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Freud, 'The Uncanny'R. GrayGerman 390/Comp. 396/Engl 363/CHID 498/JSIS 488/Lit 298'Freud and the Literary Imagination'Lecture Notes: Freud, 'The Uncanny' (1919)I. General Structure of the Essay. 'Uncanny' divided into three sections:. Definition of the uncanny; definitions of the term itself; the semantic field of the opposition of the German words heimlich and unheimlich. Examination of E.T.A.
Hoffmanns (1776-1822) short story 'The Sandman' (1817) and a discussion of the psychoanalytic background and general context required for an understanding of the experience of the uncanny. Deliberations on the effect of the uncanny, in particular its aesthetic instantiation in literature and fiction.Note the prominence of the thematic of eyes and seeing in Freud's essay: loss of eyes as fear of castration; evil eye as manifestation of uncanny; super-ego as double, and its function of self-observation. Freud picks up this theme from Hoffmann's story, which also has many motifs related to eyes and seeing.II. Definition of the Uncanny. Aesthetics and Psychoanalysis merged here. The uncanny is the subject of aesthetics.Why?
Because it has to do with a certain kind of feeling or sensation, with emotional impulses. But in general aesthetics has neglected to study the uncanny, preferring to concentrate on beauty and, generally, on more positive emotions: the attractive, the sublime, etc. The uncanny is something fearful and frightening, and as such it has been neglected in the history of aesthetics. But Modernism marks a turn in asesthetics in general toward a fascination with the ugly, the grotesque: a kind of 'negative' aesthetics. Freud's essay makes a contribution to this supplement to the aesthetics of the 'beautiful' by examining what we might call the aesthetics of the 'fearful,' the aesthetics of anxiety.- Freud will wed psychoanalytic and aesthetic modes of thought to develop his theory of the uncanny; the theory remains incomplete if it fails to regard both of these.
Sigmund Freud The Uncanny Pdf
Freud The Uncanny Pdf
It is important to keep in mind here that Freud interprets beauty in general as an 'inhibited aim': that is, as a sublimated reflection or manifestation of our erotic instincts and impulses. See in this regard the Freud Reader, p. 193.- This essay provides a brilliant example—perhaps the most stunning one in all of Freud’s works—of the intertwining of psychoanalysis with another discipline: here, literary criticism.- In this essay Freud plays the part of a literary critic who tries to explain the effect of a certain kind of literature; he is concerned with literary reception. Coherent with this literary orientation is the fact that he begins his analysis with philological considerations: the meaning of the word 'uncanny' ( unheimlich), its etymology, history, historical development, general use, etc. What is the uncanny?- 'Uncanny,' p.
