Taking as a point of departure Engelman’s black and white photographs, as well as architectural drawings gathered from site visits to Freud’s offices in London and Vienna, this essay traverses the porous boundary between the two-dimensional space of photography and the three-dimensional space of architecture. The convergence of these two languages of space highlights the confusion of surface and depth, inside and outside, subject and object that characterize psychoanalysis’s own primal scene. Until recently, questions of spectatorship have been theorized largely in terms of a subject’s perception of a two-dimensional image (photography, film, television). This study explores the role of both vision and hearing in three-dimensional space, examining how architecture organizes the physical and sensory interaction of bodies as they move through the interior of Freud’s study and consulting room. Architecture and psychoanalysis come together here in a reading of the interior, for both are cultural discourses of the seen and the unseen, of the audible and the inaudible—of public and private space.
This leads us to the main argument of Freud - the uncanny is a reminder of our psychic past, aspects of our unconscious life or the earlier primitive stages of life.
One of the most well known psychologist of all time is Sigmund Freud.
living vs. Inanimate)- much like Julia Kristeva’s concept of "the abject" – Freud argues that things are uncanny if they seem to prove valid either a
Essay about Freud, S. 1919 . the Uncanny - 16038 Words
Sigmund Freud, one of the most recognized names in psychology to date, had developed some eccentric theories that many scientists still accept as having some factual basis.
Psychoanalysis freud essay the uncanny
Freud’s theories are criticized because his theories are very far fetched and his ideas potentially make many people feel uncomfortable, but that could be exactly the point that Sigmund was trying to convey (Liff, 1998)....
Sigmund Freud is known as the Father of Psychoanalysis
This short summary leaves no doubt, I think, that thefeeling of something uncanny is directly attached to the figure of theSand-Man, that is, to the idea of being robbed of one’s eyes, and thatJentsch’s point of an intellectual uncertainty has nothing to do with theeffect. Uncertainty whether an object is living or inanimate, which admittedlyapplied to the doll , isquite irrelevant in connection with this other, more striking instance ofuncanniness. It is true that the writer creates a kind of uncertainty in us inthe beginning by not letting us know, no doubt purposely, whether he is takingus into the real world or into a purely fantastic one of his own creation. Hehas, of course, a right to do either; and if he chooses to stage his action ina world peopled with spirits, demons and ghosts, as Shakespeare does in in and, in a different sense, in and , we must bow to his decision and treat his settingas though it were real for as long as we put ourselves into this hands. Butthis uncertainty disappears in the course of Hoffmann’s story, and we perceivethat he intends to make us, too, look through the demon optician’s spectaclesor spy-glass — perhaps, indeed, that the author in his very own person oncepeered through such an instrument. For the conclusion of the story makes itquite clear that Coppola the optician really is the lawyer Coppelius and also,therefore, the Sand-Man.
Freuds essay on mourning and melancholia Essay Writing Service
The uncanny, or , concerns itself with a certain aesthetic effect, a feeling engendered by particular triggers, more frequently utilised in art than encountered in life. It is an uneasiness rising from a kind of uncertainty, a creeping feeling quite singular in its disturbance. Freud considers it a fear of something old and familiar taking on a different aspect, the emergence of something that should have been hidden, an ontological uncertainty. It is often concerned with involuntary repetition, but gains its frightening nature from an atmosphere generated by the psyche of the observer. Strongly linked to childhood in its roots, we see the uncanny employed frequently in literature and cinema, and is steeped in its effects and tell-tale signs.