Essa pesquisa possui como principal objetivo o estudo dos personagens de marca à luz da teoria do Vale da Estranheza, tendo em vista que personagens considerados estranhos podem influenciar a recepção (SPADONI, 2000; TINWELL, 2014). Desde a publicação seminal de Masahiro Mori em 1970, autor que propôs que robôs muito parecidos com seres humanos evocam uma reação aversiva (MORI; MACDORMAN; KAGEKI, 2012), foi demonstrado que essa reação ocorre sempre que um estímulo não pode ser categorizado como não-humano ou humano (SAYGIN et al., 2012). As implicações sobre as apropriações teóricas dessa abordagem pelo campo da comunicação são exploradas no decorrer dos dois primeiros capítulos. Para mensurar o efeito da estranheza sobre a atitude, foram utilizadas duas escalas: uma escala criada por Ho e MacDorman (2010; 2016) para mensurar a estranheza, e uma escala de atitude criada por Martin et al. (2004). Um total de 396 pessoas responderam a pesquisa online, predominando mulheres (60%), pessoas do Estado de São Paulo (58%), com Ensino Superior Completo ou mais (80%) e média de 29 anos. Foram utilizados os procedimentos de validação de escala para adaptar a escala da estranheza ao contexto brasileiro (DEVELLIS, 2003). Os resultados sugerem a existência de um modelo de estranheza bifatorial com 4 fatores. Contudo, o modelo de segunda ordem com a variável dependente não passou no teste de ajuste exato e aproximado do modelo. Entende-se que essa pesquisa faz contribuições relevantes às Ciências da Comunicação por lançar mão de uma teoria complementar às pesquisas do campo, e de uma metodologia pouco utilizada pelas pesquisas da área. / This research have as a main objective the study of brand characters in light of Uncanny Valley theory, regarding that brand characters that are considered eerie can influence reception (SPADONI, 2000; TINWELL, 2014). Since Masahiro Mori seminal article, in 1970, when the author propose that characaters who appear almost, but not exactly, like real human beings elicit feelings of eeriness and revulsion among some observers, has been show that this reaction occurs always when an stimuli cannot be categorized as human or non-human (SAYGIN et al., 2012). The theoretical implication of this approach by Communication Studies are explored in Chapter 1 and Chapter 2. To measure the uncanny effect toward attitude, two scales has been used: one developed by Ho and MacDorman (2010; 2016) to measure the uncanny, and second to measure attitude developed proposed by Martin et al. (2004). 396 participantes were recruited and answered the online survey, prevailling women (60%), people from São Paulo State (58%), people with Graduate Degree (80%) and an average of 29 years old. Procedures for scale validation has been used to adapt the Uncanny Valley scale to brazilian contexto (DEVELLIS, 2003). The results suggest that the existence of an bifactorial model of Uncanny with 4 factors. However, the second order model with an dependent variable cannot be accepted by statistical índices of exact and approximation test. It is understood that this research makes relevant contributions to the Communication Sciences by using a theory complementary to the field, also by using a methodology that has not been used by other researchs of the area.

Hier fiction, maintenant réalité, le robot humanoïde, machine intelligente créée sur le modèle humain, concrétise des rêves ancestraux, avec pour ambition que la copie puisse égaler ou dépasser son modèle et créateur ; voire effectuer un bond dans l’évolution, par delà l’altérité homme/machine et la finitude. Afin de questionner ce qui sous-tend la réalisation du robot, ses enjeux, et ce que ses caractéristiques disent de l’homme aujourd’hui, cette réflexion revisite ses traces mythologiques et techniques depuis l’Antiquité, puis aborde les principaux axes de recherche en robotique interactive. Au regard de la contextualité contemporaine sous le règne de la science et du néolibéralisme, et marquée par l’imaginaire de la science-fiction, des nouvelles technologies, et par l’héritage de la mort collective du 20e siècle ; sont examinésles fantasmes originaires et la dynamique pulsionnelle (concernant notamment l’emprise et la satisfaction, les interactions précoces, et la formation du double) à l’oeuvre dans l’avènement du robot humanoïde. En approchant ce que l’humain reproduit sciemment dans son double technologique, et tout ce qu’à son insu il y dépose, transparaît l’empreinte de la répétition et des tentatives de subjectivation de la place du sujet dans la filiation et du legs transgénérationnel en ce qu’il a d’irreprésentable ou de traumatique. Tenant de l’invention scientifique, du symptôme, de l’objet transitionnel et de l’oeuvre d’art, le robot humanoïde procède d’une double résistance, se traduisant en potentialités de répétition aliénante ou de subjectivation réparatrice, susceptibles de s’actualiser pendant la réalisation du robot ou dans l’interaction avec lui. / Yesterday a fiction, now a reality, the humanoid robot, an intelligent machine designed after the human model, embodies ancestral dreams, with the aim that the copy meets or exceeds its model and creator, or even makes a jump in evolution, beyond the difference between humans and machines and beyond death. This study addresses what underlies the realization of robots, the challenges they open up to, and what their characteristics may say about humans today.After examining the mythological and technical origins of the robot, it presents today’s key research topics in the field of human-robot interaction. With regards to the contemporary context dominated by science and neoliberalism, and marked by the imagination of science fiction and new technologies, as well as by the 20th century’s collective death inheritance,this work studies the original fantasies and the drive dynamics involved in the advent of the humanoid robot. The repetition compulsion and the human attempts to subjectify their position in the lineage and their transgenerational legacy in its unrepresentable or traumatic parts, show when approaching what humans deliberately reproduce in their artificial double,as well as what they deposit in it unknowingly. Though mainly a scientific invention and a technological tool, the humanoid robot may be regarded as a symptom, a transitional object or a piece of art. This particular status translates into a double ambivalent psychological resistance: constructing the humanoid robot and interacting with it, may develop into analienating repetition compulsion, as well as revive the subjectivation process.

