The exploration of the 'uncanny' unfolds across three distinct sections:
1. Definition and Terminology: This initial segment delves into the comprehensive definition of the uncanny, encompassing not only its conceptual boundaries but also an in-depth analysis of the term itself. Central to this exploration is the examination of the semantic field encapsulating the opposition between the German words 'heimlich' and 'unheimlich.'
2. Literary Analysis of E.T.A. Hoffmann's "The Sandman": This section engages in a meticulous examination of E.T.A. Hoffmann's short story "The Sandman" (1817). By delving into the narrative, the analysis seeks to unravel the psychoanalytic underpinnings and establish the broader contextual framework essential for comprehending the nuanced experience of the uncanny.
3. Aesthetic Manifestation in Literature: The final segment involves contemplations on the impact of the uncanny, with a specific focus on its aesthetic instantiation within the realms of literature and fiction. This part aims to unravel the ways in which the uncanny manifests itself artistically, delving into its implications for storytelling and its role in eliciting a sense of disquiet and fascination.
It is crucial to note the prominent thematic thread of eyes and seeing woven throughout Freud's essay. This thematic exploration encompasses the fear of castration associated with the loss of eyes, the manifestation of the evil eye as an uncanny phenomenon, and the duality inherent in the super-ego, which functions as a double and engages in self-observation. Freud adeptly picks up on this thematic thread from Hoffmann's "The Sandman," where motifs related to eyes and seeing play a significant role in shaping the uncanny elements of the narrative. This intertextual connection enhances the depth of the analysis, revealing a rich tapestry of symbolic significance and psychological intricacies."
Analysis : Section I
In the opening section of Sigmund Freud's essay "The Uncanny," he introduces the central concept of the uncanny and provides a foundation for its exploration. The uncanny, according to Freud, is a psychological phenomenon characterized by a feeling of unease and discomfort that goes beyond ordinary fear. This sensation arises when something once familiar reemerges unexpectedly, imposing itself upon us in an unwelcome manner.
In the opening section of Sigmund Freud's essay "The Uncanny," he introduces the central concept of the uncanny and provides a foundation for its exploration. The uncanny, according to Freud, is a psychological phenomenon characterized by a feeling of unease and discomfort that goes beyond ordinary fear. This sensation arises when something once familiar reemerges unexpectedly, imposing itself upon us in an unwelcome manner.
Freud begins by assuming a level of familiarity with psychoanalytic concepts, making the text potentially challenging for newcomers to his work. However, this section is crucial in understanding Freud's assumptions and methodological approach, particularly his application of psychoanalysis to cultural and artistic phenomena.
It is essential to contextualize the essay within the timeline of Freud's career; "The Uncanny" was published in 1919, a period when the foundational principles of psychoanalysis were well-established. At this point, Freud felt confident in extending psychoanalysis to encompass cultural and anthropological inquiries.
Freud's interest in art stems from its intrinsic connection to fantasy, the instinctual, and the irrational. He argues that art serves as a medium through which the unconscious expresses itself in the form of images, symbols, and signs. While Freud usually emphasizes the personal expression of an artist's wishes or repressed memories, in this essay, he views art, especially literature, as a collective and universal repository for humanity's fears and suppressed memories.
This perspective on art aligns with Freud's use of language and linguistics to elucidate shared cultural beliefs. He contends that seemingly innocuous phrases often conceal meanings and connections between ideas or emotions that once resided in our minds but now lie dormant—latent and yet undeniably present. A linguistic analysis, therefore, reveals the intricate interplay between the word "unheimlich" (uncanny) and its antithesis, "heimlich" (familiar), which denotes relatedness to the home, secrecy, and danger. German speakers, according to Freud, use these words instinctively, grasping the emotional resonance and interconnectedness between them.
Freud's linguistic investigation extends to a survey of nineteenth-century German literary works, incorporating well-known authors such as Goethe and Schiller, as well as lesser-known figures like Gotthelf, Auerbach, Gutzkow, and Pestalozzi.
The essay showcases Freud's argumentative style, where he subtly intertwines broader cultural and psychological arguments within the study of an extreme or isolated case. In contrast to traditional aesthetics focusing on the positive effects of art, Freud centers his inquiry on horror, discomfort, and anxiety. By scrutinizing a phenomenon often associated with genres struggling for recognition, like horror, Freud aims to illuminate a fundamental aspect of the symbiotic relationship between art and our psychic lives.
This rhetorical strategy mirrors Freud's psychoanalytic writings, blurring the demarcation between "neurotic" cases and the human condition at large, as well as the line between health and illness. Freud skillfully veils whether his observations exclusively pertain to "morbidly anxious" or "neurotic" individuals or if they encompass psychic processes universally experienced by all human beings. He coyly claims immunity to the uncanny while relying on his own experiences as evidential support.
In essence, Freud's opening section succinctly introduces the central hypothesis, weaving together themes of cultural analysis, linguistics, literature, and psychoanalysis. It sets the stage for a deeper exploration of the uncanny and its profound implications for artistic and human experience.
