languages describes ‘uncanny’ as ‘daemonic’ (Freud 221), which speaks for itself. In primitive cultures during the animistic stage of development both producing and eradicating of ‘demons’ or any other form of the evil force required magic or occult technique. Just as magic requires technique, so does the notion of art. ‘Every art and every inquiry, and similarly every action and choice, is thought to aim at some good; and for this reason the good has rightly been declared to be that at which all things aim. But a certain difference is found among ends; some are activities, others are products apart from the activities that produce them. Where there are ends apart from the actions, it is the nature of the products to be better than the activities.’ …show more content…
The Greek word ‘τέχνη’ – ‘techne’ is variously translated as ‘skill’, ‘craft’, ‘knowledge’, ‘form of expertise’, and ‘art’. Thus, when we talk about the essence of art, it can be argued that the uncanny begins with its very moment of creating, as it poses a form of technique applied by an artist. Therefore, just as the independently functioning terms defining the ‘techne’ become interconnected, they can be argued as such without a coherent boundary among them, which can be regarded as a characteristic of the uncanny, namely the transgression of boundaries (Lörke, 124). As a result, this linguistic controversy may be considered as a grounding feature that manifest the uncanniness in art in general, consequently uncanny sensation is triggered by the traces of technique that are persistent in Schiele’s …show more content…
Thus, the transgressed boundaries between visual intertexts can be considered as a source of the uncanny, namely the ‘involuntary’ repetition (Freud 237), where the boundaries of the selfhood – the artist and the other – the viewer, of the present – 1911 and the past – 1910, of the primordial and the death are transgressed. The bulky background shrouds the figures by dark colouring, whereas Schiele distinguishes the figures on canvas through lighter and darker hues of oil. The interplay of the darker and the lighter shades reflects the function of the double – to unite the opposite notions and to transgress the boundaries. Furthermore, the importance of such an interplay is additionally unveiled by Schiele in a letter to Dr. Hermann Engel by stating that ‘Das Bild muss von sich Licht geben, die Korper haben ihr eigenes Licht, das sie beim Leben verbrauchen; sie verbrennen, sie sind unbeleuchtet’ (Nebehay, 1979, 228) that implicitly implies a lifespan from birth to death, which is a prevailing motif of Schiele’s works. The uncanniness is also suggested by fragmentation that is embodied in the portrayal of a detached hand. Furthermore, the title itself transgresses the boundaries in between The Self-Seers I (1910) and The Self-Seers II (Death and Man) (1911) through
Immediately, Aristotle alleges that all actions aim for good, thus proposing that all human activity is to be of some good. These activities attempt to meet a greater end; a chief good met by subordinate desires. However, Aristotle introduces that the nature of good is presumed by convention, not nature, and are administered by politics. Governments determine which sciences and arts are studied, who studies them, and the extent to which they are studied.
3“The busts define the body as both symbolic and imaginary: a cultural means of self-articulation and a psychic image of the self”. In one point of view the effaced busts could also be seen to represent an eclipse of the self. These actions enact the autoerotic and narcissistic procedures of founding a self by internalizing an image of one’s own body. Another way of looking at Antoni’s Lick and Lather is as a pre-symbolic process of identifying oneself through the theory of the imaginary body. The actions she did enact an autoerotic and narcissistic procedure of founding a self by internalizing an image of one’s own body. The process of identification after this process is both productive and destructive of identity, by which it undermines its
“That men are in general divided by a law of nature into two categories, inferior (ordinary) . . . and men who have the gift or talent to utter a new word. . . . The second category all transgress the law. . . . for the most part they seek in very varied ways the destruction of the present for the sake of the better.”
In Hoffmann’s “The Sandman” , there is a re-occurring theme of the uncanny that is commented on by both Sigmund Freud and Ernst Jentsch, who try to explain the uncanny in different ways by highlighting events and imagery that they believe to play a key role in creating it. I however, would argue that the uncanny is a more universal theme in the story and likewise, it’s source will be much more general. In the course of this paper, I intend to prove that the source of the uncanny is the fact that the reader doubts the reality they are presented within the text in the same way that one would doubt the reality that is perceived by a schizophrenic. This is due to the fact that the narrator suffers from schizophrenia and a possible dissociative personality disorder. Furthermore, the events of the short story only occur within the twisted mind of the narrator and represent a series of psychical manifestations that were most likely imagined as a defense mechanism to deal with the traumatic loss of his father and siblings.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
Max Ernst’s work has several dimensions and characteristics, most notably the dubious character of his illustrated worlds that have contributed to the appeal of the audiences. His prime concern was to present irresolvable isolation. As his father inspired his son a penchant for challenging the authority whilst being interested in painting and sketching nature, Ernst was motivated to take up painting himself. Moreover, he studied philosophy and psychology in 1909 at the Bonn University but also later dropped out. Most notably, during the course he visited an asylum and studied the work of the insane, a study inspired by Freud’s theory of the unconsciousness. This proved to be absolutely crucial in his development as an artist and took many ideas incorporated in Freud’s work and used them in order to identify himself – like other surrealists, he used it...
