On Freud S The Uncanny

On Freud’s "The Uncanny" explores Freud’s 1919 essay of the same name and elaboration of the concept of the uncanny and how others or ‘the Other’ can impact on our selves. Catalina Bronstein and Christian Seulin bring together contributions from renowned psychoanalysts from different theoretical backgrounds, revisiting Freud’s ideas 100 years after they were first published and providing new perspectives that can inform clinical practice as well as shape the teaching of psychoanalysis. Covering key topics such as drives, clinical work, the psychoanalytic frame, and the influence of Ferenczi, On Freud’s "The Uncanny" will be useful for anyone wishing to understand the continued importance of the uncanny in contemporary psychoanalysis.

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. In this probing biographical essay he deconstructs both da Vinci's character and the nature of his genius. As ever, many of his exploratory avenues lead to the subject's sexuality - why did da Vinci depict the naked human body the way hedid? What of his tendency to surround himself with handsome young boys that he took on as his pupils? Intriguing, thought-provoking and often contentious, this volume contains some of Freud's best writing.

This is the first book-length study of the uncanny, an important concept for contemporary thinking and debate across a range of disciplines and discourses, including literature, film, architecture, cultural studies, philosophy, psychoanalysis, and queer theory. Much of this importance can be traced back to Freud's essay of 1919, "The uncanny," where he was perhaps the first to foreground the distinctive nature of the uncanny as a feeling of something not simply weird or mysterious but, more specifically, as something strangely familiar. As a concept and a feeling, however, the uncanny has a complex history going back to at least the Enlightenment. Nicholas Royle offers a detailed historical account of the emergence of the uncanny, together with a series of close readings of different aspects of the topic. Following a major introductory historical and critical overview, there are chapters on the death drive, déjà-vu, "silence, solitude and darkness," the fear of being buried alive, doubles, ghosts, cannibalism, telepathy, and madness, as well as more "applied" readings concerned, for example, with teaching, politics, film, and religion. This is a major critical study that will be welcomed by students and academics but will also be of interest to the general reader.

The Unconcept is the first genealogy of the concept of the Freudian uncanny, tracing the development, paradoxes and movements of this negative concept through various fields and disciplines from psychoanalysis, literary theory and philosophy to film studies, genre studies, sociology, religion, architecture theory, and contemporary art. Anneleen Masschelein explores the vagaries of this 'unconcept' in the twentieth century, beginning with Freud's seminal essay 'The Uncanny,' through a period of conceptual latency, leading to the first real conceptualizations in the 1970s and then on to the present dissemination of the uncanny to exotic fields such as hauntology, the study of ghosts, robotics and artificial intelligence. She unearths new material on the uncanny from the English, French and German traditions, and sheds light on the specific status of the concept in contemporary theory and practice in the humanities. This essential reference book for researchers and students of the uncanny is written in an accessible style. Through the lens of the uncanny, the familiar contours of the intellectual history of the twentieth century appear in a new and exciting light.

Schelling, Freud, and the Philosophical Foundations of Psychoanalysis provides a long-overdue dialogue between two seminal thinkers, Schelling and Freud. Through a sustained reading of the sublime, mythology, the uncanny, and freedom, this book provokes the reader to retrieve and revive the shared roots of philosophy and psychoanalysis. Teresa Fenichel examines the philosophical basis for the concepts of the unconscious and for the nature of human freedom on which psychoanalysis rests. Drawing on the work of German philosopher F. W. J. Schelling, the author explores how his philosophical understanding of human actions, based as it was on the ideas of drives, informed and helped shape Freud’s work. Fenichel also stresses the philosophical weight of Freudian psychoanalysis, specifically in regards to the problem of freedom and argues that psychoanalysis complicates and reinforces Schelling’s basic idea: to know reality we must engage with the world empathetically and intimately. This book also serves as an introduction to Schelling’s thought, arguing that his metaphysics—particularly concerning the primacy of the unconscious and of fantasy—can be read as a therapeutic endeavor. Finally, the book offers a deep rethinking of the action and nature of sublimation through both Freud’s and Schelling’s texts. Fenichel suggests psychoanalytic therapy is self-interpretation—a recognition of our narratives as narratives, without for that reason taking them any less seriously. Schelling, Freud, and the Philosophical Foundations of Psychoanalysis will be of great interest to psychoanalysts and psychoanalytic psychotherapists as well as scholars of philosophy.

A new collection from one of the most famous and influential French theorists. These 15 essays - 6 previously unpublished even in French and 5 published in English for the first time - span nearly 40 years of Cixous' writing. Here, she ranges over literature, philosophy, politics and culture in what she calls her 'autobibliography'.

This book explores the sense in which the uncanny may be a distinctively modern experience, the way these unnerving feelings and unsettling encounters disturb the rational presumptions of the modern world view and the security of modern self-identity, just as the latter may themselves be implicated in the production of these experiences as uncanny.

The Queer Uncanny: New Perspectives on the Gothic investigates the diverse roles that the uncanny, as defined by Sigmund Freud, Helene Cixous and other theorists, plays in representing lesbian and male gay sexualities and transgender in a selection of contemporary British, American and Caribbean fiction published 1980-2007. Novels by Christopher Bram, Alan Hollinghurst, Randall Kenan, Shani Mootoo, James Purdy, Sarah Schulman, Ali Smith, Sarah Waters, Jeanette Winterson and other writers are discussed in the context of queer theory and gothic critical writing. The notion of the uncanny as ‘tangential and to one side’ and ‘appearing on the fringe of something else’, as defined by Cixous and Rosemary Jackson, appropriately evokes the situation of the queer individual living in a minority sub-culture and existing in oblique relation to hetero- normative society. Motifs with uncanny connotations discussed include secrets that society would prefer to remain hidden but come to light, spectral visitation, the emergence of repressed fears and desires, the double, and the homely/ unhomely house. Writers employ them to explore topics integral to queer existence. These include secrets relating to the closet and AIDS; homosexual panic; lesbian social invisibility; transgender subjectivity; the intersection between sexuality and race; the vilification of the queer subject as ‘monstrous Other’; the domestic life of the gay couple destabilised by homophobic influences from the public world; and the heterosexual family disrupted by homosexual secrets from within. The queer recasting of gothic motifs, such as the haunted house, the uncanny city, the grotesque body, and the breakdown of the family due to paternal incest, receives attention.