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Journal articles on the topic 'Uncanny Familiar'

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

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1

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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2

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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3

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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5

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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6

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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8

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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9

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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10

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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11

Kella, Elizabeth. "Matrophobia and Uncanny Kinship: Eva Hoffman’s The Secret." Humanities 7, no. 4 (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. Relyi
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12

Matsuda, Yoshitaka, Kazuo Okanoya, Satoshi Hirata, and Masako Myowa-Yamakoshi. "Familiar face + novel face = familiar face? Uncanny valley? : Morphed face recognition in human and chimpanzee." Proceedings of the Annual Convention of the Japanese Psychological Association 78 (September 10, 2014): 1EV—1–073–1EV—1–073. http://dx.doi.org/10.4992/pacjpa.78.0_1ev-1-073.

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13

Troy, Maria Holmgren. "Dealing with the Uncanny? Cultural Adaptation in Matt Reeves’s Vampire Movie Let Me In." American Studies in Scandinavia 48, no. 1 (2016): 25–41. http://dx.doi.org/10.22439/asca.v48i1.5359.

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The aim of this article is to examine cultural adaptation and uncanny potential in Matt Reeves’s vampire movie Let Me In (2010), which is an adaptation of John Ajvide Lindqvist’s vampire novel Låt den rätte komma in (2004) – in English translation, Let the Right One In (2007) – and the Swedish film adaptation (2008), for which Lindqvist wrote the screenplay. The article draws on Linda Hutcheon’s theoretical account of “transculturating” and “transcultural adaptations” as well as on different discussions of the uncanny. My analysis establishes that both films evoke the uncanny by introducing ho
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14

Waszkiewicz, Agata. "Glitch as the Representation of the Uncanny in Oxenfree (2016)." Homo Ludens, no. 1 (12) (December 15, 2019): 213–25. http://dx.doi.org/10.14746/hl.2019.12.11.

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The Gothic engages its audiences in the constant play by evoking the same anxieties in its audience and its protagonists. Furthermore, it could be argued that transgressions are its immanent feature. The supernatural elements, with the strong emphasis on the ghosts, often create the feeling of the uncanny, which, defined by the mixing of the familiar with unfamiliar, is not unknown to the video game genre. In the paper I offer a close reading of Oxenfree (2016), demonstrating the Gothic elements featured in the game, concentrating on how the uncanny manifests through the use of the audiovisual
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15

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 (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
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16

Laue, Cheyenne. "Familiar and Strange: Gender, Sex, and Love in the Uncanny Valley." Multimodal Technologies and Interaction 1, no. 1 (2017): 2. http://dx.doi.org/10.3390/mti1010002.

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17

TEAL, RANDALL. "Between the Strange and the Familiar: A Journey with the Motel." PhaenEx 3, no. 2 (2008): 71. http://dx.doi.org/10.22329/p.v3i2.573.

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The tension between the roadside motel’s uncanny and familiar features ensures it a memorable place in contemporary culture. The motel’s uncanniness has developed into a kind of mythology, which has been employed to great effect by popular media, particularly film. In this role the motel is frequently portrayed as a “between” that is structured by its being neither fully home nor fully elsewhere. This article explores how the motel’s betweenness allows it to transcend its own liabilities and afford visitors a unique opportunity to discover what it means to become heimisch (homely) within its w
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18

Wójcik, Paula. "Demony przeszłości. Więzy pamięci i tradycje powieści gotyckiej." Miscellanea Posttotalitariana Wratislaviensia 8 (July 22, 2021): 85–96. http://dx.doi.org/10.19195/2353-8546.8.7.

