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Journal articles on the topic 'Freud's uncanny'

Author: Grafiati

Published: 11 December 2022

Last updated: 28 January 2023

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1

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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2

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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3

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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4

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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6

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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7

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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8

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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9

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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10

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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11

Zilcosky, John. "‘The Times in Which We Live’: Freud's The Uncanny, World War I, and the Trauma of Contagion." Psychoanalysis and History 20, no. 2 (August 2018): 165–90. http://dx.doi.org/10.3366/pah.2018.0257.

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The effect of World War I on Freud is well known, yet its relation to The Uncanny (1919) remains mysterious. Although scholars have mentioned the war's atmospheric effect, I ask: What if the connection to The Uncanny is more essential and profound, as exemplified by the essay's many implicit references to the war: its recalling of the return of the fallen and of burial alive in the trenches; of a 1917 British story about trauma in colonial New Guinea; and, through ‘The Sandman,’ of E.T.A. Hoffmann's own experiences of shock during the Napoleonic Wars? The fact that Freud does not connect these traumas directly to ‘uncanniness’ speaks to the problem they pose – for him and for psychoanalytic theory in general. This silence creates an uncanny effect within the essay itself: The Uncanny stages the same ‘return of the repressed’ that it diagnoses. I aim, first, to delineate this staging and, later, propose its conceptual relevance. The shadow of the war forces us to understand the ‘uncanny’ differently: not just as a personal trauma but as a social symptom of the repression of this suffering. The real horror of the uncanny, Freud's essay teaches us, is not our own but the other's trauma – as embodied in wartime Europe by the ‘war neurotic’ and his apparently contagious affliction.

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12

Morlock, Forbes. "SF." Paragraph 40, no. 3 (November 2017): 329–48. http://dx.doi.org/10.3366/para.2017.0238.

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Gedankenübertragung. Gegenübertragung. Thought-transference (or telepathy) and counter-transference have rarely been considered together. One is a key instrument in much contemporary psychoanalytic practice and the other simply occultism. This essay traces the striking parallels in Sigmund Freud's interests in both. Its tale is the uncanny narrative of his essay ‘Psychoanalysis and Telepathy’. The story starts from Freud's engagements with Sándor Ferenczi and Carl Jung to speculate that his unpublished paper may be the article on counter-transference he promised but never wrote. The repressed returns in the history and practice of psychoanalysis — and in Shoshana Felman's uncanny reading effect.

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13

Morlock, Forbes. "One Hundred Years of Freud's Uncanny: Year One." Oxford Literary Review 42, no. 2 (December 2020): 252–55. http://dx.doi.org/10.3366/olr.2020.0330.

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14

Bing-Heidecker, Liora. "Unearthing the Spirit: The Archaeological Metaphor and the Uncanny Pathology of Romantic Ballet." Dance Research 35, no. 2 (November 2017): 165–86. http://dx.doi.org/10.3366/drs.2017.0200.

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This article draws on Théophile Gautier's dance writings and Sigmund Freud's psychological tenets to explore major concepts of the romantic ballet and argue that the latter presents a hitherto ignored link between two apparently detached disciplines: archaeology and psychoanalysis. The thesis suggests that the romantic ballet assimilated, via Gautier, the highly popular archaeological metaphor of the mid nineteenth century. Its resulting aesthetic therefore bears the distinct marks of the uncanny, a psychoanalytical notion formulated later, yet stimulated by the same archaeological inspiration. Consequently I contend that the romantic ballet anticipated and materialized some current critical notions such as liminality, ambiguity and hauntology, deriving from Freud's theories. Historicizing the ballerina as a personification of ballet's uncanny pathology offers a contemporary perspective on the romantic theatrical dance and illuminates its relevance to post modernist culture.

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Lee, Hyun-Jae. "Hatred in the Digital Age : Fear of Self-destruction and Imaginary Sealing." Sookmyung Research Institute of Humanities 12 (October 31, 2022): 1–29. http://dx.doi.org/10.37123/th.2022.12.1.

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This article shows that hatred is performed in the imaginary sealing of the fragmented bodily self, by analyzing Sigmund Freud's concept “das Unheimliche (the uncanny)”, Julia Kristeva's concept “abject” and Jacques Lacan's theory of “mirror stage”. To this end, this article first analyses the Freud's psychoanalysis and the Kristeva's theory of language and argue that hatred is closely linked to the uncanny fear of confronting abjects that remind us our death. And through the urban theory of Edward Soja and Celeste Oralquiaga, it is argued that the digital urbanization in postmetropolis which constitutes in de-territorialization and hybridization tends to trigger a mental breakdown surrounded by the fear of self-destruction. Finally, I insist with Lacan that some digital citizens respond to this fear by imaginatively sealing their fragmented egos through integrated ego images in the digital mirror. In this imaginary sealing are the fragmented egos excluded and the abjects hated.

