Syftet med denna uppsats är att undersöka hur det kusliga kan skapas och användas i litteraturen. De litterära verk som analyseras är Maria Gripes Tordyveln flyger i skymningen och Agnes Cecilia – en sällsam historia. Analysen utgår från tankar om det kusliga som huvudsakligen återfinns i Sigmund Freuds essä ”Das Unheimliche” (”Det kusliga”) från 1919. Även Viktor Sklovskijs främmandegöringsbegrepp används för att analysera Gripes texter. Studien visar att romanerna främmandegör bland annat naturen och tiden för läsaren, medan det kusliga i dem – som inledningsvis kan uppfattas som hotfullt och farligt – visar sig peka i positiv riktning, mot förening och försoning. Slutsatsen är att det kusliga i Tordyveln och Agnes Cecilia används på okonventionella sätt, vilket leder till en främmandegöring av det kusliga i sig självt. / The purpose of this essay is to examine how the uncanny can be created and used in literature. This is done by analyzing Maria Gripe’s novels Tordyveln flyger i skymningen and Agnes Cecilia – en sällsam historia. The analysis is based on thoughts pertaining to the uncanny that mainly can be found in Sigmund Freud’s essay “Das Unheimliche” (“The Uncanny”) from 1919. Viktor Sklovskij’s theory on defamiliarization is also used to analyze Gripe’s texts. Among other things the study shows that the novels defamiliarize nature and time for the reader. At the same time the uncanny – which initially can be perceived as threatening or dangerous – turns out to be pointing in a positive direction, toward unification and reconciliation. The conclusion is that the uncanny in Tordyveln and Agnes Cecilia is used in unconventional ways, which leads to a defamiliarization of the uncanny in itself.

Hin Ondes hus är Aurora Ljungstedts debutroman från 1853. Tidigare forskning har uppmärksammat romanen som en av Sveriges första och mest renodlade gotiska romaner. Hur ideologiska aspekter såsom genusfrågor kommer till uttryck i texten är dock outforskat till övervägande del. Den här studiens syfte är därför att öka förståelsen för hur romanens gotiska element kan kopplas till genusfrågor. Detta åstadkoms genom att romanen analyseras utifrån teoribildningen female gothic. Analysen visar att romanens dramaturgi och skräckskildringar till övervägande del följer de konventioner som förknippats med female gothic. Typiskt gotiska motiv, som dubbelgångare, ödesbestämdhet och känslan av das unheimliche bidrar också till att kvinnan skildras som utsatt och maktlöshet i hemmet, äktenskapet och patriarkatet. En implikation av analysen är att Ljungstedts texter redan tidigt i författarskapet präglades av ett kvinnoperspektiv. / Hin Ondes hus [The House of the Devil] is Aurora Ljungstedt’s debut novel from 1853. Earlier research has recognized the novel as one of Sweden’s first and most distinctive Gothic novels. However, in what ways ideological aspects, such as gender issues, are expressed in the text is largely unexplored. Therefore, the purpose of this study is to further the understanding of how the novel's Gothic elements are related to gender issues. This is achieved by analyzing the novel using Female Gothic theory. The analysis shows that the novel's plot and depictions of fear largely align with the conventions associated with the Female Gothic. Typical Gothic motifs, such as doubles, a sense of predetermination, and a sense of das unheimliche also contribute in portraying the woman as vulnerable and powerless in the home, in marriage and in patriarchy. One implication of the analysis is that Ljungstedt's texts were characterized by a woman’s perspective from early on in her writing.

This essay is a study of the portrayal of the theme of alienation in Eugene Ionesco's novel The hermit. In my study I examine the different ways in which the theme of alienation is portrayed and how the cause of the narrator's experience of alienation can be found in ideological, psychological and existential conflicts that the narrator has to face. The result is an experience of das unheimliche, a Freudian concept, which is a kind of uncanny detachment that the narrator experiences, when he is put up against an invisible force that lurks in the perifery of the world, which is portrayed in the story. The meaning of the ideological conflict is a portrayal of man's situation in a world that is ruled by capitalism, with marxism as a positive leveler and the meaning of the psychological conflict is a conflict in the narrator's own inner reality. The meaning of the existential conflict is a portrayal of man's situation in a world absent of God. The novel by Ionesco points at these conflicts and also offers a solution to the limitations, that are caused by alienation by transcending them. In my study I focus on the function of language, biblical imagery, allegory and the theories that are being used to define the ideological (marxist theory) and existential (Albert Camus' theory of the absurd) conflicts. In my analysis I have also used Camus' The stranger in comparison with Ionesco's novel.

Zugl.: Turin, University, Diss.