Paru en 1983, The Bone People, le premier et à ce jour le seul roman de l'auteure néo-zélandaise aux origines maories Keri Hulme (1947-), a profondément marqué ses lecteurs, car il a montré, de façon poignante et unique, une image d'Aotearoa- Nouvelle-Zélande, de sa nature rugueuse, de ses habitants et de la richesse de la culture maorie. À l'inverse, les poèmes et les nouvelles de Hulme n'ont pas reçu le même accueil et n'ont été que très peu étudiés, c'est pourquoi nous nous y intéressons dans cette thèse. Ces textes brefs laissent au lecteur une sensation d'étrangeté. Est étrange ce qui est hors du commun, bizarre, surprenant. L'étrange possède un caractère indéfinissable, si bien qu'il est parfois impossible de dire précisément ce qui est à l'origine de ce sentiment singulier difficile à cerner, parfois inquiétant. L'objectif de notre étude est de mieux comprendre et d’expliquer les manifestations de l'étrangeté dans l'oeuvre courte de Keri Hulme. Pour ce faire, la première partie ancre l'oeuvre de Keri Hulme dans des contextes historique, culturel et littéraire afin de mieux cerner les identités contemporaines multiples de la Nouvelle-Zélande et de montrer l'affiliation littéraire de Hulme. Dans notre deuxième partie, nous étudions les rapports de l'humain à la nature et au vivant non-humain dans ce que nous nommons l'écriture écopoétique de Hulme. Enfin, dans la troisième partie, nous nous intéressons à la représentation de la hantise et du blocage dans la transmission immatérielle. Nous analysons la manière dont l'auteure se sert des caractéristiques formelles du genre de la nouvelle, mettant à l'épreuve et façonnant sa forme malléable pour exprimer des maux néo-zélandais et traduire la rupture dans la transmission de l'héritage culturel. Nous démontrons que l'écriture de Hulme offre aussi une forme de fantastique, qui invite le lecteur à accepter l'inexpliqué et à voir que se trouver dans un entre-deux culturel – maori et anglo-saxon – permet d'adhérer à deux systèmes de pensée qui confluent et s’enrichissent mutuellement. / First published in 1983, The Bone People, to this day the only novel by New Zealand author with Maori origins Keri Hulme (1947-), had a tremendous impact on its readers. It struck them for its capacity to show, in a unique and poignant way, an image of Aotearoa- New Zealand, its rough nature, its inhabitants and the enriching Maori culture. On the contrary, Hulme's poems and short stories were not read with the same enthusiasm and have been the subject of very few studies. This is the reason why I decided to focus on Hulme’s short texts in this dissertation. These short texts convey the uncanny, which can be defined as a feeling of unease, strangeness and unfamiliarity. What is strange can also be incomprehensible, so that it can be difficult to understand the origin of this feeling of unease. The aim of this study is to better understand and explain the manifestations of the uncanny in Keri Hulme short texts. The first part focuses on the historical, cultural and literary contexts in order to grasp the multiple contemporary identities of New Zealand and to show Hulme's literary affiliation. In the second part, I study the links between humans, nature and the non-human in what I call Hulme's ecopoetics. Lastly, I focus in the third part on the representation of haunting and the impossibility to pass on the cultural heritage. I study how the author uses and challenges the characteristics of the short story, shaping its malleable form to express New Zealand wounds. I also intend to demonstrate that Hulme's writings contain the fantastic, which invites the reader to accept what cannot be explained and realize that being in-between two cultures – maori and anglo-saxon – allows to better understand two belief systems that come together and enrich each other.

