Through the many reinterpretations of Freud’s essay Das Unheimliche (1919) within French Postmodernism, in recent decades, the uncanny has become a vague synonym for the methodology of deconstruction. The article aims to disambiguate the uncanny by reestablishing its characterizing nucleus and relocating it within the aesthetics through the philosophy of Stanley Cavell. The American philosopher claims that this feeling can be generated by drawing attention to the ordinary, which is so close and familiar to fade out of focus. Cavell and the German Philosopher Juliane Rebentisch following him show that artistic practices can reinforce this experience, as through displacements and dislocations, they deprive objects of daily use and ordinary matters of their familiarity and force us to look more closely at their material, sensorial, and phenomenological dimensions. In this way, Cavell and Rebentisch offer a path to reconstitute a stable conceptual framework for defining the uncanny, linking it to Freud’s definition of something familiar appearing in an unfamiliar light. At the same time, they also propose a novelty by interpreting the uncanny not as inherently frightening and disturbing but as a compelling affective state that encourages a willingness to reappropriate and rediscover the ordinary.

中文翻译：

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平凡的离奇：斯坦利·卡维尔对《不寻常》的反思的美学意义

通过对弗洛伊德文章的多次重新解释不解之事（1919）在法国后现代主义中，近几十年来，“不可思议”已成为解构方法论的模糊同义词。本文旨在通过斯坦利·卡维尔的哲学重建其特征核心并将其重新定位在美学中，从而消除神秘的歧义。这位美国哲学家声称，这种感觉可以通过将注意力吸引到平凡的事物上来产生，因为平凡的事物如此接近和熟悉，以致于淡出了焦点。卡维尔和追随他的德国哲学家朱利安·雷本蒂施表明，艺术实践可以强化这种体验，因为通过位移和错位，它们剥夺了日常使用的物体和普通事物的熟悉性，迫使我们更仔细地审视它们的材料、感官和情感。现象学维度。这样，卡维尔和雷本蒂施提供了一条重新构建稳定概念框架来定义恐怖的途径，并将其与弗洛伊德对以陌生光线出现的熟悉事物的定义联系起来。与此同时，他们还提出了一种新奇之处，即将不可思议的现象解释为一种令人信服的情感状态，鼓励人们愿意重新利用和重新发现平凡，而不是本质上令人恐惧和不安。