Zugl.: Jena, Univ., Magisterarbeit, 2004 / Hergestellt on demand

La thèse prétend discuter des analogies intimes révélées entre le travail de l’art conceptuel tel qu’il est conçu par Joseph Kosuth, comme un processus de production de sens, et le travail analytique tel qu’il est élaboré par Sigmund Freud. Elle travaille donc à partir de l’interface entre l’art et la psychanalyse comme deux expériences de production de signification. Elle interroge le sens à partir des particularités inhérentes à chacun des discours et des pratiques concernés, mais aussi à partir de ce qui semble les réunir, à savoir : les mécanismes impliqués dans la production de sens au sein de l’art conceptuel comme de la psychanalyse conduisent à une expression hybride relevant des rapports entre le langage et l’image, entre un discours qui se poste aux limites du dicible et une image qui se place aux limites du visible.L’hybridité du sens relève d’une incertitude intellectuelle, d’un franchissement des limites et d’une ambiguïté impliqués dans la notion de l’Unheimlich. Cette dimension singulière de l’expérience humaine concerne le sujet de l’inconscient et la création artistique. En suivant les déclarations de Joseph Kosuth lui-même, son travail relèverait de l’Unheimlich. La thèse analyse ainsi l’expérience procurée par l’art conceptuel à partir de cette notion qui apparaît dans l’oeuvre freudienne en 1919 dans le cadre d’une investigation sur l’esthétique.Freud ne parle de l’esthétique en tant que théorie du beau mais comme effet affectif procuré par l’oeuvre d’art. De notre côté, nous soutenons l’idée selon laquelle la création artistique relèverait toujours de l’affectivité, même si cette question peut s’avérer controversée dans le contexte de l’art conceptuel. C’est dans ce sens que nous analysons l’expérience procurée par le travail de Kosuth, c’est-à-dire comme une expérience affective de l’ordre de l’Unheimlich / This thesis proposes to discuss the analogies revealed between conceptual art work, as it is conceived by Joseph Kosuth, as a meaning production process, and the analytical work as elaborated by Sigmund Freud. We then work from the interface between art and psychoanalysis as two meaning producing experiences. We question the meaning from the particularities inherent in each of these discourses and practices involved, but also from what it seems to bring them together, namely: the mechanisms involved in the production of meaning in conceptual art as well as in psychoanalysis lead to a hybrid expression indicating the relationship between language and image, between a discourse that lies within the limits of the sayable and an image that is located within the limits of the visible.The hybridity of sense sends us to an intellectual uncertainty, a crossing of limits and an ambiguity that are related to the notion of Unheimlich. This singular dimension of human experience concerns the subject of the unconscious and artistic creation. Following the statements of Joseph Kosuth himself, his work fits into the dimension of Unheimlich. This thesis then analyzes the experience raised by conceptual art from this notion that appears in the Freudian work in 1919, in the context of a research on aesthetics.Freud doesn’t speak of aesthetics as a beauty theory, but as an affective effect promoted by the work of art. From our point of view, we hold the idea that artistic creation is always related to affectivity, even if it is a controversial issue with regard to conceptual art. It is in this sense that we analyze the experience promoted by the work of Kosuth, that is, as an affective experience of the order of the Unheimlich.

Föreliggande arbete har undersökt musik och ljuds roll i skräckspel och dess olika komponenter. De perspektiv som lyfts fram utgår från tre olika yrkesroller inom spelbranschen; kompositörer, ljuddesigners och programmerare. Undersökningen fokuserar på deras syn på vilka komponenter som de anser viktiga i skräckspel, samt deras syn på vilken roll ljud och musik har för den perceptionella upplevelsen av spelet. Genom kvalitativa intervjuer har empiri om hur dessa aktörer går till väga för att skapa musik och ljud samt deras tankarna bakom dessa val. När data samanställdes kunde vissa faktorer urskiljas som mer betydelsefulla än andra. Dessa faktorer var tystnad, frekvenser, atmosfärer, ljudande komponenter och psykologiska aspekter. Studien visar att ljud och musik har en mer central och bärande roll i skräckspel än i andra spelgenre då den klingande världen har en berättande och ledande funktion. Empirin visar på att spelet ofta begränsar spelarens visuella, rörelse- och försvarsförmåga vilket gör ljudbilden till ett avgörande verktyg för att kunna överleva i spelet. Detta används av ljudskaparna för att påverka och frambringa önskad reaktion och känsla hos spelaren. Genom att förvränga ljud och musik och använda vissa frekvenser skapas de känslor som avses av kreatörerna. Det visar sig även att stråkar, mörka slagverk, metalliska ljud och röster är vanligt förekommande element som används i skapandet av ljudbilden

In this essay Jon Fosse’s novel Trilogien is explored through the lens of Sigmund Freud’s well-known paper titled “Das Unheimliche”. Fosse has a significant style of writing, which is argued to have a vital influence on the content, specifically the characters and the time. The reading of Freud’s text helps to illuminate the ways in which Fosse’s story is operating on multiple levels at once. The first chapter of the analysis concerns the characters of the book, and how they can be understood by the motif of the double brought from Freud’s essay. It seems that the subject's whole being, and the story alike, is gliding. Subjects aren’t fixed in the world of Trilogien, and with the double motif we understand how that is contributing to the uncanniness felt when reading the book. Time is also not truly reliable here, it is more relative and elastic than the external world. Occurrences keep happening over and over, which are analyzed through Freud’s motif of repetition. When applied, we can see how the legacy of the family and the trauma of experience gives an explanation of how time functions in Trilogien. Lastly, the chapter of form is connected to both of the earlier chapters. Just like subjects and time are repeated, so is the text in itself with sentences being almost circular rather than linear. The story is having a hard time getting through all the worldly repetition, which seems to spill over into the content itself, creating a holistic being whose parts are drifting into each other.

