Abstract:

The uncanny experience refers to unsettling feelings that emerge when confronted with events that seem remotely familiar but still strange and opaque. It relies on magical thinking, as the experience seems to take place emphatically in the sensorial realm, partly lacking symbolic quality. In this article, I approach the uncanny as representing an inability to represent, revealing discontinuities and gaps in experience. I suggest that the uncanny representation can be approached creatively and turned into an aesthetic experience. The uncanny as an aesthetic experience enables a creative elaboration of being unable to overcome a gap. Thus, it can contribute to self-growth and deepening of a subjective sense of self. To illustrate the creative potential of the uncanny I look at two examples, one from literature and the other a personal account. I further elaborate on the position of the uncanny in the field of aesthetics by comparing it with the sublime experience and suggest that the uncanny is a negative of the sublime. In the sublime, a representation of the infinite and unspeakable is formed, while the uncanny, in contrast, represents the impossibility of doing so.

摘要：

不可思议的经历是指当面对看似遥远熟悉但仍然陌生和不透明的事件时出现的令人不安的感觉。它依赖于神奇的思维，因为这种体验似乎主要发生在感官领域，部分缺乏象征意义。在这篇文章中，我将不可思议视为代表一种无法表达的现象，揭示了经验中的不连续性和差距。我建议可以创造性地处理这种不可思议的表现，并将其转化为一种审美体验。作为一种审美体验的不可思议使得无法克服差距的创造性阐述成为可能。因此，它可以有助于自我成长和加深主观自我意识。为了说明不可思议的创造潜力，我看两个例子，一个来自文学，另一个来自个人经历。通过与崇高体验的比较，我进一步阐述了诡异在美学领域的地位，并提出诡异是崇高的否定。在崇高中，形成了无限和难以言说的表征，而与之相反，神秘则代表了这样做的不可能。