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16

Zilcosky, John. "Savage Science: Primitives, War Neurotics, and Freud's Uncanny Method." American Imago 70, no. 3 (2013): 461–86. http://dx.doi.org/10.1353/aim.2013.0017.

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17

Vardoulakis, D., and P. Harris. "The Return of Negation: The Doppelganger in Freud's "The 'Uncanny'"." SubStance 35, no. 2 (January 1, 2006): 100–116. http://dx.doi.org/10.1353/sub.2006.0038.

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18

Goodstein, Elizabeth. "‘Behind the Poetic Fiction’: Freud, Schnitzler and Feminine Subjectivity." Psychoanalysis and History 6, no. 2 (July 2004): 201–23. http://dx.doi.org/10.3366/pah.2004.6.2.201.

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In 1922 Sigmund Freud wrote to fellow Viennese author and dramatist Arthur Schnitzler: ‘I believe I have avoided you out of a sort of fear of my double’. Through a series of reflections on this imagined doubling and its reception, this paper demonstrates that the ambivalent desire for his literary other attested by Freud's confession goes to the heart of both theoretical and historical questions regarding the nature of psychoanalysis. Bringing Schnitzler's resistance to Freud into conversation with attempts by psychoanalytically oriented literary scholars to affirm the Doppengängertum of the two men, it argues that not only psychoanalytic theories and modernist literature but also the tendency to identify the two must be treated as historical phenomena. Furthermore, the paper contends, Schnitzler's work stands in a more critical relationship to its Viennese milieu than Freud's: his examination of the vicissitudes of feminine desire in ‘Fräulein Else’ underlines the importance of what lies outside the oedipal narrative through which the case study of ‘Dora’ comes to be centered on the uncanny nexus of identification with and anxious flight from the other.

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Hanif, Muhammad, Shaista Shahzadi, Rao Akmal Ali, and Asmat A. Sheikh. "DOPPELGANGERS SIBLINGS IN THE KITE RUNNER." Humanities & Social Sciences Reviews 9, no. 3 (June 10, 2021): 885–92. http://dx.doi.org/10.18510/hssr.2021.9386.

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Purpose of the study: This study analyses the novel The Kite Runner (2007) of Khaled Hosseini in the light of the concept of mirror images given by Sigmund Freud in The Uncanny (1919). Bearing in mind Freud's conjecture, this inquiry enroots some personalities who have similar features and qualities. Methodology: This study is qualitative in nature. The Kite Runner is the first hand and chief source. While the second hand include easy and magazines about The Kite Runner. By concentrating on the notion of mirroring as given by Freud in The Uncanny. The study applies the concept of doppelganger siblings on Amir and Hassan, two main characters in the novel. Main Findings: The findings show that Amir and Hassan are shown as doppelgangers of one another in this study. The two personalities have some same and some different qualities like a mirror image. This study sets Amir as Heimlich and Hassan is portrayed as Unhelmlich because Amir is rich and Hassan is poor. Applications of this study: This research contributes to the field of doppelganger literature. Novelty/Originality of this study: This study analyzes the doppelgangers in the kite runner and thus contributes to the long tradition of doppelganger in literature: The Picture of Dorian Gray, The Strange Case of Dr Jekyll and Mr Hyde and Frankenstein.

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20

Ravetto-Biagioli, Kriss. "Shadowed by Images: Rafael Lozano-Hemmer and the Art of Surveillance." Representations 111, no. 1 (2010): 121–43. http://dx.doi.org/10.1525/rep.2010.111.1.121.

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This essay explores how the large-scale video-installation art of Rafael Lozano-Hemmer uses the illusion of confrontation, contact, and interactivity to create what many spectators describe as an uncanny experience. Like Freud's uncanny, Lozano-Hemmer's work undermines stable subject positions and thus the possibility of the specific symbolic meaning for the installation. The ungrounding of subjectivity does not necessarily point to the subjects' own absence or lack of wholeness, nor to its own possible obsolescence. Rather, it points to the disjuncture between recognizing and reacting to the fact that we are being followed (by images, interfaces, and tracking devices), and recognizing and reacting to the fact that these devices already anticipate our movements, desires, and trajectories. Lozano-Hemmer's work asks about how surveillance systems, global capital, and digital technologies have reconfigured notions of embodiment and public space, and of the public itself.

