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Journal articles on the topic 'Uncanny'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Rae, Caroline Emily. "Uncanny Waters." Feminist Review 130, no. 1 (2022): 61–77. http://dx.doi.org/10.1177/01417789211066012.

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In this article, I argue for the notion of what I term ‘uncanny water’ as a conceptual tool for reading contemporary oceanic fictions. The uncanny’s affective capacity to destabilise epistemological and ontological certainties makes it a particularly potent literary tool for challenging the nature/culture binary. I argue that fictions which actively defamiliarise the ocean can be used to redress the anthropocentric privilege found in hitherto narratives of the oceanic that were predicated upon mastery and control, and that uncanny moments of displacement and uncertainty can illuminate human/oc

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2

Jandrić, Petar, and Ana Kuzmanić. "Uncanny." Postdigital Science and Education 2, no. 2 (2020): 239–44. http://dx.doi.org/10.1007/s42438-020-00108-5.

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3

Betts, Gregory. "Uncanny Academe." ESC: English Studies in Canada 44, no. 4 (2018): 11–15. http://dx.doi.org/10.1353/esc.2018.0027.

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4

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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5

Puddu, Sabrina, and Giaime Meloni. "Uncanny Beauty." idea journal 16, no. 1 (2017): 102–29. http://dx.doi.org/10.37113/ideaj.vi0.22.

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This essay reflects on the paradox that invests common perceptions of prison interiors by presenting a formal investigation of the nineteenth century prison of Buoncammino in Italy.  While we unanimously refuse as abominable the pre-modern dark dungeon, we are also very ambivalent towards the (unrealised) promises of the carefully designed enlightened and ‘enlightening’ spaces of the modern prison, which in principle we consider superior but that, ultimately, we end up perceiving in a not too dissimilar way from the pre-modern imaginary of darkness. Is this survival of darkness inside mo

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6

Mellencamp, Patricia. "‘Uncanny’ feminism." Afterimage 14, no. 2 (1986): 12–15. http://dx.doi.org/10.1525/aft.1986.14.2.12.

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Mellencamp, Patricia. "‘Uncanny’ feminism." Afterimage 14, no. 2 (1986): 12–15. http://dx.doi.org/10.1525/aft.1986.14.2.12.

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8

McNeill, Will. "Uncanny Belonging." Heidegger Circle Proceedings 47 (2013): 144–65. http://dx.doi.org/10.5840/heideggercircle2013478.

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9

Höing, A. "Uncanny Pets." Anglistik 30, no. 2 (2019): 69–82. http://dx.doi.org/10.33675/angl/2019/2/9.

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10

Chess, Shira. "Uncanny Gaming." Feminist Media Studies 15, no. 3 (2014): 382–96. http://dx.doi.org/10.1080/14680777.2014.930062.

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11

Benjamin, C. "The Uncanny." Literature and Theology 18, no. 1 (2004): 109–11. http://dx.doi.org/10.1093/litthe/18.1.109.

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12

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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13

Boomkens, RenÈ. "Uncanny Identities." European Journal of Cultural Studies 7, no. 1 (2004): 59–74. http://dx.doi.org/10.1177/1367549404039860.

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14

Zellen, Jody. "Uncanny Beauty." Afterimage 41, no. 2 (2013): 33. http://dx.doi.org/10.1525/aft.2013.41.2.33.

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15

Wilson, Emily H. "Uncanny valleys." New Scientist 263, no. 3502 (2024): 30. http://dx.doi.org/10.1016/s0262-4079(24)01405-2.

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16

Dixon, Steve. "Uncanny Interactions." Performance Research 11, no. 4 (2006): 67–75. http://dx.doi.org/10.1080/13528160701363473.

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17

Mesches, A. "American Uncanny." Cultural Politics an International Journal 11, no. 1 (2015): 36–52. http://dx.doi.org/10.1215/17432197-2842397.

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18

Ayiter, Elif. "Uncanny symmetries." Technoetic Arts 15, no. 2 (2017): 111–20. http://dx.doi.org/10.1386/tear.15.2.111_1.

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19

Taub, David. "Uncanny idea." New Scientist 217, no. 2904 (2013): 33. http://dx.doi.org/10.1016/s0262-4079(13)60432-7.

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20

Hanrahan, Mairéad. "Uncanny Genet?" Oxford Literary Review 42, no. 2 (2020): 197–200. http://dx.doi.org/10.3366/olr.2020.0318.

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21

Prenowitz, Eric. "Uncanny Cast." Oxford Literary Review 42, no. 2 (2020): 265–68. http://dx.doi.org/10.3366/olr.2020.0333.

