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[[Freud]]'s short essay on attibutes the feeling to a [[uncannyrepressed]] is an important landmark in the [[historyinfantile]] of [[psychoanalytic criticismcomplex]], not least in that it moves away from the analysis of [[author]]s and introduces a thematic reading of works of [[literature]] that provoke a sense of dread, unease or [[horror]] in the readerhas been revived.

In this essay [[Freud]] explores HollmannHoffman's stories ''"The Sandman'' and ''The Devil's Elixir'', concentrating on those themes that can be related to " describes the [[fearfigure]] of [[castration]]: severed limbs, the children's eye that are magically removed by Sandman who steals the sandman to feed his own children.He interprets them as an expression eyes of the male conviction that there is something [[uncanny]] or threatening about the female genitals.According to [[Freud]], the feeling of dread arises because the [[uncanny]] (''unheimlich'') is also familiar or homely (''heimlich'').Hoffmaann's stories evoke something that was once familiar, but which has been made unfamiliar and [[uncannychildren]] by [[repression]].The ''unheimlich'' is the entrance - the maternal genitals - to the original human home or ''Heimat''.

[[Freud]]'s argument is underpinned by the philological theory that certain primal words have antithetical meanings and by the observation that [[dream]]s often use a single [[image]] to express contraries.[[Freud]] claims that the seeming antonyms ''heimlich'' and ''unheimlich'' are in fact synonyms adn that they prove that primitive elements still survive in the [[unconscious]].The encounter with the [[uncannysense]] thus relates to the rediscovery of something uncanniness arises from that which is very ancient in both individual fearful and historical termsfrightening.

When Sigmund Freud's essay "The Uncanny" appeared in 1919, he had already made a reference to the 'Das Unheimliche, in Totem and Taboo (1912-1913a), '' is defined as well as bringing up the "omnipotence that [[particular]] variety of thought." This shows [[terror]] that the question had interested Freud relates to what has been known for some a long [[time. Here there are passages on repetition compulsion as well that foreshadow Beyond the Pleasure Principle]], which was published a year later (1920g). A forum has been familiar for intersecting propositions, the essay is also a compendium of references (Ernst Jentsch, Friedrich von Schiller, Ernst Theodor Amadeus Hoffmann) and yet, Freud does not reference the psychoanalytic literature on related topics, such as Pierre Janet's déjà-vu, or Joseph Capgras's illusion of the doublelong time."

To establish his evasive concept, Freud follows two approaches We are presented at the same time: etymology and linguistic variants, and observations or fantasies once with a [[paradox]] that appear in novels. The French, English, and Spanish translations of unheimlich all fail to recapitulate the principal reference Freud does [[nothing]] to alleviate since the familiar, or family (heim, or home), which defines and limits the notion of the uncannyshould not be disquieting.

Das Unheimliche is defined as "that particular variety of terror that relates to what has been known for a long time, has been familiar for a long time." We are presented at once with a paradox that Freud does nothing to alleviate since the familiar should not be disquieting. This proposition is at the heart of Freud's [[ideas ]] about the original [[pleasure]]-ego that coincides with the [[good ]] and rejects the bad. In "[[Instincts ]] and their Vicissitudes" (1915c), we find the same opposition between ego/non-ego, just as we do in "[[Negation]]" (1925h). Still, it is not clear why the familiar should be threatening and therefore, a second element is needed, namely, the secret, the hidden, which gives rise to the notion of hostility and danger. For danger is associated with penetrating what is sealed off, and strangeness—based on an idea Freud borrowed from von Schilling—with the revelation of what should by rights remain hidden because it is the bearer of transgression.

To these linguistic Still, it is not clear why the familiar should be threatening and fantasy associationstherefore, Freud, in the a second part of the essayelement is needed, introduces a number of literary examples (many from Hoffmann)namely, centered primarily on the intellectual uncertainty over whether something is living or not (from Jentsch). There it is shown how [[secret]], the repetition compulsion manifests itself through hidden, which gives rise to the return notion of the repressed. This is true even in situations where we expect the new hostility and with it the return of the dead to life[[danger]].

The theme of the doubleFor danger is associated with penetrating what is sealed off, developed by Otto Rank, whom and strangeness—based on an [[idea]] Freud quotes, is a source of ambivalence: borrowed from von Schilling—with the assurance revelation of survival and a harbinger of death. Consequently, the Unheimliche what should by rights remain hidden because it is connected with the anxiety associated with the return bearer of the repressed and with this the concept receives considerable scope: "With animism, magic, sorcery, the omnipotence of thought, unintentional repetition, and the castration complex, we have for the most part examined all the factors that transform anxiety into the uncanny[[transgression]]."

This essay is certainly one of the most fecundTo these linguistic and [[fantasy]] [[associations]], if not one of the most confused, written by Freud. It represents an exemplary effort at combining literature and psychoanalysis, for Freud helps establish his thesis on in the basis second part of the study of works of literature. The concepts essay, introduces a [[number]] of anxiety associated with the foreign [[literary]] examples (René Spitzmany from Hoffmann) and the secret (Piera Aulagnier) have been the subject of research that does not directly extend Freud's work. However, examination of the supernatural (telepathy, for example) and the analysis of literature based centered primarily on the "anxiety of fiction" [[intellectual]] uncertainty over whether something is [[living]] or not (Mijolla-Mellorfrom Jentsch) are directly related to Freud's study of the uncanny.

See also: Double, This is [[true]] even in situations where we expect the; Fearnew and with it the return of the [[dead]] to [[life]].Source Citation

* Freud, Sigmund. (1919h). Das Unheimliche. Imago, 5: 297-324; GW, 12: 229-268; The "uncanny," SE, 17: 217-256figure of the [[double]] is a source of [[ambivalence]].

* Freud, Sigmund. (1912-1913a). Totem It represents an exemplary effort at combining literature and taboo. SE, 13: 1-161. * Rank, Otto. (1914). The double: A psychoanalytic study. Chapel Hill: University of North Carolina, 1971[[psychoanalysis]].

==References==<references/>* [[Freud, Sigmund]]. (1919h). Das Unheimliche. [[Imago]], 5: 297-324; GW, 12: 229-268; The "uncanny," SE, 17: 217-256.* UNCANNY )(386) CD