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21

Coyne, Richard. "The embodied architect in the information age." Architectural Research Quarterly 3, no. 2 (June 1999): 175–86. http://dx.doi.org/10.1017/s1359135500001950.

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The relationship between architecture, the body and the computer is considered in this paper. Whereas the body has been related traditionally to architecture through concepts of geometry and proportion, the computer also brings to light the valorization of craft, McLuhan's philosophy of the changing sensorium, the projection of digital utopias, Freud's construction of the relationships between repetition, obsession and the uncanny, and the residence of the body in concepts of mind. The examination of these issues is productive in the context of the design studio.

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22

Royle, Nicholas. "‘We Ourselves Speak a Language that is Foreign’: One Hundred Years of Freud's Uncanny." Oxford Literary Review 42, no. 2 (December 2020): v—vii. http://dx.doi.org/10.3366/olr.2020.0301.

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23

Wells, Brianna. "“Secret Mechanism”: Les Contes d'Hoffmann and the Intermedial Uncanny in the Metropolitan Opera's Live in HD Series." 19th-Century Music 36, no. 2 (2012): 191–203. http://dx.doi.org/10.1525/ncm.2012.36.2.191.

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Abstract The Metropolitan Opera's Live in HD series has sparked interdisciplinary interest in understanding opera in twenty-first-century contexts. This article posits that the Live in HD series creates an intermedial experience for its viewers, one that forms new relationships between operatic performance and audiences through the ongoing intersections of production elements (story, text, music, mise-en-scène, performers) and media-specific concerns (spectatorial gaze, hypermediacy, immediacy, reproducibility, liveness). A reading of act I from the 2009 Metropolitan Opera simulcast of Offenbach's Les Contes d'Hoffmann engages the shifting relations regarding the human and the technological as presented to the Live in HD viewer from the vantage point of on, back, beside, in front of, and yet completely discrete from the Lincoln Center stage. The mediated and mediatized relationships engendered by this constant resituating of the audience create a sense of the familiar rendered strange, of being somehow out of place in one's relation to the stage. Media and performance theory are employed in concert with Freud's influential work on the uncanny to describe this as the “intermedial uncanny”: an important aspect of this emergent audience experience.

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24

Goldenberg, Naomi R. "Speaking the Unspeakable: Religion, Misogyny, and the Uncanny Mother in Freud's Cultural Texts. Diane Jonte-Pace." Journal of Religion 83, no. 2 (April 2003): 343–44. http://dx.doi.org/10.1086/491337.

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25

Clack, Brian R. "‘At home in the uncanny’: Freud's account ofdas Unheimlichein the context of his theory of religious belief." Religion 38, no. 3 (September 2008): 250–58. http://dx.doi.org/10.1016/j.religion.2008.04.003.

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26

Swart, Sandra. "Little Grey Men? Animals and Alien Kinship." Global Environment 16, no. 1 (February 1, 2023): 12–39. http://dx.doi.org/10.3197/ge.2023.160102.

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This essay confronts the lack of vernacular, indigenous or local knowledge in human-animal history and pushes it back into Deep History. It analyses the shifting meanings of the occult baboon and the alien 'other' in South Africa's syncretic and synchronic cosmologies. It asks why it is the baboon - out of all the animals - who came to be a witch's familiar? It asks why the tokoloshe, a supernatural sprite, became baboon-esque? In answering these questions, it uses Freud's notion of 'alien kinship' - the ancient attraction and anxiety induced by baboon as the uncanny, the alien, the changeling, the shape-shifter - or the 'Other within' us. It examines not only the changing role this understanding of the supernatural baboon has played in human societies historically (including a new role created by the tabloids) but the concomitant consequences for baboons themselves - to show that 'animal history' can advance a 'usable past'.

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Goetz, Donna J. "REVIEW: Speaking the Unspeakable: Religion, Misogyny, and the Uncanny Mother in Freud's Cultural Texts. By Diane Jonte-Pace." International Journal for the Psychology of Religion 13, no. 4 (October 2003): 297–98. http://dx.doi.org/10.1207/s15327582ijpr1304_8.

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Campbell, Janet, and Steve Pile. "Space Travels of the Wolfman: Phobia and its Worlds." Psychoanalysis and History 13, no. 1 (January 2011): 69–89. http://dx.doi.org/10.3366/pah.2011.0005.

