Relevant bibliographies by topics / Uncanny Familiar

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  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Uncanny Familiar'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Uncanny Familiar"

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Brown, Adi. "Uncanny Urges: The Familiar Made Strange." International Journal of Arts Theory and History 9, no. 3-4 (2015): 11–24. http://dx.doi.org/10.18848/2326-9952/cgp/v09i3-4/36272.

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Moylan, Katie. "Uncanny TV." Television & New Media 18, no. 3 (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 con
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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 constitue
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Truglio, Maria. "Strangely Familiar: The Uncanny Poetics of Giovanni Pascoli." Romanic Review 97, no. 2 (2006): 231–54. http://dx.doi.org/10.1215/26885220-97.2.231.

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Beyes, Timon, and Chris Steyaert. "Strangely Familiar: The Uncanny and Unsiting Organizational Analysis." Organization Studies 34, no. 10 (2013): 1445–65. http://dx.doi.org/10.1177/0170840613495323.

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Pająk, Patrycjusz. "Uncanny Styria." Prace Filologiczne. Literaturoznawstwo, no. 9(12) cz.1 (July 4, 2019): 149–62. http://dx.doi.org/10.32798/pflit.114.

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The nineteenth century in the West was a period of intellectual and artistic fascination with the East, both distant and near: Asian and Eastern European. One of the regions that attracted the interest of Western Europeans was Styria, situated on the border separating Austria from Hungary and the Balkans, that is, the West from the East. Borderland cultural phenomena stimulate the imagination as much as exotic phenomena. Both disturb with their hybrid character, which results from the mixing of elements from familiar and alien cultures. With their duality and ambiguity, borderlands are the sou
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고민정. "The Uncanny of Familiar, yet Foreign Gestures in the." Journal of Japanese Culture ll, no. 60 (2014): 227–42. http://dx.doi.org/10.21481/jbunka..60.201402.227.

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di, Stefano. "From familiar to uncanny: The aesthetics of atmospheres in domestic spaces." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 415–26. http://dx.doi.org/10.5937/saj1903415d.

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The notion of "familiar" has recently become crucial in the debate generated by Everyday Aesthetics. In this essay, I will explore this concept in the theories of Arto Haapala and Yuriko Saito, then I will examine the notion of familiar - and some antonym notions (i.e. strange, uncanny, alien) - while embracing a phenomenological approach. Referring to German phenomenologist Gernot Böhme's theory of atmospheres, my paper compares the notion of a glass house, theorised by Modernism, and the notion of a shell house, seen from different perspectives by Walter Benjamin, Gaston Bachelard and Juhani
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Benavides, Pelayo, and José Tomás Ibarra. "“Uncanny Creatures of the Dark.”." Anthropos 116, no. 1 (2021): 163–76. http://dx.doi.org/10.5771/0257-9774-2021-1-163.

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Belief systems of human societies are deeply related with animals, which are symbolised in traditional narratives. Here we review reported cases from around the world and our own ethnographic observations from southern Chile, to analyse beliefs associated with owls. In particular, we explore the role that owls play in traditional narratives and the likely reasons of their saliency, including their connections with the extraordinary. For the latter, we utilise the concept of “the uncanny” to analyse how owls generate a feeling of something not simply mysterious but, more specifically, something
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Matsuda, Yoshi-Taka, Yoko Okamoto, Misako Ida, Kazuo Okanoya, and Masako Myowa-Yamakoshi. "Infants prefer the faces of strangers or mothers to morphed faces: an uncanny valley between social novelty and familiarity." Biology Letters 8, no. 5 (2012): 725–28. http://dx.doi.org/10.1098/rsbl.2012.0346.

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The ‘uncanny valley’ response is a phenomenon involving the elicitation of a negative feeling and subsequent avoidant behaviour in human adults and infants as a result of viewing very realistic human-like robots or computer avatars. It is hypothesized that this uncanny feeling occurs because the realistic synthetic characters elicit the concept of ‘human’ but fail to satisfy it. Such violations of our normal expectations regarding social signals generate a feeling of unease. This conflict-induced uncanny valley between mutually exclusive categories (human and synthetic agent) raises a new ques
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Dissertations / Theses on the topic "Uncanny Familiar"

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KEUCHEGERIAN, LIS HELENA ASCHERMANN. "THE UNCANNY AND THE FAMILIAR IN HEIDEGGER S CONCEPT OF DWELLING: A CONVERSATION BETWEEN ART AND PHILOSOPHY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=28209@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>A presente tese propõe uma reflexão acerca do habitar. Tal como Heidegger, também ousamos refletir sobre o modo como o homem contemporâneo habita e as consequências que a contemporaneidade gera ao pensar filosófico. Nesse sentido, a perspectiva heideggeriana e suas nuances fundamentam essa pesquisa, sem limitar a compreensão do habitar. As expressões artísticas com as quais Heidegger dialoga em sua obra ampliam e aprofu
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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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Juaçaba, Helder Jaime. "A construção do medo no cinema à luz do estranho familiar: uma abordagem semiótica." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/4303.

