The aim of this essay is to build an interpretation of Passion according to G.H. (1964), by the Ukrainian-Brazilian writer Clarice Lispector, having hospitality as our horizon for the discussions that follow. Discussions concerning the personal/home aspects, but also the external and political side of the discussions. This analysis has the Freudian concept of the Unheimlich as the conductor for the debates on identity questions, which range from race, nationality and the construction of subjectivities. Keywords: Das Unheimliche, Literature and (...) Philosophy, Psychoanalysis. (shrink)

The first part of the paper, “Foyer: feeling, look- ing, between-us” establishes the role of touch in intersubjectivity. Starting with Irigaray’s notion of the entre-nous, the “between-us,” I use touch as an example of deeply intersubjective communi- cation, an attempt to overcome estrangement. The ambiguity of touching, the physical action of touching and the affective reaction of feeling, is central to this. The second section, “Reception: receptivity, orderings of the sensible,” consolidates this experience of intersubjective touching within the confines of (...) the demarcated spatial divisions of the hotel, which leads to insights concerning the physical and psychical architecture of the archetypal hotel. We return to examine the notion of “estrangement,” questioning how and why it is altered by spatial layout and sequencing. In this section I subject the usual discussion of Freud’s unheimlich or “uncanny” to some affective spatial observations, and suggest Caillois’ idea of “psychasthenia” (1987) as a useful supplement to think about touching and feeling in the unhomely home of the hotel. The third section, “Room: the caress,” of Levinas’ notion of the caress and Irigaray’s reading of this, from which I grasp towards an ethical-affective relation of between-ness, as much through non-touching as through physical touching. (shrink)

Freud’s discussion of uncanny [unheimlich] experiences focuses on their peculiar ambivalence. On his view, the uncanny is a paradoxical feeling of both familiarity and alienation. While Freud’s analysis of this paradoxical feeling does succeed in explaining it away, it does little to explain it. One might expect a psychoanalytical demystification of the real experience that is hidden behind the superstitious overtones of uncanny experiences. Instead, the uncanny is attributed rather anti- climactically to the combination of a previous superstition (maintained (...) unconsciously) and an entirely coincidental verification of that superstition. The implication is that there is no uncanny per se. There is no distinctive category of experience, the unique character of which tends to cause or encourage superstitious beliefs; rather, such beliefs are prerequisite to having the experience. In other words, the experience suits the belief, and not vice-versa. The uncanny is the fantasized verification of a repressed fantasy. It involves a breakdown of the reality principle and the projection of beliefs into the external world, rather than a peculiarity of feeling that can be linked intrinsically to a specific category of experience. I do not intend to reject this analysis in its entirety. The basic structure, repression and return, is sound. However, Freud’s analysis of the uncanny, which resolves uncanny ambivalence into the separate categories of consciousness and unconsciousness, merely reinstates the problematical opposition of das heimliche and das unheimliche, familiar and unfamiliar, within the mind rather than in the external world. The coincidence of the two feelings in uncanny experience cannot be explained without an intervening stage between repression and return. I will suggest that Freud’s characterization of uncanniness as the return, in superstition, of the repressed is a misplacement of the experience of uncanniness. The aesthetical feeling is the cause of, but not identical to, the projected superstitions and ideas which surround it. An explanation of the feeling of uncanniness must fall not on the side of the repressed, but on the side of consciousness. The import of my position is that the feeling of uncanniness refers, in a manner of speaking, to something “real,” rather than merely to infantile ideas projected upon the external world. Freud’s explanation makes the unconscious a kind of scapegoat to be blamed for imposing fundamentally irrational beliefs into our interpretation of present experience, in that way preserving a model of the conscious ego as autonomous, fundamentally attuned to reality and ultimately independent of the unconscious. I will argue, on the contrary, that the experience of the uncanny is not merely a falling back into irrational or infantile beliefs, but an experience of a deep disunity in personhood that rightly causes us to question our everyday confidence in the unity, independence, and rationality of our conscious sense of self. The ambivalence of the feeling has its source in an irresolvable ambivalence that can exist in consciousness, and not simply in an analytically resolvable psychical ambivalence between consciousness and the unconscious. (shrink)

Modernist Architecture and Ruins: On Ruins as a Minus, Neoclassicism and the Uncanny.