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In this paper, we present a spatial reading of Freud's famous case study, ‘The Wolfman’ (1918). By reading the Wolfman and his phobias spatially, we want to show how psychoanalysis is not a linear story of personal development, but reveals instead the unconscious estates and competing places that our desires both travel in, but also get stuck and waylaid in. The unconscious ‘estates’ that the Wolfman travels through, constituting his phobias, is something we aim to illuminate. These worlds are not simply ‘many’, they are specific – but they nonetheless unfold in plural and non-linear ways. Phobias are the policemen of our desires keeping us safe and at home, within certain boundaries. And yet the Wolfman's phobias, his unconscious territories are arguably spaces that need opening up, not hypnotizing away. As Freud travels alongside the Wolfman through his worlds, he can never be sure where he is, where they are. And this is a good thing because if space travel in psychoanalysis is going to work, it has to be alive to the uncanny nature and the uncertain boundaries that constitute our desires. As a touchstone case study in psychoanalysis, the Wolfman's case points to the very uncertainty with which analysis must proceed. Psychoanalysis, in this view, is more about companionable travelling, without either a fixed point of origin or a predetermined destination, than about knowing where you have been, where you are and where you are going; more about creating a geography of possibilities than about determining which ones should or should not be taken.

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Bartholomew, H. G. "Enstranged Strangers: OOO, the Uncanny, and the Gothic." Open Philosophy 2, no. 1 (September 30, 2019): 357–83. http://dx.doi.org/10.1515/opphil-2019-0027.

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AbstractExploring the links between Speculative Realism, psychoanalysis, and literary criticism, this article examines OOO’s entanglement with the ‘uncanny’. Reading OOO against three notable treatments of the concept - Sigmund Freud’s 1919 essay “The ‘Uncanny’”, Ernst Jentsch’s 1906 paper “On the Psychology of the Uncanny”, and Martin Heidegger’s discussion of uncanniness in his Introduction to Metaphysics (1953) - it argues that OOO reconfigures the ‘uncanny’ as a profoundly ontological concept premised on aesthetic enstrangement. Using E.T.A. Hoffmann’s short story “The Sandman” as a case study, it assesses what the consequences of this reconfiguration are for literary criticism and, in particular, the study of the Gothic. By splicing OOO into the history and practice of Gothic scholarship, this article traces the outline of an “object-oriented uncanny”, pushing the ‘uncanny’ out of Freud’s shadow and into the “great outdoors”.

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Madsen, Michael. ""All that we see or seem / Is but a dream within a dream": Freud's The Uncanny and the Destruction of the Suburban Ideal in Jeffrey Eugenides's The Virgin Suicides." American Studies in Scandinavia 40, no. 1-2 (October 30, 2008): 14–24. http://dx.doi.org/10.22439/asca.v40i1-2.4678.

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31

Kyrpyta, Tamara. "THE UNCANNY IN «CARMILLA» BY J. S. LE FANU IN THE CONTEXT OF NIETZSCHEAN AND PSYCHOANALYTIC PERCEPTION." English and American Studies 1, no. 17 (December 22, 2020): 112–16. http://dx.doi.org/10.15421/382019.

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The article deals with the category of uncanny as an integral part of Gothic literature in the aspect of philosophical and aesthetic views. It traces the connection between the notions of «horrible», «ugly» and «sublime», as well as the artistic embodiment of this connection in the novella about the vampires «Carmilla» by J. S. Le Fanu. Sigmund Freud’s article «The Uncanny» gave literary critics one of the key concepts that are used in the analysis of Gothic literature and literature of horror. The Uncanny, according to Freud is something strange, which disguises itself as a familiar one, it is something that should be hidden, but suddenly showed itself. In Gothic, this is usually embodied in anthropomorphic objects that resemble humans (or other living creatures), but are not in truth: dolls, mechanical toys, art images, etc. That is, the things acquire properties unusual and uncharacteristic for them. At the heart of the horror literature as a successor to a Gothic novel lays the idea of the wrongness and disharmony. In this context, Freud’s «uncanny» echoes the Kantian notion of «sublime», as well as, to a certain extent, the paradox of the ugly put forward by N. Goodman. Kant’s «sublime» is aesthetically close to Freud’s «uncanny». This is something recognisable and at the same time immense, which gives a sense of grandeur and even holiness, and hence, causes surprise, connected with awe and fear. The ideal content of the sublime is far greater than its real embodiment. Following F. Nietzsche, who advocated aesthetic relativism and considered the irrationalDionysian impulse to be no less important than the rational Apollonian one, the postmodernists rejected the aesthetic distinction between Good and Evil and, consequently, the contrast between the Beautiful and the Ugly. Thus, N. Goodman, in his paradox of the ugly, says that under certain circumstances ugly objects can be perceived as attractive ones, and the beautiful arouses disgust. And J. Kristeva believes that it is through disgust caused by the ugly that catharsis occurs as purification from existential fear. We traced the features of the artistic embodiment of horror, disgust and uncanny in «Carmilla» by J. S. Le Fanu.

