...Familiarity in the Unfamiliar: Freud’s The Uncanny Sigmund Freud combines both aesthetics and psychoanalysis to produce his theory of the uncanny, as he provides a definition of the sensation through the German word ‘unheimlich’. The uncanny is described as something that is secretly familiar, but because it has been repressed in the past and brought forward again, it invokes the feeling of fright and unease. This uneasiness is attributed to the familiar unfamiliarity created through the process of repression and reintroduction. Freud provides the example of ‘The Sand Man’, arguing that the main source of the uncanny in the story is not the wooden doll Olympia, but the Sand Man who tears out children’s eyes. His reasoning involves going back to a child’s apprehension of damage or loss of the eyes, which continues on to adulthood. Although the fear is justifiable, Freud reasons that the fear surrounding the eyes can still be connected to fear of castration....
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...Uncanny is a feeling that is uncomfortable, unfamiliar, and fearful. It is related to what is frightening. These are most words that clarify the meaning of uncanny and most of the time when searching through new words, nothing new will be found. So, Freud claims that different languages have different explanations of the word uncanny. For example, in Latin: uncanny place is locus suspectus. In French: sisntre, mai a son aise. In Spanish: sospechoso. Freud in this article adds feeling to art and beauty, however, every artist when making a piece of art will definitely add his/her feeling. And that’s because every perception is different from the other since it’s all about the feelings. The word uncanny is not only about a strange or weird feeling...
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...3673 THE ‘UNCANNY’ (1919) Freud - Complete Works. Ivan Smith 2000. All Rights Reserved. 3675 THE ‘UNCANNY’ 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...
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...computer-generated image. The Internet evolved from a largely text-based platform to one saturated with images, propelled by the power of visual symbols. Linking the chimeric nature of both theater and alchemical symbols, Antonin Artaud describes how “theatre’s virtual reality develops... [on the] dreamlike level on which alchemist signs are evolved.” For Artaud, since alchemical signs are “like a mental Double of an act effective on the level of real matter alone, theatre ought to be considered as the Double, not of this immediate, everyday reality... but another, deadlier archetypal reality.” Theater has always been a virtual reality where actors imaginatively conspire with audiences to conjure a belief where the individual exists both as “character” in the theatrical sense and as a “performer” whose function is precisely to fabricate their own “character.” Lacan’s theory of the mirror stage emphasizes the misconceived, “fictitious invention” of identity and the ego. This is conceived through the narcissistic lure of the apparently whole yet ultimately phantasmic projection of the subject’s body double in the frame of the mirror “by which the subject anticipates in a mirage the maturation of his power.” Identity is thus falsely constructed as a unity, while “by identifying with the imaginary mirage of the whole body, the ‘real’ of the fragmented body is repressed.” The digital is a continual process of translation and apprehension (the creation of an interface) by which data is converted...
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...Cunningham’s Specimen Days Olu Jenzen Early conceptions of trauma are intimately linked not only with modernity but specifically with the height of industrialisation (Micale and Lerner 2001). This is converged in the opening of Specimen Days particularly in the image of an industrial accident at the ironworks where a young man is killed by the stamping machine. His young brother, replacing him at the machine after the funeral, then experiences an apparition of the dead brother still trapped inside the machine, which leads him to believe that all machines house entrapped ghosts of the dead. Writing on the Victorians’ anxieties about internal disruption caused by the advent of the railway, Jill Matus (2001, 415) has pointed out that, Freud himself remarked in Beyond the Pleasure Principle (1920), [that] there is ‘a condition [which] has long been known and described [and] which occurs after severe mechanical concussions, railway disasters and other accidents involving a risk to life; it has been given the name of traumatic neurosis’ (12). Freud’s remark brings to the fore the traumas of the industrial age as both individually and publicly experienced and negotiated. This condition of trauma as private and public, individual yet also societal is held in tension throughout Cunningham’s novel. Reflecting on the otherness of trauma and its vexed relationship to representation, this article will consider some aspects of the writing of trauma in Michael Cunningham’s 2005 novel...
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...and the young Wharton began to recover. During her convalescence, she read voraciously. One of the books she was given contained a “super-natural” tale — a story which turned out to be, in Wharton’s own phrase, “perilous reading” (Wharton, p.275). In the original manuscript of her autobiography, Edith Wharton describes how reading this uncanny story occasioned a relapse, which brought her, once again, “on the point of death”: This one [book] brought on a serious relapse, and again my life was in danger and when I came to myself, it was to enter a world haunted by formless horrors. I had been a naturally fearless child; now I lived in a state of chronic fear. Fear of what? I cannot say — and even at the time, I was never able to formulate my terror. It was like some dark undefinable menace forever dogging my steps, lurking, threatening; (pp.275‑6).[1] According to Wharton, an act of reading plunged her body back into fatal illness. The young Edith Wharton did recover from the relapse, but its uncanny effects continued to haunt her well into adulthood. In “Women and Madness: the Critical Phallacy” (1975), Shoshana Felman tells another uncanny story of reading. Analyzing the critical commentary that brackets Balzac’s Adieu in a Gallimard/Folio pocket edition, she demonstrates how two scholars, Pierre Gascan and Patrick Bertier, effectively rewrite Balzac’s story by focusing their analyses entirely on a section of historical backstory – despite the fact that this element comprises...