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Made available in DSpace on 2016-04-26T18:10:57Z (GMT). No. of bitstreams: 1 Helder Jaime Juacaba.pdf: 1866239 bytes, checksum: 8034f28d3b9418da9d8685110cf78c1a (MD5) Previous issue date: 2011-06-02<br>The study object of this thesis is the media support of cinema embodied in fiction film, whose construction is understood as a communicative function capable of generating meaningful effects. It more specifically refers to the identification of the forms used in film to produce sequences with the suggestive capacities to produce the effect of fear. In this context, emerged the research problem
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França, Renata Reinhoefer. "Continuidades descontinuadas: reflexões sobre o encontro intersubjetivo com a Arte." Universidade do Estado do Rio de Janeiro, 2008. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1180.

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Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro<br>Essa dissertação propõe-se a refletir sobre o enigmático encontro intersubjetivo com a arte por ser este um acontecimento vivo de troca entre espectador e obra, em ato. O ponto de partida deste trabalho é de que, apesar de não haver dúvidas quanto à verdade humana que permeia a experiência da arte, entramos constantemente na banalização de querer prová- la ou direcioná-la a outro domínio que não o da arte ela mesma, o que faz com que a significância dessa questão fique ameaçada. Com o objetivo de discutir isso, que desdobra-se na ine
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Baddoura-Gaugler, Rita. "L'homme et le robot humanoïde : Transmission, Résistance et Subjectivation." Phd thesis, Université Paul Valéry - Montpellier III, 2013. http://tel.archives-ouvertes.fr/tel-00950072.

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Hier fiction, maintenant réalité, le robot humanoïde, machine intelligente créée sur le modèle humain, concrétise des rêves ancestraux, avec pour ambition que la copie puisse égaler ou dépasser son modèle et créateur ; voire effectuer un bond dans l'évolution, par delà l'altérité homme/machine et la finitude. Afin de questionner ce qui sous-tend la réalisation du robot, ses enjeux, et ce que ses caractéristiques disent de l'homme aujourd'hui, cette réflexion revisite ses traces mythologiques et techniques depuis l'Antiquité, puis aborde les principaux axes de recherche en robotique interactive
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DeFalco, Amelia Irene. "Strangely familiar: Uncanny aging in contemporary literature and film." 2007. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=742094&T=F.

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Books on the topic "Uncanny Familiar"

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Bussell, David, and M. V. Stott. Familiar Magic: An Uncanny Kingdom Urban Fantasy. Createspace Independent Publishing Platform, 2018.

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Stanghellini, Giovanni. The Uncanny and the secretly familiar double. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780198792062.003.0009.

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This chapter explains the second paradox of alterity: alterity is felt as extraneous and familiar at the same time. It comes as a surprise from the most intimate and proper region of the Self. What is experienced as most extraneous is also what is most proper to the Self. These are the two sides of a fold: a zone of continuity rather than discontinuity. This is the topos of the Double and the Uncanny. Alterity does not coincide with the Freudian Unconscious. This impersonal and not individuated part is not repressed. It is the obscure side of my own existence as it manifests itself in front of
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Unheimlich Vertraut The Uncanny Familiar Bilder Vom Terror Images Of Terror. Walther Konig, Cologne, 2012.

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Friedrich, Alexander, Petra Gehring, Christoph Hubig, Andreas Kaminski, and Alfred Nordmann, eds. Autonomie und Unheimlichkeit. Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783748904861.

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Is technological control taking the place of what appeared uncannily uncontrollable? Or is it itself becoming uncanny? Two seemingly contradictory narratives have shaped the history and theory of technology. The narrative of disenchantment describes how nature, experienced as something foreign and dangerous, was tamed by becoming scientific and mechanised. Secondly, the narrative of (re-)enchantment recounts how artefacts and technological possibilities become uncanny, especially by way of their seeming independence and by confronting us with an ‘autonomous’ logic of their own. In today's deba
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Gamzou, Assaf, and Ken Koltun-Fromm, eds. Comics and Sacred Texts. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819215.001.0001.

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Comics and Sacred Texts: Reimagining Religion and Graphic Narratives explores how comics and notions of the sacred interweave to produce new modes of seeing and understanding the sacred. The creative texts explored within this edited volume share an expressive interest in modes of seeing the sacred in graphic structures. We examine the intersections between religion and comics in ways that critically expand our ability to think well about religious landscapes, rhetorical practices, pictorial representation, and the everyday experiences of the uncanny. Sacred Texts and Comics engages the divers
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Bobker, Danielle. The Closet. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691198231.001.0001.

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Long before it was a hidden storage space or a metaphor for queer and trans shame, the closet was one of the most charged settings in English architecture. This private room provided seclusion for reading, writing, praying, dressing, and collecting—and for talking in select company. In their closets, kings and duchesses shared secrets with favorites, midwives and apothecaries dispensed remedies, and newly wealthy men and women expanded their social networks. This book presents a literary and cultural history of these sites of extrafamilial intimacy, revealing how, as they proliferated both in
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Creswell, Robyn. City of Beginnings. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691182186.001.0001.