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Aalen, Marit, and Anders Zachrisson. "Peer Gynt and Freud’s the Uncanny." Ibsen Studies 18, no. 2 (July 3, 2018): 169–93. http://dx.doi.org/10.1080/15021866.2018.1550877.

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33

Moylan, Katie. "Uncanny TV." Television & New Media 18, no. 3 (August 1, 2016): 269–82. http://dx.doi.org/10.1177/1527476415608136.

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This article explores how two recent television drama miniseries, Top of the Lake and Les Revenants produce moments of the uncanny. I argue that both series produce the uncanny in formal ways made possible by conditions of a televisuality characterized by narrative complexity and a pronounced aesthetic. In their first season, both series draw on recognizable conventions of the police procedural genre, but each develops a dialectical narrative structure that rotates between a rational procedural plotline and an irrational, less linear narrative of a secretive community. In my exploration, I conceive of the televisual moment as a form of rupture and draw on Freud’s original sense of “the uncanny” as making strange what was fundamentally familiar. I argue that ultimately each series mobilizes “the uncanny” in distinctive ways, resulting in two endings with very different implications.

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Spassova, Kamelia. "Freud and Jentsch read Hoffmann’s Uncanny Automata." Bulgarski Ezik i Literatura-Bulgarian Language and Literature 64, no. 6 (November 21, 2022): 575–84. http://dx.doi.org/10.53656/bel2022-6-7ks.

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The following paper examines the elaboration of the concept of uncanny between literature and psychoanalysis. In shaping the concept, both Ernst Jentsch in “On the Psychology of the Uncanny” (1906) and Sigmund Freud in “The Uncanny” (1919) carefully read Hoffmann’s fantastic stories of automata. While Freud develops his theory of the uncanny (concerning the automatism of unconscious repetition) by reading “The Sandman”, Jentsch dwells on “Automata” in his approach on intellectual uncertainty. In this paper I also discuss anthropomorphic machines and the idea of uncanny valley in robotics, concluding that the notion of uncanny always involves negative anagnorisis, or misrecognition between inside/outside; human/automaton; animate/inanimate.

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Mita, Jun. "The Unheimliche as Source of the Fantastique. On the Translation of the Concepts of Todorov’s “Étrange” and Freud’s “Inquiétante Étrangeté”." Accueillir l’Autre dans sa langue. La traduction comme dispositif de médiation, no. 103 (September 17, 2021): 169–83. http://dx.doi.org/10.31861/pytlit2021.103.169.

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This study examines the problem of the translation of the concepts of “étrange” in the theory of the fantastic in literature by Tzvetan Todorov (1939–2017) and of Unheimliche by Sigmund Freud (1856–1939). Todorov defines clearly the realm of “fantastique” as an intermediary genre situated between two poles: “merveilleux” (lit. marvellous) and “étranger” (lit. strange, odd). The latter term is translated by the substantive adjective “uncanny” in English and Unheimliche in German. However, Unheimliche is also used by Freud to designate a psychoanalytical notion, and the common English translation is “uncanny”. This comparative analysis reveals that, on the contrary, the Freudian notion of Unheimliche and the Todorovian notion of “fantastique” are equivalent and that they both refer to a temporary nature. This comparison makes it possible to clarify the mechanisms of the fantastic in literature. Todorov indeed does not explain where the “hesitation” in the face of an apparently supernatural event comes from, even though this uncertainty is the pivot of his theory. However, Freud’s considerations lead us to understand that it is because such an event shakes our modern rational convictions, and because the old superstitious beliefs convictions that we should have “overcome” return in the form of the Unheimliche.

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Mita, Jun. "The Unheimliche as Source of the Fantastique. On the Translation of the Concepts of Todorov’s “Étrange” and Freud’s “Inquiétante Étrangeté”." Accueillir l’Autre dans sa langue. La traduction comme dispositif de médiation, no. 103 (September 17, 2021): 169–83. http://dx.doi.org/10.31861/10.31861/pytlit2021.103.169.