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22

Young, Robert J. C. "Fanon's Uncanny." Oxford Literary Review 42, no. 2 (2020): 310–13. http://dx.doi.org/10.3366/olr.2020.0343.

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23

Goebel, James R. "Uncanny Meat." Caliban, no. 55 (June 1, 2016): 169–90. http://dx.doi.org/10.4000/caliban.3438.

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24

Gelder, Ken, and Jane M. Jacobs. "Uncanny Australia." Ecumene 2, no. 2 (1995): 171–83. http://dx.doi.org/10.1177/147447409500200204.

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25

Cavazzana, Alessandro, and Marianna Bolognesi. "Uncanny resemblance." Cognitive Linguistic Studies 7, no. 1 (2020): 31–57. http://dx.doi.org/10.1075/cogls.00048.cav.

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Abstract What is the relation between the three following elements: words, pictures, and conceptual representations? And how do these three elements work, in defining and explaining metaphors? These are the questions that we tackle in our interdisciplinary contribution, which moves across cognitive linguistics, cognitive sciences, philosophy and semiotics. Within the cognitive linguistic tradition, scholars have assumed that there are equivalent and comparable structures characterizing the way in which metaphor works in language and in pictures. In this paper we analyze contextual visual metap

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26

Schwenger, Peter. "Uncanny Reading." ESC: English Studies in Canada 21, no. 3 (1995): 333–45. http://dx.doi.org/10.1353/esc.1995.0025.

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27

Vienne, Gisèle, and Anna Gallagher-Ross. "Uncanny Landscapes." Theater 47, no. 2 (2017): 35–45. http://dx.doi.org/10.1215/01610775-3785146.

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28

Fernando, Mayanthi. "Uncanny Ecologies." Comparative Studies of South Asia, Africa and the Middle East 42, no. 3 (2022): 568–83. http://dx.doi.org/10.1215/1089201x-10148233.

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Abstract If secularity ushered in the notion of humans as buffered subjects immune to nonhuman agents, recent attempts to recognize the agency of nonhumans and to see humans as always in relation to nonhumans—the natureculture turn—may be understood as both a posthumanist and postsecularist project. Yet this scholarship has largely restricted nonhumans to entities previously classified as “natural” phenomena, leaving “supernatural” beings out of the conversation and leaving the distinction between nature and supernature intact. Fernando argues that fully undoing the nature/culture distinction

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29

Farah, Sumbul. "Uncanny ethics." HAU: Journal of Ethnographic Theory 13, no. 1 (2023): 82–100. http://dx.doi.org/10.1086/725343.

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30

Janion, Maria, and Marta Figlerowicz. "Uncanny Slavdom." PMLA/Publications of the Modern Language Association of America 138, no. 1 (2023): 110–26. http://dx.doi.org/10.1632/s0030812922000943.

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31

O, Jonathan. "Uncanny Galaxies." Scientific American 330, no. 5 (2024): 70. http://dx.doi.org/10.1038/scientificamerican0524-70.

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32

Allison, L. "Review: Reading the Uncanny * Nicholas Royle: The Uncanny." Cambridge Quarterly 33, no. 3 (2004): 277–81. http://dx.doi.org/10.1093/camqtly/33.3.277.

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33

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

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The following paper examines the elaboration of the concept of uncanny between literature and psychoanalysis. In shaping the concept, both Ernst Jentsch in “On the Psychology of the Uncanny” (1906) and Sigmund Freud in “The Uncanny” (1919) carefully read Hoffmann’s fantastic stories of automata. While Freud develops his theory of the uncanny (concerning the automatism of unconscious repetition) by reading “The Sandman”, Jentsch dwells on “Automata” in his approach on intellectual uncertainty. In this paper I also discuss anthropomorphic machines and the idea of uncanny valley in robotics, conc

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34

Ataria, Yochai. "The Uncanny: New Directions." Journal of Phenomenological Psychology 55, no. 2 (2024): 205–21. https://doi.org/10.1163/15691624-20245505.

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Abstract This paper delves into the concept of the uncanny, a theme that has fascinated scholars across multiple disciplines, including psychology, philosophy, literature, and film studies. The study’s primary goal is twofold: to examine the theoretical foundations of the uncanny as explored by Jentsch, Freud, and Heidegger, and to propose a new perspective on the uncanny within the context of modern technological and urban developments. The paper argues that urban, technologically advanced environments foster conditions in which the uncanny can easily emerge, and suggests that the adoption of

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35

Ajibade, Mayowa. "Johannesburg Drift: Variations of the Uncanny in Ivan Vladislavić’s The Exploded View." Cambridge Journal of Postcolonial Literary Inquiry 8, no. 1 (2020): 80–93. http://dx.doi.org/10.1017/pli.2020.28.

