida privada e da vida política. Um período histórico conturbado recriado pela narrativa machadiana, a qual nos provoca especulativas e intrigantes perguntas sobre os enigmas contidos no romance. No presente trabalho, Sigmund Freud é o autor, pensador da clínica e da cultura, convidado para dialogar com a obra machadiana. Os dois autores pertencem a países distintos e realidades sociais distintas, mas se aproximam na profícua relação entre o mundo das letras e os estudos da subjetividade. Apesar das diferenças, as obras dos dois autores expressam, cada uma à sua maneira, determinados temas de interesse dos intelectuais da passagem do século XIX para o XX: o desconhecido, o enigmático, o duplo, o ambíguo, o estranho, e outros. Machado de Assis é um escritor que, por meio de um enredo fictício, traduz em suas obras, a história, o espaço físico, o cotidiano e a subjetividade de uma sociedade. O romance Esaú e Jacó caracteriza-se por este efeito de realidade que se recria a cada nova leitura. Nesta perspectiva, o objetivo geral da presente pesquisa é analisar a subjetividade na narrativa de Esaú e Jacó. Para tanto, definimos como percurso principal o estudo da categoria freudiana “o inquietante” neste romance, estabelecendo assim, um estudo comparado entre a prosa machadiana e o discurso psicanalítico.
Published in 1904, Esau and Jacob, Machado de Assis, is a romance that focuses the customs of the bourgeois society of the Rio de Janeiro city of the end XIX century, having as scenario the political context of transition from monarchy to republic, where unrolls scenes of carioca life, private life and political life. A troubled historical period recreated by machadian’s narrative, which causes the speculative and intriguing questions about the puzzles contained in the novel. In the present work, Sigmund Freud is the author, thinker of clinic and culture, invited to dialogue with machadian’s work. The two authors belong to different countries and different social realities, but approaching the fruitful relationship between the world of literature and studies of subjectivity. Despite the differences, the works of the two authors express, each in its own way, certain topics of interest to intellectuals of the late XIX to the XX century: the unknown, the enigmatic, the double, the ambiguous, the stranger, etc. Machado de Assis is a writer who, through a fictional plot, reflects in his works the history, physical space, the everyday and the subjectivity of society. The Esau and Jacob romance, is characterized, by the fact that this effect is recreated with each new reading. In this perspective, the general objective of this research consisted as: to analyze the subjectivity in the narrative of Esau and Jacob. Therefore, we define as the main route to study the presence of “unsettling” (the “uncanny”) in this novel, establishing a comparative study between Machado’s prose and psychoanalytic discourse.
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Leme, Patrícia de Oliveira 1986. "Borges, um estranho : litorais entre a literatura e a psicanálise." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271102.
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Orientador: Nina Virgínia de Araújo LeiteDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O presente trabalho consiste em uma leitura do estilo de Jorge Luis Borges a partir de um inquietante efeito narrativo, passível de ser abordado na área psicanalítica através do enigmático conceito de estranho. Para a elaboração dessa hipótese, inicialmente chamou-se à baila três contos de Borges: "La escritura del dios", "La muerte y la brújula" e "Tlön, Uqbar, Orbis Tertius". Mesmo estendendo-se a outras incursões na vasta obra borgeana, as três narrativas constituem a moldura necessária para a compreensão de certos mecanismos do estilo borgeano, que nesse trabalho acabam por figurar como elemento causa de estranhamento. No primeiro capítulo tomaram-se os textos como cenas de leitura, em um procedimento que buscou explicitar esse inquietante efeito da escrita de Borges, bem como salientar suas reverberações no campo da crítica literária. O impacto do estilo borgeano na sua crítica pôde elucidar alguns pontos cruciais ao enodamento com a teoria psicanalítica nos capítulos posteriores, recuperando também algumas chaves de leitura importantes no delineamento do efeito em questão. No segundo capítulo promoveu-se uma leitura d' "O estranho", de Sigmund Freud, a partir desse funcionamento da obra borgeana: seus pontos de contato puderam revelar que o conceito erigido por Freud supera os limites de sua própria elaboração, fazendo-se presente mais como um lugar de enunciação do estranho do que como um conceito fechado em suas próprias bases. Esse movimento convocou, no terceiro capítulo, a retomada do conceito de estranho por Jacques Lacan em seu O seminário, livro 10: a angústia. Nele, Lacan promove uma elaboração do estatuto do objeto a, noção paradigmática no campo psicanalítico, a partir do estranho como um efeito de seu aparecimento na estrutura subjetiva. Para tecer o enodamento com o literário, as teorizações lacanianas em seu décimo oitavo seminário foram fundamentais, por trazerem à tona a noção de discurso e de escrita, sobretudo em sua "Lição sobre Lituraterra". O estabelecimento da letra como litoral entre saber e gozo, bem como o seu funcionamento a partir da rasura, permitiram a sustentação da hipótese de leitura que se soergueu inicialmente a partir de um efeito: há em Borges algo que causa estranhamento, e ele se anuncia para além do registro do relato, constituindo uma operação formal que produz esse efeito de escrita