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...Examine the use David Simpson makes of Ẑiẑek’s theoretical work in his study 9/11: The Culture of Commemoration. “The routines of commemorative culture, whether private or public, exist to mediate and accommodate the unbearably dissonant agonies of the survivors into a larger picture that can be metaphysical or national-political and is often both at once.” (Simpson 2) David Simpson’s study 9/11: The Culture of Commemoration published in 2006 focuses on a post-9/11 America wracked by fear and paranoia. The “war against terror” implacably positions the American nation against vengeful messianic Islamist “terrorists” who represent the other, the enemy, and are identifiable en masse as “the culture of terror”. The tragic events of the day known globally as 9/11 shattered any illusion Americans might have had about an ethic of tolerance operating both within and without their borders. But Simpson notes in his introductory arguments that while that day has been represented as a rupture with known reality it had a familiarity about it that can be traced over time to the influence of television and film, and was thus already embedded within American culture as a shocking explosive tragedy waiting to happen. Simpson states unequivocally that it’s time we turned to “those who speak for theory” to guide and lead us towards a new cultural understanding of 9/11, mentioning the Slovenian philosopher and cultural theorist Slavoj Ẑiẑek as part of a respected cohort of theorists: “The...
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...Chapter 1 SIGMUND FREUD AN INTRODUCTION Sigmund Freud, pioneer of Psychoanalysis, was born on 6th May 1856 in Freiberg to a middle class family. He was born as the eldest child to his father’s second wife. When Freud was four years old, his family shifted and settled in Vienna. Although Freud’s ambition from childhood was a career in law, he decided to enter the field of medicine. In 1873, at the age of seventeen, Freud enrolled in the university as a medical student. During his days in the university, he did his research on the Central Nervous System under the guidance of German physician `Ernst Wilhelm Von Brucke’. Freud received his medical degree in 1881and later in 1883 he began to work in Vienna General Hospital. Freud spent three years working in various departments of the hospital and in 1885 he left his post at the hospital to join the University of Vienna as a lecturer in Neuropathology. Following his appointment as a lecturer, he got the opportunity to work under French neurologist Jean Charcot at Salpetriere, the famous Paris hospital for nervous diseases. So far Freud’s work had been entirely concentrated on physical sciences but Charcot’s work, at that time, concentrated more on hysteria and hypnotism. Freud’s studies under Charcot, which centered largely on hysteria, influenced him greatly in channelising his interests to psychopathology. In 1886, Freud established his private practice in Vienna specializing in nervous diseases...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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...LACAN AND CONTEMPORARY FILM EDITED BY TODD McGOWAN and SHEILA KUNKLE OTHER Other Press New York Copyright © 2004 Todd McGowan and Sheila Kunkle Production Editor: Robert D. Hack This book was set in 11 pt. Berkeley by Alpha Graphics, Pittsfield, N.H. 10 9 8 7 6 5 4 3 2 1 Allrightsreserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from Other Press LLC, except in the case of brief quotations in reviews for inclusion in a magazine, newspaper, or broadcast. Printed in the United States of America on acid-free paper. For information write to Other Press LLC, 307 Seventh Avenue, Suite 1807, New York, NY 10001. Or visit our website: www.otherpress.com. Library of Congress Cataloging-in-Publication Data McGowan, Todd. Lacan and contemporary film / by Todd McGowan & Sheila Kunkle. p. cm. Includes bibliographical references and index. ISBN 1-59051-084-4 (pbk : alk. paper) 1. Motion pictures-Psychological aspects. 2. Psychoanalysis and motion pictures. 3. Lacan, Jacques, 1901- I. Kunkle, Sheila. II. Title. PN1995 .M379 2004 791.43'01 '9-dc22 2003020952 Contributors Paul Eisenstein teaches literature and film in the English department at Otterbein College, Columbus, Ohio, and is the author of Traumatic Encounters: Holocaust Representation and the Hegelian Subject (SUNY Press, 2003). Anna Kornbluh...
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...HISTORY AND THEORY STUDIES FIRST YEAR Terms 1 and 2 Course Lecturers: CHRISTOPHER PIERCE / BRETT STEELE (Term 1) Course Lecturer: PIER VITTORIO AURELI (Term 2) Course Tutor: MOLLIE CLAYPOOL Teaching Assistants: FABRIZIO BALLABIO SHUMI BOSE POL ESTEVE Course Structure The course runs for 3 hours per week on Tuesday mornings in Terms 1 and 2. There are four parallel seminar sessions. Each seminar session is divided into parts, discussion and submission development. Seminar 10.00-12.00 Mollie Claypool, Fabrizio Ballabio, Shumi Bose and Pol Esteve Lecture 12.00-13.00 Christopher Pierce, Brett Steele and Pier Vittorio Aureli Attendance Attendance is mandatory to both seminars and lectures. We expect students to attend all lectures and seminars. Attendance is tracked to both seminars and lectures and repeated absence has the potential to affect your final mark and the course tutor and undergraduate coordinator will be notified. Marking Marking framework adheres to a High Pass with Distinction, High Pass, Pass, Low Pass, Complete-toPass system. Poor attendance can affect this final mark. Course Materials Readings for each week are provided both online on the course website at aafirstyearhts.wordpress.com and on the course library bookshelf. Students are expected to read each assigned reading every week to be discussed in seminar. The password to access the course readings is “readings”. TERM 1: CANONICAL BUILDINGS, PROJECTS, TEXTS In this first term of...
