Comme le montre l’analyse de dix auteurs appartenant à trois domaines linguistiques différents, anglophones, hispanophones et francophones : Pedro Antonio de Alarcon, Jorge Luis Borges, Ruben Dario, Henry James, Howard Phillips Lovecraft, Léopoldo Lugones, Guy de Maupassant, Edgar Allan Poe, Jean Ray, Marcel Schwob, la géométrie est présente partout dans les récits fantastiques du xixe au xxe siècle. Cercles, carrés ou pyramides s’inscrivent dans l’architecture ou dans le physique du personnage. Ces formes, qui permettent de faire naître l’angoisse, imposent peu à peu la circularité (cercles, courbes, sphères) comme une figure dominante. Les espaces où évolue le protagoniste s’arrondissent autour de lui jusqu’à venir l’étouffer. Le mécanisme de la peur qu’engendre ce processus peut alors être centrifuge ou centripète : soit il découle du lieu où se trouve le héros fantastique soit il est produit par le personnage lui-même. De cette géométrie angoissante découle un procédé fondamental : celui de l’atmosphère fantastique. Celle-ci — faite, comme l’étymologie le révèle, d’une forme de vapeur (atmos) enveloppant le monde ou le sujet à la manière d’un globe (sphaira) — témoigne de l’importance non seulement des courbes, mais encore des divers états de l’eau : glace, neige, élément liquide ou gazeux. L’atmosphère montre ainsi à quel point le fantastique est lié à la femme, support essentiel de l’Unheimliche, en ce que cette dernière est à la fois — pour le personnage masculin et pour les auteurs ici analysés — une figure de l’Autre (unheimlich) et une manifestation de la Mère (heimlich) / As shown in the analysis of ten authors from three different linguistic areas, English, Spanish and French: Alarcon, Borges, Dario, James, Lovecraft, Lugones, Maupassant, Poe, Ray and Schwob. The geometry is everywhere in the fantastic stories from the nineteenth to the twentieth century. Circles, squares or pyramids are part of architecture or the character's physical. These forms, which allows the birth of anxiety, gradually impose the circularity (circles, curves, spheres) as a dominant figure. The spaces where the protagonist is evolving, curving around him till he suffocates. The mechanism of the fear generated by this process could be centrifugal or centripetal: it follows either the place where the fantasy hero is located or it is produced by the character himself. From this agonizing geometry, a fundamental process is set up : the fantastic atmosphere. This one done, as the etymology reveals, from a vapor shape (atmos) enveloping the world or the character in the manner of a globe(sphaira) - testify the importance not only about the curves, but equally the various states of water : ice, snow, liquid or gaseous element. The atmosphere shows how much the fantastic is linked to the woman, Unheimliche's essential support, in that this last one is both - for the male character and the authors analyzed here - a figure of the Other (unheimlich) and a manifestation of the Mother (Heimlich)

L’oeuvre de Sergio Chejfec (Buenos Aires, 1956), composée de romans et de nouvelles,de nombreux essais et de deux recueils poétiques, figure parmi les propositions les plus singulières de la littérature argentine contemporaine. Entamée à la fin des années 1980, dans le contexte d’intense questionnement sur les moyens et les fins de la littérature nationale qui caractérise la période post-dictatoriale, cette oeuvre se poursuit encore aujourd’hui, désormais depuis New York. L’analyse transversale de l’oeuvre que nous proposons par la présente thèse s’appuie sur un corpus primaire de sept romans et s’organise autour des notions d’étrangeté et d’étrangèreté.La première partie s’attache à montrer que les altérations qui viennent semer le trouble dans la relation du sujet au réel ont partie liée avec la disparition de l’alter ego, qu’elles peuvent se concevoir à la lumière de la notion freudienne d’Unheimliche (« l’étrange familier »), et que s’y articule notamment la figure spectrale, en lien avec un passé – intime ou national – qui ne passe pas. L’étrangèreté géographique, sujet de la deuxième et la troisième partie, est définie comme une impossible territorialisation et se manifeste par les motifs récurrents de la marge et de l’errance. Au leitmotiv marginal – lieux périphériques, personnages paratopiques –s’associe également une figure d’auteur instable dans le champ littéraire argentin. Le motif de l’errance, quant à lui, réactive à la fois le mythe du peuple juif errant, par lequel l’auteurs se réapproprie ses origines, et le topos littéraire argentin du « désert ». L’errance, enfin, est aussi celle du lecteur, que Chejfec ne cesse de désorienter par un ensemble de procédés d’« étrangisation » (ostranenie) de la forme de ses textes.C’est enfin l’étrangèreté à soi et le brouillage des identités qui nous occupera dans un quatrième temps : il s’agira d’analyser la déconstruction du personnage romanesque, mais aussi les phénomènes de dédoublements, d’aliénations ou d’hybridités des sujets qui sont à l’oeuvre chez Chejfec. Les figures troublées de l’auteur, la question de la filiation et des origines ainsi que le rapport d’étrangèreté à la langue seront par la suite les axes principaux de cette dernière partie. / Sergio Chejfec was born in Buenos Aires, in 1956, and wrote novels, short stories, numerous essays and two collections of poems. His work is listed among the most unusual propositions in contemporary Argentine literature. Sergio Chejfec started writing at the end of the 1980s, in a context of intense questioning of the means and ends of the national literature which characterizes the post-dictatorship period, and now goes on with his work from New York City. This thesis intends to offer a cross-disciplinary analysis, relies on a corpus of seven novels, and is organized around the notions of strangeness and strangerness.The first part endeavors to show that the distortions that trigger a trouble some relationship between the subject and the world are hand in glove with the disappearance ofthe alter ego; that they can be conceived of in the light of the Freudian notion of the uncanny (das Unheimliche); and that they articulate a spectral figure that is linked with either an intimate or national past, and yet does not pass. Geographical strangerness is the main focus of the second part and is defined as impossible territorializing. It expresses itself in the recurrent motifs of margin andwandering. The marginal leitmotiv – peripheral places, paratopical characters – is also articulated with the figure of an author who remains on the fringe of the Argentine literary circle. As for the motif of wandering, it reactivates both the myth of the Wandering Jew,through whom the author takes back his origins, and the Argentine literary topos of the“desert.” At last, wandering is that of the reader, whom Chejfec tries to disorientate through a series of processes that “enstrange” (ostranenie) the form of the texts.The fourth part concentrates on strangerness and the blurring of identities. It analyses the deconstruction of the novelistic character, and the phenomena of splitting, alienating and hybridizing the subjects in Chejfec’s work. The troubled figures of the author, the question of filiation and of origins and strangerness to language are the main threads of this last part.