Abstract: This work consists in a reading of Jorge Luis Borges' style beginning from a disquieting narrative effect, which is liable to be approached by the psychoanalytic area through the enigmatic concept of the uncanny. For the elaboration of this hypothesis three Borges' short stories were primarily chosen: "La escritura del dios", "La muerte y la brújula" and "Tlön, Uqbar, Orbis Tertius". Even having made other incursions into the vast borgesian oeuvre, these three narratives constitute the needed frame for the understanding of certain mechanisms of the borgesian style, which in this work figure in the end as elements cause of uncanniness. In the first chapter these texts were boarded as reading scenes in a procedure that aimed to make explicit this disquieting Borges' writing effect, as well as to underline its repercussion in the field of literary criticism. The impact that the borgesian style had on his critics could elucidate some crucial points to the entanglement with the psychoanalytic theory in the posterior chapters, as well as recovering important keys for the reading in the proposed outlining. In the second chapter was promoted a reading of Freud's "The uncanny" through this aspect of the functioning of the borgesian oeuvre: their points of contact could reveal that the concept created by Freud overcomes the boundaries of its own elaboration, making itself present as a place of enunciation of the uncanny rather than a concept closed in its own bases. This movement summoned, in the third chapter, the resumption of the uncanny concept in the seminar, book 10. The anguish, by Jacques Lacan. In this work Lacan promotes an elaboration of a paradigmatic notion for the psychoanalytic field, the object a, starting from the uncanny as an effect of its appearance on the subjective structure. The lacanian theories in his eighteenth seminar were essential in order to compose the entanglement with the literary form, as they shed light on the notions of discourse and writing, especially in his "Lesson on Lituraterre". The establishment of the letter as littoral between knowledge and jouissance, as well as its way of function through the erasure, allowed to sustain this reading hypothesis, which was raised from an effect: there is something that causes uncanniness in Borges' writing and it shows itself beyond the register of the narrated story, constituting a formal operation that produces this writing effect
Mestrado
Linguistica
Mestra em Linguística
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Wiley, Antoinette Marchelle. "The Familiar Stranged." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1513009183178476.
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CORSI, Edson Manzan. "Modalidades do estranho na poesia de William Butler Yeats." Universidade Federal de Goiás, 2010. http://repositorio.bc.ufg.br/tede/handle/tde/2392.
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Previous issue date: 2010-12-10This thesis has as its object of study three modalities of the uncanny as they appear in the poetry of Irish writer William Butler Yeats. They are: the incidence of the Double, the contact with the Deads, their way of operation in the metaphysical sphere as well as in the world of the Living, and the Animist way of thinking which embraces the omnipotence of thought. We believe that this is possible to be theoretically thought and analyzed through the ideas presented by Sigmund Freud in his essay titled The uncanny ( Das Unheimliche ), edited in 1919. In order to help our discussion of the problem, we used some considerations from French psychoanalyst Jacques Lacan. For example, what he exposes in his seminar dedicated to the anxiety and in his essay on the mirror stage . Many important ideas and concepts from literary critics such as T. S. Eliot, W. H. Auden, Tzvetan Todorov, Emil Staiger, Joseph Warren Beach, Ezra Pound, among others, were also used as basis for the development of our discussion on the theme of the strangeness (uncanny) in the frontiers between literature and psychoanalysis. The thought of Friedrich Nietzsche also helped us to understand the concept that Yeats developed and used of tragic joy and the relationship of the poet with the tragic thinking, discussed by the German philosopher and which influenced the work of the Irish writer. This influence made possible, in the poetry Yeats wrote, appear an aspect of absurdity, of ambition for being assimilated in the chorus of the tragedy visible, for instance, in the chapter about the Double and that we can find in his most important poems.