This thesis investigates the uncanny (das Unheimliche) in five of Sylvia Plath’s 1962 poems: “Berck-Plage”, “The Arrival of the Bee Box”, “Daddy”, “Fever 103°”, and “Death & Co.”. Furthermore, it looks at how the biographical circumstances in which the poet found herself while writing the poems, may have influenced them. Drawing mainly on Sigmund Freud’s 1919 essay “The Uncanny” and the 2003 The Uncanny by Nicholas Royle, this thesis examines a variety of elements in Plath’s poems including, but not limited to, the beach as a liminal space, aposiopesis as intellectual uncertainty and as an example of l’écriture féminine, thresholds in the form of windows, shoes, and locked boxes, severed limbs as examples of Viktor Shklovsky’s defamiliarization, Latin as a heimlich/unheimlich language, the uncanny effect of darkness, silence, and solitude, the double as a harbinger of death, the wish to both include and exclude the specter and that which is strange, and breathlessness and euphoria as manifestations of madness. Furthermore, it examines hitherto unexplored potential influences on Plath’s poetry, including but not limited to, the writings of Nathaniel Hawthorne, Thérèse of Lisieux, Franz Kafka, and Knut Hamsun. Because of the ambiguity of the concept of the uncanny, this thesis incorporates a host of material such as taped interviews conducted by Harriet Rosenstein, Subha Mukherji’s Thinking on Thresholds, Julia Kristeva’s Strangers to Ourselves, and Jacques Derrida’s Specters of Marx. In conclusion, this thesis argues that the uncanny is an instrumental key to the comprehension of Plath’s late poetry.

Made available in DSpace on 2014-07-29T16:19:02Z (GMT). No. of bitstreams: 1 Dissertacao Edson Manzan Corsi.pdf: 892608 bytes, checksum: 7241984b3e1a9a6410ecca4287ae543c (MD5) Previous issue date: 2010-12-10 / This thesis has as its object of study three modalities of the uncanny as they appear in the poetry of Irish writer William Butler Yeats. They are: the incidence of the Double, the contact with the Deads, their way of operation in the metaphysical sphere as well as in the world of the Living, and the Animist way of thinking which embraces the omnipotence of thought. We believe that this is possible to be theoretically thought and analyzed through the ideas presented by Sigmund Freud in his essay titled The uncanny ( Das Unheimliche ), edited in 1919. In order to help our discussion of the problem, we used some considerations from French psychoanalyst Jacques Lacan. For example, what he exposes in his seminar dedicated to the anxiety and in his essay on the mirror stage . Many important ideas and concepts from literary critics such as T. S. Eliot, W. H. Auden, Tzvetan Todorov, Emil Staiger, Joseph Warren Beach, Ezra Pound, among others, were also used as basis for the development of our discussion on the theme of the strangeness (uncanny) in the frontiers between literature and psychoanalysis. The thought of Friedrich Nietzsche also helped us to understand the concept that Yeats developed and used of tragic joy and the relationship of the poet with the tragic thinking, discussed by the German philosopher and which influenced the work of the Irish writer. This influence made possible, in the poetry Yeats wrote, appear an aspect of absurdity, of ambition for being assimilated in the chorus of the tragedy visible, for instance, in the chapter about the Double and that we can find in his most important poems. / Esta dissertação tem, como objeto de estudo, três modalidades do estranho na poesia do escritor irlandês William Butler Yeats. São elas: a incidência do Duplo, o contato com os Mortos, o modo de operação deles, tanto no âmbito metafísico quanto no mundo dos Vivos, e o modo de pensar Animista que abarca a onipotência de pensamento. Acreditamos que isso é possível de ser teoricamente pensado e estudado a partir das ideias apresentadas por Sigmund Freud, em seu ensaio O estranho ( Das Unheimliche ), publicado em 1919. Para auxiliar nossa discussão do problema, utilizamos algumas considerações do psicanalista francês Jacques Lacan. Por exemplo, o que ele expõe em seu seminário dedicado à angústia e no seu ensaio sobre o estádio do espelho . Muitas ideias e conceitos importantes de críticos literários como T. S. Eliot, W. H. Auden, Tzvetan Todorov, Emil Staiger, Joseph Warren Beach, Ezra Pound, entre outros, foram também utilizados como base para o desenvolvimento de nossa discussão sobre o tema do estranho, nas fronteiras entre a literatura e a psicanálise. O pensamento de Friedrich Nietzsche também ajudou-nos a entender o conceito que Yeats desenvolveu e usou de alegria trágica e a relação do poeta com o pensamento trágico, discutido pelo filósofo alemão e que influenciou a obra do escritor irlandês. Isso possibilitou, na poesia que Yeats escreveu, aparecer um aspecto de absurdidade, de ambição por assimilar-se ao coro da tragédia visível, por exemplo, no capítulo sobre o duplo e que podemos encontrar em seus mais importantes poemas.