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This study examines the problem of the translation of the concepts of “étrange” in the theory of the fantastic in literature by Tzvetan Todorov (1939–2017) and of Unheimliche by Sigmund Freud (1856–1939). Todorov defines clearly the realm of “fantastique” as an intermediary genre situated between two poles: “merveilleux” (lit. marvellous) and “étranger” (lit. strange, odd). The latter term is translated by the substantive adjective “uncanny” in English and Unheimliche in German. However, Unheimliche is also used by Freud to designate a psychoanalytical notion, and the common English translation is “uncanny”. This comparative analysis reveals that, on the contrary, the Freudian notion of Unheimliche and the Todorovian notion of “fantastique” are equivalent and that they both refer to a temporary nature. This comparison makes it possible to clarify the mechanisms of the fantastic in literature. Todorov indeed does not explain where the “hesitation” in the face of an apparently supernatural event comes from, even though this uncertainty is the pivot of his theory. However, Freud’s considerations lead us to understand that it is because such an event shakes our modern rational convictions, and because the old superstitious beliefs convictions that we should have “overcome” return in the form of the Unheimliche.

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Harahap, Aris Masruri. "The Disappearance of Uncanny in Winnie-The-Pooh and its Use for Education." Language Circle: Journal of Language and Literature 12, no. 2 (April 24, 2018): 182–94. http://dx.doi.org/10.15294/lc.v12i2.14177.

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This article discusses disappearance of uncanny in one of the greatest children novel from The First Golden Age of Children Literature in Britain, Winnie-the-Pooh. The discussion is meant to uncover why the uncanny does not arise when it is read although it has the elements to arise the uncanny. Moreover, the novel is very popular of its canniness. In doing analysis, Freud‘s thoughts on the uncanny help me to find the reason. The analysis resulted that the use of fantasy in the novel and how its story is narrated determine the readers to not concentrate on the uncanny. The disappearance of the uncanny and the emergence of canny in the novel has made the novel as a favorite reading material for children. This, in fact, is an approach to teach children some values which is influenced by the development of children literature since the 18 th century.

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Dawson, Terence. "Enchantment, possession and the uncanny in E.T.A. Hoffmann's ‘The Sandman’." International Journal of Jungian Studies 4, no. 1 (March 1, 2012): 41–54. http://dx.doi.org/10.1080/19409052.2012.642483.

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All enchantment is a form of possession: as love or religious belief, it can invest a person’s life with significance; but as revenge or fanaticism, it can also bring about a fundamental change in the subject’s personality. Few writers have explored the tension between these different forms of enchantment more intriguingly than the German Romantic writer E.T.A. Hoffmann (1776–1822). Der Sandmann (“The Sandman”; 1816) is one his best-known tales, partly because it gave rise to favourites of the ballet and opera repertoires – Delibes’ Coppelia (1870), and one of the self-contained acts of Offenbach’s Les Contes d’Hoffmann (1881) – and partly owing to the enormous impact of the crucial section that Freud devoted to it in his essay on “The Uncanny” (1919). Although Freud’s views have been contested and re-articulated by a great many psychoanalytic critics, his essay continues to dominate literary discussion about this text. In this article, I show how a post-Jungian approach to Hoffmann’s celebrated text uncovers an unexpected reading of its concerns and a fresh way of thinking about narrative time. My aim is to propose that the tale has less to do with the events of Nathanael’s childhood than with the perils of enchantment in the present.

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Kella, Elizabeth. "Matrophobia and Uncanny Kinship: Eva Hoffman’s The Secret." Humanities 7, no. 4 (November 21, 2018): 122. http://dx.doi.org/10.3390/h7040122.

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Eva Hoffman, known primarily for her autobiography of exile, Lost in Translation: A Life in a New Language (1989), is also the author of a work of Gothic science fiction, set in the future. The Secret: A Fable for our Time (2001) is narrated by a human clone, whose discovery that she is the “monstrous” cloned offspring of a single mother emerges with growing discomfort at the uncanny similarities and tight bonds between her and her mother. This article places Hoffman’s use of the uncanny in relation to her understanding of Holocaust history and the condition of the postmemory generation. Relying on Freud’s definition of the uncanny as being “both very alien and deeply familiar,” she insists that “the second generation has grown up with the uncanny.” In The Secret, growing up with the uncanny leads to matrophobia, a strong dread of becoming one’s mother. This article draws on theoretical work by Adrienne Rich and Deborah D. Rogers to argue that the novel brings to “the matrophobic Gothic” specific insights into the uncanniness of second-generation experiences of kinship, particularly kinship between survivor mothers and their daughters.

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Nepomnyashchy, Catharine Theimer. "King, Queen, Sui-mate: Nabokov’s Defense Against Freud’s “Uncanny”." Intertexts 12, no. 1-2 (2008): 7–24. http://dx.doi.org/10.1353/itx.2008.0001.