Esta dissertação tem, como objeto de estudo, três modalidades do estranho na poesia do escritor irlandês William Butler Yeats. São elas: a incidência do Duplo, o contato com os Mortos, o modo de operação deles, tanto no âmbito metafísico quanto no mundo dos Vivos, e o modo de pensar Animista que abarca a onipotência de pensamento. Acreditamos que isso é possível de ser teoricamente pensado e estudado a partir das ideias apresentadas por Sigmund Freud, em seu ensaio O estranho ( Das Unheimliche ), publicado em 1919. Para auxiliar nossa discussão do problema, utilizamos algumas considerações do psicanalista francês Jacques Lacan. Por exemplo, o que ele expõe em seu seminário dedicado à angústia e no seu ensaio sobre o estádio do espelho . Muitas ideias e conceitos importantes de críticos literários como T. S. Eliot, W. H. Auden, Tzvetan Todorov, Emil Staiger, Joseph Warren Beach, Ezra Pound, entre outros, foram também utilizados como base para o desenvolvimento de nossa discussão sobre o tema do estranho, nas fronteiras entre a literatura e a psicanálise. O pensamento de Friedrich Nietzsche também ajudou-nos a entender o conceito que Yeats desenvolveu e usou de alegria trágica e a relação do poeta com o pensamento trágico, discutido pelo filósofo alemão e que influenciou a obra do escritor irlandês. Isso possibilitou, na poesia que Yeats escreveu, aparecer um aspecto de absurdidade, de ambição por assimilar-se ao coro da tragédia visível, por exemplo, no capítulo sobre o duplo e que podemos encontrar em seus mais importantes poemas.
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Broom, Hannah. "Aggressive Flesh: The Obese Female Other." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16093/1/Hannah_Broom_Thesis.pdf.
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My visual art practice explores the point at which a sense of bodily humour and revulsion may intersect in the world of the monstrous-feminine: the female grotesque, presented as my own obese (and post-obese) body. This exegesis is
a written elucidation of my visual art practice as research. As an artist I create performative photographic images featuring taboo or
otherwise 'inappropriate' subject matter, situations, materials and behaviours including bodily fluids, offal, internal organs and my own post-obese body. Through these modes of working, I establish and investigate the subjectivity of
flesh: Why are we repulsed by the female grotesque? How can this flesh be used to subvert readings of the female body? My research is informed by those understandings of the female body, sexuality and difference described in the work of feminist theorists including Julia Kristeva, Helene Cixous, Ruth Salvaggio and Elizabeth Grosz. I explore the work of influential artists such as Eleanor Antin, Carolee Schneeman, Cindy Sherman and Sarah Lucas. In this context, I present my own visual art practice as a point from which the monstrous-feminine can be given voice as sentient, intelligent flesh.
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Broom, Hannah. "Aggressive Flesh: The Obese Female Other." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16093/.
Full textAbstract:
My visual art practice explores the point at which a sense of bodily humour and revulsion may intersect in the world of the monstrous-feminine: the female grotesque, presented as my own obese (and post-obese) body. This exegesis is a written elucidation of my visual art practice as research. As an artist I create performative photographic images featuring taboo or otherwise 'inappropriate' subject matter, situations, materials and behaviours including bodily fluids, offal, internal organs and my own post-obese body. Through these modes of working, I establish and investigate the subjectivity of flesh: Why are we repulsed by the female grotesque? How can this flesh be used to subvert readings of the female body? My research is informed by those understandings of the female body, sexuality and difference described in the work of feminist theorists including Julia Kristeva, Helene Cixous, Ruth Salvaggio and Elizabeth Grosz. I explore the work of influential artists such as Eleanor Antin, Carolee Schneeman, Cindy Sherman and Sarah Lucas. In this context, I present my own visual art practice as a point from which the monstrous-feminine can be given voice as sentient, intelligent flesh.
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Wen-ying, Chang, and 張雯瑛. "Freud's “Uncanny”and Kristeva's “Abjection” in the Gothic Fiction of Mary Shelley, Edgar Allan Poe and Robert Block." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/15284390800859685904.
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碩士中國文化大學
英國語文學系
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Abstract In the English world, horror novels have played a prominent role in popular literature since the19th century. While Steven King is considered the modern king of the horror, he follows after Edgar Allan Poe, the father of American Gothic. Undoubtedly, both 19th and 20th century readers are attracted by horror and terror. What is horror and terror to human beings? Sigmund Freund notes that it includes the “uncanny” and later on psychoanalyst, Julia Kristeva extends another view point “abjection.” I would like to apply their views to the writings of Edgar Allan Poe, Mary Shelley’s Frankenstein and Robert Block’s Psycho. In this way, I hope to provide readers with a fuller, clearer and more vivid picture of horror and terror as seen in a writing of Gothic presentations.
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Gillespie, Alexandra Dermott. "Australian media arts : in this place." Phd thesis, 2014. http://hdl.handle.net/1885/100197.
