Uncanny Research Articles

Uncanny Landscapes

Research Article| May 01 2017 Uncanny Landscapes Gisèle Vienne; Gisèle Vienne Search for other works by this author on: This Site Google Anna Gallagher-Ross Anna Gallagher-Ross Search for other works by this author on: This Site Google Theater (2017) 47 (2): 35–45. https://doi.org/10.1215/01610775-3785146 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Gisèle Vienne, Anna Gallagher-Ross; Uncanny Landscapes. Theater 1 May 2017; 47 (2): 35–45. doi: https://doi.org/10.1215/01610775-3785146 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsTheater Search Advanced Search The text of this article is only available as a PDF. © 2017 by Anna Gallagher-Ross2017 Article PDF first page preview Close Modal Issue Section: Articles You do not currently have access to this content.

Architecture, Technology and the Uncanny: Infiltrating Space in “The Veldt” and in “The Digital House Project”

The original term for the uncanny—das Unheimliche —is inevitably linked to the home. Uncanny is that which is both homey and unhomey, and this ambiguity is precisely what causes it to be disorienting and frightening. This article addresses the inherent link of the uncanny to the home by comparing a literary text, “The Veldt” (1950) by Ray Bradbury, to architectural texts, mainly “The Digital House Project” (1998) by Hariri and Hariri. Bradbury’s prophetic text, first published in 1950, presents an unnerving picture of domesticity, technology and modernity, a picture that is eerily recreated in these technological homes. In order to illustrate the mediation of the uncanny through architectural space, this study will address two issues which contribute to this sense of unease within the architectural and literary home: first, the dehumanization of humans and the consequent humanization of the house, and second, the worrisome recurrence and proliferation of data within these homes. I argue that architectural space has always mediated the uncanny, and that today, this mediation is strengthened by the overpowering presence of technology in the home. El término original para el concepto de lo siniestro —das Unheimliche — está inevitablemente enlazado a la noción de hogar. Lo siniestro remite a la vez a lo hogareño y reconfortante como a lo antihogareño o lo desconcertante, y es precisamente esta ambigüedad la que genera desorientación y terror. Este artículo se enfoca en la conexión intrínseca entre lo siniestro y el hogar, al comparar un texto literario, “The Veldt” (1950) de Ray Bradbury, con textos arquitec tónicos, principalmente “The Digital House Project” (1998) por Hariri y Hariri. El texto profético de Bradbury, publicado en 1950, presenta una imagen desconcertante de la domesticidad, de la tecnología y de la modernidad, una imagen que es recreada en estas casas tecnológicas. Con el fin de ilustrar la mediación de lo siniestro a través del espacio arquitectónico, este análisis se enfocará en dos aspectos que contribuyen a esta sensación de turbación dentro del hogar en el plano arquitectónico y literario: primero, la deshumanización de los individuos y la consecuente humanización de la casa, y segundo, la recurrencia preocupante y la proliferación de información dentro de estas casas. Insisto en que el espacio arquitectónico siempre ha mediado lo siniestro y que, actualmente, esta mediación se fortalece por la presencia abrumadora de la tecnología en el hogar.

Uncanny by David Macinnis Gill

Uncanny by David Macinnis Gill

Messing with Punctum: Cinemagraphs and the Uncanny

Messing with Punctum: Cinemagraphs and the Uncanny

Uncanny by Sarah Fine

Uncanny by Sarah Fine

“The Last Place”: The Uncanny Australia of David Mitchell

“The Last Place”: The Uncanny Australia of David Mitchell

La nascita dell’autore e la resurrezione letteraria dei morti “Die Toten auf der Insel Djal. Eine Sage aus dem Holländischen nacherzählt von Antje Seghers”

This article deals with the issue of authorship in Anna Seghers’ oeuvre. Starting from her first short story “Die Toten auf der Insel Djal. Eine Sage nacherzahlt von Antje Seghers”, which was published anonymously in 1924, the issue of authorship proves to be one of the most important in Seghers’ poetics. The narrator of this uncanny story about death and resurrection bears the name which a few years later was to be the pseudonym adopted by Netty Reiling, i.e. Anna Seghers. By means of this literary device the future “Anna Seghers” seems to arise from her own fiction, as though the author was produced by the text itself. In other words, the question posed by Michel Foucault in his famous essay “What is an author?” can find an interesting literary prefiguration in Anna Seghers’ writings.