Depuis le début des années 1990, Marcos Novak développe une architecture numérique expérimentale qu’il appelle « transarchitecture ». Le fil directeur de cette dernière est l’idée d’un « devenir alien », c’est-à-dire un devenir autre radical de l’homme comme de l’architecture, de l’habitant comme de l’habitation, impulsé par les nouvelles technologies. L’objet de cette recherche est d’interroger la notion de « devenir alien » à partir et à travers deux figures de l’étrangeté humaine : l’Unheimliche, théorisé par Sigmund Freud, et l’Unheimlichkeit, développé par Martin Heidegger. Notre thèse est que le « devenir alien » est une nouvelle figure de l’étrangeté, propre à notre époque. Quand l’Unheimliche serait la figure d’une étrangeté psychologique et l’Unheimlichkeit celle d’une étrangeté ontologique, le « devenir alien » serait la figure d’une « étrangeté numérique ». Par cette expression, nous visons à qualifier l’effacement des dichotomies classiques (proche/lointain, naturel/artificiel, organique/synthétique, etc.) entraîné par nos technologies et l’effet d’étrangeté diffus qui semble en résulter, affectant l’ensemble de nos expériences, de nos représentations et de notre habitation du monde.Nous proposons, enfin, de considérer en quoi, par la « transarchitecture » et la notion de « devenir alien », s’ébauchent à la fois la possibilité d’un « faire-monde » nouveau, ouvrant la voie à un réenchantement, et le risque d’une « immondation ». C’est alors la question de l’éthique qui émerge, une éthique technologique, mais aussi écologique, économique et politique : en somme, une éthique de l’habitation du monde que l’architecture doit plus que jamais porter.Mots-clés : inquiétante étrangeté, « transarchitecture », condition humaine, corps, identité, devenir, habitation, désenchantement/réenchantement, éthique. / Since the early 1990s, Marcos Novak has promoted a digital and experimental architecture called “transarchitecture.” The guiding principle of it is the idea of “becoming alien,” that is to say a radical becoming other of man and architecture, inhabitant and inhabitation, driven by new technologies.The purpose of this research is to examine the notion of "becoming alien" from and through two figures of human uncanniness: the Unheimliche theorized by Sigmund Freud, and the Unheimlichkeit developed by Martin Heidegger.Our thesis is that “becoming alien” is a new figure of uncanniness, proper to our time. When the Unheimliche would figure a psychological uncanniness, and the Unheimlichkeit an ontological one, “becoming alien” would be a figure of a “digital uncanniness.”By this expression, we aim to qualify the erasure of conventional dichotomies (near / far, natural / artificial, organic / synthetic, etc.) carried by our technologies, as well as the effect of diffuse strangeness that seems to result of it, affecting all of our experiences, our representations our inhabitation of the world.Finally, we suggest considering the ways in which “transarchitectures” and the notion of “becoming alien” sketch out both the possibility of a new “worldmaking” paving the way for a reenchantment, and the risk of a “deworldlizing.”Therefore, the question of ethics emerges; a technological ethics, but also an ecological, an economic and a political one: in short, an ethics of inhabitation of the world that architecture must address more than ever before.Keywords: uncanny, “transarchitecture,” human condition, body, identity, becoming, inhabitation, desenchantement/reenchantement, ethics.

Sylvia Plath’s poetry continues to receive considerable attention from a variety of groups and has been the target for such diverse critical approaches as Feminism, Ecocriticism, and Marxism, to name but a few. My paper focuses on a less investigated area of her poems: Space, and more specifically uncanny space in her later poetry. Here, I take a closer look at seven of her poems using as my preferred methods deconstruction and psychoanalytical theory.

By using the concept of forms in this analysis of “The Renegade,” postwar domestic life is analyzed for the uncanny. By locating repetitions in domestic life, between characters, and in speech, situations are identified where the uncanny moves into the domestic. As a result, the perception of reality of the protagonist, Mrs. Walpole, is damaged, reiterating the impossibility of sanity in a postwar housewife’s domestic life.

No description available.

This study has examined what in virtual characters movement invokes negative sensations associated with the Uncanny Valley. This was done through a study involving semi-structured interviews, open-ended surveys and eye tracking during which the 10 participants observed gameplay and dialogue clips from three different games. A literature review was performed regarding the topics of Game User Experience, Immersion, Animation, Motion capture, Uncanny Valley and Body language studies. The results of the study indicate that it is possible for participants to identify what details in virtual characters’ movements induce these negative sensations to them, which strengthen previous research of the topic. The results of this study did not show a great deal of variation between the participants yet showed a unique set of motivations and examples about what influenced their perception. However, with such a small sample, the results can only be applied to this study and merely provide the groundwork for future studies of the topic. However, it does provide more detailed information about the uncanny valley that can help game developers to make informed decisions when choosing to work with realistic animation

No description available.

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.