Academic literature on the topic 'Freud, Sigmund - Uncanny'
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Journal articles on the topic "Freud, Sigmund - Uncanny"
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Moshenska, Gabriel. "M.R. James and the archaeological uncanny." Antiquity 86, no. 334 (December 2012): 1192–201. http://dx.doi.org/10.1017/s0003598x00048341.
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Does the curiosity of an archaeologist lead to encounters with forbidden things, inviting retribution? The learned antiquary M.R. James, writer of celebrated ghost stories, certainly thought so. In this vivid analysis, our author unearths the roots of James' impetus and compares it with that of his contemporary, Sigmund Freud. Of course, those days of paranormal terror are long gone, we are all rational now … or are we?
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Lacoursiere, Roy. "Uncanny Similarities Between the Deaths of Franz Kafka and Sigmund Freud." American Imago 74, no. 1 (2017): 75–84. http://dx.doi.org/10.1353/aim.2017.0003.
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Barboza Núñez, Esteban. "The Uncanny in the Themes of Evil, Transgression and the Double in Nathaniel Hawthorne's "Rappaccini's Daughter"." LETRAS, no. 40 (July 24, 2006): 33–47. http://dx.doi.org/10.15359/rl.2-40.2.
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El propósito de este artículo consiste en explorar los mecanismos y representaciones de lo siniestro en "La hija de Rappacci" de Nathaniel Hawthome como expresión del mal dentro de los límites del género gótico del siglo XIX; como expresión del tema del doble en tres personajes humanos y en uno no humano que aparecen en el cuento; y como expresión de trasgresión en el personaje principal, Giovanni Guasconte. El concepto de lo siniestro que se usará será el de la teoría psicoanalítica, siguiendo especialmente los aportes de Sigmund Freud y Jacques Lacan. The purpose of this artide is to explore the mechanisms and representations of the uncanny in Nathaniel Hawthome's "Rappaccini's Daughter" as an expression of evil within nineteenth century Gothic boundaries; as an expression of the theme of the double in three human characters and in one non-human component of Rappaccini's garden; and as an expression of transgression in Giovanni Guasconte, the main character. The concept of the uncanny to be used will be that of psychoanalytic theory, especially reliant on the contributions on the topic by Sigmund Freud and Jacques Lacan.
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Yates, Christopher. "Grammar of the Uncanny." Religion and the Arts 14, no. 5 (2010): 616–24. http://dx.doi.org/10.1163/156852910x529377.
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AbstractInspired by the contemporary intersection between hermeneutics, phenomenology, and psychoanalysis on the one hand, and poetics on the other, this article is a study in the peculiar manifestation of strangeness that obtains within the self. It is a descriptive and autobiographical account of a disclosure that, though common, is irreducible to traditional categories of mimesis and ontology: the experience of displacement in self-consciousness and embodiment. Drawing upon insights by Sigmund Freud and Martin Heidegger, and in dialogue with the poetics of Jules Renard, the essay seeks to appreciate a certain grammar of ipseity that is formative of subjectivity and constitutive of the poetic vocation. Emphasis is placed on the productive quality of the “between” (Zwischen) as it obtains both geographically and internally, and the concentration potentially resulting from the “between” as one grapples to configure in language the experience of playing “host” to one’s own self.
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Cohn, Richard. "Uncanny Resemblances: Tonal Signification in the Freudian Age." Journal of the American Musicological Society 57, no. 2 (2004): 285–324. http://dx.doi.org/10.1525/jams.2004.57.2.285.
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Early twentieth-century psychological theorists (Ernst Jentsch, Sigmund Freud) associated the uncanny with the occlusion of the boundary between real and imaginary, and with the defamiliarization of the familiar. Their music-theoretic contemporaries (Heinrich Schenker, Ernst Kurth, Alfred Lorenz) associated reality with consonance, imagination with dissonance. Late Romantic composers frequently depicted uncanny phenomena (in opera, song, and programmatic instrumental music) through hexatonic poles, a triadic juxtaposition that inherently undermines the consonant status of one or both constituents. Quintessentially familiar harmonies become defamiliarized liminal phenomena that hover between consonance and dissonance, thereby embodying the characteristics they are called upon by composers to depict. Examples of uncanny triadic juxtapositions are drawn from music of Gesualdo, Monteverdi, Haydn, Wagner, Mahler, Grieg, Richard Strauss, Sibelius, Puccini, Ravel, and Schoenberg.
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Bolaños Villalobos, Isabel Cristina, Gabriela Cerdas Ramírez, and Jimmy Ramírez Acosta. "El doble y tres relatos de Julio Cortázar." LETRAS, no. 54 (July 19, 2013): 51–69. http://dx.doi.org/10.15359/rl.2-54.3.