The Belly of the Beast: The Uncanny Shark

The Belly of the Beast: The Uncanny Shark

Cli-fi and the Uncanny

Cli-fi and the Uncanny

The triumph of the Puppet: the Victory of Death is a Blow to Life. The Movement of Life and Death in the Opus of Silvan Omerzu.

Abstract The puppets of Silvan Omerzu problematise life by staging death. In his 20 years of making puppet shows for adults, the puppet has travelled from the grotesque image, rapid movement and playful violence to the ascetic minimalistic world, both in its image and its movement. Omerzu’s latest show, Salto mortale, depicts the immortality of puppets. This complex puppet world can be described by Das Unheimliche, which best captures the staging of death no matter whether it is carried out in a playful, mysterious or anxious atmosphere. Silvan Omerzu’s puppets show the victory of death or the victory of puppets over death, thus staging our captivity within life.

Uncanny Meat

Uncanny Meat

Mind the Gap: Spiritualism and the Infrastructural Uncanny

Mind the Gap: Spiritualism and the Infrastructural Uncanny

Chronotopes of the Uncanny: Time and Space in Postmodern New York Novels—Paul Auster’s City of Glass and Toni Morrison’s Jazz, written by Petra Eckhard

Chronotopes of the Uncanny: Time and Space in Postmodern New York Novels—Paul Auster’s City of Glass and Toni Morrison’s Jazz, written by Petra Eckhard

Heidegger: On Being Uncanny by Katherine Withy (review)

Heidegger: On Being Uncanny by Katherine Withy (review)

Woman as Man’s Uncanny Object: A Discussion Following Freud and Lacan

Woman as Man’s Uncanny Object: A Discussion Following Freud and Lacan

Review of Lesser, Zachary, ‘Hamlet’ After Q1: An Uncanny History of the Shakespearean Text. Philadelphia: University of Pennsylvania Press, 2015.

Review of Lesser, Zachary, ‘Hamlet’ After Q1: An Uncanny History of the Shakespearean Text. Philadelphia: University of Pennsylvania Press, 2015.

Hoffmann'sDie Elixiere des Teufels: The Double, the Death Drive, and the Apotropaic

In this article I discuss Hoffmann's novel Die Elixiere des Teufels in terms of Freud's essay ‘The Uncanny’ (‘Das Unheimliche’), especially with regard to the figure of the double, and also in relation to Freud's insistence, articulated at the same time as this essay, on the death drive and its relation to repetition. The difficulties in working out the plot in a way which illuminates its engagement with history and memory are explored, as is its claim to narrate the life of the monk Medardus. The key notion of the apotropaic emerges as a nodal point in my reading of Hoffmann's complex and at times bewildering text.

Megan R. Luke. Review of "Playthings: The Uncanny Art of Morton Bartlett" .

Megan R. Luke. Review of "Playthings: The Uncanny Art of Morton Bartlett" .

Octopus genome holds clues to uncanny intelligence

Octopus genome holds clues to uncanny intelligence

Going feral: Wild meat consumption and the uncanny in Melbourne, Australia

Feral animals are commonly constructed as the scourge of the Australian landscape. The transgressive act of introduced, domestic animals going wild elicits strong emotive responses within the community, often conceived in a kind of Freudian spectre of das unheimliche (the uncanny/unhomely), as the once familiar becomes uncontrolled, strange and frightening. Meanwhile, exponential global growth in human populations, and the resulting strain on the environment and food security, is necessitating the rethinking of meat consumption. In Australia, while the stigma surrounding feral animals has historically inhibited their consumption, feral meat is regarded by a growing body of advocates as an environmentally favourable alternative to farmed meat, allowing not only the avoidance of animal suffering within the industrial agriculture model, but also benefitting ecosystems through the removal of damage‐wreaking interlopers. This paper explores the feral turn and its contemporary manifestations as a growing food movement in Melbourne.