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...Philosophy and Design Pieter E. Vermaas • Peter Kroes Andrew Light • Steven A. Moore Philosophy and Design From Engineering to Architecture Pieter E. Vermaas Delft University of Technology Delft the Netherlands Andrew Light University of Washington Seattle USA Peter Kroes Delft University of Technology Delft the Netherlands Steven A. Moore University of Texas Austin USA ISBN 978-1-4020-6590-3 e-ISBN 978-1-4020-6591-0 Library of Congress Control Number: 2007937486 © 2008 Springer Science + Business Media B.V. No part of this work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the Publisher, with the exception of any material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Printed on acid-free paper. 9 8 7 6 5 4 3 2 1 springer.com Contents List of Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Design in Engineering and Architecture: Towards an Integrated Philosophical Understanding . . . . . . . . . . . . . . . . . Peter Kroes, Andrew Light, Steven A. Moore, and Pieter E. Vermaas Part I Engineering Design ix 1 Design, Use, and the Physical and Intentional Aspects of Technical Artifacts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...The New Astrology by SUZANNE WHITE Copyright © 1986 Suzanne White. All rights reserved. 2 Dedication book is dedicated to my mother, Elva Louise McMullen Hoskins, who is gone from this world, but who would have been happy to share this page with my courageous kids, April Daisy White and Autumn Lee White; my brothers, George, Peter and John Hoskins; my niece Pamela Potenza; and my loyal friends Kitti Weissberger, Val Paul Pierotti, Stan Albro, Nathaniel Webster, Jean Valère Pignal, Roselyne Viéllard, Michael Armani, Joseph Stoddart, Couquite Hoffenberg, Jean Louis Besson, Mary Lee Castellani, Paula Alba, Marguerite and Paulette Ratier, Ted and Joan Zimmermann, Scott Weiss, Miekle Blossom, Ina Dellera, Gloria Jones, Marina Vann, Richard and Shiela Lukins, Tony Lees-Johnson, Jane Russell, Jerry and Barbara Littlefield, Michele and Mark Princi, Molly Friedrich, Consuelo and Dick Baehr, Linda Grey, Clarissa and Ed Watson, Francine and John Pascal, Johnny Romero, Lawrence Grant, Irma Kurtz, Gene Dye, Phyllis and Dan Elstein, Richard Klein, Irma Pride Home, Sally Helgesen, Sylvie de la Rochefoucauld, Ann Kennerly, David Barclay, John Laupheimer, Yvon Lebihan, Bernard Aubin, Dédé Laqua, Wolfgang Paul, Maria José Desa, Juliette Boisriveaud, Anne Lavaur, and all the others who so dauntlessly stuck by me when I was at my baldest and most afraid. Thanks, of course, to my loving doctors: James Gaston, Richard Cooper, Yves Decroix, Jean-Claude Durand, Michel Soussaline and...
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...How We Know What Isn't So The Fallibility of Human Reason in Everyday Life Thomas Gilovich THE FREE PRESS A Division of Macmillan, Inc. NEW YORK To Karen and liana Contents Acknowledgments 1. Introduction vn 1 PART ONE Cognitive Determinants of Questionable Beliefs 2. Something Out of Nothing: The Misperception and Misinterpretation of Random Data 3. Too Much from Too Little: The Misinterpretation of Incomplete and Unrepresentative Data 4. Seeing What We Expect to See: The Biased Evaluation of Ambiguous and Inconsistent Data 9 29 49 PART TWO Motivational and Social Determinants of Questionable Beliefs 5. Seeing What We Want to See: Motivational Determinants of Belief 6. Believing What We are Told: The Biasing Effects of Secondhand Information 7. The Imagined Agreement of Others: Exaggerated Impressions of Social Support 75 88 112 Contents PART THREE Examples of Questionable and Erroneous Beliefs 8. Belief in Ineffective "Alternative" Health Practices 9. Belief in the Effectiveness of Questionable Interpersonal Strategies 10. Belief in ESP 125 146 Acknowledgments 156 PART FOUR Where Do We Go from Here? 11. Challenging Dubious Beliefs: The Role of Social Science Notes Index 185 195 214 Four people made unusually significant contributions to this work and deserve special thanks. Lee Ross commented on drafts of many of the chapters and provided a number of his uniquely...
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