The uncanny is the psychological experience of an event or thing that is unsettling in a way that feels oddly familiar, rather than simply mysterious. This phenomenon is used to describe incidents where a familiar entity is encountered in a frightening, eerie, or taboo context. Ernst Jentsch set out the concept of the uncanny, later elaborated on by Sigmund Freud in his 1919 essay "Das Unheimliche", which explores the eeriness of dolls and waxworks. For Freud, the uncanny is located in the strangeness of the ordinary. Expanding on the idea, psychoanalytic theorist Jacques Lacan wrote that the uncanny places us "in the field where we do not know how to distinguish bad and good, pleasure from displeasure", resulting in an irreducible anxiety that gestures to the Real. The concept has since been taken up by a variety of thinkers and theorists like roboticist Masahiro Mori's uncanny valley and Julia Kristeva's concept of abjection.
Etymology Canny is from the Anglo-Saxon root ken: "knowledge, understanding, or cognizance; mental perception." The uncanny is thus "an idea beyond one's ken", something outside one's familiar knowledge or perceptions. Freud noted the German unheimlich as the antonym of heimlich, or the "homely". A more literal rendering of the psychoanalytic concept of the uncanny would therefore be "unhomeliness".
History
German idealism Philosopher F. W. J. Schelling raised the question of the uncanny in his late Philosophie der Mythologie of 1837, postulating that the Homeric clarity was built upon a prior repression of the uncanny. In The Will to Power manuscript, German philosopher Friedrich Nietzsche refers to nihilism as "the uncanniest of all guests" and, earlier, in On the Genealogy of Morals he argues it is the "will to truth" that has destroyed the metaphysics that underpins the values of Western culture. Hence, he coins the phrase "European nihilism" to describe the condition that afflicts those Enlightenment ideals that seemingly hold strong values yet undermine themselves.
Ernst Jentsch Uncanniness was first explored psychologically by Ernst Jentsch in a 1906 essay, On the Psychology of the Uncanny. Jentsch defines the Uncanny as: being a product of "...intellectual uncertainty; so that the uncanny would always, as it were, be something one does not know one’s way about in. The better oriented in his environment a person is, the less readily will he get the impression of something uncanny in regard to the objects and events in it." He expands upon its use in fiction:
In telling a story one of the most successful devices for easily creating uncanny effects is to leave the reader in uncertainty whether a particular figure in the story is a human being or an automaton and to do it in such a way that his attention is not focused directly upon his uncertainty, so that he may not be led to go into the matter and clear it up immediately. Jentsch identifies German writer E. T. A. Hoffmann as a writer who uses uncanny effects in his work, focusing specifically on Hoffmann's story "The Sandman" ("Der Sandmann"), which features a lifelike doll, Olympia.
Sigmund Freud The concept of the Uncanny was later elaborated on and developed by Sigmund Freud in his 1919 essay "Das Unheimliche" or, "The Uncanny", which also draws on the work of Hoffmann (whom Freud considers the "unrivaled master of the uncanny in literature"). However, he criticizes Jentsch's belief that Olympia is the central uncanny element in the story ("The Sandman"):
I cannot think – and I hope most readers of the story will agree with me – that the theme of the doll Olympia, who is to all appearances a living being, is by any means the only, or indeed the most important, element that must be held responsible for the quite unparalleled atmosphere of uncanniness evoked by the story. Instead, Freud draws on a wholly different element of the story, namely, "the idea of being robbed of one's eyes", to be the "more striking instance of uncanniness" in the tale. He focuses on how the anxiety of their loss, is not unlike male castration anxiety. He continues, explaining how this anxiety may lead a male audience, robbed of their masculinity, feeling the uncanny. Their masculinity being robbed, provides Freud the foundation to illustrate a central contributor to male fear. Freud goes on, for the remainder of the essay, to identify uncanny effects that result from instances of "repetition of the same thing," linking the concept to that of the repetition compulsion. He includes incidents wherein one becomes lost and accidentally retraces one's steps, and instances wherein random numbers recur, seemingly meaningfully (here Freud may be said to be prefiguring the concept that Jung would later refer to as synchronicity). He also discusses the uncanny nature of Otto Rank's concept of the "double". Freud specifically relates an aspect of the Uncanny derived from German etymology. By contrasting the German adjective unheimlich with its base word heimlich ("concealed, hidden, in secret"), he proposes that social taboo often yields an aura not only of pious reverence but even more so of horror and even disgust, as the taboo state of an item gives rise to the commonplace assumption that that which is hidden from public eye (cf. the eye or sight metaphor) must be a dangerous threat and even an abomination – especially if the concealed item is obviously or presumingly sexual in nature. Basically, the Uncanny is what unconsciously reminds us of our own Id, our forbidden and thus repressed impulses – especially when placed in a context of uncertainty that can remind one of infantile beliefs in the omnipotence of thought. Such uncanny elements are perceived as being threatening by our super-ego ridden with oedipal guilt because it fears symbolic castration by punishment for deviating from societal norms. Thus, the items and individuals that we project our own repressed impulses upon become a most uncanny threat to us, uncanny monsters and freaks akin to fairy-tale folk-devils, and subsequently often become scapegoats we blame for all sorts of perceived miseries, calamities, and maladies.
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