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Park, Unyoung. "Re-Consideration on the Boundary : Re-Reading Freud’s Uncanny." Trans-Humanities 11, no. 2 (August 31, 2018): 71–102. http://dx.doi.org/10.35651/th.2018.08.11.2.71.

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Baillehache, Jonathan. "Chance Operations and Randomizers in Avant-garde and Electronic Poetry: Tying Media to Language." Textual Cultures 8, no. 1 (March 5, 2014): 38–56. http://dx.doi.org/10.14434/tcv8i1.5049.

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This article explores and compares the use of chance procedures and randomizers in Dada, Surrealism, Russian Futurism, and contemporary electronic poetry. I analyze the role of materiality of media in creating unexpected literary outcomes through a discussion of Freud’s concept of the uncanny and Katherine Hayles’s concept of computation as symptom.

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Małecka, Katarzyna. "“The Undiscovered Country”, “A Kind Behind the Door”, “Neverland”, or “A Small Unfocused Blur”: Uncanny Literary Definitions of Death." Studia Anglica Posnaniensia 47, no. 4 (December 1, 2012): 147–62. http://dx.doi.org/10.2478/v10121-012-0016-6.

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Abstract Known yet unknown, undiscovered yet constantly discovered and re-discovered, death has always been a gold mine providing ideas, work and wages for scientists, sociologists, philosophers, artists, literary critics, and many others who find life’s provisionality in any way “uncanny”. This article looks at select literary definitions of death that present mortality as a concept both familiar and unfamiliar, comforting and discomforting, domestic and strange. Like the Freudian term “uncanny”, the nature of mortality is complex, mysterious and elusive. As Terry Eagleton (2003: 211) points out, “[d]eath is both alien and intimate to us, neither wholly strange nor purely one’s own”. While some of Freud’s ideas from his essay “The ‘Uncanny’” are used as the basis for discussion here, this analysis is not limited to a psychoanalytic perspective and includes psychological, sociological, medical and literary references which help explore different aspects of death in literature.

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Shehzad, Umar. "Poetics of the Uncanny: A Post-Phenomenological Critique of D. H. Lawrence and Somerset Maugham’s Short Fiction." NUML journal of critical inquiry 18, no. II (August 3, 2021): 25–38. http://dx.doi.org/10.52015/numljci.v18iii.129.

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Taking issue with Sigmund Freud’s premise on the subject, this essay seeks alternately to inquire into, challenge, and broaden our understanding of the uncanny. Even though this genius from the field of psychoanalysis is quite right in wreathing the uncanny with the murky aura that it wears to date, his insistence on driving one way traffic from heimlich to das unheimliche while at the same time refusing to let it out of “the realm of the frightening” gives a kind of staleness and fixity to the subject of the uncanny, which is no less than its undoing, especially when it comes to its artistic representation. Eschewing psychoanalytical debates and focusing rather upon the post-phenomenological discourse, I’ll show as to how the homely artistic devices like paradox, reversal, thematic and narrative flux, unswerving matter-of-factness yield an uncanny import in “The Rocking-Horse Winner” and “The Book Bag,” the two short stories by Lawrence and Maugham respectively. Insisting upon the essential uncanniness of art, this article proposes that the uncanny hinges on what Martin Seel (2005) describes as art’s fundamental “irreality” and Theodor Adorno (1973) calls “appearances”. I hypothesize that the uncanny owes its life to a continual movement of the subject matter between openness and closure, between imagination and reality, between the outer world and the inner domain, between what Bhabha (1992) alludes to as the world and the home.

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Karam, Savo. "The Uncanny Aura of the Femme Fatale’s Icon in Byron’s DonJuan." Advances in Social Science and Culture 2, no. 3 (July 17, 2020): p25. http://dx.doi.org/10.22158/assc.v2n3p25.

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The femme fatale trope, the incarnation of the artistic ideal of the writer’s creative imagination, is one of the most captivating female facades to haunt the Western literary tradition. Defined by her liminality, the femme fatale embraces an uncanny appearance that is terrifying but concurrently enthralling. Such oxymoronic combination defines her threatening and sublime representation which echoes Freud’s phenomenon of the uncanny that Lord Byron incarnates through his portrayal of the fatal woman motif. As a dark Romantic poet, Byron perceived beauty in the bizarre, unrestrained attitude of the fatal woman’s figure which shakes the rigid moral dimension of Victorian literature. What is intriguing about Byron’s depiction of his fatal woman is the supernatural, eerie power of her erotic appeal which she adroitly deploys to consume and haunt her victim’s imagination. Many researches tackled Byron’s contribution to the Gothic lore such as the initiation of the male vampire theme; other areas that were of interest to scholars depicted Byron’s homme fatal (the Byron seducer) trope. However, little critical attention pertaining to Byron’s femme fatale motif has been paid, and since his delineation of the femme fatale remains ambivalent and incomplete, this untouched area deserves substantial attention. Although Byron did not initiate the fatal woman figure, it is feasible to study how he conceives this archetype and the extent to which he incorporates Freud’s theory of the uncanny in his Gothic portrayal of two fatal females, Adeline and Catherine, in Don Juan.