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The ‘uncanny’, according to Freud — the feeling that something familiar turns out as strange and unknown, seems to have become a leading paradigm in the memory discourse in literature. Revenants, among them zombies, golems, dybbuks, ghosts, monsters, and changelings — the whole world of the supernatural and paranormal characters brings to mind what has been forgotten within the collective memory. This paper discusses two recent manifestations of the uncanny: Szczepan Twardoch’s The king of Warsaw (Król) and Jacek Dehnel’s But with our dead ones (Ale z naszymi umarłymi). The main objective is t
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19

Chattopadhyay, Debaleena, and Karl F. MacDorman. "Familiar faces rendered strange: Why inconsistent realism drives characters into the uncanny valley." Journal of Vision 16, no. 11 (2016): 7. http://dx.doi.org/10.1167/16.11.7.

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20

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 (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 i
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21

Marks, John. "Clone Stories: ‘Shallow are the souls that have forgotten how to shudder’." Paragraph 33, no. 3 (2010): 331–53. http://dx.doi.org/10.3366/para.2010.0203.

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This article explores literary interrogations of the bioethical implications of cloning. It does so by outlining the basic science of cloning before going on to question the dominance of the Freudian notion of the ‘uncanny’ in the critical theoretical responses to cloning by figures such as Jean Baudrillard and Slavoj Žižek. The second half of the article turns to two recent novels exploring the theme of cloning: Eva Hoffman's The Secret, and Kazuo Ishiguro's Never Let Me Go. It is argued that the former rehearses familiar themes of revulsion connected to the figure of the clone, yet resolves
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22

Ko, Min-Jung. "The Uncanny of Familiar, yet Foreign Gestures Focused on the Works of Brothers Quay." Cartoon and Animation Studies 33 (December 31, 2013): 55–78. http://dx.doi.org/10.7230/koscas.2013.33.055.

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23

Kirby, Paul. "The body weaponized: War, sexual violence and the uncanny." Security Dialogue 51, no. 2-3 (2020): 211–30. http://dx.doi.org/10.1177/0967010619895663.

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It is today common to argue that rape is a weapon, tool or instrument of warfare. One implication is that armed groups marshal body parts for tactical and strategic ends. In this article, I interrogate this discourse of embodied mobilization to explore how body weaponry has been made intelligible as a medium for sexual violence. First, I show that, despite wide rejection of essentialist models, the penis and penis substitutes continue to occupy a constitutive role in discussions of sexual violence in both political and academic fora, where they are often said to be like weapons, a tendency I t
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24

Park, So-Jin. "Mothers Are Not Obtainable with Magic: The Uncanny and the Construction of Orphan Children's Desires in Yim Pil-Sung'sHansel and Gretel." International Research in Children's Literature 8, no. 1 (2015): 61–74. http://dx.doi.org/10.3366/ircl.2015.0149.

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Employing the main motifs of the Grimms' version, Yim Pil-Sung's Hansel and Gretel explores the trauma that three orphans suffered in their experiences at an orphanage. The orphans' circumstances represent the symbolic dimensions of desertion, isolation and deprivation, while the children are also provided with extraordinary magic power. This dual construction of the orphans' situation generates the uncanny, which reveals something hidden underneath what is seen on the surface. What is buried is the trauma of abandonment and violence, and the ‘Happy Children's Home’ in the forest is where all
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25

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 Offenba
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26

Parish, Jane. "Uncanny objects and the fear of the familiar: Hiding from Akan witches in New York City." Journal of Material Culture 23, no. 1 (2017): 100–113. http://dx.doi.org/10.1177/1359183517725100.

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Băniceru, Ana Cristina. "Gothicizing Domesticity – The Case of Charlotte Perkins Gilman and Edgar Allan Poe." Romanian Journal of English Studies 15, no. 1 (2018): 9–16. http://dx.doi.org/10.1515/rjes-2018-0002.

