It is very difficult to define exactly what these ideas of the 'uncanny' or 'unheimlich' mean. The Uncanny experience is something that we can encounter ourselves, and when we do experience it, it is a very uneasy, and in the extreme, terrifying situation, which is worsened by the fact the it cannot be explained. The uncanny can be portrayed in literature, thus creating the same sense of discomfort among the reader. The way that an author provokes this can be by 'straddling the line between reality and unreality within the fiction itself' Sigmund Freud, 'The Uncanny', in The Standard Edition of the Complete Psychological Works of Sigmund Freud.
Sigmund Freud I It is only rarely that a psycho-analyst feels impelled to investigate the subject of aesthetics, even when aesthetics is understood to mean not merely the theory of beauty but the theory of the qualities of feeling. He works in other strata of mental life and has little to do with the subdued emotional impulses which, inhibited in their aims and dependent on a host of concurrent factors, usually furnish the material for the study of aesthetics.
But it does occasionally happen that he has to interest himself in some particular province of that subject; and this province usually proves to be a rather remote one, and one which has been neglected in the specialist literature of aesthetics.
The subject of the 'uncanny' is a province of this kind. It is undoubtedly related to what is frightening - to what arouses dread and horror; equally certainly, too, the word is not always used in a clearly definable sense, so that it tends to coincide with what excites fear in general.
Yet we may expect that a special core of feeling is present which justifies the use of a special conceptual term. One is curious to know what this common core is which allows us to distinguish as 'uncanny'; certain things which lie within the field of what is frightening.
As good as nothing is to be found upon this subject in comprehensive treatises on aesthetics, which in general prefer to concern themselves with what is beautiful, attractive and sublime - that is, with feelings of a positive nature - and with the circumstances and the objects that call them forth, rather than with the opposite feelings of repulsion and distress.
I know of only one attempt in medico-psychological literature, a fertile but not exhaustive paper by Jentsch But I must confess that I have not made a very thorough examination of the literature, especially the foreign literature, relating to this present modest contribution of mine, for reasons which, as may easily be guessed, lie in the times in which we live; so that my paper is presented to the reader without any claim to priority.
In his study of the 'uncanny'; Jentsch quite rightly lays stress on the obstacle presented by the fact that people vary so very greatly in their sensitivity to this quality of feeling. The writer of the present contribution, indeed, must himself plead guilty to a special obtuseness in the matter, where extreme delicacy of perception would be more in place.
It is long since he has experienced or heard of anything which has given him an uncanny impression, and he must start by translating himself into that state of feeling, by awakening in himself the possibility of experiencing it. Still, such difficulties make themselves powerfully felt in many other branches of aesthetics; we need not on that account despair of finding instances in which the quality in question will be unhesitatingly recognized by most people.
Two courses are open to us at the outset. Either we can find out what meaning has come to be attached to the word 'uncanny' in the course of its history; or we can collect all those properties of persons, things, sense-impressions, experiences and situations which arouse in us the feeling of uncanniness, and then infer the unknown nature of the uncanny from what all these examples have in common.
I will say at once that both courses lead to the same result: How this is possible, in what circumstances the familiar can become uncanny and frightening, I shall show in what follows.
Let me also add that my investigation was actually begun by collecting a number of individual cases, and was only later confirmed by an examination of linguistic usage. In this discussion, however, I shall follow the reverse course.
The German word 'unheimlich'is obviously the opposite of 'heimlich' ['homely'], 'heimisch' ['native'] - the opposite of what is familiar; and we are tempted to conclude that what is 'uncanny' is frightening precisely because it is not known and familiar.
Naturally not everything that is new and unfamiliar is frightening, however; the relation is not capable of inversion.
We can only say that what is novel can easily become frightening and uncanny; some things are frightening but not by any means all.
Something has to be added to what is novel and unfamiliar in order to make it uncanny. On the whole, Jentsch did not get beyond this relation of the uncanny to the novel and unfamiliar. He ascribes the essential factor in the production of the feeling of uncanniness to intellectual uncertainty; so that the uncanny would always, as it were, be something one does not know one's way about in.
The better orientated in his environment a person is, the less readily will he get the impression of something uncanny in regard to the objects and events in it. It is not difficult to see that this definition is incomplete, and we will therefore try to proceed beyond the equation 'uncanny' as 'unfamiliar'.
We will first turn to other languages. But the dictionaries that we consult tell us nothing new, perhaps only because we ourselves speak a language that is foreign. Indeed, we get an impression that many languages are without a word for this particular shade of what is frightening.
I should like to express my indebtedness to Dr. Theodor Reik for the following excerpts: Georges, Deutschlateinisches buch, Rost's and Schenkl's Lexikons.
Uncomfortable, uneasy, gloomy, dismal, uncanny, ghastly; of a house haunted; of a man a repulsive fellow. The Italian and Portuguese languages seem to content themselves with words which we should describe as circumlocutions.
In Arabic and Hebrew 'uncanny' means the same as 'daemonic', 'gruesome'. Let us therefore return to the German language.
I have laid stress on one or two passages by italicizing them. Also heimelich, heimelig, belonging to the house, not strange, familiar, tame, intimate, friendly, etc.
As opposed to wild, e. Among Swabian Swiss authors especially, often as a trisyllable:On the Psychology of the Uncanny ()1 Ernst Jentsch Translator’s preface In his famous essay on the uncanny, first published in ,2 Sigmund Freud begins by complaining that aesthetics has hitherto not paid much attention to the aberrant and the repulsive.
Freud's Interpretations of Uncanny Essay Words 3 Pages Freud’s concept of the “uncanny” is a highly influential and valued in psychoanalysis and literature.
An extraordinary collection of thematically linked essays, including THE UNCANNY, SCREEN MEMORIES and FAMILY ROMANCES.
Leonardo da Vinci fascinated Freud primarily because he was keen to know why his personality was so incomprehensible to his contemporaries/5(2). Freud's Interpretations of Uncanny Essay Words | 3 Pages Freud’s concept of the “uncanny” is a highly influential and valued in psychoanalysis and literature.
Subject: Image Created Date: 9/17/ PM. The Standard Edition of the Complete Psychological Works of Sigmund Freud, [The German word, translated throughout this paper by the English ‘uncanny’, is the uncanny is that class of the frightening which leads back to what is known of old and long familiar.