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Farley, Lisa. "The Uncanny Return of Repressed History in Jonathan Hobin’s In the Playroom: Playing beyond the Pleasure Principle." Jeunesse: Young People, Texts, Cultures 6, no. 2 (December 2014): 15–34. http://dx.doi.org/10.3138/jeunesse.6.2.15.

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This paper investigates the motif of repetition in relationship to the pervasive emblem of the child as future. Drawing from Sigmund Freud’s discussion of the uncanny and from D. W. Winnicott’s theory of playing, the paper proposes that newness rests not on the literal fact of the child but in the play of signification—the life of the signifier—opened up in the haunting encounter with old scenes. When childhood is understood as an uncanny effect, we may encounter the adult’s repressed and quaking insides, an encounter from which typically we flee in the idealization of the child as future. This paper takes as its object of analysis a recent series by Canadian photographer Jonathan Hobin called In the Playroom, which features children as “doubles” who re-enact scenes of historical violence and power plays of the adult world. Hobin’s doubles have uncanny effects that hold the potential for renewed meaning in a world that turns on the compulsion to repeat.

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Forssberg, Anna. "Kusligt och abjekt." Tidskrift för litteraturvetenskap 45, no. 1 (January 1, 2015): 17–26. http://dx.doi.org/10.54797/tfl.v45i1.9037.

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Uncanny and Abject: Magical Thinking in the Works of Selma Lagerlöf and Carina Rydberg This article utilises Freud’s notion of ”the uncanny” and Kristeva’s concepts of ”abject” and ”abjection” in their original meanings as tools in the analysis of certain aspects of Carina Rydberg’s The Devil’s Formula (2000) and Selma Lagerlöf’s Charlotte Löwensköld (1925) and Anna Svärd (1928). There are a number of surprising connections between these narratives in a broader intertextual sense. For instance, Thea Sundler, one of the protagonists in Lagerlöf’s work, is at the outset of the novel scary because she seems so manipulative, but her character escalates from this uncanniness into evoking stronger fears of abjection at the end of the narrative, while the narrator-protagonist Carina in Rydberg’s work is in the outset of the novel marked by abjection, later undergoes a change in terms of subjectivation, but ends in scaring the reader through uncertainities typical of the uncanny.

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Barnaby, Andrew. "“After the Event”: Freud’s Uncanny and The Anxiety of Origins." Psychoanalytic Quarterly 84, no. 4 (October 2015): 975–1006. http://dx.doi.org/10.1002/psaq.12045.

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Kang, Jeong Yoon, and Taehwan Kang. "A Research on the Characteristics and Case Studies of the Uncanny in Private Space." Korean Society of Culture and Convergence 44, no. 10 (October 31, 2022): 1045–56. http://dx.doi.org/10.33645/cnc.2022.10.44.10.1045.

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The purpose of this study is to examine the characteristics of the uncanny that can be expressed in ‘home’, which is a private space and the most familiar and comfortable space, and to find and analyze cases in contemporary art. First, Freud, Biedler, and Heyduck's concept of the uncanny were examined in the study. Second, the study investigated how the uncanny is revealed in the house, which should be perceived as the most private and comfortable place. Third, the works of Jung-Ju Jeong, Hee-Sun Kim, Rachel Whiteread, and Do-Ho Seo were analyzed by applying the concept of uncanny, which was reviewed. Through this study, along with the transition to modern society, frequent spatial movement, collective housing, and redevelopment are intertwined so that one feels fear from an unfamiliar experience even in a familiar space while changing into a different image from the memory of the space they had. The sense of loss caused by these is acting as the uncanny in private space, and my opinion is that the uncanny in private space is likely to expand in various forms in the future.

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Punter, David. "Revising the uncanny, or, Coleridge forgets Freud." European Romantic Review 10, no. 1-4 (January 1999): 254–64. http://dx.doi.org/10.1080/10509589908570081.

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