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Abstract It is critical common knowledge that domestic narratives and the structure of traditional domesticity are subverted in Gothic fiction (Smith 2013). The household and its apparent security are threatened from within by unknown supernatural forces. What seems familiar becomes upsetting, strange and ‘unfamiliar’. Both Charlotte Perkins Gilman in “The Yellow Wall-Paper” and Edgar Allan Poe in “The Black Cat” give comparable views on American domesticity, both questioning two important aspects of domestic life (family and a blissful household). The two writers create a mad discourse in whi
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28

Woods, Faye. "Telefantasy Tower Blocks: Space, Place and Social Realism Shake-ups in Misfits." Journal of British Cinema and Television 12, no. 2 (2015): 229–44. http://dx.doi.org/10.3366/jbctv.2015.0259.

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This article considers the ways in which British youth telefantasy Misfits (E4, 2009–13) takes up and makes strange urban spaces familiar from social-realist narratives. Filmed on the sprawling East London estate, Thamesmead, the programme chronicles a group of young offenders who are given powers by a freak storm, turning them into ‘ASBO superheroes’. Misfits depends on its British urban landscapes for the assertion of its ‘authenticity’ within British youth television, using spaces and landscapes familiar from urban youth exploitation cinema and television's narratives of the underclass. Aft
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29

Tschorne, Samuel I. "Alexander Somek'sThe Cosmopolitan Constitution." German Law Journal 19, no. 6 (2018): 1519–28. http://dx.doi.org/10.1017/s2071832200023130.

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The Cosmopolitan Constitutionis an intriguing and puzzling book. In particular, the book has the uncanny ability to render fresh what is for the constitutional theorist familiar territory such as the debate on judicial supremacy and the counter-majoritarian difficulty, the expansion of the proportionality principle, etc. In fact, one of the most interesting aspects of its overarching argument is that given our present conditions—such as those of the cosmopolitan constitution or constitutionalism 3.0—we should be increasingly plagued by self-doubt, at least to the extent that we are to remain c
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30

Degril, Chantal. "Home, Not Alone." Ata: Journal of Psychotherapy Aotearoa New Zealand 16, no. 1 (2012): 43–50. http://dx.doi.org/10.9791/ajpanz.2012.06.

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The notion of “home” evokes something familiar but also, as Freud beautifully demonstrated, it evokes the uncanny. This notion is examined using the example of a case of phobia, a structure which convokes an object as, not so much a source of anxiety, rather a protection against it. The work of Jacques Lacan on “object relations” serves as the main reference for discussion of the case material.
 Ko te ariā “kāinga”, he whakaarahanga mea e taunga ana, heoi anō hoki, ki tā Freud whakaahuatanga tau, he whakaarahanga tipua kē. Ka whakamātauhia tēnei aria i raro i te tauiratanga mai o t
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31

Süner, Ahmet. "Beyond Repression and Back to the Secrets of the Familiar: A Critical Look at Freud’s Essay on the Uncanny." Oxford German Studies 48, no. 2 (2019): 196–217. http://dx.doi.org/10.1080/00787191.2019.1611922.

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32

Whitesell, Lloyd. "Britten's Dubious Trysts." Journal of the American Musicological Society 56, no. 3 (2003): 637–94. http://dx.doi.org/10.1525/jams.2003.56.3.637.

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Abstract One hypothesis pursued in contemporary queer musicology argues that music provides an arena for reflection on a composer's experience of a marginal sexual identity. The music of Benjamin Britten has furnished material for a recent outpouring of such criticism. Much of this work, however, addresses covert meanings constrained by censorship and directed toward a minority audience of initiates or sympathizers; its impact on Britten reception in general remains unclear. I propose that Britten's music dramatizes a deviant perspective in fundamental ways, resulting in a queer aesthetic whos
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Murawska, Oliwia. "Kashubian Lake Calling." Ethnologia Fennica 47, no. 2 (2020): 77–102. http://dx.doi.org/10.23991/ef.v47i2.88196.