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Australian Media Arts: in this place examines themes of relationships to place, and loss of
place within an Australian context. A series of academic accounts of national media arts practice, trace the evolution of the field and explore a particular period, the technologies that emerged, artists who explored these technologies and their works that articulate this exploration. What is common in these recent accounts of media art histories is a tracing of the relationship between the artists and the technologies that afforded their explorations within a national framework. What I aim to do is something different; I intend to locate a small subset of Australian media art works that talk about key issues pertinent to Australian cultural identity, namely colonisation, the displacement of the First Australians and the ongoing effects of loss
of place also experienced in a broader sense through migration. The dissertation examines three collaborative works by artists, Krzysztof Wodiczko and Ian de Gruchy, Janet Laurence and Fiona Foley, and Lynette Wallworth that explore aspects of Australia’s colonial, Indigenous and
migrant histories.
The aim of my studio work and its account in the exegesis has been to examine how issues
of place and loss of place can be addressed through my visual and media arts practice.
My work has formed around the interrelationship of terms such as location/dislocation, memory/site, identity/loss of identity and what is visible/invisible. I have explored the intersections of personal and cultural histories, a sense of home and belonging as an individual and with particular Australian communities through media arts installation, site specific performance, video and photographic works.
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Tobler, Tamara Lynn. "Uncanny Reminders: The 'Nazi' in Popular Culture." Thesis, 2014. http://hdl.handle.net/1828/5563.
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The ubiquity of the ‘Nazi’ – the fictional Doppelgänger of the historical Nazi – in the various media of popular culture is both disturbing and fascinating. There is an important relationship between the ‘Nazi’ and its audience; related to but separate from the historical Nazi, the creation and reception of the ‘Nazi’ both enables and exemplifies the continual processing of the past. Using a purpose-built framework (concept and terminology) for the study of the ‘Nazi’ as a phenomenon in and of itself, in combination with Freud’s concept of the uncanny, this thesis examines the dynamics of the relationship between the ‘Nazi’ and its audience in four examples: television episodes “Deaths-Head Revisited,” “He’s Alive” (The Twilight Zone), and “Patterns of Force” (Star Trek); and Serdar Somuncu’s performances/readings of Mein Kampf. The temporal and geographical context of the episodes (1960s America) seem far removed from Somuncu’s performances (1990s/2000s Germany), but analysing the production and effects of the uncanny moments generated in each case reveals a provocative raison d’être that spans across the geographical and temporal divide.Graduate
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Falkenberg, Marc. "The poetical uncanny : a study of early modern fantastic fiction /." 2000. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9990514.
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Jozefiak, Sarah. "Islands of control: spatial and psychoanalytical constructs in Franz Kafka's fiction." Thesis, 2018. http://hdl.handle.net/1959.13/1389345.
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Research Doctorate - Doctor of Philosophy (PhD)The fictional stories of Czech author Franz Kafka are renowned throughout the world for capturing the sombre and anxious zeitgeist of the early twentieth century in Europe. Kafka’s fiction was produced in the years immediately before the First World War and against a backdrop of emerging modernity. This dissertation critically examines several recurring spatial constructs — involving interiors, furniture and possessions — in Franz Kafka’s short stories, The Trial (1925), and The Metamorphosis (1915). These spatial constructs are identified and interpreted using a combination of theories drawn from three areas: architecture, psychoanalysis and literature. The primary architectural theories which are employed for this purpose are Anthony Vidler’s theory of the architectural uncanny, and Emily Apter’s thematic history of cabinet typologies. The psychoanalytical theories are drawn largely from Sigmund Freud’s On the Uncanny (1919), and his concept of dream symbolism developed in On the Interpretation of Dreams (1900) and Introductory Lectures on Psychoanalysis (1915). Finally, literary theory, including the Russian formalist Viktor Shklovsky’s model of ‘enstrangement’, is used to develop the notions of langue and parole to assist in constructing the connection between Freud and architecture, which is a precursor to the analysis of spatial constructs in Kafka’s fiction. The dissertation is divided into three parts. The first develops the theoretical framework for the central argument, looking at the uncanny and how it occurs in literature, architecture and psychoanalysis, before developing a theoretical nexus between the three. The second part examines the spaces of Kafka’s life and dreams, including connections between the two. The third part examines spatial constructs in his fiction, focusing on The Trial and The Metamorphosis. Through this process, the dissertation uncovers a particular recurring spatial structure, called, for the purposes of the present research, an ‘island of control’. This structure is nested at multiple scales and functions as a type of fortification, providing moments of personal power for the main protagonist in Kafka’s fiction, which are inevitably breached. By understanding the role played by these ‘islands’ in Kafka’s fiction, a new insight is offered into how architecture is used to aid narrative and character development, and further our understanding of the uncanny in architectural theory.