In stark contrast to the naturalistic, photorealism of “Judith and Holofernes,” O’Keeffe’s painting favors colors over humanity, and darkness over warm lighting. Not to say this takes away from the beauty portrayed in the piece; quite the opposite in fact. The portrait, similar to its title, provides an atmosphere of perplexing mystery and oppressive claustrophobia. While both works feature an underlying theme of horror, “Dark Abstraction” goes about relaying this emotion by employing a far subtler method. O’Keeffe’s painting is nightmarish due to the dreamlike logic featured within the canvas. It’s frightening in a way one cannot express easily. For example, when one awakens from a nightmare, any attempt to decipher the thoughts running through one’s mind and varied emotions enclosed in one’s chest is often met with failure. This is why “Dark Abstraction” perfectly accompanies “Judith and Holofernes”; Gentileschi’s painting is a narrative speaking to one’s eyes, while O’Keeffe’s painting speaks to one’s emotions. Both are equally memorable, however different they appear on first
Now, I can truly say that life today has a value for me only because of this; it does not matter what force has to be put in motion, what results can be obtained. The development of all the germs that are present in the individual conformation of human life, this is what I consider the true goal of man on earth, not precisely happiness. (1)
The word “uncanny” has no singular, correct definition to it. It could mean a multitude of things and can be achieved through various techniques outlined by Sigmund Freud. In volume XVII of The Standard Edition of the Complete Psychological Works of Sigmund Freud, Freud gives many definitions of the word “uncanny” and writes the various mechanisms to achieve an uncanny effect. One such mechanism occurs when the imaginary becomes reality. This technique is showcased in the movie Inception made in 2010 and directed by Christopher Nolan. By blurring the lines between imagination and reality, Nolan is able to pique the viewer’s interests, which causes them to become more invested into the movie.
Early in his essay Freud states that there is a variety of feelings regarding the uncanny as well as a diverse history of the term, and that exploring both paths will eventually lead to the conclusion that “the uncanny is that class of the frightening which leads back to what is known of old and long familiar” (825). This statement initially seems to complicate the argument by connecting a feeling of fear
In every idea, object, and person, there are two sides. Especially in people, so many differences can be revealed, but they can all be boiled down to two simplistic elements: good and bad. This philosophy can be discovered in many pieces of literature and art, pieces such as The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson, The Gospel of Matthew, Mark Twain’s Two Ways of Seeing the River, Edvard Munch’s The Scream, and “Vincent” by Don McLean. In order to dissect these works and find the intertwining similarities one must first be aware of the dichotomy of people, objects, and ideas. After doing this, one may see how in all of these works the authors bring to light a similar theme, that one’s perception of a person or thing
The experience of the uncanny is most prevalent in people in relation to death and corpses, to the return of the dead, and to spirits and ghosts
One can desire virtue as an end and a means to happiness, but through experience, they may come to understand virtue as a vital links in the end, so vital that they may come to regard it as an end in itself. (Professor Whited). For example, so many desire money and the see money as a means to their own happiness, they believe that without money they can’t be happy, as time goes by and the enjoy the money and see all the things they can get with money, they might come to regard money as an end. The way money can change people’s mind, is the way virtue can and make people regard it as an it
The human civilisation is composed of innumerable individuals, countless interest groups and social strata, with each of them following the fundamental instinct – striving to maximise their own well-being by obtaining as many benefits as they can and averting as much cost as possible. Unfortunately for humankind, for one to improve one’s life, competing with others is unavoidable. Competitions, by definition, means the winners get something at the expense of others. The good news is that competition among people is not a constant-sum game, that is to say, theoretically, if we can reallocate resources, rights and duties in a certain way, the humankind may benefit maximally. In the most ideal case, the self-interest of each individual and the collective welfare should not outbalance each other. This essay will discuss the thoughts of three of the great thinkers on this matter.
What causes someone to become uncanny? The main cause to someone becoming would more likely would have to do with their childhood. Parents have always told their kids to behave of the monster etc. would come and get you. Kids would most likely behave but they could also be traumatized by it if something would happen they would connect that monster with someone real. Just like Freud used the sandman as an example “ He determined to find out what the Sand-Man looked like; and one evening, when the Sand-Man was again expected, he hid himself in his father’s study. He recognized the visitor as the lawyer Coppelius, a repulsive person of whom the children were frightened when he occasionally came to a meal; and he now identified this Coppelius with the dreaded Sand-Man” (Hoffman 6). In stating this it shows that a the stories of the sandman used to scare the kids to go to bed was beginning to connect to an actual person. This is one main cause of people becoming delusional and having anxiety attacks. When something that was supposed to have been kept a secret and is