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This study leads the reader to some remote Kashubian villages, located on the shores of Lake Słupino, Poland. The residents of these villages have witnessed uncanny transformations of their once familiar lake in recent years. Through changes in color, odor and matter, Słupino has obtruded itself to call out the problem of pollution. How does the lake express itself? How does it affect the everyday life of the inhabitants? To approach the specific interaction between the lake and the inhabitants (thus non-human and human), the author conducted sensory ethnography and conversed with residents af
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34

Molloy, Sylvia. "Afterword: The Buenos Aires Affair." PMLA/Publications of the Modern Language Association of America 122, no. 1 (2007): 352–56. http://dx.doi.org/10.1632/pmla.2007.122.1.352.

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When I Wrote My First Novel, En Breve Cárcel, I was Determined to Erase References to Space and Have All Action (If That is the apposite word) occur in a place devoid of particular markings, as close to abstraction as I could possibly make it. This rather pretentious gesture was destined to thwart any recognition by the reader, rendering the city—or, in this case, the cities—unrecognizable and therefore a little (but not excessively) uncanny. Then, toward the end of the novel, with an equally pretentious gesture, I identified those cities and arbitrarily revealed their names. One of those citi
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Rebekah Sheldon. "Uncannily Familiar, Shockingly New." Science Fiction Studies 44, no. 3 (2017): 608. http://dx.doi.org/10.5621/sciefictstud.44.3.0608.

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36

Kendall, Elliot. "Family, Familia , and the Uncanny in Sir Orfeo." Studies in the Age of Chaucer 35, no. 1 (2013): 289–327. http://dx.doi.org/10.1353/sac.2013.0036.

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WORMAN, NANCY. "EXQUISITE CORPSES AND OTHER BODIES IN THE ELECTRA PLAYS." Bulletin of the Institute of Classical Studies 58, no. 1 (2015): 77–92. http://dx.doi.org/10.1111/j.2041-5370.2015.12003.x.

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Abstract This essay explores the dynamics that surround the figuring and staging of bodies in the Electra plays – especially dead bodies, but also living ones that are represented as approximate and / or proximate to corpses. Interacting with such bodies intensifies agony and transport for characters and audiences alike, both of which affects plunge toward sublimity. At the same time the strongly gendered familial dynamics of pivotal scenes inflect the emotional shudder that attends them with a psychic recoil, as mothers haunt sons and sisters seek to lie down with brothers or other ‘wrong’ ob
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Rubinstein, Yair. "Uneasy Listening." Resonance 1, no. 1 (2020): 77–93. http://dx.doi.org/10.1525/res.2020.1.1.77.

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This paper explores the cultural ramifications of music generated by artificial intelligence (AI). Deploying complex algorithms to create original music productions, AI’s automation of human authorship may suggest a radically new sonic form. However, its creators have preferred to use its tools to mimic established musical genres from the past. As a result, notable AI-music programmers like composer David Cope and software developers Flow Machines have galvanized the public’s interest in AI-generated music not by creating completely alien sonic forms, but by simulating popular styles like rock
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Marinelli, Maurizio, and Francesco Ricatti. "Emotional Geographies of the Uncanny: Reinterpreting Italian Transnational Spaces." Cultural Studies Review 19, no. 2 (2013). http://dx.doi.org/10.5130/csr.v19i2.3496.

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The 'Emotional Geographies of the Uncanny' section of Cultural Studies Review aims to read transnational spaces constructed and inhabited by Italian migrants and settlers to Australasia as emotional spaces of uncanny perceptions, memories, narratives and identities. Drawing inspiration from the Freudian suggestions about the uncanny (das unheimliche), and later interpretations by Heiddeger, Derrida, Kristeva, Bhabha, Žižek, and Ahmed, we refer to the uncanny as the emotional reaction to something that is, at the same time, familiar and unfamiliar, homely and unhomely. The uncanny then becomes
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Alu, Giorgia. "Uncanny Exposures: Mobility, Repetition and Desire in Front of a Camera." Cultural Studies Review 19, no. 2 (2013). http://dx.doi.org/10.5130/csr.v19i2.3236.