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This book is an exploration of modernism in Arabic poetry, a movement that emerged in Beirut during the 1950s and became the most influential and controversial Arabic literary development of the twentieth century. The book introduces English-language readers to a poetic movement that will be uncannily familiar—and unsettlingly strange. It provides an intellectual history of Lebanon during the early Cold War, when Beirut became both a battleground for rival ideologies and the most vital artistic site in the Middle East. Arabic modernism was centered on the legendary magazine Shi'r (“Poetry”), w
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Book chapters on the topic "Uncanny Familiar"

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Wai-wan, Chan, and Chan Kwok-bun. "The Uncanny Homely and Unhomely Feeling: Gender and Generation Politics in Return Migrant Families in Hong Kong." In International Handbook of Chinese Families. Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-0266-4_6.

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Brown, Sarah Annes. "Uncanny doubles: part one." In A familiar compound ghost. Manchester University Press, 2017. http://dx.doi.org/10.7765/9781526125415.00005.

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Brown, Sarah Annes. "Uncanny doubles: part two." In A familiar compound ghost. Manchester University Press, 2017. http://dx.doi.org/10.7765/9781526125415.00006.

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Annes Brown, Sarah. "Uncanny doubles: part one." In A familiar compound ghost. Manchester University Press, 2012. http://dx.doi.org/10.7228/manchester/9780719085154.003.0002.

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Annes Brown, Sarah. "Uncanny doubles: part two." In A familiar compound ghost. Manchester University Press, 2012. http://dx.doi.org/10.7228/manchester/9780719085154.003.0003.

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Roth, Merav. "The dialectic between the familiar and the uncanny." In A Psychoanalytic Perspective on Reading Literature. Routledge, 2019. http://dx.doi.org/10.4324/9780429422782-15.

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"Chapter Two. Accepting The Fantastic: From The Familiar To The Fantastic-Uncanny." In The Legend of St Brendan. BRILL, 2008. http://dx.doi.org/10.1163/ej.9789004166622.i-352.15.

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"The Horror of the Familiar: Freud’s Thoughts on Femininity and the Uncanny." In Crossmappings. I.B. Tauris, 2018. http://dx.doi.org/10.5040/9781350985971.ch-010.

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Sobol, Valeria. "Introduction." In Haunted Empire. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501750571.003.0001.

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This chapter talks about the Gothic tradition, the Russian Empire, and the geography of the Russian Gothic. It begins by talking about Mikhail Lermontov's novel A Hero of our Time to set an example to show the recognizable tropes of Gothic literature. It defines “the imperial uncanny” as the instability in the categories of one's own and the foreign, the familiar and the strange, self and other, a confusion resulting from the threatening ambiguity of the Russian imperial space. The chapter gives a history of the Gothic tradition, how it manifested in the literature of the Russian Empire, and its reception.
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Strukov, Vlad. "A Plea for the Dead (Self): Renata Litvinova’s Goddess: How I Fell in Love (2004)." In Contemporary Russian Cinema. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474407649.003.0007.

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The symbolic mode betrays the habit of thinking of mental and sensory events in terms of habitual places (the last is the task of allegorisation): instead it deals with cosmological states. Renata Litvinova’s film forward concerns of intentionality as a matter of discursive interruption and drawing the spectator’s attention to the film’s self-referential strategies. Film as a form of knowledge regains the discourse of the sacred place in that it operates from its own sacred grove of immanence, that is, it alludes to the ‘external world’ by means of the exegetical tradition. Goddess utilises the rhetoric of doubling which problematizes the distinction between objective reality and dreamed reality. The only way for the spectator to tell the difference between the realms is by paying attention to the politics of location. Cinematic enlargement serves as a form of the uncanny in that it presents the familiar object / texture in a completely different way by disturbing the conventions of haptics, kinesics and chronemics. The film demonstrates how the discourse speaks through the subject whose function is no longer to contain discourse but to provide its own commentary. The resulting effect in Goddess is a proposition that thought and signification are performances.
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Conference papers on the topic "Uncanny Familiar"

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Venables, Anne, and Grace Tan. "A 'Hands on' Strategy for Teaching Genetic Algorithms to Undergraduates." In InSITE 2007: Informing Science + IT Education Conference. Informing Science Institute, 2007. http://dx.doi.org/10.28945/3132.

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Genetic algorithms (GAs) are a problem solving strategy that uses stochastic search. Since their introduction (Holland, 1975), GAs have proven to be particularly useful for solving problems that are ‘intractable’ using classical methods. The language of genetic algorithms (GAs) is heavily laced with biological metaphors from evolutionary literature, such as population, chromosome, crossover, cloning, mutation, genes and generations. For beginners studying genetic algorithms, there is quite an overhead in gaining comfort with these terms and an understanding of their parallel meanings in the un
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