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This article focuses on some of the major scenes of the uncanny in Ivan Vladislavić’s The Exploded View. It identifies, describes, and connects the multiple registers of the uncanny operative in The Exploded View. It considers these multiple registers of the uncanny as parts of an overarching aesthetic framework discernible in the novel. This aesthetic framework, what we could call Vladislavić’s aesthetic of the uncanny, is discussed with a focus on three constituent and dynamic levels of activity: the formal level (textual repetition), the psychosocial level (“the political uncanny” and psych

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36

Pihlaja, Eeva. "“Where, Meantime, Was the Soul?”: The Uncanny as an Aesthetic Image of Impossibility." American Imago 81, no. 1 (2024): 133–54. http://dx.doi.org/10.1353/aim.2024.a923508.

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Abstract: The uncanny experience refers to unsettling feelings that emerge when confronted with events that seem remotely familiar but still strange and opaque. It relies on magical thinking, as the experience seems to take place emphatically in the sensorial realm, partly lacking symbolic quality. In this article, I approach the uncanny as representing an inability to represent, revealing discontinuities and gaps in experience. I suggest that the uncanny representation can be approached creatively and turned into an aesthetic experience. The uncanny as an aesthetic experience enables a creati

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37

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

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AbstractExploring the links between Speculative Realism, psychoanalysis, and literary criticism, this article examines OOO’s entanglement with the ‘uncanny’. Reading OOO against three notable treatments of the concept - Sigmund Freud’s 1919 essay “The ‘Uncanny’”, Ernst Jentsch’s 1906 paper “On the Psychology of the Uncanny”, and Martin Heidegger’s discussion of uncanniness in his Introduction to Metaphysics (1953) - it argues that OOO reconfigures the ‘uncanny’ as a profoundly ontological concept premised on aesthetic enstrangement. Using E.T.A. Hoffmann’s short story “The Sandman” as a case s

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38

Bal, Mieke. "MURDER AND DIFFERENCE: UNCANNY SITES IN AN UNCANNY WORLD1." Literature and Theology 5, no. 1 (1991): 11–19. http://dx.doi.org/10.1093/litthe/5.1.11.

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39

Sellars, Roy. "What Is Uncanny, This Is Uncanny: Beckett's Foreign Language." Oxford Literary Review 42, no. 2 (2020): 283–86. http://dx.doi.org/10.3366/olr.2020.0337.

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40

MacDorman, Karl F., and Steven O. Entezari. "Individual differences predict sensitivity to the uncanny valley." Interaction Studies 16, no. 2 (2015): 141–72. http://dx.doi.org/10.1075/is.16.2.01mac.

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It can be creepy to notice that something human-looking is not real. But can sensitivity to this phenomenon, known as the uncanny valley, be predicted from superficially unrelated traits? Based on results from at least 489 participants, this study examines the relation between nine theoretically motivated trait indices and uncanny valley sensitivity, operationalized as increased eerie ratings and decreased warmth ratings for androids presented in videos. Animal Reminder Sensitivity, Neuroticism, its Anxiety facet, and Religious Fundamentalism significantly predicted uncanny valley sensitivity.

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41

McCuskey, Brian. "Not at Home: Servants, Scholars, and the Uncanny." PMLA/Publications of the Modern Language Association of America 121, no. 2 (2006): 421–36. http://dx.doi.org/10.1632/003081206x129639.

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In “The Jolly Corner” (1908), Henry James locates the uncanny in the servants' quarters at the top of the house, where the genteel protagonist finally corners his ghostly double. James thus prompts us to reread Freud's “The Uncanny” (1919) with a pair of questions in mind. First, how does class identity bear on the uncanny; and, second, how in turn does the uncanny bear on class identity? Steering well clear of servants in his discussion, Freud apparently dodges the issue altogether; a closer look, however, reveals that he cannily represses the social value of the uncanny so as to hold it in r

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42

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

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This article discusses disappearance of uncanny in one of the greatest children novel from The First Golden Age of Children Literature in Britain, Winnie-the-Pooh. The discussion is meant to uncover why the uncanny does not arise when it is read although it has the elements to arise the uncanny. Moreover, the novel is very popular of its canniness. In doing analysis, Freud‘s thoughts on the uncanny help me to find the reason. The analysis resulted that the use of fantasy in the novel and how its story is narrated determine the readers to not concentrate on the uncanny. The disappearance of the

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43

Seyama, Jun'ichiro, and Ruth S. Nagayama. "The Uncanny Valley: Effect of Realism on the Impression of Artificial Human Faces." Presence: Teleoperators and Virtual Environments 16, no. 4 (2007): 337–51. http://dx.doi.org/10.1162/pres.16.4.337.