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Se analiza la noción del doble, según Sigmund Freud y el psicoanálisis, y su presencia en tres cuentos de Julio Cortázar. Su lectura se deriva de la perspectiva de lo ominoso, una de las posibles lecturas a Cortazár, dada su apertura y la complejidad del tema del doble. Pese de las múltiples variaciones que el doble cortazariano experimenta en diferentes cuentos, mantiene su esencia.
This article addresses the notion of the Double, according to Sigmund Freud and psychoanalysis, and its relation to three Julio Cortazar’s short stories. The texts are read from the perspective of the uncanny, as one of the possible approaches that can be applied to Cortazar’s writings, due to the openness and complexity of the topic of the Double. In spite of the variety of the Cortazar’s Double in the different stories, it retains an essence described here.
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Bronstein, Lais. "Notas para uma narrativa do desamparo na arquitetura | Notes for a narrative on architecture helplessness." Oculum Ensaios 15, no. 2 (July 20, 2018): 233. http://dx.doi.org/10.24220/2318-0919v15n2a3991.
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O presente texto e parte de uma pesquisa mais ampla destinada a decifrar arquiteturas e espaços urbanos que tem o desemparo e o mal‑estar como impulso criador. Busca‑se neste ensaio delinear uma narrativa que acolha esses fenômenos, analisando estudos e autores que trabalham com chaves interpretativas afins. Inicialmente foram tratados os conceitos de Unheimlich (inquitetante) e Unbehagen (mal‑estar) de Sigmund Freud. O suporte teórico momentâneo ai encontrado permitiu também estabelecer certa cumplicidade com algumas inquietacoes de Anthony Vidler, expostas em seus livros The Architectural Uncanny e Warped Spaces. Por fim, foram incluídas as constelações e demais considerações epistemológicas e metodológicas de Walter Benjamin, mais especificamente aquelas tratadas no estudo sobre o Barroco Alemão.
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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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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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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.
Dissertations / Theses on the topic "Freud, Sigmund - Uncanny"
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Grizzle, Eric Tait John. "Exploring fear and Freud's The uncanny." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3666.
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Grizzle, Eric. "Exploring Fear and Freud's The Uncanny." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3666/.
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Fear is one of the oldest and most basic of human emotions. In this thesis, I will explore the topic of fear in relation to literature, both a staple of the horror genre as well as a device in literary works, as well as in my own writings. In addition, I will use Sigmund Freud's theory of the “uncanny” as a possible device to examine the complexities of fear and its effects both on the mind and body through the medium of literature, and, more specifically, where and how these notions are used within my own short stories. By exploring how and why certain fears are generated, we may be able to better examine our own reactions in this regard.
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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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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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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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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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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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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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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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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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
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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.
Books on the topic "Freud, Sigmund - Uncanny"
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Seulin, Christian, and Catalina Bronstein. On Freud's the Uncanny. Taylor & Francis Group, 2019.
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Seulin, Christian, and Catalina Bronstein. On Freud's the Uncanny. Taylor & Francis Group, 2019.
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Seulin, Christian, and Catalina Bronstein. On Freud's the Uncanny. Taylor & Francis Group, 2019.
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Seulin, Christian, and Catalina Bronstein. On Freud's the Uncanny. Taylor & Francis Group, 2019.
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Jonte-Pace, Diane. Speaking the Unspeakable: Religion, Misogyny, and the Uncanny Mother in Freud's Cultural Texts. University of California Press, 2001.
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Speaking the Unspeakable: Religion, Misogyny, and the Uncanny Mother in Freud's Cultural Texts. University of California Press, 2001.
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Jonte-Pace, Diane. Speaking the Unspeakable: Religion, Misogyny, and the Uncanny Mother in Freud's Cultural Texts. University of California Press, 2001.
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Jonte-Pace, Diane. Speaking the Unspeakable: Religion, Misogyny, and the Uncanny Mother in Freud's Cultural Texts. University of California Press, 2001.
Find full textBook chapters on the topic "Freud, Sigmund - Uncanny"
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Ravetto-Biagioli, Kriss. "Uncanny Aesthetics." In Digital Uncanny, 143–66. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190853990.003.0005.
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Uncanny aesthetics examines how the discourse of the uncanny emerged from a reading of E. T. A Hoffmann’s short story “The Sandman,” in the works of Ernst Jentsch and Sigmund Freud, and how these readings have shaped the way we think about the uncanny as both experiential and aesthetic. These interpretations demonstrate, as Samuel Weber puts it, “a certain indecidability” between what we personally experience and what is predetermined. The uncanny has, however, shifted from a fear of confronting unhuman objects to the fear of being exposed to others beyond the devices and programs with which we have intimate relations, and the existential crisis of not measuring up to the technologies that simulate us.