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In this article I discuss some of the uncanny characteristics of photographic portraits by turning attention to photographs representing Italian migrants in Australia. These are images of mobility through time and space. These photographs also reduced spatial distance, transporting migrants’ own desires and unknown faraway lives into the imagination of the viewers at home. The migrant’s desire is for both a new life (as it will be mostly discussed here) and for familiar affects. It is also—in Lacanian terms—a desire from the Other: the desire to be the object of the Other’s desire, emotions an
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Lewkowich, David. "Insignificant Stories: The Burden of Feeling Unhinged and Uncanny in Detours of Teaching, Learning and Reading." in education 19, no. 1 (2013). http://dx.doi.org/10.37119/ojs2013.v19i1.37.

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By setting foot back in the space of school, teachers stage a return that is necessarily uncanny, encountering a strangeness that is nonetheless known, intimate and familiar. Through positing the notion of a "burden of feeling," this article theorizes the psychoanalytic concept of the uncanny, as a way to think through the narrative difficulties inherent in interpreting the variously psychical, historical and sensual influences of our personal educational experiences. Since we are here dealing—as in literature—with the inescapable singularity of experience, I intersperse a number of my own mem
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Kulms, Emily. "5. The Uncanny Wound: Psychic and Physical Openings in Kafka’s “A Country Doctor”." Inquiry@Queen's Undergraduate Research Conference Proceedings, November 29, 2017. http://dx.doi.org/10.24908/iqurcp.7860.

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Franz Kafka’s stories lure readers into a fascinating world of abstraction, in which imagery is both abundant and absurd. His works are like dreams; they are abstract and paradoxical, leaving the reader to decipher details to expose a cohesive meaning. Kafka’s “A Country Doctor” and “An Old Manuscript,” both use wound imagery to express the psychological state of characters, a tactic that may be called psychosomatic. Through a careful examination of the physical wounds in these stories and what triggers them, I will reveal hidden emotions, unfulfilled desires, and repressed primal urges of the
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Marinelli, Maurizio. "The Triumph of the Uncanny: Italians and Italian Architecture in Tianjin." Cultural Studies Review 19, no. 2 (2013). http://dx.doi.org/10.5130/csr.v19i2.2846.

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Between 1860 and 1945, the Chinese port city of Tianjin became the site of up to nine foreign-controlled concessions, including one controlled by Italy, as well as, temporarily, a multi-national military government (1900–02), and a series of evolving municipal administrations. Tianjin became the second largest industrial and commercial city in China after Shanghai, the largest financial and trade centre in the north, and one of the most vibrant commercial centres in Asia.This article focuses on the identity politics of ‘Italy’ in Tianjin. It analyses both the discursive formations and the prac
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Ricatti, Francesco. "The Emotion of Truth and the Racial Uncanny: Aborigines and Sicilians in Australia." Cultural Studies Review 19, no. 2 (2013). http://dx.doi.org/10.5130/csr.v19i2.2839.

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Through references to four anecdotes, this article approaches the complex and often neglected topic of the relationship between Sicilian migrants in Australia and Aborigines. It does so not in search of clear evidences that may structure a well-defined historical narrative, but rather looking for moments of truth that may open up new dialogues, narratives, research. Within embodied otherness, it is the uncanny feeling towards the racialised other that most effectively make us understand the complex relationship Italian migrants have had with the (un)familiar. The concept of the uncanny helps u
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Morris, Bethany. "Love and Horror in Grief: An Autopsychography on the Loss of a Beloved Animal Companion." Journal of Humanistic Psychology, August 20, 2020, 002216782095089. http://dx.doi.org/10.1177/0022167820950894.