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Roboticists believe that people will have an unpleasant impression of a humanoid robot that has an almost, but not perfectly, realistic human appearance. This is called the uncanny valley, and is not limited to robots, but is also applicable to any type of human-like object, such as dolls, masks, facial caricatures, avatars in virtual reality, and characters in computer graphics movies. The present study investigated the uncanny valley by measuring observers' impressions of facial images whose degree of realism was manipulated by morphing between artificial and real human faces. Facial images

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44

Lalonde, Amanda. "Flowers over the Abyss: A Musical Uncanny in Nineteenth-Century Criticism." 19th-Century Music 41, no. 2 (2017): 95–120. http://dx.doi.org/10.1525/ncm.2017.41.2.95.

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The term unheimlich (uncanny) comes into usage in German music criticism in the nineteenth century and is often used to describe instrumental music, particularly sections of works featuring the ombra topic. While the idea that instrumental music can be uncanny regardless of text or program is not novel, this work differs from most existing scholarship on the musical uncanny in that it presents a possible precursor to the twentieth-century psychoanalytic uncanny. Instead, it examines Schelling's definition of the uncanny in the larger context of his ideas in order to form a basis for theorizing

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45

Ratajczyk, Dawid. "Uncanny Valley in Video Games: An Overview." Homo Ludens, no. 1 (12) (December 15, 2019): 135–48. http://dx.doi.org/10.14746/hl.2019.12.7.

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The uncanny valley is an idea proposed by Masahiro Mori (1970) regarding negative emotions present in contacts with almost humanlike characters. In the beginning, it was considered only in the context of humanoid robots, but this context was broadened by the development of highly realistic animations and video games. Particularly evident are players’ interests in the uncanny valley. Recently there have been a growing number of reports from empirical studies regarding participants’ perception of highly realistic characters. In the paper, a review of publications concerning the uncanny valley hy

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46

Lydenberg, Robin. "Freud's Uncanny Narratives." PMLA/Publications of the Modern Language Association of America 112, no. 5 (1997): 1072–86. http://dx.doi.org/10.2307/463484.

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Critics who work at the intersection of psychoanalysis and narratology frequently examine Freud's “The Uncanny” (“Das Unheimliche”). A close reading of the anecdotes interpolated in Freud's essay suggests that while narrative is often motivated by an effort to contain charged material, something always escapes that control, threatening to proliferate without stopping. The dual containing and dispersing effect of narrative is reflected in Freud's doubling of himself as narrator and protagonist; in his ambivalence toward women, the maternal, and creativity; and in his attraction and resistance t

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47

Sonnefeld, Bethanie. "The Uncanny Mind." Edgar Allan Poe Review 22, no. 2 (2021): 329–42. http://dx.doi.org/10.5325/edgallpoerev.22.2.0329.

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Abstract Among the psychological interpretations of Edgar Allan Poe's “The Black Cat,” trauma theory has yet to make an appearance. However, the confessional nature of the story shifts—via a trauma reading—from an attempt by the narrator to ease his guilt to his attempt to understand what happened to him. “The Black Cat” reveals a man's search to understand how he committed violent acts when trauma and preconceived self-understandings obscure his ability to reconcile his violent actions. The narrator's murder of his wife traumatized him, causing erasures in the timeline and several forms of di

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48

Kozin, Alexander. "The Uncanny Body." Janus Head 9, no. 2 (2006): 463–84. http://dx.doi.org/10.5840/jh20069212.

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In this essay I explore a possibility of experiential synthesis of the medicalized abnormal body with its aesthetic images. A personal narrative about meeting extreme abnormality serves as an introduction into theorizing aesthetic abnormality. The essay builds its argument on the phenomenological grounds; I therefore approach corporeality with Edmund Husserl and Maurice Merleau-Ponty. In turn, Max Ernst introduces an aesthetic frame for the subsequent examination of uncanny surreality. Two exemplars of the surreal body, Joel Witkins "Satiro" and Don DeLillds "Body Artist," intend to substantia

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49

Levenson, Karen Chase. "Brontë’s Domestic Uncanny." Victorians: A Journal of Culture and Literature 130, no. 1 (2016): 124–38. http://dx.doi.org/10.1353/vct.2016.0017.

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50

Dea, Shannon. "Vico’s Uncanny Humanism." Symposium 11, no. 1 (2007): 211–13. http://dx.doi.org/10.5840/symposium200711121.

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