31 January 2010

Sigmund Freud's The 'Uncanny'

Freud begins by addressing the common definitions of 'uncanny' in several languages. He follows this by explaining how it holds a complete opposite definition in the German language and in its translation, Heimlich.

To follow Freud examines the work of E.T.A. Hoffman's "The Sand-Man." The story chronicles the tragic and somewhat bizarre tale of a boy who witnesses the demise of his father at the hands of the Sand-Man. Freud examines this piece of literature to explain how the author deploys a writing technique that pushes the reader in to accepting or embracing the vision of the main character; whether he be sane or not. In the story, the main character also falls madly in love with a lifeless doll, Olympia.

While reading Freud's work I was reading close and trying to examine how it pertains to the class overall, and first noticed an appearance of just such a moment in the lines, "a doll which
appears to be alive . . . particularly favourable condition for awakening uncanny feelings is created when there is intellectual uncertainty whether an object is alive or not, and when an inanimate object becomes too much like an animate one."

Sounds familiar, no? Freud explains how there is generally no fear in the reanimation or animation of lifeless objects. He does, however, place a level of fear when one creates or views their "double." A creation of the ego. Freud goes on to explain why many experiences in our youth can be contributed to the creation of our fears or opinions of the uncanny when older, and this (I believe) is what Freud is trying to explain. That the creation of what we perceive as uncanny is founded in the choices and experiences of our youth.

Freud explains how with reason and logic that it is easy to understand why such thoughts of resurrection or other such fictional ideas can enter our thoughts. However, he explains that even though scientific evidence fails to support these uncanny ideas that regardless of their improbability, if coincidence arises it will still provoke thought of the possible (and yet unexplainable).

Overall it seems Freud is attempting to explain how it is difficult or possibly impossible to rid one's self of the overwhelming urge to fall prey to the uncanny ideas that are the result of our psychological development as children. That there could be something else in the darkness; that we can wield almighty power; or that the unexplained is merely the yet to be solved.

2 comments:

  1. Thanks for a great start on our thinking about the Uncanny, and for the course in general, Dustin.

    As we move forward, and begin answering the question of 'how might we use the Uncanny to think about zombie movies/novels/games', I think a useful parallel question for us will be to think about why/if the concept of the Uncanny is useful to us at all. That is, what work might the Uncanny that traditional breakdowns of horror/terror may not encompass?

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  2. Wow. That was a great job summing it up and explaining how it's important. Kudos.

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