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.

L'efecte hipnòtic en el cinema postmodern desenvolupa una aproximació al discurs postmodern a través de la categoria estètica d'allò sinistre (das unheimliche), com el camí que senyala l'ombra i el fantasma, el desplaçament del subjecte i la representació de l'inconscient, el real del desig, per mitjà de la metàfora de la hipnosi aplicada al cinema.Hypnotic effect in postmodern cinema develops an approach to postmoden theories throught the sinister aesthetic category (das unheimliche), understood as the way that shows the shadow and the ghost, the subject displacement and the unconsciousness representation, the real of the desire, by the metaphor of hypnosis applied to cinema.

The focus of this study is the two autobiographical novels Den högsta kasten (1997) and Djävulsformeln (2000) by Swedish author Carina Rydberg. Both novels generated lively public debate regarding how they ought to be read and understood, what genre they belonged to, and the ontological status of the narrating “I”. The aim is to investigate why the protagonist, Carina, is perceived as unintelligible by many readers and explore how she can be understood in relation to what constitutes an intelligible identity from a literary and cultural perspective. The novels, as well as their protagonist, are approached from the perspective of genre theory, the argument being that Carina’s unintelligibility is directly dependent on what genre she is read in relation to. In the first part of the thesis the ambiguities of autobiographical texts are discussed, and the narrative and protagonist are analyzed in relation to the autobiographical genre. In the second part of the thesis the consequences of reading the texts as examples of the Gothic with emphasis on monstrosity, the uncanny and sexual transgression are examined. The two readings demonstrate how interpretations of text and character are highly influenced by the reader's expectations connected to genre. Rydberg’s transgression of the norms of genre, gender, and identity leaves the reader with a contradictory set of genre-specific expectations, which in turn makes it difficult to understand and accept the protagonist. The main theme of both novels is Carina’s unsuccessful attempts to reconcile what she sees as two separate, essentially incompatible identities: woman and author. The final chapter includes a comparative study in which Rydberg’s novels are linked to works by other Swedish female writers, both past and contemporary, to demonstrate that the conflict of woman versus author is a common problem for female writers. The thesis closes with a discussion about the possibility of placing Rydberg in a specifically female literary tradition and demonstrate how a feminist analysis can make the unintelligible intelligible.

This essay deals with recurring grotesque motifs in Mikael Niemi’s novels Kyrkdjävulen, Populärmusik från Vittula (Popular Music from Vittula), Fallvatten and Koka björn (To Cook a Bear). It aims to widen the academic understanding of Niemi’s works by focusing on their aesthetics in relation to previous studies, which have mostly been concerned with placing Niemi in a context of Tornedalian minority literature. With the grotesque defined as monstrous and boundary breaking imagery that challenges common rational, ideological or moral world views, this study shows that these motifs can both strengthen, nuance and undermine postcolonial interpretations of the novels.Through Mikhail Bakhtin’s theory of the grotesque, emphasis is placed on the subversive and utopian aspects of the grotesque motifs. With the use of Sigmund Freud’s term the uncanny (das unheimliche) and Julia Kristeva’s term the abject, psychological and emotional aspects of the selected motifs are drawn to the surface. And, by turning to Sara Ahmed’s thoughts on emotions and performativity, the function of disgust in said motifs is examined. The grotesque motifs in question are: the degradation of the mouth, the lower animals, the boy with the knife, the witch mother, and the androgyne. The first part of the analysis shows that in Niemi’sworks the mouth is associated with storytelling, power, agency and the subject’s ability to both knowand express himself, but also to take the world into himself and be changed by it. The mouth is often degraded, which in a carnivalesque manner results in a linguistic revival. The second part of the analysis argues that lower animals, such as rats, reptiles and bat-like devil spawn, are symbols of the abject – that which man must cast out in order to exist. The motifs of the rats and devils are associated with themes of language, identity and writing, but also allude to a threatening feminine principle. In the third part of the analysis, the motifs of the boy with the knife, the witch mother and the androgyne are found to be juxtaposed to and interwoven with each other in narratives concerning gender, sexuality and coming of age. The results of the study show that Mikael Niemi utilizes grotesque aesthetics to give shape toprocesses of growth and change, captivity and liberation, and a complicated sense of identity that eludes clear and rational definitions. The grotesque in these novels is not purely utopian in a Bakhtinian sense, but more emotionally ambivalent. A determining factor to whether the grotesque image brings true renewal or only a repetition of past pain is the will and choice of the individual. Thus, Mikael Niemi’s novels speak not so much of the power of a minority identity, as of the power and potential of the individual to reinvigorate that identity. They form an individualized, existential project in a Tornedalian context.