Section II
In the second section of Freud's essay, he embarks on a thorough exploration of the uncanny, drawing upon diverse examples and phenomena to formulate his theory. Freud intricately dissects the uncanny experiences and effects that have long fascinated readers and viewers, resonating with their inherent fears and anxieties. He keenly observes that motifs such as helplessness in dreams, the animation of inanimate objects, encounters with doubles, and the return of the dead continue to captivate audiences within the horror genre.
Freud showcases his expertise in psychoanalysis by seamlessly integrating elements from existing theories while providing his unique insights. While incorporating Jentsch’s concept of the uncanny and embracing Schelling’s notion of the return of the hidden, Freud goes beyond these perspectives to delve into the depths of his own psychoanalytic practice. He reveals that the roots of the uncanny lie in the recesses of our memories, desires, and fears—traces from infancy or earlier stages of human existence that have been repressed or overcome.
At the core of Freud’s argument is the peculiar feeling of familiarity associated with the uncanny, distinguishing it from mere fear. He posits that this sensation is a form of recollection, a stirring of memories once considered irretrievable. For example, the animation of dolls triggers a reminiscence of our childhood belief in their lifelike qualities, when we were convinced that we could control the animate spirits inhabiting the world. Similarly, the fear of losing one’s eyes harkens back to the childhood dread of castration, a universal experience among male children when confronted with their burgeoning sexuality. Freud unveils how the uncanny represents the recollection of our time in the womb, manifesting as the terrifying prospect of being buried alive.
Moreover, Freud adeptly intertwines the development of humanity with the psychological development of children, illuminating striking parallels between the beliefs held by children, neurotics, and “primitive man,” particularly the narcissistic belief in the omnipotence of one’s thoughts. By establishing these connections, he suggests that the uncanny, while commonly associated with neurotics, is an intrinsic aspect of human consciousness.
As Freud’s argument unfolds, readers may initially find his conclusions challenging to accept. However, it is essential to note that his analysis of E.T.A. Hoffmann’s “The Sand-Man” is widely regarded as definitive. Freud perceptively dissects the intricate interplay between the story’s familial dynamics and the unsettling Olympia episode, elucidating how Nathaniel’s narcissistic love for a character devoid of personality encapsulates the traumatic experiences of his past. He proposes that Hoffmann may have been driven by personal experiences to craft a chilling tale or intentionally employ the uncanny as a narrative device.
Freud expertly melds his psychoanalytic expertise with literary analysis, adeptly navigating the realm of the uncanny. He offers a rich tapestry of insights, unveiling the hidden layers of our psychic lives and shedding light on the intricate interplay between repressed memories, childhood fears, and the universal allure of the uncanny. Freud’s profound observations not only deepen our understanding of the uncanny phenomenon but also underscore the enduring relevance of his psychoanalytic approach in exploring the complex depths of human experience.
Section III
Section III
In the third segment of Freud’s essay, he immerses himself in examining how authors creatively employ the uncanny and the implications this has for artistic expression. Freud recognizes the uncanny's capacity to evoke profound emotions and delve into the intricacies of the human psyche, attributing it with a substantial role in literature and art.
According to Freud, the primary wellspring of the uncanny in literature lies in the presence of repressed desires and fears within the reader's own unconscious. He contends that works of fiction act as potent stimuli, awakening these latent emotions and eliciting responses that are both unsettling and captivating. Freud unveils the underlying psychological mechanisms at play, providing valuable insights into the intricate dynamics among the artist, the work, and the audience. He emphasizes the motif of the "double," wherein characters encounter their doppelgängers or face mirrored versions of themselves, generating an unsettling sensation that challenges the stability of identity and blurs the boundaries between self and other.
Examining the role of repetition in creating an uncanny effect, Freud argues that recurrent themes, symbols, or patterns intensify the sense of the uncanny. The repetition of certain elements elicits a feeling of familiarity while concurrently fostering unease and ambiguity. Additionally, he underscores the significance of the "omnipotence of thoughts" in generating the uncanny, asserting that the influence of thoughts and fantasies on reality blurs the line between imagination and actuality, contributing to the uncanny experience.
Freud illustrates the interplay between the conscious and unconscious aspects of the creative process, suggesting that artists, often unconsciously, tap into their repressed emotions and desires, infusing their works with an uncanny quality. This notion sheds light on the profound connection between the artist’s personal experiences and the universality of the uncanny in artistic expression.
Freud’s analysis underscores the transformative potential of art. He posits that literature, through its evocation of the uncanny, provides a means for individuals to confront their deepest fears and desires in a controlled and symbolic manner. Thus, the uncanny becomes a vehicle for catharsis and self-discovery, allowing individuals to grapple with their innermost conflicts and anxieties.
In unraveling the mysterious nature of the uncanny, Freud enhances our comprehension of the profound impact of art on the human experience. "The Uncanny" stands as a testament to Freud’s groundbreaking exploration of the subconscious and its profound influence on our understanding of literature and human psychology.