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Using an autopsychographic approach as advocated by Yuan and Hickman, this article demonstrates the ways in which love and horror are implicated in one another during the experience of grief at the loss of a companion animal. The relationship between the human and the companion animal is explored through Lacan’s understanding of love premised on lack and an ethical relationship to the lack in the other. When that other dies, horror may be an intrusive emotion premised on a feeling of the uncanny with the familiar becoming unfamiliar. These experiences are then rearticulated in the context of t
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Speakman, Blair Ian. "“Poor creature, trapped in existential solitude forever”: Gothic Dreams of the Uncanny, Repetition, Temporal Loops, and the Double in The Chilling Adventures of Sabrina." M/C Journal 23, no. 1 (2020). http://dx.doi.org/10.5204/mcj.1642.

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IntroductionAccording to Sigmund Freud (A General Introduction to Psychoanalysis 90), dreams can be seen as a “substitute for something else, unknown to the dreamer”. In Freud’s theory, dreams are regarded as a “depiction of the subconscious, a screen onto which the subconscious projects its suppressed desires and hallucinations about their fulfilment” (Khapaeva & Tweddle 6). It is likely due to these aspects that dreams and dreaming have become prevalent in contemporary literature, film and television, and an outlet for a greater examination of Freud’s work on the origins and nature of th
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Vanni, Ilaria. "Oggetti Spaesati, Unhomely Belongings: Objects, Migrations and Cultural Apocalypses." Cultural Studies Review 19, no. 2 (2013). http://dx.doi.org/10.5130/csr.v19i2.2848.

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This article analyses first person memories in relation to objects as documented in Belongings, an online exhibition curated through the NSW Migration Heritage Centre. It explores the role of objects in recreating domestic geographies in the process of migration, using the Italian anthropologist Ernesto De Martino’s notion of ‘crisis of presence’ as the moment when familiar objects become unfamiliar or uncanny by losing their relation with the web of domestic uses, habits, sense of belonging, and cultural memories. In this crisis, objects acquire new layers of meaning entangled in the loss and
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Lindop, Samantha Jane. "Carmilla, Camilla: The Influence of the Gothic on David Lynch's Mulholland Drive." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.844.

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It is widely acknowledged among film scholars that Lynch’s 2001 neo-noir Mulholland Drive is richly infused with intertextual references and homages — most notably to Charles Vidor’s Gilda (1946), Billy Wilder’s Sunset Boulevard (1950), Alfred Hitchcock’s Vertigo (1958), and Ingmar Bergman’s Persona (1966). What is less recognised is the extent to which J. Sheridan Le Fanu’s 1872 Gothic novella Carmilla has also influenced Mulholland Drive. This article focuses on the dynamics of the relationship between Carmilla and Mulholland Drive, particularly the formation of femme fatale Camilla Rhodes (
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Aeschbacher, Peter, and Fátima Pombo. "Impossible Totality and Domesticity:." IDEA JOURNAL, July 4, 2013, 20–35. http://dx.doi.org/10.37113/ideaj.v0i0.77.

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 The unbecoming is inevitable and necessary. Design seeks an encompassing totality of vision that treats the world as an interior. Ancient cosmologies order place from the familiar (home) to the beyond (divine). To approach the divine exceeds human capacity and is thus monstrous. Literary morality tales warn us of the hubris of our quest for perfection; contemporary design offers similar examples: uninhabitable minimalism; pastoral landscape simulacra; the unheimlich Modern; anxious and oppressive transparency. The article presents three cases of unbecoming monsters: Nathan
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Shildrick, Margrit. "Hauntological dimensions of heart transplantation: the onto-epistemologies of deceased donation." Medical Humanities, February 26, 2021, medhum—2020–011982. http://dx.doi.org/10.1136/medhum-2020-011982.

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The practice of human organ transplantation studies is shot through with questions concerning the concepts of selfhood and identity that continually reach out towards transmigration, displacement and haunting. In particular, heart transplantation is the site at which the parameters of human life and death are tested to their limits, not simply for the recipient but for the donor too. In conventional biomedicine, the definition and therefore the moment of death is a matter of ongoing and disturbing dispute between two major channels of thought. Should we understand life to end at the point of c
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