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Davidson, Michael. "Uncanny Encounters." In Invalid Modernism, 123–40. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198832812.003.0006.
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The emergence of affect theory has returned the body to cultural theory by stressing the phenomenological impact of bodies on other bodies. Chapter 6 opens with a reading of Baudelaire’s “Une Passante” that offers one such instance. Despite its emphasis on what Lauren Berlant calls the “messy dynamics of attachment,” affect theory has not attended to disability where the encounter with the non-traditional body incites emotions of anxiety, confusion, and in some cases solidarity. This chapter explores a structure of feeling around dynamic historical changes in the late nineteenth and early twentieth centuries through works by Sigmund Freud, Frank Norris, Henry James, Virginia Woolf, and Jean Toomer. Each illustrates stages in what Sara Ahmed calls “dramas of contingency” by which world historical changes are registered through quotidian moments of attention and confrontation. These stages mark a trajectory in the novel, from Realism and Naturalism to the modernism of Woolf and Toomer.
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Wiseman, Sam. "Introduction." In Locating the Gothic in British Modernity, 1–12. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781942954897.003.0001.
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This introduction situates the project within existing scholarship on the Gothic, modernity, and the British landscape. It stresses that the book can be differentiated from other studies of Gothic modernity both in its de-privileging of literary modernism and its specific emphasis upon place. There follows a chapter summary emphasizing thematic linkages between chapters, including the concepts of the uncanny, animism, the weird and the eerie, which are elucidated with reference to secondary texts by authors including Sigmund Freud and Mark Fisher. It also notes the dialectical character of the book’s themes and content, as it traces the evolution of relationships such as those between the Gothic and the modern, the rural and the urban, invasion and emergence, concealment and revelation.
Conference papers on the topic "Freud, Sigmund - Uncanny"
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Aglieri Rinella, Tiziano. "Le Corbusier’s uncanny interiors." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.708.
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Abstract: The reception of Le Corbusier’s early buildings in Paris provoked an astonishing sensation of shock and estrangement in the public of the time. This troubling sensation of wonder is still alive today, after almost a century from their construction, and it is particularly vivid in some of the interiors, as we can notice from the photographic documentation of the time. Sigmund Freud, in his book “The interpretation of dreams”, underlined the direct relation existing between the interior of the human psyche and the interior of the house a subject lives in. He defined the interior of each man’s home as a sort of “diagnostic box” of the human mind, able to disclose the psyche of the individual, expressing his dreams, desires and obsessions. In his purist houses, Le Corbusier seems to have imposed his overwhelming personality on the clients, somehow expressing his own idealistic dream of the city of the future and foreseeing the visionary scenarios of a modernist utopia. This paper’s goal is to present a psychoanalytic reading of Le Corbusier’s buildings of the time, analyzing a number of significant examples in order to identify their uncanny effects, disclosing the hidden relations between cause and effect, and decoding the related composing technics used in the interior design. Resumen: La recepción de los primeros edificios de Le Corbusier en París provocó una sensación asombrosa de shock y extrañamiento en el público de la época. Esta sensación inquietante de asombro sigue vivo hasta hoy, después de casi un siglo de su construcción, y es particularmente viva en algunos interiores, como podemos observar en la documentación fotográfica de la época. Sigmund Freud, en su libro "La interpretación de los sueños", subrayó la relación directa existente entre el interior de la psique humana y el interior de la casa donde un sujeto vive. Él definió el interior de la casa de cada hombre como una especie de "caja diagnóstica"de la mente humana, capaz de revelar la psique del individuo, expresando sus sueños, deseos y obsesiones. En sus casas puristas, Le Corbusier parece haber impuesto su personalidad arrolladora en los clientes, expresando de alguna manera su propio sueño idealista de la ciudad del futuro y previendo los escenarios visionarios de una utopía modernista. El objetivo de este trabajo es de presentar una lectura psicoanalítica de los edificios de Le Corbusier de la época, analizando una serie de ejemplos significativos con el fin de identificar sus efectos extraños, revelar las relaciones ocultas entre causa y efecto, y decodificando las relativas técnicas compositivas utilizadas en el diseño de los interiores. Keywords: Le Corbusier; Interiors; Architecture; Uncanny; Freud; Surrealism. Palabras clave: Le Corbusier; Interiores; Arquitectura; Perturbador; Freud; Surrealismo DOI: http://dx.doi.org/10.4995/LC2015.2015.708