Masschelein - The Unconcept: The Freudian Uncanny in Late-Twentieth-Century Theory

SUNY series, Insinuations: Philosophy, Psychoanalysis, Literature

Charles Shepherdson, editor

The Unconcept

The Freudian Uncanny in
Late-Twentieth-Century Theory

Anneleen Masschelein

Published by State University of New York Press, Albany

2011 State University of New York

All rights reserved

Printed in the United States of America

No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher.

For information, contact State University of New York Press, Albany, NY
www.sunypress.edu

Production by Diane Ganeles
Marketing by Anne M. Valentine

Library of Congress Cataloging-in-Publication Data

Masschelein, Anneleen, 1971

The unconcept : the Freudian uncanny in late-twentieth-century theory /
Anneleen Masschelein.

p. cm. (SUNY series, Insinuations)

Includes bibliographical references (p.) and index.

ISBN 978-1-4384-3553-4 (hardcover : alk. paper)

1. Aesthetics, Modern20th century. 2. Uncanny, The (Psychoanalysis) 3. Fantastic, The. I. Title.

BH301.F3M37 2011

154.2dc22 2010032050

10 9 8 7 6 5 4 3 2 1

This book has become a permanent reminder
of my brother Wouter, who is missed every day.
This book is dedicated to him and to my parents,
Lieve and Raf Masschelein, who have been
an inspiration throughout.

Preface

The present book is the result of a longstanding research project that began in 1994. In 2002, the preface of my PhD began with a few lines from W. H. Auden's This Lunar Beauty:

But this was never
A ghost's endeavour
Nor, finished this,
Was ghost at ease

These prophetic words announced an ongoing process of thinking about the uncanny that finally presents itself as a slim volume compared to the PhD text.

Over the years, the uncanny has continued to flourish, to meander, and to be criticized. Steeped in new research projects and teaching, I always kept one eye open for the new forms and journeys of the concept. At the same time, I strove to really capture the dynamic core of its specific conceptualization process as precisely as possible, in the hope of offering some new insights in what may seem to be familiar territories. I would first and foremost like to thank the editors at SUNY Press, Charles Shepherdson, Jane Bunker, and Andrew Kenyon, for believing in this project and for giving me the opportunity to put the uncanny to rest (if such a thing were possible ). I also want to thank Diane Ganeles and Anne M. Valentine for their help with the production of this book. In the course of my research, many people have been invaluable to my work. My heartfelt thanks to Dirk de Geest and Hendrik Van Gorp, who introduced me to literary theory, the gothic, and psychoanalysis, and also to writing and to academic life with great wisdom and wit. The first readers of this work, Jan Baetens, Sjef Houppermans, and Nicholas Royle, have continued to help me throughout the years: I would not be where I am today without their support. For the past four years, the National Research Fund of Flanders (FWO Vlaanderen) helped me finish the book by giving me time for research. Several readers have provided their generous and astute comments on versions of the book: the readers at SUNY press, Karl-Heinz Barck at the Zentrum fr Literatur und Kulturforschung, Joost de Bloois, Ortwin de Graef, Maarten de Pourcq, Arne de Winde, Edward Kazarian, Andrew McNamara, Paul Moyaert, Jean-Michel Rabat, and Eveline Vanfraussen. Carol Richards did a wonderful job editing this book. I found stimulating intellectual platforms at the Cornell Summer School of Theory and Criticism (2003), especially with Mary Jacobus and Pamela Goodacre Brown; at the University of Pennsylvania (2005) where I was warmly welcomed by Liliane Weissberg; at the Sign of the Times-conference in Leuven (2008); and at the Institute of the Uncanny, a mysterious subdividision of the Institute of Cultural Inquiry in Berlin (2009). Teaching in Leuven and in Amsterdam has been a great source of inspiration. My colleagues at Leuven, Koen Geldof, Rita Ghesquiere, Mia Hamels, Marijke Malfroidt, Nicolas Standaert, and Laurence Van Nuijs have helped me in various ways. I also want to thank Nicolas Provost for the image on the cover of this book. My family and friends have been invaluable and steady companions throughout the years.

Michal and Elliot: there are no words for what you mean to me. Life is so much better since you both arrived.

Introduction

Imperfection is, paradoxically, a guarantee for survival.

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